Hyundai Sonata

Webern’s Variations for Piano, mvt. 2 Analysis Webern’s Variations for Piano begins with a prime row starting on Bb3. This continues until the Eb4 grace note in measure six. This is primarily consistent in the bottom staff with the exceptions of measures five and six where the rows switch staffs. The switching of staffs occurs in each iteration of the rows and its various forms at one point or another. Wagner also creates an elision with the last note of one row and the first note of another.…

The unity of music is related to the music structures. People followed the musical structures and expected the direction or message of the music. In the 18th century, the most of the music had almost same musical structures and forms. Most of music in this period progressed to the same ways and the structures and forms had conventional elements. Historically, the music became less conventional after the French revolution and the composers had been interested in their own identities for their…

types, his piano sonatas capture distinct character paired with enunciated form in such a way that is very specific to his style. Mozart’s Piano Sonata No. 9 in D major is one of 18 piano sonatas in total, all of which were written in his adult years. Sonata No. 9 of K. 311 is presumed to have been written in 1777 and contains some quite distinguishable characteristics that categorize this piece in sonata-rondo form. In this essay, I plan to make clear why Sonata No. 9 is a sonata-rondo, as well…

Beethoven’s Leonore No. 3 overture can be evaluated the complete version of the Leonore overture like the magnificent symphonic work. This third version of overture also overture was composed in the sonata form like Leonore No. 1 overture, and Leonore No. 2. Further, its musical materials and structure also are developed from Leonore No. 1 overture. In other words, he kept using the excellencies of the previous overtures, and Complemented the Deficiencies of the previous overtures. Basically,…

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. This movement is like a Stephen King novel because it is so saturated with intensity and…

This essay aims to examine to what extent should classical performers seek to recreate “authentic performances” of the past. Roger Norrington and the London Classical Players’ recordings of the Beethoven symphonies will be used as a case study to support the argument. Classical performers, are in this context, musicians who present a classical music performance. There is no defined boundary of what precisely is classical music, but classical music in this essay generally refers to art music…

The composition opens in Db major with a tonic chord. Here Debussy has already broken two rules of conventional voice leading; Debussy begins without the tonic note, introducing it later, where the mediant of the chord (F natural) is doubled. This gesture could also be interpreted as opening with chord iii (still with doubled mediant) moving to chord I on the third beat of the bar; however I think this is less likely to be Debussy’s intention because of the use of a Db chord in bar 9 when the…

This piece is based on pitch set classes 01346, 0124, and 014 as well as their respective inversions and transformations. The piece is set in an ABA’-like form and explores the versatility of the clarinet. In the beginning, the piano introduces the theme of 01346 and following measure presents a chord of 0124 with the melody harking back to tonality by using an unprepared suspension. These set classes form the A part of the piece. Measures 3 and 4 presents 02356 in the treble while its inversion…

Throughout the piece, the piano’s dynamics were played at a mezzo forte level. There was at times quick staccatos and accents, however I heard very little crescendos and diminuendos. If there was anything more I would have liked from the piece it would have been a broader range of dynamics that came from the pianist. Even when the baritone had nothing to sing, the constant monochromatic sound from the piano was unmoving. However, as my disappointment about the lack of adversity coming from the…

Messiaen choses to experiment with a wide range of dynamics through out the entire fourth movement. Furthermore, he indicates drastic changes of those dynamics that happen in a short period of time, which presents the audience with an element of surprise. Additionally, the Interlude is the shortest movement in the entire composition, which is 73 measures long and lasts for about two minutes (considering the entire Quartet for the End of Time is about 50 minutes long). Therefore, a rapid change…