Mozart's Piano Sonata in A Major
The recognised style in the classical period in which this was written
was to write sonatas in Sonata form- the concept of a recapituation,
development and exposition. Indeed, the majority of Mozarts other
sonatas were written like this. However, this sonata has a different
but very distinct form. The first movement is a theme and a set of six
variations. Each variation aswell as the theme comprises of four four
bar phrases, as illustrated below. This form allowed Mozart to keep
simple, recurring themes throughout the movement and so gave the
listener a more immediate experience compared to the complexities of
counterpoint of sonata form.
Within this first movement Mozart uses several musical teqniques to
'popularise' the music; attempts to embellish the notes and provide an
extremely melodious and pleasurable end product. The music is
decorated with semi-tonal appoggiaturas in the right hand and
acciaccaturas in the left, livening up the melody. As Mozart had just
discovered the complex textural variation a piano could give, the
piece is littered with sforzando markings, e.g. in the last beat of
bar 28.
Each vatiation has features thatare unique to themselves or are only
hinted at at different parts of the piece, e.g. the alberti bass in
fifth movement to emphasise the pace of the piece of the offbeat
chromatic quavers, driving the movement forward in the last (sixth)
movement. All these features serve to bring the audience in to the
music, in the same way the stuffing operates in a succulent turkey.
The second movement consists of a minuette and trio. These are
entirely diffent in form to the first movement and operate in Teurnary
form (ABA). The minuetto is traditionally a dance which is very
unusual at this point in a piece and makes the sonata stand out even
more to it's audience. This movement is all about dynamics with lots
of 'sfp' and a smattering of dissonant notes, an example being in the
second beat of the eighth bar when a G natural in the right hand
“On the other side of our barbed wire fence were twenty or thirty Aussie men – as skinny as us – and wearing slouch hats. Unlike the Japs, they had hairy legs. And they were standing in rows – serenading us.”
One of the most interesting challenges in operatic composition , is composing for all the specific characters. A composer has to distinguish between characters through his music. Jan can’t sound like Fran , and Dan can’t sound like Stan. Each character must have his or her own traits. Mozart’s opera , Don Giovanni , provides us with many different characters to compare and contrast. One scene in particular lends itself to the comparison of Don Giovanni , Leporello , and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other , making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte brought them all to life.
The 2nd movement: A Ball. This movement is representative of the gala ball where he once again sees his beloved. This section is a dance movement in three parts. The Idea fixe reappears in Waltz time. The 3rd movement: Scene in the Fields.
In Leo Tostoy’s The Kreutzer Sonata Posdnicheff is experiencing what can be best described as a dysfunctional relationship. After murdering his wife, many things come into play: the question of love, jealousy, and the idea of marriage itself. But one thing I found the most engaging is Posdnicheff’s homosexuality. Posdnicheff’s jealous rage and poor relationship with his wife and all women in his life are result of his own homosexual emotions.
My book report is from the biography of Mozart written by Robert W. Gutman. It was illustrated by the Jacket art courtesy of Music Lovers Society and was published by Harcourt Brace and Company. It was printed in New York City and the year of publication was 1999.
Wolfgang Amadeus Mozart, the Austrian wunderkind, was an accomplished and magnificently gifted musician. He is attributed with the composition of 22 operas in his 35-year life, but his most successful theatre work was his last. Die Zauberflöte, completed in 1791, was written specifically for the Theater auf der Wieden in Vienna. The theatre housed a troupe of actors led by Emmanuel Schikaneder, a versatile actor and writer who crafted the libretto of Zauberflöte and portrayed Papageno at its premiere. Zauberflöte was written in the singspiel operatic style; the libretto is in the vernacular – German – language, spoken dialogue is interspersed with recitative and aria, and there is a folk-like strophic style in the music. Schikaneder had known Mozart since 1780, but the two artists enjoyed a more meaningful relationship when Schikaneder became a member of the Viennese Masonic Lodge, to which Mozart already belonged. The libretto and score for Zauberflöte is replete with references and symbols from Freemasonry. Many scholars have asserted that the entire work is an allegory for the principles and ceremonies of the secret society. Regardless of this claim’s validity there is a deliberate tonal and structural language used in Zauberflöte, and the contributions of Schikaneder and Mozart leave much to be studied.
