Symphony is a multi-movement instrumental work for an orchestra originating from the Italian Sinfonia, which was an instrumental prelude to large-scale vocal works such as opera and oratorio. Sinfonia comprises of 3 movements written at the tempo sequence of fast- slow fast. According to Dr. Nolan Gasser, the new trend of adopting opera sinfonia for concert use emerged in the 1720s and 30s and soon, composers such as Giovanni Battista Sammartini and Johann Stamitz began composing symphonies as an independent work. Three symphonies from Johann Stamitz, Joseph Haydn and Ludwig van Beethoven will be used in this paper to compare four elements –movement structure, length of the first movement, instrumentation and the compositional techniques used…
When listening to any piece by Beethoven, you receive the whole range of emotions, and the Fifth Symphony is no different. Just the first four notes, a simple da-da-da-dum, is enough to send shivers up your back. Packed with all the furious confidence of Beethoven, it suggests scarlet eruptions, heavenly processions and all the powers human drama. These four notes started the memorable first movement.…
I would have to disagree, as I do not find Liszt to be "underrated". Beethoven’s Fifth Symphony may be the one everyone seems to prefer more often than usual, but that does not mean it is far more engaging than Liszt’s transcription. Each one has its strengths and faults. Beethoven manages to express the heroic proportions to it; while Liszt, compared to the full orchestral version, manages to work very well in adding a greater lyrical quality to the work on the piano.…
Beethoven’s Fifth Symphony is one of the most well-known symphonies ever written. The first movement is “fast with vigor”. The introduction is somewhat deceiving because it does not feel fast. The smoothness of it allows the listener to sit back and forget how quickly the music is progressing. It is not until the first half cadence from V/V to V that the listener feels how dynamic the movement is.…
From the slow tempo, the dynamics of the gradually went to a crescendo in which they sounded more exuberant. The piece went from a slow tempo to a gradual fast tempo in which it seemed like the performers were expressing themselves along the piece. It was as if they expressing themselves with the dynamic of the piece. The second part was the orchestra in which the conductor guided the performers in how they played. For instance, in one of the pieces, Javier Mendoza had the performers go from a crescendo to a decrescendo.…
This piece has “characteristics of classic sonata form, and is similar in energy and length to such concert overtures as Shostakovich’s Festival Overture.” As with a typical sonata form, the piece is broken down into five main sections. The first introductory section features the opening horn fanfare and a full ensemble crescendo into the exposition. Starting at measure four, the first theme is articulated with tutti figures thru many different instruments. Immediately following that in measure twelve, we hear the inversion of that melody in the clarinets and alto saxophone. The inversion is then repeated in the upper woodwinds and in the cornet.…
This piece begins with a tranquil woodwind choir with other instruments gradually joining in. The tempo is andante, as it is moderately slow, yet more of a simple pace. This work takes advantage of dynamics heavily, as it varies from pianissimo with a solo flute to a gorgeous and strong fortissimo dynamic of the whole ensemble. This piece also varies in texture quite a bit, as it alternates between monophonic soloist sections and grand homophonic sections of the whole band. Most of the melodic lines are smooth and legato, yet are disrupted by the pointed and staccato figures of the percussion section that underscore the longer lines of the wind instruments.…
The dynamic keep changing and it causes the tune to be very sweet because of the dynamic and the combination of instruments. The form of this music during the romantic Era was not very common, and the main idea of this piece is that Berlioz’s use of an “idee fixe.” Its changed and developed easily, even with the movement and the notes. It did create different moods and tune; it makes the form seem different. At the middle of the music, it stars really in being loud and scary; it comes out like there is a witches and some scary…
The Fifth Symphony is in C minor with dramatic themes and a timpani part, which all combine to create a suspenseful and serious mood; Lockwood describes the Fifth Symphony as “unleash[ing] a tragic power in the symphonic domain that audiences had not known before”(219). However, the Sixth Symphony is in F major, and it is known as the Pastoral Symphony because its topic is nature and the countryside (Lockwood 225). Whereas the Fifth had no predetermined topic, the Sixth Symphony was considered to be “program” music because Beethoven had a story he wanted to attach to the symphony. Moreover, he gave a title to every movement of the symphony, and the title of the first movement is “‘The awakening of joyous feelings on getting out into the countryside’” (Lockwood 226).…
They all play different notes creating a beautiful harmony that intertwines these sounds together. At 3:00, they have begun to play in a minor key which resembles with a more somber form of playing. They also begin to speed up, the cello playing in quarters, while the rest of them playing in sharp eighths. At 4:00 returns to the main melody. All of them play the familiar sounds they have repeated once or twice already.…
Soon the chorus comes in seeming as though they are muttering the words. They continue to sing the dynamics changing after every phrase is sung. The variety of the changing dynamics continues throughout this first piece, becoming louder and quieter. The tempo and rhythm of the piece was very unified in this piece before any of the soloist began to sing their part. Throughout the performance of the soloists in this piece, the rhythm, tempo, harmony and volume changed drastically multiple times whenever the “idea” ended.…
Beethoven, again only introduced the first movement: I. Allegro Moderato. Dr. Yu-Mei Huang (violin), Brendan Townsend (cello), and Dr. Fritz Gechter (piano), were an all absolutely outstanding trio and show cased a beautiful composition of Chamber Music. As being recognized as a student of Dr. Huang’s, it is a great honor to watch her play, the perfect pitch of the notes she plays are so pleasing to hear and her bow stroke is like watching a napkin tied to a string gracefully flying in the air. Professor Townsend’s ability in playing the cello gives off great satisfaction; the way the cello is able to drag out the duration of a notes’ pitch is so beautiful and comes together with the violin nicely. Dr. Gechter’s verse on piano is played throughout the entire piece, allowing the listener to hear the melody throughout the instruments while they work along sides each other transferring the melody to one…
1 in D major, “Titan,” was performed next. It was much longer in duration than the first piece. It showed uniqueness in that it incorporated everyday sounds into the music, such as bulge calls, bird songs, and dance tunes, which provided for a very wide variety of tone colors. The symphony began with a thick-textured undertone in the strings and a two-note “hunting call” in the woodwinds, which persisted throughout the piece. Also present was a bright fanfare in the trumpets, followed by a light descending melody played by the entire orchestra.…
To open the piece, Haydn uses F# with descending arpeggios against syncopated rhythm in 2nd violins. The piece starts with an unsettled tempo to reflect the use of sturm and drang. Sturm and drang is also displayed through the urgency of repetition of the motif, which also uses thematic unity. The tempo and dynamics in the piece change rapidly continuous use of accented notes. The use of chromaticism in woodwind sustained chords suggests ambiguous tonality which reflects the sturm and drang quality.…
Sonata No. 23, Op. 57 (Appassionata) Ludwig Van Beethoven Ludwig van Beethoven (1770 –1827) was a crucial character in the period between the Classical and Romantic eras in Western music. He was also one of the most influential composers in the music history. Beethoven was born in a musical family.…