The main theme reappears in the end in an even darker manner. From the drama, expressive language to the grand gesture, this particular Fantasy reminds me of Beethoven in various ways. As a major art form in the era, Mozart’s piano sonatas presented “models of fluency”. They revealed both the composer’s and the player’s musical virtuosity and clarity.
This went on in a series of decrescendos, rising and falling with lots of chords being played. The third piece was a duet for the flute and the oboe by Julia Grace Brown. The piece contained two movements, but I could not tell when one stopped and the second began because there was no pause. While they played the flute was quicker, playing in short, fast, high pitched notes. On the other hand, the oboe was steadier and carried the notes slightly longer, and it lead the flute through the song.
This piece was U.S. Premiere, played solo by the pianist Luiza Borac. The third piece was Piano Quartet in E-flat major, Opus 47. This piece was an Andante cantabile piece. This concerto was performed by pianist Luiza Borac, violinist Conrad Chow and Adelya Shagidullina, and Cellist Kian Soltani.
Mozart is able to dramatize this graceful movement by including a strong sense of chromaticism. While the movement begins almost entirely inside the parameters of E-flat major, chromaticism is slowly included further and further, until finally the movement is able to climax and softly fade away back to the opening gesture. Another prevalent feature of this style is various sighing features. This motive is usually double in the clarinet and viola, over a longing melody in the piano. Mozart is able to exaggerate this figure as well, by later having the piano join the other voices in this sighing action, leaving dramatic pauses in-between.
The use of different composers in it gave the listener the ability to hear the different style used. For example, Mozart’s piece was dramatic were as Debussy was flowing and dance like. Each piece also had excellent examples of how when the composers changed the texture and dynamics, it made the song very interesting. I was not a fan of classical music, but this solo recital helped me see the errors in my ways. Everyone should have to hear at least one classical concert in their life in order to appreciate the complex use of chords and melodies.
The melody opening section A of the Piano Concerto in C major consists of the antecedent-consequent unit- each phrase lasting three bars. There’s also pulsing triplets enriching the accompaniment. With the progression of the piece, Mozart unfolds three more themes similar to the ones prior, forming section
The First Movement This movement is in Sonata form with an introduction. The movement opens with a theme in the cellos and double basses which is built on the interval of a perfect fourth and a major second. At bar 6 the violins begin a very chromatic wedge figure which is continued through the violin, violas and flutes, with the cellos and basses holding on their note as a pedal. The flute part in bar 11 continues the wedge figure, and the upper flute part highlights the perfect fourth. At bar 12 the perfect fourth and major second sequence from the beginning is repeated, but the idea grows.
Jayri Meraz Musc P112 Ludwig van Beethoven Georgii Cherkin is performing a soloist piano from one of Beethoven classical piece called Für Elise. The conductor name is Grigor Palikarov. The introduction starts off with low pitches making it sound very soft. The introduction of the theme represents “love.” The theme play by the piano begins very pianissimo. There is a low pitch coming from the triangle instrument.
In classical music, there are more changes of the dynamics. Furthermore, composers got rid of the harpsichord because there was no variation of dynamics. On the other hand, pianos were more effective because the composer could play around with the dynamics. For example, at (4:15), the pianist can play high and low notes. The soloist and the orchestra interaction presented the many tone colors Mozart composed into this piece.
Barbara Weiman was also dressed casual but nice. The piano concert started at 12:20pm and was finished at 1:05pm. The program started with a piece from L.V. Beethoven called Sonata in F minor, Op.57. This piece can be characterized by an intense, dramatic use of fluctuating dynamics.