Wolfgang Amadeus Mozart was born in 1756 in Salzburg, part of what is now modern day Austria (BBC, 2014). The son of a Musician, Leopold, Mozart was born into a musical upbringing. He quickly became very proficient at the harpsichord, and was even composing his own works at the ripe young age of 5 years old. Mozart gained important development on an early childhood trip through Europe, where he and his family met and played for famous musicians of the time. He was strongly influence by his interactions with Johann Christian Bach, the song of the much more famous Johann Sebastian Bach. Mozart also encountered opera throughout his journeys through Europe.
Countless dozens of Ph.D theses must be written about Mozart's The Magic Flute and yet it is so lively with elements of fantasy and free-flying imagination that it is often the first opera to which children are taken. It has a plot of such complexity that it takes several viewings for all but the most studious opera buffs to sort out the characters and follow the ins and outs of the multilevel story. At the same time it has so much easily accessible charm and so many glorious Mozart tunes that even the novice will be captivated.
If you are part of society, I think it is safe to make the assumption you are familiar
Symphony No. 6 is one of Beethoven's few programmatic works and describes a county scene. It is titled "Recollections of country life". It has 5 movements, unusual for a classical symphony. The first movement is in sonata form and is titled "Awakening of cheerful feelings upon arrival in the country". It has two beautiful rustic themes. The second movement is titled "Scene at the brook" and depicts a bubbling stream on a calm day. It is also in sonata form with two flowing themes. The third movement is a scherzo and depicts a country dance being titled "Happy gathering of country folk". It is an unusual scherzo with the scherzo section played only once before continuing to the trio. After the trio, instead of returning to the scherzo, a short section in 2/4 time interrupts. Then the scherzo is played followed by the trio again. The 2/4 section appears a second time, followed by the scherzo one last time. The dancing in the third movement is interrupted by raindrops ushering in the fourth movement, titled "Thunderstorm".
Wolfgang Amadeus Mozart was born on January 27th, 1756 in Salzburg, Austria. Wolfgang was one of seven children in the Mozart household. His father was Leopold Mozart and his mother Anna Maria Mozart. At age 11 Wolfgang was already a child prodigy and getting ready to spend the next three years on the road performing for dukes and barons, lords & ladies, and emperors and empresses, and kings & queens. His first trio composed was called Minuet and Trio in G major, he accomplished this at 5 years old. His first song was Twinkle Twinkle Little Star, he did this at age three. His first full scale opera was completed in 1768, when he was 12 years old. 1761 was the year his child prodigy began, he was five years old
The Violin Concerto No. 1 in G minor, Opus 26 is one of the most famous violin concertos over the musical history. It is also considered to be the most renowned work by the German composer Max Bruch. I will begin with a short explanation of why I choose to analyse this piece followed by what makes this piece so remarkable. I will then present the musical context – German Romantic period – in which this piece was composed and discuss how it is representative of this period. Also, I will present briefly the biography of the composer and relate his life and style with this particular piece of music. After, I will explain the basic structure of a concerto, associate it with this violin concerto, and analyse how each movement is related. Then, I will analyse some psychoacoustic parameters of this piece (pitch, dynamics, rhythm, and texture). Finally, I will give my appreciation of this piece in term of beauty, musical expression, and mood.
Mozart was an influental composer of the classical music era. He put over 600 compositions and is considered to be the best musical composer till this day. Mozart knew how to blend comporary elements with triditional music and instuments to create his own musical distive style that people still admire today.
“The Story of an Hour” was written in 1897. While less common, this was still an era where women were still often forced into arranged marriages. Many clues in this story suggest that Mr. and Mrs. Mallard were an arranged marriage. After all, why would you marry someone you only love “sometimes”? There are not many situations in which a person could be happy that anyone- much less their spouse is dead. Obviously, there was something within the marriage making Mrs. Mallard so unhappy with it. Something that was making her unhappy enough to go so far as to celebrate Mr. Mallards death. Was it due to unknown abuses? A secret affair with someone else? There is an endless amount of possibilities that could have driven Mrs. Mallard to her irrational
Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Germany. Born to Leopold Mozart, a violinist and a minor composer, learning music was a must for Amadeus. He was the youngest of seven children, even though most of his brothers and sisters died in early childhood. His eldest sister, Maria “Nannerl” Anna, began keyboard lessons at the age of seven with her father, while three-year-old Amadeus watched and listened. This acted as the first footstep for young Mozart’s long musical journey.