Abstract This paper looks at Bach's First BrandenburgConcerto in F major. It examines the formal elements of the opening movement and the minuet and polacca at the end of the concerto.
From the Paper "Johann Sebastian Bach achieved eminence first as a keyboard virtuoso and later as a prolific master composer in nearly all the musical forms and genres of the high Baroque. "
This paper discusses Bach's "BrandenburgConcerto" #6 (B-flat) on a Sony disk performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov, conductor.
1,030 words (approx. 4.1 pages), 0 sources, 2005, $ 36.95
Abstract This paper explains that Bach simply entitled this music the "Six Concertos for several Instruments"; but, Philipp Spitta, 160 years after they were composed, named them the "BrandenburgConcertos", after Christian Ludwig, the margrave of Brandenburg, the most prominent patron of music in Berlin and Prussia. The author points out that the "Sixth BrandenburgConcerto" is distinctive because it features no violins and is scored for two violas, a cello and continuo (which is a bass part usually performed by a harpsichord), which gives it a far darker tone than the other five concerti. The paper states that this version performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov conducting, has a muffled sound and is too "Slavic" an interpretation to be appropriate for the Baroque Bach.
From the Paper "While each concerto features a different set of instruments, all put together represent what music historians consider the synthesis of Baroque concerto styles. This was, of course, long before the concerto was created as a solo instrument playing its own melody, accompanied by an orchestra (Haydn, and of course, Mozart, perfected that style). Here they are considered as concerti grossi, in which a small body of "solo" instruments, called the concertino, contrasts with a larger orchestral group called the ripieno."
Abstract This paper discusses how the Brandenburg v. Ohio (1969) case has been an active and major precedent that sets the standard for cases that relate to, or fall under the protection of freedom of speech guaranteed by the First Amendment. This paper examines such cases and focuses on one case that did not fall under its protection: Rice v. Paladin Enterprises (1997), also known as "The Hit Man" case. This paper concentrates on what distinguished both these cases from each other in order to make one fall under the protection of freedom of speech of the First Amendment and the other not.
From the Paper "On October 26th 1984 a 19 year- old boy named John Mc Collum shot himself and died while he was listening to the recorded song of the rock singer Ozzy Osbourne. He was found dead with the headphones still on and had been listening to the lyrics of the song called "Suicide Solution" which followed:
"Ah know people
You really know where it's at
You got it
Why try, why try
Get the gun and try it
Shoot, shoot, shoot" (as cited in Mc Collum v. CBS Inc., 1988)
The family of the boy sued CBS Records and Ozzy Osbourne holding them responsible for the suicide; the Superior Court of Los Angeles County dismissed the case. The Court of Appeal affirmed."
Abstract This paper analyzes Mozart's Concerto for Violin & Orchestra No. 3 in G Major, K. 216, Movement I - Allegro. By using time codes to help the reader identify major changes in tempo, soloists and recapitulation, one can listen along to the movement and have a better understanding of Mozart's genius when writing his concertos.
From the Paper "Mozart's Concerto No. 3 is in three movements. It was written in 1775 and the main theme played by the orchestra at the beginning of the first movement (Allegro) was borrowed from his Il re pastore ("The Shepherd King") (Lieberman, par. 2). The movement is set in the conventional sonata form with orchestral ritornellos alternating with the exposition, development, and recapitulation of the primary themes by the violin. The soloist gives a second exposition and the coda does not come until after an extended solo cadenza."
Abstract This paper studies the dueling themes of reason and passion in the Khatchaturian concerto for violin and orchestra. The paper examines the construction of the concerto and provides a brief biography of the composer.
Abstract The paper looks at the broad context within which the elevation of the German-speaking peoples took place. The paper looks at the role the Treaty of Westphalia played in prompting German militarism under the reign of Frederick William I of Brandenburg. The paper explores in detail the policy initiatives and exploits of the three great leaders who turned Brandenburg-Prussia into an aspiring and powerful state: Frederick William I of Brandenburg, Frederick William I of Prussia and Frederick William II of Prussia. The paper argues that all three were driven by a desire to make the country militarily powerful, economically wealthy and with sufficient human resources to allow the fledgling nation to overcome the advantages of its neighbors and rivals.
