Sonata form

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, 01346, plays in the bass.…

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…

YuEun Kim and Sung Chan were successful when they perform “The Sonata No.5 in F major, Opus 24, Spring” of Beethoven. This piece of music started with soft dynamic at first that made me feel calm and peaceful. The tempo was slow at the beginning, and then the piano suddenly came with the fast tempo while the violin was slow. Sung Chan who played the piano gave an impressive performance at the first movement. The scale had changed from minor to major, and major to minor that made the audience…

trumpet; Reinhold Hammerstein advocates this is because traditionally Judgement Day iconography of the “Trumpet sounding” summoning souls to be judged. (Hammerstein, 1980) This led to illustrations of the Totentanz as a dance towards death. Other art forms based on the Totentanz gradually evolved including decorative woodcuts, accompanied by texts detailing “Death’s” personal message to each person. Hans Holbein’s series of 41 wood-cuttings entitled Totentanz show the Danse Macabre and the Last…

the Twelve Tone Technique. This technique contains a row of twelve pitch classes in a particular order. These pitch classes must be played in order, and once a pitch class has been played, it isn't repeated until the next row. There are four basic forms of a row: prime, inversion, retrograde,…

departure in my exploration of Opus 15, as they were related to aspects that seemed more or less directly accessible through the score and offered the opportunity to potentially discover internal similarities between Opus 15 and the other repertoire in the form of a certain “performative feel” pertinent to the style or language of the poet and the composer respectively, the third contextualisation appeared to have less obvious benefits. Nevertheless, it seemed logical to continue the project by…

can be noted that the most important feature for all of them is their penetration, regardless of composition genre. In this work sonata in C-Minor, D. 958 is considered. Sonata reveals the lyrical content with frequent changes of musical mood. Schubert individualizes lyrical images, saturates them with subtle psychology. It is easy to say that this is a lyrical sonata, with the prevailing character of the narrative and thematic development and song thematic. Sudden flashes of drama interspersed…

The courante (“running” or “flowing”) was a French dance whose choreography included bending the knee on the upbeat or offbeat and rising on the beat, often followed by a step or glide. The music is in moderate triple or compound meter and always begins with an upbeat. In many courantes, including the two in this suite, the meter shifts back and forth between 3/2 and 6/4, sometimes with different voices simultaneously implying different meters. Although the composer included two courantes in…

composed by Gioachino Antonio Rossini and was the last opera he composed. Rossini was a transitionary figure of the Classical and Romantic period, well known for his operas and use of crescendos. In this piece, he moved away from the single-movement forms that had characterized his earlier overtures, and created this piece to be a miniature tone poem divided into four poignant sections. Discography Year Conductor Ensemble/ Performer…