- Recapitulation: 3rd section of the sonata-allegro. Reviews the material of the exposition, presenting it in a new light.…
This baroque concerto is composed by Johann Sebastian Bach, the famous baroque composer of his time. This work is the fifth of six concertos the composer dedicated to Christian Ludwig, Margrave of Brandenburg. This piece showcases Bach's inimitable strength as a contrapuntist. Bach’s music has flexibility in its form and influence, but still retaining the constraints of the form of baroque music. He blended Italian and German music in these concertos, giving them a distinctive touch. This fifth concerto is made distinctive by the flute, solo violin, harpsichord, and strings. It is the only one of the six pieces to have any solo given to the harpsichord, which is part of the continuo throughout…
The first movement of the composition begins with a solo from only the strings family. A soft, consistent melody is played and the violin dominates the other instruments in this piece. The tone color at the beginning of this piece is relatively light which symbolizes the characteristics of a nuturing mother. As expected from a classical piece, the dynamics of the piece suddenly change, and there is a slight crescendo in the piece during the following measures of the composition. The tempo of the composition grows quicker in pace which portrays another chapter in the story, signalizng another movement of the piece. A violinist them performs a solo that plays alot that is also quick, yet play alot on the concept of pitch. It can be heard that the violin goes from very low ranges to fairly high range in pitch to emphasize the great amount of emotion in the piece.…
It is written for a five stringed cello. The Prelude of the D major prelude is the longest and grandest of the 6. It is an exuberant fast flowing introduction into D major. It is one of the only two movements Bach indicated dynamic. Bars are frequently written in repeated pairs, the first one strong, and the second one is an echo of the former one. The only other movement in the 6 cello Suites that has dynamic markings is the Sarabande in D minor. The Allemande is a German dance. The meter is 4/4, a calm walking dance without jumps. Courante is a French dance, was the favorite dance of King Lous XIV and he is said to have been very good at it. Allemande and Courante formed a pair, in which the Allemande is the calmer dance in 4, the courante the faster dance in 3. The Sarabande has its orgin in Spain. It is a slow majestic processional dance in ¾ or 3/2 with an accent on the 2nd beat and the first. In Suite 6 the Sarabande movement is in 3/2. All Sarabandes starts on the first beat. The Sarabande has two main accents, on beat one and on beat two and the third beat has no accent. The Gavottes are in 2/2 or 4/4 and all start with an upbeat of 2/4. The main accent is on beat one and the other accent is on beat three. Even if it is sometimes written in 4/4, the feeling is 2/2. Beat two and four have an upbeat character and no accent of their own. The micro-dynamic units are usually one bar. The first Gavotte is joyous…
J. S. Bach: The Chromatic Fantasy and Fugue; Partita No. 2 in C minor or No. 6 in E minor; English Suite No. 2 in A minor or No. 3 in G minor; the Italian Concerto…
This movement for the most part seems calm and peaceful. It seems to have two parts prior to the middle of this movement. The first part has cellos and violas and the second part has clarinets. Then the full orchestra plays. Once you get to the middle of this movement you can hear the woodwinds play. At the end of this movement it seems to go back to the main melody theme played by the full orchestra.…
A composer, organist, and musician during the Baroque era, J.S. Bach was a brilliant artist of his era. Known today for his polyphony style, masterpieces of church, and instrumental music, the works of the German composer are said to be the greatest of all time. Although he was known as an excellent organist than a composer during his life, his musical compositions would have stand the test of time and continue to demonstrate his innovative style of melody and harmony. Of the many 17th century composers, Johann Sebastian Bach notably paved the way towards the Classical music period; which would maintain a hold on composition for years to come.…
The second piece I am going to discuss is the Symphony No.2 in D Minor, Op. 36 composed by Ludwig van Beethoven(1770-1827). It was in the Classical period, and the genre of it is Symphony because of it had four movements. The first movement is in the Adagio molto form, the second movement is in the Larghetto form, the third movement is in the Scherzo: Allegro form which breaks the rule of most of symphonies, and the fourth movement is in the Allegro molto form. The length of the work is about thirty-five minutes and…
The piece begins softly with a lot of allegro feel. The violin strokes are airy and this seems to be a prominent part for the piece. It seems to be a fairly decent sized orchestra preforming this piece and they all seem fairly lively. The podium seems to have a soloist as well as a conductor, but the conductor is playing along with the soloist. This is an interesting technique, but it seems to fit the piece perfectly and it adds a unique perspective which seems to attract the audience’s attention to this movement. It’s extremely balanced between the woodwinds and the strings. It picks up and gets extremely lively almost out of nowhere but it keeps the same feel and emotion throughout the change. I feel like this pattern…
To introduce the piece two cadenzas inspired by the same melody are performed over a continuous subtle harmony. The piece begins with sustained chords between the string instruments and wind instruments. This gives a relaxed effortless tone to the piece and resembles the calmness and tranquillity of a spring day in England. The violin then enters imitating the lark. The violin plays an ascending pattern with elongated arpeggios. The chords underneath drop out so the violin plays a solo introducing the first theme. The orchestra is quietly introduced and develops the almost folk like motif. A folk dance theme is then introduced led by the clarinet and flute and woodwinds as the solo cadenza is repeated. The full orchestra then comes in however it is still fairly restrained to imitate the English countryside. There is antiphonal exchange between the solo violin playing a trill and then the woodwinds imitating the bird like call. This is followed by the solo violin playing a series of cadenzas over the orchestra which could represent the lark flying over the countryside and rolling hills. The shorter cadenza for the soloist is fairly contrasting in comparison to the rest of the piece. There are two separate melodies competing with one another yet also mimicking each other. There is…
Bach's music 9. Rembrandt's style and scope 10. Vermeer's style and works 11. Handel's Messiah 12. Mozart's compositions Chapters 12 and 13 1.…
| Genre in several movements for one or more instruments/baroque instrumental piece with contrasting movements often with imitative counterpoint.…
1923 – she finished her music degree at Wheaton before she graduated from high school.…
The exposition is full of many different motifs, although many of these motifs are very similar or could in fact be put together to form a longer motif. The first motif to appear in the exposition would be the melody in the first violin part that starts on the last crotchet beat of bar one. The main motif within this melody would be bar three with the dotted crotched followed by the five quavers as seen as motif ‘x’ in Figure 1. Another motif that could be identified within this melody, which is only ever so slightly different to the first motif mentioned, would be bar two. The only difference between this motif and the earlier mentioned motif is the added grace note after the dotted crotchet and quaver as you can see in…
The concerto is credited with being challenging but manageable in its technical demands of the soloist. While it contains many intricate techniques, it “plays well under the fingers,” undoubtedly because of Ferdinand David’s input. Because of this, it is widely used by violin instructors to introduce concerti to students. Its place as an introductory learning tool is held by Mendelssohn’s frequent use of octaves (rehearsal B and K) to lead the player to arrival points such as the high “B” after rehearsal B, seen in Example 1.…