...The concert I visited was Beethoven’s 7th Symphony on Sunday April 6; the conductor was Edo De Waart. Included in the concert there was a performance of Symphony of Wind Instruments, this was created by Ivor Stravinsky there were multiple different wind instruments used in this piece, there was three flutes; two oboes; English horn; three clarinets; three bassoons; four horns; three trumpets; three trombones; tuba. John Adam’s violin concerto was played in the concert, this had instruments from many different groups it consisted of, two flutes; two oboes; two clarinets; two bassoons; two horns; trumpet; percussion; two keyboard samplers; strings. As for Beethoven’s Symphony he used multiple different instruments, two flutes; two oboes; two clarinets; two bassoons; two horns; two trumpets; timpani; strings. The event was held at the Pabst Theatre, the Pabst was built in 1895, and is actually the fourth oldest continually operating theatre in the United States. The Pabst Theater was previously called Das Neue Deutsche Stadt-Theater and was built by Captain Pabst, this theatre was burnt down, and Captain Pabst immediately started rebuilding the theatre, as it only took eleven months, and that is why it is called Pabst theatre today. One very prominent soloist at the concert was a woman named Leila Josefowicz who “is the chosen interpreter of several leading composers” . Some of these composers include: John Adams, Oliver Knussen, Thomas Ades, and Esa-Pekka Salonen. Josefowicz...
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...first played, but was loved years later. It was originally choreographed by Marius Petipa and Lev Ivanov and premiered at the Mariinsky Theatre in St. Petersburg on December 18, 1892. Sleeping Beauty was first performed in 1890 and is based on Charles Perrault's La Belle au bois dormant. The choreographer was Marius Petipa. The premiere was at the Mariinsky Theatre in St. Petersburg on January 15, 1890. Swan Lake premiered in 1877 at the Bolshoi Theatre in Moscow and like The Nutcracker it was a failure when first premiered. It was choreographed by Julius Reisinger. Tchaikovsky wrote the score for Eugene Onegin, opera, Op. 24 based on a work by Pushkin that was written in 1877. The Opera 101 says: “Tchaikovsky’s Eugene Onegin is a radiant example of Russian Lyric Opera. A deeply moving tale packed with big tunes, dances and a heart-stopping duel. As with his ballets, Tchaikovsky brings many symphonic elements to the music, plush orchestrations and highly melodic arias.” When he finished the opera in January of 1878 he was concerned about what criticisms it would receive if played at one of the grand opera houses, so Tchaikovsky let the students of the Moscow Conservatory premiere it in March of 1878. A couple of years later, after Tchaikovsky adjusted some things in the opera, Eugene Onegin made its professional debut at the Bolshoi Theatre in January...
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...For Beethoven, the sonata form is not a scheme that can be used in caprice one day and abandoned the next. This form dominates everything he imagines and composes; it is the very mark of his creation and the form of his thought – an inherent form, a natural one. (Edwin Fischer, Beethoven’s Piano Sonatas). Beethoven’s thirty-two piano sonatas constitute a great treasure that embodies a part of the human eternity. Numerous pianists and musicologists have researched or studied them, trying to impart to their students or readers the prodigality of these true musical riches. Beethoven holds a key role in the transformation and evolution of the sonata form. Even if he maintains the characteristics initially set by his predecessors, Haydn and Mozart, Beethoven imposes on the sonata his strong personality creating a new, impressive, form of art, in which his own life, with its joys and sorrows, is projected. With Beethoven the musical theme acquires remarkable proportions, of such strength, that it imposes itself over the listener’s attention and memory. As the French composer, Vincent d’ Indy once said, with Beethoven, the musical theme turns into an concept that spreads throughout the hole work making it easily recognizable even if harmonic, modal or tonal aspects change. The fundamental principle of organization of the Beethoven piano sonata is the tonality. We can say that Beethoven perceived tonality as the key to any composition, since it leads to the true...
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...Before Quiet City was an orchestral work it was a play, written by Irwin Shaw, which was so experimental that the Group Theatre that premiered it had to fund it without any outside backers. It chronicled the life of two brothers, one of whom was a trumpeter who lived an isolated life in New York City and used his trumpet to express his own emotions, as well as the thoughts and emotions that he imagined the people living in the city around him were having. Thus the trumpet itself was almost a character, deeply involved in the action of the play. Copland wrote the original score to Quiet City, for trumpet, clarinet, saxophone, and piano, in a barn down the road from Tanglewood after the Boston Symphony’s opening season there in 1937. Copland...
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...Financial Strengths and Weaknesses of the Utah Symphony Before the Merger The financial state of the Utah Opera before the merger was grim. It was understood by the symphony’s chairman of the board, Scott Parker, that the situation was getting worse. This was aggravated by the downturn of the economy and the event of 9/11. However, even before the economic downturn and 9/11, the symphony was very close to a deficit situation (Delong & Ager, 2005). Scott Parker assumed the chairmanship to try to mitigate the situation. The average endowment or contributions for a Group II orchestra like the Utah Symphony is $8.8 million in FY 2001-2002. The endowment for the symphony is considered in the top end within its group. To be able to accumulate more than the average Group II orchestra is a financial strength. In January 2002, the total endowment for the Utah Symphony was $10 million. At the same time that the symphony is above the average orchestra within its group, it is also spending substantially. Artistic costs constitute the major expense category of expense for the orchestra (see Table 1). The symphony does not own its facilities. The building that houses the offices and the Abravanel Hall where the symphony performs are owned by the county. Most of the symphony’s cash (+90%) is allocated to orchestra and development (fund-raising) staff salaries, benefits, and payroll taxes. The orchestra musicians are unionized with annual salaries of $50,000 to $85,000...
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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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...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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...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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