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Search results 41 - 50 of 111 matching essays
- 41: Chopin And Ravel
- ... technical mastery of his craft was of more importance and value than the expression of personal feelings. Amongst the many composers, Ravel admired Chopin for the richness of Chopin¡¦s harmonic sensibility, yet he loved Mozart. Ravel said ¡§I have always drawn inspiration generously from masters. I have never stopped studying Mozart¡¨ (Mellers 1962). Ravel is noted for his musical craftsmanship and perfection of form and style. Stravinsky compared Ravel to ¡§the most perfect of Swiss watchmakers¡¨ (Myers 1960). There is no impulsive quality to his music ... contained within a sixth and richly embellished. Ravel¡¦s student, Roland-Manuel described Ravel¡¦s lyricism as ¡§supple, but extremely pure, with contours which strongly indicate something Italian, in the sense of the Italianism of Mozart¡K The virtuoso quality of Ravel¡¦s piano music stems directly from the keyboard traditions of Mozart and Chopin¡¨ (Orenstein 1968). Chopin was a great inventor of melody. There is always a melody present, ...
- 42: The Life of Beethoven
- ... and drank too much, but he recognized his son's talent. His father and his grandfather worked as court musicians. His father hoped to make Ludwig a gifted child like the famous composer Wolfgang Amadeus Mozart. His father taught him how to play piano and violin. Even though his general education was not continued after elementary school, he studied piano, violin, and French horn. At age 11, Ludwig became assistant to ... rehearsals at the keyboard. From 1788 to 1792, Beethoven played viola in the local theater orchestra. Beethoven visited Vienna in 1787 but returned to Bonn when his mother became ill. In Vienna he played for Mozart and took a few lessons from him. Mozart quoted "He will give the world something worth listing to". Beethoven also met Count Ferdinand Waldstein while in Vienna, who became his lifelong friend and helped him in his career. Beethoven's mother died ...
- 43: Comparison Between Piano Concert by Barbara Wieman and Sacramento Chamber Orchestra
- ... and the concert followed the printed program very well. The starting time was 8:00pm and finished at 10:00pm. The style of music played varied because of all the different musical era's represented. Mozart from the classical era, Dvorak from the romantic era, Bartok from the early 20th century, and Copland from our present. The Sacramento Chamber Orchestra consisted of Violin 1, Violin 2, Viola, Violoncello, Double Bass, Piano, and Harp. When combined, the performance was outstanding and uplifting. The concert opened with Mozart's marvelous miniature, “Eine Kleine Nachtmusik” which stands for (“A Little Serenade”). Mozart's Serenade, which is like a tiny symphony, was conducted and played with exemplary care. The tempo of the music was upbeat, it's dynamics were managed thoughtfully, and the musical form presented consisted ...
- 44: Chopin And Ravel
- ... technical mastery of his craft was of more importance and value than the expression of personal feelings. Amongst the many composers, Ravel admired Chopin for the richness of Chopin¡¦s harmonic sensibility, yet he loved Mozart. Ravel said ¡§I have always drawn inspiration generously from masters. I have never stopped studying Mozart¡¨ (Mellers 1962). Ravel is noted for his musical craftsmanship and perfection of form and style. Stravinsky compared Ravel to ¡§the most perfect of Swiss watchmakers¡¨ (Myers 1960). There is no impulsive quality to his music ... contained within a sixth and richly embellished. Ravel¡¦s student, Roland-Manuel described Ravel¡¦s lyricism as ¡§supple, but extremely pure, with contours which strongly indicate something Italian, in the sense of the Italianism of Mozart¡K The virtuoso quality of Ravel¡¦s piano music stems directly from the keyboard traditions of Mozart and Chopin¡¨ (Orenstein 1968). Chopin was a great inventor of melody. There is always a melody present, ...
- 45: The Emotional Creativity Of Ludwig Van Beethoven
- ... and perhaps a second father in Neefe(Solomon 21). In 1787 Beethoven made his first trip to Vienna, Austria, one of the most musical cities of the time. While in Vienna Beethoven visited Wolfgang Amadeus Mozart. When he played for Mozart the great master ran into an adjoining room and said to his friends “Pay attention to him-he will make a name for himself one day.”(The World of Music 124) During his stay in ... motif(The World of Music 138). Symphony number two was dedicated to Prince Lichnowsky. This piece was strikingly modern and embodied new, more romantic styles. In this work Beethoven deviates from the accepted styles of Mozart and Haydn. This symphony is thought to symbolize Beethoven’s struggle against deafness. “In a Beethoven symphony we hear the passions of all human passions and emotions; joy, sorrow, love, hate, fear, hope, and ...
