Lohengrin: Prelude By Richard Wagner: Music Analysis

Within the first section of the theme, Fisher Tull displays the trumpet’s wide range abilities. Not only does the first measure of the solo trumpet’s entrance covers a scale of over a fourteenth (one octaves plus a minor 7th) , the first section of this works also requires the trumpet to cover over two octaves in a relative short period of time. In addition, Tull’s use of extensive phrases makes this theme unique. Throughout the theme section Tull does not rely purely on the standard eight-bar phrasing practice. The climax of the main thematic material from the theme section can be interpret as a thirteen-bar phrase.

It also repeats a lot making the relatively short piece on paper last longer. The dynamics stay mostly the same and the tempo does not change. The Third part, Farewell, Dundee is in 6/8 time and again start with the drums and then the flutes join in. This part also repeats a lot. The main melody is by the flutes.

I think that there are two musical ideas in this piece with the pattern AABBAAB. Idea A starts at the beginning and ends at 0:16, then repeats itself until 1:21. Idea B occurs during 1:22-2:17 with a saxophone carrying the melody of the piece. Idea B is started again during 2:18-3:17 but this time, a piano takes the melody. Idea A begins again at 3:18-3:45 and repeats again at 3:46-4:15.

Composers have the ability to influence how we the audience views and responds to characters and issues. Through viewing and analysing ‘The Shoe Horn Sonata’ by John Misto and ‘Saving Private Ryan’ directed by Steven Spielberg, it is obvious that composers have the ability to impact and influence our views on characters and issues that occur. Shoe Horn Sonata and Saving Private Ryan were set in the same context of World War 2. John Misto’s Shoe Horn Sonata takes place during the war against Japan, the play focus on the lives of two women Bridie and Sheila who have been captured by the Japanese to become (POW) prisoners of war. John Misto’s play was based on real accounts from POWs, the play was to commemorate the female POWS who story was unheard of and to give an insight to the audience into what the POWs had to endure while under the japanese rule.

6. Take a single act from the Marriage of Figaro and, using particular examples, show how Mozart structures the act in terms key, form and texture. How does the opera critique the social order of the time? This essay looks at the first act of Mozart’s opera buffa ‘Marriage of Figaro’ in detail, specifically focussing on the key, form and texture used within this act.

This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful

The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).

This orchestral composition is a skillful combination of these elements that makes this classical piece one of my favorites. The instrumentation

Another composer who played an important role in the development of the Symphony is no other than Joseph Haydn, the ‘Father of Symphony’. One of his works, Symphony no. 92 in G Major, Hob I:92, composed in 1789, will be reviewed. “Oxford” Symphony was commissioned by Count d’Ogny for the Loge Olympique Concerts in Paris. It is known as “Oxford” because Haydn presented this symphony at the Sheldonian Theater at Oxford University in July 1791, where he was awarded a honorary doctorate degree. This symphony displays Haydn’s mature style of composition, presenting his capability to utilize thematic development, counterpoint and a mixture of distinctive moods.

This piece has three movements, Allegro moderato, Adagio di molto, and Allegro ma non tanto. This piece starts off with a slow and expressive solo by the soloist, Alexi Kenney. The change in dynamics, the use of vibrato, and other techniques enhanced his solo. The orchestra then plays with a homophonic texture with some tempo changes. A few fast solos and a few slow ones followed.

It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the

Schumann Three Romances, Op. 94 Schumann’s Op. 94 Romances were composed in 1849, during a time when his mental health was deteriorating rapidly. Originally written for the oboe, the first performance featuring the violin and piano was given by Clara Schumann and François Schubert in a private concert. The three pieces are all written in ABA form, the typical form for songs, and feature lyrical, heartfelt melodies that evoke storytelling and vivid imagery.

There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.

A B C D C B A. Rhythmically this work has two distinctive features: the regular pulse of the piano and percussion and the rhythm of the human breathing in the vocal and wind parts, and the interaction between them brings about a remarkable effect of wave motion. The vibraphone player in this piece functions as a “conductor” by indicating when the players have to switch from one section to the next, or when the harmony or melody should change within a

This movement begins with a beautiful love song until a turbulent middle sections rudely interrupts its dream-like reverie. The finale, Andante-Allegro, begins with a quiet, introspective introduction in the piano alone which then leads into an exuberant Allegro. At the Allegro, the violin breaks forth with ascending, slashing passages from its lowest to its highest register, creating a sense of drama and importance. However, then comes a playfulness that sneaks into the music almost without notice. And then after a rush of virtuosic passages from both violin and piano, the sonata comes to an explosive end.