...by Haydn with the Vienna Philharmonic Orchestra in Bavaria in 1873, making our experience of attending a performance by the same ensemble in Carnegie Hall more than 140 years later all the more special. The program directed by Latvian Andris Nelsons also included, besides the aforesaid work, Joseph Haydn’s Symphony No.90 in C Minor, Johannes Brahm’s Symphony No. 3 in F Major, Op.90 and Johann Strauss’s waltz Seid Umschlungen, Millionen (“Be Embraced, You Millions”) –which was actually dedicated to Brahms- as a surprise encore. Also known as Saint Anthony Variations, Brahms composed his Variations during a summer stay in Lake Starnberg near Münich during a time where he had finally, after the premiere of A German Requiem in 1868, achieved recognition throughout Europe. He based his work on a theme in Chorale Saint Antoni originally attributed to Haydn, although in the nineteenth century this was questioned and the piece remains unattributed to this day. Brahms composed two versions of this work –one for two pianos, the other for orchestraboth of which consist on a theme on B-flat major, eight variations and a finale in passacaglia form. The night started with Joseph Haydn’s Symphony No.90 in C Major, a piece in sonata form composed for one flute, timpani, viola, cello, bass and two oboes, bassoons, horns, trumpets and violins. The first movement –the Adagio- introduces, the listener to the piece by a sharp contrast between forte and an eight descending notes in piano. We are then...
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...1 – The symphony is an important genre that was created during the Classical period. Using examples of symphonies by Haydn, Mozart, Beethoven and Brahms, describe two [2] main features of the genre, and describe two [2] important changes or innovations that took place by the time Brahms composed his Symphony no. 1. Two main features of the genre are that there are four movements: sonata allegro, theme and variation, minuet, and then finale or rondo.Fast, usually an allegro and in what became known as sonata form. Slow and often in a simple form such as ternary form. Minuet and trio, a dance borrowed from the Baroque period and in ternary form. Fast and usually an allegro, often light-hearted in style and in a form such as rondo form, theme and variations or sonata form. strings, a woodwind section of a flute, two oboes, two clarinets and two bassoons, with some brass instruments, two French horns, sometimes two trumpets and normally only timpani from the percussion section. symphony no. 5 by Beethoven. Haydn, “Father” of the Symphony, Symphony No. 104 In D Major, “London” and Mozart, Symphony no. 40 in g-minor all focused on absolute music. Brahms began composing his Symphony no. 1 in 1854 and completed it in 1876 which was during the romantic period. The range of musical materials used by composers expanded enormously. Romantic composers looked for a greater freedom in the design and structure of their music, and more intense and personal expression of emotion. Melodies...
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...3-8 Romantic 1817-1827: The establishment of new forms and a personal style which was much more Romantic on paper and in feel. Symphony No. 9 7 Beethoven is known as the developer of the symphony. His extensive development of musical material, themes and motifs usually by modulation resulted in his works being very long and expressive. He also continued to expand the “development” section of his works, adding not only length but also substance.8 This essay will set out to discuss the aspects of the symphony that Beethoven developed with regards to: the programmatic aspects of his symphonies, which instruments he used/added to the symphony (instrumentation), the structure of the symphony, his use of forms and how he used his instruments (orchestration). Programmatic aspects of his symphonies Programme music is purely instrumental (without words) music which is based on an extra-musical stimulus and a programme symphony is a symphony which has a programme. The whole work usually has a subtitle and sometimes each movement has a subtitle as well.9 Programme elements can be seen in Beethoven’s 3rd Symphony (Eroica) which is associated with the concept of heroism, his 5th Symphony which can be seen as an overcoming of his fate (deafness) and the 6th Symphony (Pastoral) which has a subtitle for each movement.7 Beethoven said of his 6th that the “work can be perceived without description”, because it clearly has depictions of bird...
