The overall pitch of this piece is low but the piano during 2:18-3:17 gives variety by introducing a higher pitch.
When the song starts, the melody is a what catches the audience’s attention. The song starts with low piano
The woodwinds starts the section off with the Dies irae as a fast staccato
In the excerpt from Spitzer and Zaslaw’s The Birth of the Orchestra Arcangelo Corelli is portrayed as an innovator in the world of orchestra. First, Corelli’s background is briefly described. Born in a small town he moved to Rome at the start of his violin career. The text then proceeds to show how Corelli rose to fame through his techniques. Although Rome had already implemented many of the techniques and devices that Corelli used, he was still seen as an innovator.
The baseline reminded me of the theme song to George Lopez. There was a gradual crescendos throughout the piece. The latin vibe leaves momentarily and now sounds like something heard in NYC. The tenth piece, April in Paris, just like the other pieces had gradual crescendos and decrescendos.
This piece has three movements, Allegro moderato, Adagio di molto, and Allegro ma non tanto. This piece starts off with a slow and expressive solo by the soloist, Alexi Kenney. The change in dynamics, the use of vibrato, and other techniques enhanced his solo. The orchestra then plays with a homophonic texture with some tempo changes. A few fast solos and a few slow ones followed.
Do you know the works Symphony 9 and Egmont these piano pieces were created and performed by the musical blessing known as Beethoven. The man who single handedly created the musical figure of piano in the transitional period between the Classical and Romantic eras. To begin Ludwig van Beethoven was born on December 16, 1770 and left this world on March 26, 1827 but his time spent on earth was time the earth began to change its way the people living here learned how to listen to music and appreciate, this was the time for change. Not only was Beethoven a german pianist but during his musical career he became deaf. Beethoven’s family life was much normal on his birthday December 16 of 1770 he was baptised by the Catholic church along with his six siblings: Kaspar Anton Karl Van Beethoven, Johann Peter Anton Laym, Anna Maria Francisca Van Beethoven, Nikolaus Johann Van Beethoven, Franz Georg Van Beethoven and Maria Margarita Van Beethoven but not all lived, unfortunately due to the time era they were born in.
This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).
I attended the Faculty Chamber Music Recital on Wednesday February 22nd. This concert featured three different musicians on four different instruments. Joseph Kromholz played the violin and viola, Alice Wang played the clarinet, and Cicilia Yudha played the piano. There was three different pieces between the three musicians. The first piece was the Sonata for Violin and Piano in G major, K. 379 by: W.A. Mozart.
One of the most influential American composers from the 20th century is Steve Reich. Steve Reich was born in New York on October 3, 1936. It is believed that his mother, a songwriter who also had a connection with music, influenced his affinity towards music. Reich studied philosophy at Cornell University and composition at the Julliard School of Music. He studied with William Bergsma and Vincent Persichetti, while he received his M.A. degree at Mills College (California), and his mentors were Luciano Berio and Darius Milhaud.
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.
As a passionate lover of music since I first learned how to play the piano at age five, I am thrilled to have the opportunity to participate in the music program in Vienna, which I have always considered the ideal city to learn more about music. As a student in this program, I plan to partake in the individual performance studies courses to improve my performance skills as a pianist and increase my knowledge of my instrument. Moreover, I hope to improve my music interpretation abilities as well as learn various techniques as I learn to play more difficult pieces. Along with the desire to improve my technical skills, I also wish to expand my repertoire and gain knowledge about various composers and their works in order to select pieces that
Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion.
First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.
It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the