From the Paper "In the eighteenth century, the German peoples of Central Europe still lived within what was then the Holy Roman Empire. That is to say, there was still a Habsburg Emperor, there were still electors (albeit only eight after Bavaria and the Palatinate were joined in 1778) and there was still a Diet which met regularly at Ratisbon (Hayes, 342). Nonetheless, a case can be made that the German territories of the eighteenth century were ones in which the Holy Roman Empire became increasingly dispensable in the eyes of the inhabitants. For instance, the ancient Peace of Westphalia dictated that each German state was permitted to freely make war or peace without consulting the emperor - each prince, in fact, was granted sovereign authority (Hayes, 228). Thus, the political bonds which might have previously bound the German areas of continental Europe to the ancient empire of Charlemagne were vastly weakened - if not fatally undermined."
Abstract This paper examines the birth and development of Brahms' first and second piano concertos. The paper describes the poor reception to the first concerto and Brahms' subsequent reluctance to compose another concerto. Thus the writer explains the twenty year break between the first and second concerto. The paper provides a detailed musical description of these two concertos.
From the Paper "Various compositions that are now highly praised as masterpieces were not predominantly triumphant in their early years, but few were greeted by actual hisses from the audience. Those that were had typically committed the sin of being too progressive for their day. One such example, the most notorious one, the First Piano Concerto by Brahms a fact which must have been shocking to this composer, who so little identified with progressives. It was one of his first, and most tender, encounters with the determination of the musical establishment. "
Abstract This paper biographies Russian musician Aram Ilich Khatchaturian and analyzes his Violin Concerto (1940). The paper discusses how the concerto was based on the concept of Mugam--a vocal-instrumental poem whose various episodes are unified by a musical mode. The paper looks at the Khatchaturian concerto as socialist propaganda, or proletarian music.
Abstract Analysis of Antonio Vivaldi's solo concerto "Primavera" Op. 8, No. 1 ("Spring"). The first of the 4 concertos that make up The Four Seasons, a programmatic piece. Discusses the ideas of the poem. Discusses interpretations. Details each movement and its motifs.
From the Paper "Antonio Vivaldi's Primavera, or Spring (Op. 8 no. 1) was the first of the set of concertos entitled Le quattro stagioni (Op. 8 nos. 1-4) published in Il cimento dell'armonia e dell'inventione at Amsterdam in 1725 (although the date of their composition is uncertain). The Primavera is a solo concerto scored for Violino principale, two other violins (ripieno), violas, violoncellos and double basses with continuo (usually played on harpsichord). The four concertos provide an example of programmatic music, illustrating four simple poems addressed to the seasons which may have been written, or at least adapted, by Vivaldi himself.
In the poem to Spring, in rough outline, the goddess is welcomed by the singing of birds and the breath of Zephyrs which makes the brooks murmur. Thunder and lightning, one of her signs, arrive and darken the sky. The storm is soon over and the..."
Abstract This paper explains, by describing in detail each movement, that Brahms's ?Violin Concerto? demonstrates how a composer can use aspects of music to move the listener emotionally. The author, for example, details that Brahms signals changes of mood by using dramatic retards followed by rhythmic passages, thereby, communicating an inevitable feeling of both despair and hope. The paper concludes that the overall feeling of the listener is that in the midst of despair there is always a glimmer of hope (first movement), that in the midst of turbulent emotions we can find peace (second movement), and that life should be full of enthusiasm and joy (third movement.)
From the Paper "Gradually, the orchestra fades out and the solo violin comes in more rapid and intense, followed by forceful rhythms of the orchestra that builds to an intense climax, but then backs off so a sweet violin melody accompanied by a flute can break through. This ebb and flow of intensity, gradual crescendos and decrescendos continues throughout the first movement, shifting the listener back and forth between hope and despair. In some places, the violin is only accompanied by light pizzicato in the strings. Finally, Brahms brings the movement to a dramatic conclusion with a sometimes fiery and sometimes gentle passage by the violin and a triumphal orchestral denouement. The entire movement gives a feeling of strong, conflicting emotions."
