The Musical Deviance : Allegro Ma Non Troppo

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

The first movement began with a very strong texture as the music reflected a very powerful theme. It began with the heavy instrumentation from the strings including cellos, violins, and basses. The tempo was also relatively fast and generally upbeat. About a minute and half in there was a very noticeable solo by the violins which was a bit softer in terms of the texture. The melody seemed to be very upbeat and cheerful. Lasting the form of the movement was very well structured and the instruments backed each other up smoothly.

Throughout the piece, the brass plays the theme in alteration with the timpani and tam-tam. Although the theme is simple, together they create a long musical idea. The overall dynamic of the brass grows throughout creating a sense of power especially when

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

The development starts very similarly to the exposition with the first violin part once again playing the sunrise theme with the only differences being the distribution of the motifs ‘x’ and ‘y’ (The opening sunrise theme of the exposition was in the order of motif ‘y-x-x’ then ‘x-x-y’ compared to the opening

The symphony consists of four movements. The first movement, Allegro vivace, is in sonata form. In the first theme (Ex.1), many sequences were used to construct the melody. And being inspired by Italian opera, Mendelssohn here tired to delay the closure of the theme as much as possible. While the second theme, it shares the similar materials as the first theme. In the development section, although a new theme appears, it consists of some materials of the first theme. Then, all these three themes appear again in the recapitulation, creating a sense of unity.

The finally movement and my favorite of the four movements, Beethoven lets the cellos and basses 'talk' in a gruff recitative that passes judgment on the themes of the first three movements. The recitative then halts and slowly, out of this darkness, the 'joy' theme is heard. As the theme commences, the other instruments of the orchestra become involved and the theme is evolved into its ideal instrumental form. But what does

As the exposition begins the piece starts in C major. In the primary theme, there is a triplet motive that is automatically established. In addition, the dotted rhythm of m. 3 is also motivic and used through the entire movement. Mozart uses very contrasting dynamics in the first couple of measures. The piece opens at forte, but then dies down to piano in m. 3 only to return to forte in m. 5. Mozart also uses silence at the beginning of the movement to emphasize how highly articulated the movement is. As the primary theme continues to be established m.9 introduces a march like quality to stress the

In the first sonata there is a very nice trio playing a smooth and intimate section. A very slow moving part that is rather simple in its virtuosity but rich in its harmonies is a perfect introduction to the sonata, creating a gentle atmosphere to the listener. Moving on to the allegro part (part ll) the music begins to become slightly more virtuosic at around 40 seconds in to the section we can hear the violins begun to expand their range, playing in a call and response style. Completely opposite to the first section this section becomes lively very quickly at around 15 seconds the violin begins to expand to an ascending arpeggio and is brought back into the piece throughout this section. The Adagio section as expected slows down and becomes

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

and another lyrical theme, (denoted hereafter by b). It is clear when one looks at the outline of the themes with respect to their placement, theme "a" is transformed into 8 different versions throughout the composition's first movement, and an additional type, that we will call (a) which utilizes C-G-C-G-C timpani-like motive. This one, namely (a) and a derivative called a6 will play primary roles in identifying and linking structurally important keys and harmonic motions related to changes into different subsections (eg. Timpani theme appears from 288-295 into T3/S3 on minor v,

Theme Dfeatures the percussion, with the timpani playing the pitched parts of the Purcell theme, while the rest of the percussions simultaneously present the rhythm of the melody. Finally, we come toTheme G, which is an exact repetition of Theme A, using the full orchestra. The Purcell theme is played six times, with different instruments and varied keys to create variety and present different timbres. This use of different timbres was one of Benjamin Britten's ideas. These shifts in timbre keep the listener engrossed in the

The fugue is a polyphonic music that is based on one main theme, called a “subject”. The fugue presents only a single mood with a continuous flow. Starting with a monophonic texture voice follows with imitative “answers”. The repetition of subject is constantly throughout the piece, separating with “episodes”.

The listener would perceive the slow-moving idea (mm. 23 – 29) which follows as the second theme, if it were not for its fleeting mysteriousness. It provides a contrast to the majestic themes which opened the movement. The harmonic ambiguities, created by the chromaticism, are very progressive for the Romantic era.

Don Juan is a romantic and passionate hero so opening theme replicates his cheerfulness and prankish humour who seeks true moment of absolute beauty. The melody by oboe, violin, horns, and trumpet narrate the temptation and failures of Juan’s life-project. At last Romantic Weltschmerz strikes him to be fatally wounded. This piece has embraced some elements of rondo or ritornello-like structure, sonata (mm. 197-307), and the multi-movement symphony brought together in a distinctive fusion. An opening masculine theme in E major (bars 1-40) is very bold, forceful and energetic. Bar 60-63 a crescendo from pp to ff by the horns, trombone and tuba and an entry (exact rhythm from bar 1-3) of strings after brief rest is so effective. Romantically, a solo violin enters at third bar of figure D (bar 71) and a transition, and lyrical second theme in B major (bar 90-148). Avoiding nineteenth century’s expositional archetype it drifts towards E minor (bar 148) before dissolving. First theme reappears at figure H (bar 169) and proceeds to G minor (K: bar 197) and subsequently to G major (L: bar 232). While viola, violin cello and bass are intermingled polyphonically, the muted horn descends chromatically.