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 The paper examines differences in the Baroque and the Classical music styles. The paper looks at the melody, rhythm, harmony, texture, form and dynamics of both styles. The paper discusses the Sonata Allegro form and what types of works commonly use this form. The paper discusses the music of Mozart and relates that he is often seen as a bridge between the Baroque and the Classical eras.
From the Paper "In contrast to Classical music, Baroque music primarily tries to create a feeling of continuity rather than tell a story through a developing, evolving, or shifting use of melody. In Baroque pieces, the opening melody will be heard over and over again in the course of the piece. Many Baroque melodies are quite ornamental and elaborate while Classical melodies are much less adorned, and much easier to play and to remember ("Characteristics of Baroque Music," Thinkquest.org, 2007; "Characteristics of Baroque Music," Thinkquest.org, 2007). This greater simplicity allowed Classical composers to play with the use melody more within the different movements of the piece."
Abstract This paper explains that Beethoven studied under Joseph Haydn, the "father of the string quartet," who inspired Beethoven's first six string quartets, including Opus 18/6, written for two violins, a viola, and a cello. The author points out that, because of his troubled personal life, his music often depicts a theme of struggle followed by triumph as is evident in Beethoven's first six string quartets, which were composed before he went deaf. The paper describes each of the four distinct movements of String Quartet Number 6, Opus 18/6: 1. Allegro con brio; 2. Adagio ma non troppo; 3. Scherzo: Allegro; and 4. La Malincona Adagio-Allegretto quasi Allegro. A listening chart for the First Movement is included.
From the Paper "Beethoven began composing string quartets in his so-called "early period," the time of his musical career in which he was exploring different styles and primarily emulating his teacher Joseph Haydn. Moreover, Beethoven's "early period" is also the time before he began to go deaf, around age 30. When Beethoven began losing his hearing, his impending deafness led the musician into deep mental depression. His social life deteriorated and he became suicidal as well. Music written during Beethoven's "middle period" is characteristically grand, expressing "heroism and struggle.""
Abstract This paper discusses the difficult life history of Dimitri and the publications of his vast contributions to the music world. The author also gives a detailed description of his piano and trumpet concerto with strings, No. 1, Opus 35 providing its four distinct movements Movement I Allegretto, allegro vivace, Lento II, III Moderato and lastly Allegro con brio.
From the Paper "Shostakovich had a difficult adolescence, his sister Maria died at the age of seven, when he was 14. A year later in 1921, due to the privations of World War I and the Russian Revolution, he began to suffer from malnutrition. At the age of 17, he completed his courses and began to sketch his first symphony. He was unable to continue due to malnutrition and tuberculosis. While recovering in a Crimean sanitarium, Dimitri met Tanya Glivenko, his girlfriend until her marriage in 1929. Shostakovich was forced to go to work as a cinema pianist after his recovery. Despite these set backs, Dimitri continued to compose. Between the ages of 17 and 19, he completed his famous Symphony No. 1 in F minor, Op. 10., and had his Op 5, 10 and 11a accepted for publication. He also graduated from Leningrad conservatorie. By the age of 21, he had premiered his first symphony and completed his 15th major composition."
From the Paper " Walt Disney's 1939 animated feature Fantasia was a marriage of music and animation that drew upon all of the animation techniques in use at the time and that extended the range of the animated film to a great degree. Fantasia would also be a highly influential film, though it was not widely imitated in terms of feature films because of the great expense involved and the uncertainties of a commercial audience for to many of this type of animated film. Classical music, after all, was not widely popular in the way other forms of music were then or now, and Fantasia had the advantage of being unique in its time. The most openly imitative feature to follow would come some time later with Allegro non Troppo by Italian animator Bruno Bozzetto in 1976. Bozzetto deliberately covers much of the same territory as he takes a satiric thrust at the earlier film, and the two films.."
Abstract This paper explains that Tchaikovsky's "Symphony Five" and "Symphony Six" ("Pathetique Symphony") are mature compositions, showing the full flowering of the composer's romanticism and his musical ability. The author presents, for both symphonies, the background, organization, stylistic developments, orchestration and themes and progressions of each movement. The paper relates that the plan for the most of Tchaikovsky's symphonies begins with a pessimistic first movement, a second that is sad and peaceful, a third with an allegro movement in dance form and a fourth that is vigorous. The author points out that the "Sixth Symphony" does not follow this pattern in that the last movement is slow and mournful, giving rise to the idea of it being prophetic because of the death of the composer soon after it was premiered.
From the Paper "Garden states that the Fifth Symphony is more operatic even than the Fourth Symphony, using highly colored orchestration and a vivid presentation of ideas as did the Fourth, but also using operatic crescendos and more frequent alterations in tempo. This is particularly true in the slow movement, which makes use at the outset of the operatic aria in the Andante cantabile, con alcuna licenza, and with the licenza marked in the score. Garden also cites the way Tchaikovsky seeks contrasts with contrasting blocks of similar instruments."
Tags: personal nationalistic, block transposition, fate orchestration
