Piano Recital

The sonata begins with the Allegro con brio with lighthearted rondo variations. The most interesting aspect of this movements is that Haydn intentionally returned to the theme of the Sonata in C-sharp Minor, Hob. XVI: 36. However, the new movement includes two independent episodes, one in the tonic and the other in its relative minor. The Adagio movement is rich in ornamentation.

Franz Josef Haydn Franz Josef Haydn wrote quite a few concerti for piano, which have never really enjoyed the popularity of such pieces by Wolfgang Amadeus Mozart. While some accuse Haydn`s piano concerti of being too 'light' or having 'no meaning', I find those to be inaccurate surface impressions. I have found a great deal of enjoyment from these pieces of Haydn, and one of my favourites of his piano concerti is the seventh. Haydn`s seventh piano concerto was written in the key of F Major, and is in incredibly cheerful work. One of my favourite things to do with this piece was to play it on a CD player at work.

When the tempo is speeding up, everything starts to crescendo and play at a forte level. When the tempo slows down, everything starts to diminuendo and play at a piano level. Throughout the piece some notes were staccato, but most notes were legato because they were smooth. Towards the end, two different lines are playing at the same time. People are singing while instruments are being played and both of them are very interesting to listen to.

In m. 5, Mozart uses his beginning motive idea again, but this time he sets the motive an octave lower with triplets. The second phrase of the eight bars also has a short cadence, but does not have a complete idea. He continues this phrase by expanding the motive development by adding non-harmonic tones that ends on the solfège do in m.10 and 12. To being the bridge of the exposition, Mozart uses a new ... ... middle of paper ... ...ar a clear distinction between the two dynamics on a fortepiano during a performance. In the recapitulation, Mozart changes the closing theme by setting the closing theme motive up a perfect fourth in m. 103.

I believe it was a homophonic texture with the piano as the accompaniment. The work began with a temp o around moderato, but once the ‘B’ section started it slowed to an andante. The ‘A’ section of the piece evokes a very light-hearted and youthful emotion, while the contrasting ‘B’ section portrays much more sorrowful feelings. The dynamics didn’t vary too much, but during the ‘B’ section the dynamics decrescendo to a piano. The composition demonstrated a similar theme with each section, and I immediately noticed the reappearance of a theme.

The final and twelfth piece was made up of excerpts from a longer work called Five Short Pieces for Clarinet and Bassoon. To me, maybe because the concert was beginning to get long or maybe because I did not have many notes over it, the last piece seems fairly similar throughout its movements, or “Short Pieces.” The first was an up-beat piece with a distinct melody. The clarinet and bassoon alternated, with the clarinet playing the higher notes. The second movement had a have complete feel to it. The two instruments played at the same time, close to it.

The soloist and the orchestra interaction presented the many tone colors Mozart composed into this piece. At (19:20), the piano chords accompanied the orchestra because it was homophonic. A lot of the majority works of the classical music was homophonic because that allowed the composer to make it sound with a “pleasing variety” (Kerman and Tomlinson 159). Variety was important for the features but also how the sound would come

This was not the exact order and they did change a few thing like the way things would be played and they change the Quartet from E-Flat major to G-Minor because they said that it was difficult to play. By playing different types of music they offered us diverse experience. I really enjoyed the entire performance. Each of the Performers played a different instrument. Lisa Fujita played the violin, Brendan played the viola, Daniel played the cello and Yannick played the piano.

A unique aspect was the warmup portion of the show. Seeing how Conductor Grams had the ripieno already in tune and ready to go showed separation between the Elgin Symphony compared to some other orchestras. The orchestra then played a few scales going from minor to major key most of the warm up with a few scales going vice versa. From that point the ripieno really never looked back and continued to put on a great show. The main piece the orchestra performed was Beethoven Symphony Seven.

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.