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...Since the classical period, Franz Joseph Haydn is known to be the ‘Father of Symphony’ and the ‘Father of the String Quartet’. He was a divine composer and was able to create symphonies at different heights. Because of him, symphonies are extended in length and are an actual musical form. Haydn was very well-known at his time. It’s impressive to know that he had written over one hundred symphonies, more than any other composer! I think he is one of the greatest composers to have ever lived; to be able to be close friends with Mozart and teach Beethoven himself is an extraordinary thing. Mozart and Beethoven were the greatest musical artists during their time, so for Haydn to share his talents and teach them things shows that he was an amazing composer. He even had a list of string quartets dedicated to him by Mozart. Haydn contributed to the development of music tremendously. Symphonies were made before he began to write them but he created an orchestral repertoire out of them. Making music for a wealthy family, Haydn learned and became more skilled in his music. Being asked to compose music at the age of eighteen with only two violinists, a cellist, and a violist, Haydn perfected what is known to be the string quartet. He’s written many of them and since his day people challenge themselves to compose a string quartet, since it’s very limited with no other instruments. He was a kindhearted, optimistic, and a funny man. Haydn had a great personality and loved practical...
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...The word symphony is derived from the Greek word symphonia, meaning "agreement or concord of sound” and was often used in the place of the word consonance. Earliest incorporations of the word symphony began during the Baroque era. For most of this period, the terms symphony and sinfonia were used for a wide range of different compositions, including instrumental pieces used in operas, sonatas and concertos and were usually part of a larger work. By the 18th century, the opera sinfonia (Italian overture) had a standard structure of three contrasting movements: fast, slow, fast/ dance-like. It is this form that is often considered as the most prevalent of the orchestral symphony and the terms overture, symphony and sinfonia were often seen as...
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...a very well-known piano virtuoso of the Romantic period. She was gifted and passionate about performing her favourite instrument and spent almost her whole life performing to the masses. Her father, Friedrich Wieck, was a teacher of many successful pianists and vocalists. Both Mozart and Wieck were very celebrated child prodigies and their fathers, as the result, had proved their teaching methods to be of high calibre. Gene did played a small part but it was their fathers’ strict teaching that pushed their kids to high level. Another reason for such motivation could be due to large income received from the aristocrats by the child’s extraordinary performance. Joseph Haydn (1732-1809) can be considered as the greatest contributor of symphony and string quartet writing. However, he was not from a musically inclined family. His father worked as a wheelwright and his mum used to work as a cook. Both could not read music at all. They noticed his talent when he was young and decided to let him live with his long distance relative to pursue music education far away from his home. He was talent spotted by the choir director of St. Stephen Cathedral two years later while he was singing in a church choir in Hainburg and since then moved to Vienna to work as a choirboy for nine years. This shows that family gene does not have an effect on one’s talent, but his parent’s careful consideration for his future did affected his overall life. If they chose to keep Haydn to their side, perhaps...
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...Program notes are generally used as an element in the application of both classical and contemporary music. The purpose is to provide historical and background information on the piece and in some cases details about the composer. It also allows the audience to retrieve some sense of what to expect when listening to the work that is being offered. The reaction that I received in regards to Beethoven Fifth Symphony, First Movement; was that I immediately noticed the very catchy but strong opening that was displayed in my ears. In the beginning it was as if there were knocking on a door or someone running through a dark corridor of some sort. Then later there was light, then heavy repetition that went on along different levels and style etiquette. The program notes allowed me to understand the piece just a little bit since I can not read music quite well. I did notice very briefly, the flats pattern that was orchestrated in the music. The specific details that was overlooked if I did not have read the description beforehand, was the strong inspiration of what Beethoven held during that era. It was as if he had a lot to say and it was started to build up inside. If I were to described this piece in one word it would be “moving”. The reason for which is because it gives one a desire to become motivated. I would not have described this piece by Beethoven any differently. Mr. Downes' description of the message was very true and I agree 100 percent on his commentary...