Abstract This paper provides a biography of the life and music of Johan Sebastian Bach, considered to be one of the greatest composers of all time and is celebrated as the creator of the "BrandenburgConcertos", "The Well-Tempered Clavier", the "Mass in B Minor", as well as numerous other masterpieces of church and instrumental music. It discusses how Bach brought together and synthesized the principle styles, forms and national traditions of his age, picking the best of each, andby bringing them together enriched them all. It provides a detail analysis of "Third BrandenburgConcerto", by looking at such issues as instrumentation, texture, framing, phrasing and mood.
From the Paper "In the Third Brandenburg Concerto, the strings act as an ensemble throughout the entire work, sometimes as a group, and at other times with one instrumental group, say the violins, are given emphasis. Throughout the entire piece, a heavy Italian influence is present. As may be guessed, the harmony is carried by the harpsichord, while the melodies are carried by the strings. In this case, the Bass and the three cello's carry the lower, heavier part of the melody while the lighter, higher part of the melody is carried by the violins and the violas. Although the harmonies are somewhat different, they work in concert. One harmony will take the lead and the other will fall back or disappear. They also work in concert with each other, playing off each other and using the other to emphasize the statement of the music."
This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
Abstract The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'BrandenburgConcertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper "Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
Abstract This paper reviews "The Great Elector" by Derek McKay. The book, which is about Frederick William of Brandenburg, whose position as an elector gave him the power to vote for or against the Holy Roman Emperor, is reviewed in terms of how McKay treats the question of ethical leadership, the issues raised in the book, and in terms of McKay's underlying assumption about what it takes to be a successful leader. The paper also looks at the implications the book has concerning the rise of Nazism.
From the Paper "It is difficult to evaluate history or historical figures without bias and in terms of historical setting. However, this is exactly what Derek McKay attempts in his book, The Great Elector about Frederick William of Brandenburg. McKay's purpose is to provide a biography based on the circumstances of the time as well as what is known about the man without judgment concerning his effect on history. This is a difficult task, especially for a person whose epithet, "the Great Elector" contains an inherent judgment and presumptive bias, albeit the epithet was given to him by contemporaries."
Tags: hohenzollern, holdings, thirty, years, war, absolutism, calvinism, protestantism, realpolitik, nationalism
Abstract This paper compares the works of Ludwig van Beethoven and Johann Sebastian Bach. The paper points out that both musicians were great and influential men, but their styles and the way they conducted their lives and their music varied greatly. The works compared and contrasted are the first movement of Beethoven's "Symphony No. 5", belonging to the classical genre of music, and the first movement of Bach's "Brandenburg Concert No. 5", belonging to the late Baroque style. The paper also addresses the composers' tragic lives. To conclude, the author of the paper praises both composers, but ultimately prefers Beethoven's works.
From the Paper "The Brandenburg Concertos were written by Johann Sebastian Bach between the years of 1715 and 1721. There are six different concertos, all of which individually call for a diverse group of soloists in the concertino. In the first movement of the Brandenburg Concerto No. 5, which was written in 1720 and lasts for a period of nine minutes and forty-one seconds, a brilliant use of the harpsichord can be heard by the listener. Bach's intent in writing the Brandenburg Concertos was to show off his ability to write challenging music for any instrument, which he does illustrate greatly in the first movement of the fifth concerto, as well as in all of the others. Johann Sebastian Bach lived from 1685 to 1750 and it is said that everything he did, everything that he wrote was for the glory of God. Bach's tragic life was not unlike Beethoven's in that Bach and his wife Anna had twelve children and eight of them died before they reached the age of five. This was not exactly uncommon for the time, but tragic nonetheless. Bach was the master of counterpoint, which means that he essentially mastered polyphony and the harmonious opposition of two or more independent musical lines. In this first movement of the fifth Brandenburg Concerto, the full orchestra is in competition for the attention of the listener with the concertino."
Tags: concertino, counterpoint, harmony, baroque, romantic, classical, music
From the Paper "First Movement: Exposition (Bars 1-256). An orchestral unison in the strings announces the principal motive (not really a theme), figure 1, which is extended lyrically (ms. 9-16) to the full tutti repeat of the opening at measure 16. A progression to the subdominant at bar 24 leads to a developmental transition utilizing the scale figure from the opening and in secondary dominant on D (ms. 36-37) to cadence on G at bar 46.
An unprepared shift to g minor eventually leads to the second theme in E-flat major at measure 49, using G and B-flat as common tones. This theme, figure 2, provides much of the developmental material used throughout the movement, especially ... "
