Essay A. Marcello Oboe Concerto in D Minor

Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and

In Misto’s play contrast is a powerful dramatic device. Describe its use in the Shoe Horn Sonata.

     Wolfgang Amadeus Mozart (1756-91) is regarded as the greatest composer who ever lived. He began writing minuets at the age of 5,and by the time he died in 1791 at the age of 35, he had produced 626 cataloged works. “ Mozart has enriched the concerto form with a larger number of masterpieces than any other composer.”1

“A Music Faculty Recital” at Prince George 's Community College was actually the very first concert I’ve been to that included Baroque style. The environment created a nostalgic yet modern and elegant mood; something that made you feel like you were in the late 1700’s yet still in modern times. The songs were mostly enjoyable and we 're all well played. This concert included an ensemble: the flute, the cello, the piano, and the harpsichord. Peggy Bair, who played the flute, was very enthusiastic. Irma Cripe, who played the cello, was quiet for the first part of the concert but gradually became more important throughout the concert. And lastly, the virtuous Gary Kirkeby, who played the piano and harpsichord, served as the backbone of all parts of the concert and made this concert very enjoyable.

The choice of the “Three women of Don Giovanni” can give a good understanding of the type of music which was used to create an opera in the 18th century Italy. The opera buffa was a comic opera with a funny story line and light music. Mozart wrote at different levels.

One of the problems clarinetists of the 21st century face when performing Mozart’s Clarinet Concerto, K. 622, is creating a performance that is memorable while keeping the authentic integrity of the work. Many clarinetists who perform this work are often concerned with how they should the approach and execute the concerto. Any musician who tackles any new work will approach it by researching historical information on the composer and work, do a musical analysis, and gathering recordings of other interpretations of the same work. This approach will not only allow the performer to be fully immersed in the piece but allow for the performer to create a memorable interpretation.

Mozart clearly integrates the Neapolitan chord correctly, in the practical theory sense, and also very well in the application of the passing function.   Although the

In Roman Catholic tradition, the requiem mass is a ritual celebration of the Last Supper within the context of a funeral. The requiem mass is distinguished from masses for other occasions by the presence of a specific text, laid out in the missal of Pope St. Pius V from 1570, and the absence of the more joyful parts of mass, such as the Gloria, and the Credo (Cave).

The 2nd movement of the Mozart k310 Piano Sonata resembles standard sonata form in many ways. It opens with a first theme in F (same as key signature). The theme is four bars long; two bars of antecedant, two bars of consequent. Mozart then starts the first theme again with a 32nd note run pick-up instead of the 16th note arpeggio pick-up in the the begginning of the piece so we are prepared for variation in the second statement of the first theme. He then continues the theme with variation until the consequent phrase which is completely different from the first consequent phrase. This new consequent has not only faster rythmic movement but also compressed harmonic rythym. This tension

Sonata form is the musical form is the form that has been most widely used then any other form. It really toke shape as a main form during the Classical period. It is usually used a first movement in a multi-movement piece and is commonly referred as Sonata-Allegro form. The concept behind it was to try and find a way to organize or categorize musical ideas into a movement based on a particular “key.”

By doing this, the sound made by the groups swells, portraying to the audience a sound of growth and progression. According to the textbook Music Appreciation Online, in this type of concerto, “a tutti section, a full orchestra (with basso continuo), and a small group of solo instruments usually referred to as the concertino or principale” is used. In the concertino section, two or more soloists are used. Arcangelo Corelli was the first major composer of the concerti grossi (the Italian form of the concerto grosso). The concerto grosso comes in two major forms: the concerto da chiesa (church chant) and the concerto da camera (chamber concert). The concerto da chiesa was used for formal occasions and alternated between adagio and allegro movements. For the most part, the movements were written in the same key, however there were occasions where one or more of the movements were in contrasting tonality. The sonata de camera was made up of a prelude and a succession of dances that were all in the same key. Its structure was that of a slow introduction, a fugued allegro, a cantabile slow movement and an energetic finale. This setup created its dancelike sound and feeling. The sonata da camera composition grew to be referred to as a suite, a partita, or in the French opera

They say what’s old is new again. There is nothing new under the sun. What goes around comes around. History repeats itself. These may be just a few banal sayings, but they might hold true for classical music as well. Maurice Ravel’s Le Tombeau de Couperin is one such example. Written during the neo-classical and neo-baroque movements of the early 1900s, this clever piece ties together French musical traditions, baroque styles, and World War I in just six short pieces. This essay will detail the origins of the suite form and the neo-classical neo-baroque movement, and compare Le Tombeau de Couperin with Bach’s French Suite no. 5 in G Major, BWV 816.

The five movements of the suite cover the period of the famous Paris museum’s development during the Renaissance. Each of the themes utilized by Dello Joio are by composers and compositions of the time period. The composer invites the audience to place themselves in the ambiance of the museum’s transformation, and experience the splendor of each setting of what is known as The Louvre.

Mozart’s Requiem is “one of the most performed and studied pieces of music in history” (Stango, n.d.). The story behind the start of this piece begins with Count Franz von Walsegg, who commissioned a requiem mass for his wife Anna (who had passed away). Throughout his work on this piece, Mozart began to get so emotionally involved with the piece that he believed that he was writing a death mass for himself. Mozart died December 5, 1791, with only half of the Requiem finished (through Lacrimosa). Franz Xaver Süssmayr finished the Requiem based on Mozart’s specifications from notes and what he had already written. The completed work is dated 1792 by Süssmayr and was performed for the first time on January 2, 1793. Mozart’s intent for this

The Renaissance and Baroque era entailed very different characteristics, due to the Renaissance composers writing more freely and being more individual then those of the Baroque era where they followed more ‘rules’ and experimented less. This essay will show the difference in two pieces by different composers, even though they were written less than a century apart.