- 46: The Life of Ludwig Van Beethoven
- ... a promise of his greatness yet to be proven in the development of his heroic style. By about 1800, Beethoven was mastering the Viennese High-Classic style. Although the style had been first perfected by Mozart, Beethoven did extend it to some degree. He had unprecedently composed sonatas for the cello which in combination with the piano opened the era of the Classic-Romantic cello sonata. In addition, his sonatas for ... Beethoven was additionally combining the sonata form with a full orchestra in his First Symphony, op. 2. In the arena of piano sonata, he had also gone beyond the three-movement design of Haydn and Mozart, applying sometimes the four-movement design reserved for symphonies and quartets through the addition of a minuet or scherzo. Having confidently proven the high-Classic phase of his sonata development with the "Grande Sonate," op ... In a musical perspective, the "Eroica" Symphony established a milestone in Beethoven's development and in music history. His manipulation of sonata form to embrace the powerful emotions of heroic struggle and tragedy went beyond Mozart or Haydn's high-Classic style. Beethoven's new path reflected the turbulence of the developing politics of the day (especially the Napoleonic Wars), ignited perhaps by the hopelessness he felt in himself. He ...
- 47: History Of Jazz And Classical Music
- ... misnomer and could more correctly be changed to Western Art Music or European Art Music. European because most of the major composers up till the 20th century were European. Vivaldi was Italian, Bach was German, Mozart and Beethoven were Austrian; they are some of the more prominent composers. Not until the twentieth century with Gershwin and a few others do we find American composers writing this kind of art music. For ... of valves which allowed the length of the instrument to be changed while playing. This occurred around the middle to late 19th century. Consequently, the brass instruments are less prominent in the music of Bach, Mozart and Beethoven along with their contemporaries. Late 19th and early 20th century composers make use of a very large orchestra with all the fully developed wind instruments. Some of the master orchestrator/composers of this ... for the Lutheran Church organist of his day be able to improvise on choral melodies and Bach was considered one of the greatest at this. There are written accounts of other composers improvisational abilities including Mozart (1756-1791), Beethoven (1770-1829), and Franz Liszt (1811-1886). Yet, as time went on, improvising gave way to the composer's desire to exert complete control over his music. By the late 19th ...
- 48: Beethoven 3
- ... and infused itself into the music of Beethoven from the Sonata Appassionata to the ninth symphony. This spirit might be the strongest reason for Beethoven's slow working and his comparatively small output. Haydn and Mozart could turn out symphonies and quartets by the dozen because they accepted certain principles of order without question. Beethoven, on the other hand, considered every work a matter of strong personal conviction. When, in later ... this method of sketching, it has often been assumed that he was a very laborious composer, and it tends to be forgotten that he was naturally as fluent as any of his predecessors, not excluding Mozart. He himself remarked that sketching was a "bad custom", either because he may have felt it interfered with his natural spontaneity, or because he may sometimes have thought he was wasting time in jotting down ... ought to write down everything on the spur of the moment, conceive a symphony in a flash and never rest until the score is completed. True, there have been those who could work like that; Mozart must often have done so and Schubert certainly did. But Beethoven's inspiration came before he put anything on paper and he caught it fixing it in his mind by the few rough scrawls ...
- 49: Beethoven 2
- ... of such exhilarating power and expressiveness; certainly no other composer did so against greater odds. Beethoven was born in Bonn in 1770. His father, a music enthusiast, dreamed of molding his son into the next Mozart. Beethoven never exhibited the astonishing prodigy characteristics of his predecessor, but he was unusually talented, learning the piano, organ and violin at an early age. At 14, he was already proficient enough on the organ ... pain and resentment for the power that had ripped away his ability to enjoy his own genius. Beethoven was a fascinating composer for so many reasons; among them the method with which he composed. Unlike Mozart, he did not write completed works in his head - he slaved over each composition, filling innumerable sketchbooks with his struggles to produce perfection. For this reason - combined with his lifelong policy of taking only the best commissions - he was far less prolific than Mozart. But no matter - the music he did leave us, from solo to chamber to orchestral works, is the most substantial and profoundly moving expression we may ever hear.
- 50: The Life Of Ludwig Van Beethov
- ... a promise of his greatness yet to be proven in the development of his heroic style. By about 1800, Beethoven was mastering the Viennese High-Classic style. Although the style had been first perfected by Mozart, Beethoven did extend it to some degree. He had unprecedently composed sonatas for the cello which in combination with the piano opened the era of the Classic-Romantic cello sonata. In addition, his sonatas for ... Beethoven was additionally combining the sonata form with a full orchestra in his First Symphony, op. 2. In the arena of piano sonata, he had also gone beyond the three-movement design of Haydn and Mozart, applying sometimes the four-movement design reserved for symphonies and quartets through the addition of a minuet or scherzo. Having confidently proven the high-Classic phase of his sonata development with the "Grande Sonate," op ... In a musical perspective, the "Eroica" Symphony established a milestone in Beethoven's development and in music history. His manipulation of sonata form to embrace the powerful emotions of heroic struggle and tragedy went beyond Mozart or Haydn's high-Classic style. Beethoven's new path reflected the turbulence of the developing politics of the day (especially the Napoleonic Wars), ignited perhaps by the hopelessness he felt in himself. He ...
Search results 41 - 50 of 111 matching essays
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