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...Sina Valizadeh Concert Report 2 03/19/14 Classical Music Concert Report The concert took place in Balboa Park at Spreckels Organ. I was there for about an hour and they played 7 songs. #1: Jared Jacobsen: Toccata from Symphony No.5, Opus 42 from Charles-Marie Widor (1844-1937) From the start of the song tempo was presto. It has a 1,2 rhythm and it is very simple overall until it goes toward the end of a song and you hear more different melodies. it had an amazing finishing. during the middle of the song you could've hear the middle parts with louder and harder melodies. #2: Jared Jacobsen: Toccata in D Minor, S. 565 from Jonathan Sebastian Bach (1685-1750) This piece almost took 10 minutes and by far i can say is one of the best classical songs I've ever heard. it seems like a happy song. a lot of high pitch sounds and melodies were used in this song. tempo was combination of presto and moderato and it seems like its a dramatic song. #3: Sam Rudenberg: Prelude in G minor, BWV 556 from Jonathan Sebastian Bach (1685-1750) Very relaxing song, decent speed and largo tempo. i can say it is esspresione and it gets loud at the end of a song. #4: Sam Rudenberg: Finale from Janet Correll (b. 1942) Its a romantic era, it has a story line and a song like melody, usually it narrates a story about some one or a specific event that happened in the history. kind of slow tempo and a 1.2 rhythm. i heard a little bit of syncopation as well. #5: Jared Jacobsen: oh Danny boy...
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...Classical Music Oct 24th Classic Era 1750-1800 Dates shift over the course of: a) An individual’s output b) A given work c) Throughout areas of Europe (and its colonies) In Transition 1720’s-1750’s Galant Rocco Attuned to nuance, we look at detail, instead of amount of detail Baroque vs Classical Music: * Over Statement vs Understatement * Obscurity vs Clarity Ornamentation and Decoration = bad in classical Nature vs Music * Genius – technique * Inspiration – Craft * Unconsciousness – Consciousness * Effortless – Hard work * Divine – Human * Not teachable – Teachable * Proportional Clarity * Balance * Naturalness * Greek and Roman Influences Elements of Classical Style: a) Basso Continuo disappears b) Obbligato Accompaniment: all performance parts were written out and you must play exactly what was written c) Periodic Phrase Structure: Start out with a phrase that has question, then next has an answer d) Paratactic to Syntactic: We move to a formal, set, pattern e) Slowing of Harmonic Rhythm Sonata Form: Not to confused with an actual Sonata, this is a structure of a piece Rondo Form: What Ritornello form is when the Classical musicians get their hands on it. Harmony controls form Illusion of Order * Establishing or Thwarting expectation The Age of Enlightenment * The philosophes * War/revolution/industrial revolution * Encyclopedia’s, histories...
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...Individualism, which some claim dates back centuries in America and other western cultures. Individualism, which some claim dates back centuries in America and other western cultures. Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period). Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period). Symphony is an extended musical composition in Western classical music, normally thought of as being written for orchestra Symphony is an extended musical composition in Western classical music, normally thought of as being written for orchestra Lyricism-gentle or romantic emotion, expressed in writing or music. Lyricism-gentle or romantic emotion, expressed in writing or music. Symmetrical is not restricted to the visual arts. Its role in the history of music touches many aspects of the creation and perception of music. Symmetrical is not restricted to the visual arts. Its role in the history of music touches many aspects of the creation and perception of music. Classical are generally accepted as being between about 1750 and 1820. However, the term classical music is used in a colloquial sense as a synonym for Western art music, which describes a variety of Western musical styles from the ninth century to the present, and especially...
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...now to other directions." Yet, still after Czerny, the Andante of the Pastorale Sonata, was one of the composer's favorites, he played it quite often and re-published it in a shortened and fingered version in 1820 in a "Methode pour le pianoforte". Critics at the Allgemeine Musikalische Zeitung wrote on December 8, 1802, that the first and third movements are "original and even strange and extravagant." The subtitle is perfectly justified. We know how Beethoven was keen on the nature. In a letter to Therese Malfatti he writes: "what a joy for me when I can wander around forests and bushes. Among trees and rocks! No other can love the nature as I do. Woods and rocks only can bring the man the echo he was expecting." Sister of the sixth symphony, also "Pastorale" started in 1805, in this sonata is found the same serenity and idyllic joy. Allegro The themes are all lyrical. A very peculiar beginning on a repeating pedal note D which strangely acts not as the tonic but the root of dominant 7th to the key of G major. The first right hand chord (C-natural - F-sharp - A) comes highly unexpected. It almost evolves in the key of G major before unconvincingly settling in D and it promptly re-starts, still "shifting" towards G major in the repetition of the first theme. Nowhere a solid V - I (dominant - tonic) evolution is seen during that first exposition of the main theme. The 24 bars long repeating pedal note D on the bass, acting sometimes as the tonic root and at other times as root...
