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Search results 51 - 60 of 111 matching essays
- 51: Beethoven
- ... was always in constant need of funds. (The World--1963) Beethoven showed his extraordinary musical talent at an early age. His father hoped he could induce his child’s development and make him more like Mozart, and possibly bring in some money for the family which was desperately in need. (The World-1963) As a child, Beethoven never was too interested in music even though he had the talents. Both his ... in 1783. Then, in 1784 he attained his first independent position of a court organist and violinist, and in 1787 he was sent to Vienna to study. Here, he had the opportunity to play for Mozart who liked the work of Beethoven and told his friends “Watch that young man.” (Sally Patton-pg.73). Beethoven studied with a man by the name of Joseph Haydn, but it didn’t work for ... Beethoven. (Sally Patton-pg.75) By October 1802, he had written the Heiligenstadt Testament confessing his deafness, and suicidal considerations. (Internet-pg.5) By about 1800, Beethoven was mastering the Viennese High-Classic style. Although Mozart had first perfected the style, Beethoven did extend it to some degree. Having displayed a wide range of his piano writing, he was also beginning to forge a new voice for the violin. (Internet- ...
- 52: Ludwig Van Beethoven
- ... singer in the service of the Elector of Köln (Cologne). His father was weak-spirited and drank excessively, but he recognized the boy's talent and was disappointed when the young Beethoven failed to emulate Mozart as a child prodigy. Nevertheless, Beethoven soon held positions as harpsichordist in the court theatre and assistant organist in the Electoral chapel, where he obtained his first lessons in composition from the court organist. During his first visit to Vienna in 1787 Beethoven impressed Mozart with his improvisations at the keyboard. By the time he returned to Vienna in 1792, Mozart too was dead. Meanwhile, Beethoven's career as a pianist made a promising start. Other compositions from the 1790's include piano sonatas, cello sonatas and violin sonatas. The two forms that were to ...
- 53: 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 ...
- 54: 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 ...
- 55: Beethoven
- ... van Beethoven created a bridge between the 18th-century classical period and the new beginnings of Romanticism. His greatest breakthroughs in composition came in his instrumental work, including his symphonies. Unlike his predecessor Wolfgang Amadeus Mozart, for whom writing music seemed to come easily, Beethoven always struggled to perfect his work. Ludwig van Beethoven was born in Bonn, Germany, and was baptized on Dec. 17, 1770. (There is no record of ... studied piano, violin, and French horn, and before he was 12 years old he became a court organist. Ludwig's first important teacher of composition was Christian Gottlob Neefe. In 1787 he studied briefly with Mozart, and five years later he left Bonn permanently and went to Vienna to study with Joseph Haydn and later with Antonio Salieri. Beethoven's first public appearance in Vienna was on March 29, 1795, as ... be used to categorize the composer's work. The first period, from 1794 to about 1800, consists of music whose most salient features are typical of the classical era. The influence of such musicians as Mozart and Haydn is evident in Beethoven's early chamber music, as well as in his first two piano concerti and his first symphony. Beethoven added his own subtleties, including sudden changes of dynamics, but ...
- 56: The Life And Works Of Frederic
- ... teacher. Within a few months of beginning his studies with Zywny, Chopin began to play in public, and by the end of 1817, at the age of seven, had already been described by many as ‘Mozart’s successor’. Chopin began to compose around this time, and continued to do so throughout his student years, but only a handful of these works were printed. In the autumn of 1826, Chopin began studying ... as an understanding of the meaning and logic of each note. This was the period of the first extended works such as the Sonata in C minor, Variations, on a theme from Don Juan by Mozart, the Rondo á la Krakowiak, the Fantaisie, and the Trio in G minor. Chopin ended his education at the High School in 1829, and after the third year of his studies Elsner wrote in a ... censured his performance for its small volume of sound, they acclaimed him as a genius of the piano and praised his compositions. Consequently, the Viennese publisher Tobias Haslinger printed the Variations on a theme from Mozart (1830), a piece he performed at the Kärtnertortheater. This was the first publication of a Chopin composition abroad, for up to then, his works had only been published in Warsaw. Upon his return to ...
- 57: 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 ...
- 58: The Ideals of Instrumental Music
- ... If instrumental music is the perfect Romantic art, why is it acknowledged that the great masters of the symphony, the highest form of instrumental music, were not Romantic composers, but were the Classical composers, Haydn, Mozart, and Beethoven? Moreover, one of the most characteristic 19th century genres was the Lied, a vocal piece in which Shubert, Schumann, Brahams, and Wolf attained a new union between music and poetry. Furthermore, a large ... such ideas. Writers on music projected their own conceptions of the expressive functions of music into the past, and read Romantic programs into the instrumental works not only of Beethoven, but also the likes of Mozart, Haydn, and Bach! The diffused scenic effects in the music of such composers as Mendelssohn and Schumann seem pale when compared to the feverish, and detailed drama that constitutes the story of Berlioz's Symphonie ...
- 59: Beethoven
- ... to academic school for three years. Beethoven’s father wasn’t the only one who saw Beethoven’s talent, Gottlob Neefe (a German Organist) become young Beethoven’s mentor. Gottlob thought Beethoven was the next Mozart, so he sent him to Vienna to meet him. But Beethoven’s mother got sick so he had to come back home before he met him formally. By the time he came back to Vienna, Mozart had died so Beethoven sought help from Hadyn, another German composer. He became Beethoven’s second mentor and taught him new styles of music. Beethoven did his first shows in Vienna in 1795. He was ...
- 60: Coro Concert Experience
- ... chamber music was played by a small ensemble of nine players, each playing a different instrument. The two parts were balanced and helped emphasize one another. The Coronation Mass, K. 317, composed by Wolfgang Amadeus Mozart, was considered to have been written for the anniversary of the coronation of an image of the Virgin. Mozart wrote this composition in 1797 at the age of twenty-three. The six works of the Coronation Mass are: Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei. My favorite piece was Gloria. It was louder ...
Search results 51 - 60 of 111 matching essays
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