Bedřich Smetana’s Piano Trio in G Minor, Op. 15

In the short story, by Kate Chopin, themes are expressed through symbolism. The main theme portrayed by Chopin is freedom. This concept of freedom becomes prevalent when

A theme is the prime element of literature, which contains the central idea of the story. It helps reflect on the characteristics that a story might have and reflects on observations interpreted from our view of the author. The theme, a main idea or underlying meaning of literary work may be stated directly or indirectly, but it is ultimately our job to figure it out. Throughout any story, short story or poem you can see the constant change of imagery that will play a big part in the development of the characters ability’s to demonstrate the theme. In “The Storm” by Kate Chopin, the theme illustrates many sexual desires, adultery, and happiness as well as shows a theme of conflict. Chopin uses a storm to represent sexual passionate tension that builds throughout the story between the two main characters Alcee and Calixta.

After Dvorak left the Organ School in 1859, he basically disappeared from the public eye for twelve years until 1871, which is when he emerged back into the public as a composer. For those twelve years he spent in seclusion, he was occupied with extensive writing in the classical form (8). To much grief and disappointment Dvorak’s first son died in September and his second daughter in October of 1877. These tragic losses were experienced within his grandiose oratorio “Stabat Mater.” For the next twenty years, Dvorak was invited to other European countries to conduct performances of his own works while enduring a struggling relationship with his publisher Hitherto Simrock (7).

The tempo throughout the song varies from adagio to allegro, but favors the allegro speed in most of the piece. As most of us have agreed, this specific movement is very repetitive in texture and tone. We believe repetition is a main them in the song to help the listener get a feel for the piece and help them memorize it better. As the melody progresses, the tone and volume of the piece make a drastic change. It slows down as to show the time of year is slowing. No longer are children running and playing outside, it portrays winter being right around the corner. The tone continues to fall lower, giving the listener a feel of sorrow, as if death is in the air. The visualization of leaves falling is imprinted in the listeners mind. Then suddenly, the tempo rapidly picks up and jumps right back into the main chorus, which is abruptly cut short. The tune firmly begins to build up as it almost lullabies the listener through the composition, while the volume steadily increases. I can picture myself swaying in the wind to the cool fall breeze as the sun sets on the warm colors of the fall leaves. Just as the lullaby seems to pick up in pace, it slowly fades in to the distance. Once again the volume of the piece quickly increases and has the listener on the edge of their seat as joy fills the air. The pitch jumps from low to high between each instrument as they begin to

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

John Williams practically scored a great deal for his 5th well-deserved Oscar Award. The heartbreaking theme of the song was arranged very well and in such a way that it tickles the emotion of the listeners. The authenticity of Williams work astounded lots of artists with the way he evoked the traditional Jewish music of Europe. The grace executed by violin solos are exquisitely rich and evocative providing a firm grounding that counterbalances the composer’s preference for sentimentality and

Theme is an integral part of this story and is mostly presented through the narrator. One of the major themes of the story is conscience, in which many of the conflicts in the

‘The Pianist’ is a cinematic masterpiece by the Polish director Roman Polanski. One of the key ideas that appear throughout much of the film is that of ‘hope being instrumental in our survival’. This idea is portrayed through Wladyslaw Szpilman, a Polish pianist, as he struggles for survival in Warsaw as everybody that he once knew and everything that he once had is lost. The idea of ‘hope being instrumental in our survival’ is worth learning about as it allows the audience to realise the importance of hope in todays society – and to understand how Polanski uses music to symbolise ‘hope’ for Szpilman in the film. Polanski effectively utilises an array of visual and oral text features such as music, dialogue, and lighting to build further

Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.

Trio sonata, real orchestral compositions kind in the Baroque time written in three sections: two top parts played by violins or other high song instruments, and a basso continuo part played by a cello. The trio sonata was really performed by four instruments, subsequent to the cello was bolstered by a harpsichord whereupon an entertainer ad libbed harmonies inferred by the composed parts. In execution the instrumentation of a given piece may be changed, woodwinds or oboes supplanting violins, for instance, and bassoon or viola da gamba substituting for cello. At times trio sonatas were performed orchestrally. The class' surface of one low and two high tune instruments in addition to an agreement instrument was exceptionally supported amid

As the title reveals, this 20-25-minute work is made up of of three movements: Mvt. I: Overture; Allegro, Andante; Mvt. II: Interlude Andante; Interlude: L'istesso tempo, and Mvt. III: Con moto. Referred to as his ‘war symphony’ by Stravinsky himself, this symphony was composed in response to the Second World War. While it was composed during his neoclassical period, this work challenges the norms of neoclassicism in ways that his other pieces composed during this era do not. This paper will argue that Stravinsky’s Symphony in Three Movements, while not one of his better known pieces, is still a work that is representative of his life and style as a composer. Through in-depth study of historical and analytical sources, it will look at how this work is a mixture of material and styles from Stravinsky’s works as well as from works of other composers. We will explore Stravinsky’s role in the neoclassical period, and how this symphony follows the general rules of neoclassicism while also involving more abstract and strange compositional ideas that are not neoclassical in nature. We will look at the different life and world events that influenced this work, and how this work influenced his later compositions, such as The Rake’s Progress. Primary sources will be used to better understand Stravinsky’s thoughts and motivations for this

Ludwig Van Beethoven was one of the most influential composers of his time. The decades around the 1800’s were years of many changes and Beethoven’s new approach to music was something that reflected that. “His symphonies, concertos, string quartets and piano sonatas are central to the repertory of classical music.” This essay will focus on the historical and theoretical aspects of the third movement of Sonata Op. 28 No. 15.

Lutoslawski begins his first movement with an overture, creating a menacing tune using the drum. In his second movement, Lutoslawski creates a capriccio with the horn, strings, brass instruments, woodwinds and drums. Finally, Lutoslawski ends his Concerto for Orchestra in three sections. He begins with a dangerous tune on the drums. He then inserts a toccata, using the xylophone and violin to create a mystical tune. Finally, Lutoslawski’s finale is a haunting tune created by the snare drum, horns, flute, strings and xylophone.

I used the score from the German publisher Schott Music. Diary, which is a set of seven compositions. This work was written for pianist Anna Gourari. The first performance was in Moscow on December 5, 2002. I found one commercial CD containing this suite, recorded by Ekaterina Mechetina, in album "Schedrin Shakhidi", available on Spotify for reference. As composer suggested that it is possible to perform each piece separately, and he also mentioned attacca at each end of the movements. In this suite, Shchedrin developed a compositional technique that reintroduced the pitches of a single motive continuously throughout one movement, with rests as space between phrases. This piano suite, as one of the Shchedrin’s influential present piano works, features a combination of performance elements and is attractive for both concert artists and young age students. This repertoire ranges in medium difficulty and is filled with elements of dance, folk music, traditional and non traditional harmonies. The use of contrasting textures and imaginative

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.