Mozart: Piano Concerto No. 23 in A Major In my introduction to music class we were assigned to listen and evaluate a particular piece of music in order to reflect on our unique individuality. For my project I chose Wolfgang Amadeus Mozart 1756-1791 and his work of the piano concerto No. 23 in A Major specifically the second movement that was created in 1786. In addition to listening‚ the piece must be broken down and organized into themes or motives. By the end of the project we should be able
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its tendency to be more abstract. Thus‚ what a particular piece of a classic music is about and what it means are dependent on an individual’s interpretation. In this paper‚ I will discuss the kind of imagination stimulated by the classical piece‚ Concerto for Orchestra‚ by Bela Bartok. In my imagination‚ the aural‚ mental and intellectual stimulation attributable to this piece of classical music relates to the differences between countryside experiences and life that those living in cities and towns
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Before concerto grosso took form‚ it had a series of predecessors that morphed over time to finally become what we recognise today as concerto grosso. The first of these predecessors was the trio sonata – a work composed for two violins and cello. Trio sonatas were composed in the style of da chiesa (to be performed in the church) or da camera (to be performed in the courts of noblemen and aristocrats). Trio sonata evolved into solo sonatas where a solo instrument such as violin‚ flute‚ oboe or cello
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Music History Review: Romantic The Norwegian composer Edvard Grieg penned in a letter that he wrote to his friend Gottfred Mattison-Hansen on July 30‚ 1867‚ his second violin sonata “in the euphoria of my honeymoon”.1 This sonata in G major was a labour of affection that the composer wrote in honour of the love of his life Nina Hagerup‚ who was his cousin‚ whom he married despite familial disapproval on both sides. The evident happiness is reflected in the demeanour and beauty of the work
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The Piano Concerto The development of keyboard music reached staggering new heights at the turn of the 18th century. It was during this time that the idea of the concerto became a very innovative and popular style of music which combined a large symphony setting and a virtuoso. With the growing popularity of the piano‚ the end of the 18th century saw a new and more innovative genre of piano concertos. However this concerto received a great deal of criticism due to its lack of proper form and
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In this assignment I will look at how adaptable the form of the classical concerto was to the compositional aspirations of composers of the Romantic era. I will do this by outlining the form of the classical concerto and looking at the changes between the Classical era and the Romantic era in music. I will then discuss a composer who changed from composing in the classical style to composing in the Romantic period (Romanticism) and why they changed to it. The composer I will look at is Ludwig van
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the history of music. His Violin Concerto in D Major has been played by nearly every soloist in the past 150 years and‚ today‚ it is one of the major works in violin repertoire. Since its premiere by Franz Clement in the winter of 1806‚ many aspects of the violin‚ bow‚ and performance have undergone changes. This paper discusses the modern day knowledge of Beethoven ’s Violin Concerto‚ and how it is influencing the way violinists interpret and perform the concerto. It also points out some of the different
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music‚ a concerto. More importantly‚ his work began the search for a new identity of a concerto. An identity that is known as a concerto grosso. Several of Vivaldi’s movements consisted of more than one soloist supported by an orchestra. However‚ the piece I am going to discuss only consists of a single soloist and his or her accompaniment. Vivaldi composed a series containing four separate parts‚ but I am only relating to the second one. I am covering Summer from The Four Seasons concerto. Summer
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Bassoon Concerto C major III-477 0:00 Introduction-Ritornello major: 0:00 Theme A‚ 0:12 Theme B 0:20 Solo episode-major (ends in minor) 0:39 Ritornello minor-theme A 0:50 Solo-minor (ends in major) 1:18 Ritornello- major-theme A 1:25 Fortspinnung 1:28 Solo and answer- Spinning off B material 2:00 Ritornello- minor-A theme 2:14 Solo-minor (ends in major) 3:00 Ritornello-A material back in original key: 3:11 Theme B to ending cadence Vivaldi’s Bassoon Concerto in C major follows Ritornello
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Organist Matthew Dirst is the first American musician to win major international prizes in both organ and harpsichord‚ including the national Young Artists Competition of the American Guild of Organist (1990) and the inaugural Warsaw International Harpsichord Competition (1993). He is the founder and artistic director of the period- instrument group Ars Lyrica Houston and Professor of Music at the Moores School of music at the University of Houston‚ and also serves as organist at St Phillip Presbyterian
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