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...longwindedness." He continued to use the classical forms that he had learned in his youth; however, he extended and enriched those forms in a new and exciting way. In the words of Mies, "this step by step expansion of old resources and the employment of new ones set the seal on Beethoven's unique development." This expansion of traditional forms also shows how Beethoven was a pivot between the earlier classical style and the later romantic style. One of the classical forms that Beethoven expanded was the sonata. In both the classical and romantic periods, the sonata form was usually the basis for the first movement of a symphony, and it was often used as the basis for the last movement as well. One of Beethoven's greatest contributions to romantic music was his "reinterpretation of the sonata principle." Mies argues that the formal changes made by Beethoven in his symphonies...
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...studied with Christian Gottlob Neefe. Neefe once wrote about Beethoven in the Magazine of Music saying, “If he continues like this, he will be, without a doubt, the new Mozart.” For a while he also studied with composer Wolfgang Amadeus Mozart. In 1792, Vienna became his permanent residency where he studied with Austrian composer Joseph Haydn. In the early 1800’s, Beethoven’s hearing started to decline. 1814 was his faming peak. Two of his most famous works were: Wellington’s Victory op. 91 in 1813 (otherwise known as the Battle Symphony) and The Glorious Moment op. 136 in 1814. His works done between 1818 through 1826 included: the Sonara in B-flat major op. 106 in 1818, the Missa Solemnis in D-major op. 123 in 1823, the Thirty-Three Variations on a Waltz by Diabelli in Cmajor op.120 in 1823, the Symphony No. 9 in D-minor op. 125 in 1824, and his last string quartets. Throughout his life he wrote: one opera, five piano concertos, nine symphonies, thirty-two piano sonatas, and string quartets. MUSIC One of Beethoven’s famous piano sonatas is entitled the Moonlight Sonata. The Moonlight Sonata is remembered best for it’s dream-like opening. This work was composed in 1801 and dedicated to Giulietta Duicciardi, a student of his. This sonata is divided into three movements, otherwise known as Sonata- Allegro Form. The first...
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...Analysis of Excerpts of Representative Composers In 1930 Igor Stravinsky wrote the piece Symphony of Psalms, which he intended to be of great contrapuntal development. Three movements comprise the work, each one including some polyphonic writing. Undoubtedly the second movement is the most highly contrapuntal; it is set as a double fugue. Figure 2.8 shows an excerpt that pertains to the exposition of the second movement of Symphony of Psalms, measures 1-19. Although some scholars argue that the formal aspects of this movement are not strictly fugal, the exposition follows the traditional procedure of a fugue. The four subject entries are spaced evenly with the exception of the third one, which appears two measures later. The first answer appears on the dominant key accompanied by the countersubject in measures 6–10 followed by two measures of new material, developed motivically from the last two bars of the subject. In measure 13 the second answer appears on the original key with a variation of the countersubject on flute 1, and new contrapuntal material on the oboe. Finally the third answer is exposed in measure 18,...
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...violin, which is very longato, and then soothes the listener, and then makes the piece more and more forte and appassionato. The theme of the piece is played. Rimsky-Korsakov is a Russian composer, and uses very Russian-like technique, for example, the beginning, which is very dark and gloomy, but strong like Russians. The piece gets very thrilling which is why it is so famous. When the piece is played, it experiments in different tones and volume at surprising times; at one moment is very soothing and longato, but at the next moment, it will be very thrilling and many sforzandos. It is also famous because Korsakov composed this off of arabian nights, which was famous, and that he was at first an opera composer, but then wrote a piece for symphony orchestra. The era was right before the Russian imperialism, and Alexander III was the ruler. Alexander III was a peaceful man, making Russia not involved in major foreign affairs or major wars/battles; consequently, the country did not have many despair in war. This made it possible for the composer, Rimsky-Korsakov, to create a non war-like piece, but a romantic, hateful towards love piece. This was the Romantic era in music, and this piece is somewhat romantic, since some parts are very romantic, but some parts aren’t romantic, but mean, at all. This made people love it more, and were intrigued by it. All of these things make the piece very famous since this piece is mainly romantic, however, the first two movements are not mainly romantic...
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