The “Pastorale” Symphony and the “Emperor” Piano Concerto, one named by Ludwig van Beethoven and the other by a friend, are splendid examples of Beethoven’s musical acumen. These pieces are more formally known as Beethoven’s Symphony No. 6 and Piano Concerto No. 5. This concert report will cover both pieces and will contain my impressions of each piece. Symphony No. 6 “Pastorale” was performed by the Deutsche Kammerphilharmonie Bremen, and was conducted by Paavo Jarvi during their Beethoven series. Piano Concerto No.
5 “Emperor” was performed by Murray Perahia (Piano) accompanied by the Academy of St Martin in the Fields, conducted by Neville Marriner. The dates of the performances are not known because this is a review of an E-concert recording. I will begin with the piece that was personally named by Ludwig Van Beethoven, “Pastorale” “Pastorale” is a five movement symphony, the only one with five movements that Beethoven wrote. Each movement is individually titled although Beethoven noted that the names were merely suggestions and were not to be taken literally (Classicalmusiceducation.
com).
The music does however seem to match up beautifully with the titles. The first movement is titled; Awakening of Cheerful Feelings on Arriving in the Country, ‘Allegro ma non troppo’ and begins with an opening drone. The piece has a very quick, but somehow leisurely pace that repeats itself in a typical sonata form. Themes emerge, but do not seem to be in conflict as in other symphonies, there is a lack of noticeable tension. Imagine a forest, with the sounds of nature in perfect harmony, the winds rustling through the trees and birds chirping and singing.
The Essay on Second Movement Piece Played Piano
For this concert report I chose to go to a performance of student composers held at the Kimball Recital Hall. I chose this one because I wanted to see some of the talent that my peers have in the music realm, and also it was one of the only concerts I have been able to attend because I usually work at night. It was impressive to hear pieces composed by students. I cannot imagine creating something ...
The movement concludes with a coda comprised of a powerful increase in volume and emphasis with a return to the opening theme as basses join in. The second movement is titled; Scene by the Brook, ‘Andante molto mosso’ and continues the calm and relaxed mood set in the first movement. This movement seems to be in variation form. A gentle melody develops and the music seems to quicken. A completely new tune is introduced by a bassoon that is repeated several times. The themes are passed from woodwinds to strings and back to the full orchestra several times.
Woodwinds seem to represent bird calls throughout the movement further adding linkage to the title. The end is marked by a flute and clarinet in a virtual bird conversation. This appears to be a cadenza before the completion of the warm and rich movement. The third movement is titled; Merry Gathering of Countryfolk, ‘Allegro’, This movement is a classic scherzo in triple meter. The opening theme is conducted by the entire orchestra. This movement is in great contrast to the first two, much faster and more powerful.
The scherzo gives way to a trio that is quite energetic. The woodwinds are splendid in their representations of birds again. The Scherzo seems to repeat in a a compressed fashion. The movement ends with a strong cadence that ends sharply and shifts to the next movement. The fourth movement is known as; Thunderstorm ‘allegro’. The bass is deep and vibrant, the woodwinds pierce the air, and the entire orchestra create a powerful stormy atmosphere. The rise and falls of this piece are dramatic and enhanced by the strings piercing anxiety.
The sounds seem to shake the environment, rhythm is hard to detect, everything is crashing and disjointed, much like a real storm. Suddenly there is calm as if the storm has dissipated and the beautiful country side has reappeared. The fifth and final movement is called; Shepherds’ song, Glad and Grateful after the Storm ‘Alegretto’. The main theme is introduced by clarinets, horns and violins. The main theme is repeated several times with variations as the woodwinds are intermixed. The entire orchestra joins in an extended transition as the opening materials are reintroduced.
The Essay on Rite Of Spring Movement Strings Orchestra
Almost definitely imitating the act of new life waking in the spring soil, Stravinsky starts the haunting introduction to his world-renown ballet, Rite of Spring, with a high-pitched lone bassoon. The unstable eeriness continues as a horn and pair of clarinets join in the rubato tempo. Just as everything wakes and bursts into life in spring, so does the piece as more and more instruments join in. ...
There is an extended coda and the main theme is varied. There does not seem to be a climax in the ending, just a final strong cadence and a magnificent sense of completion that is enlightening. The five movements of Beethoven’s Symphony No. 6 “Pastorale” draw listeners in with a quick, but leisurely tempo and rich developed movements. The symphony seemingly flows and fits the titles beautifully. It is easy to paint a picture of a noble countryside, nature, and all the activities it entails. Beethoven’s Piano Concerto No. 5 “Emperor” is a three part traditional concerto, an Allegro, Adagio, and the Rondo.
This concerto was named Emperor because of the powerful themes and heroic note of the composition (www. all-about-beethoven. com/concerto5. html).
The opening of the concerto brings a main theme introduced by a solo piano with the full orchestra providing a dramatic presence of several chords. The piano flourishes grow in length until reaching a cadenza after the third time. The full orchestra joins in and carries the theme into the full exposition. The theme is bold with a pleasant interjection of a second subject that seems to tiptoe through the movement.
The orchestra stays in the tonic key as the piano modulates and reaches a wide variety of tones as the scales are worked. The development of the movement effectively flips the lead. The orchestra now leads and the piano accompanies. The main theme rhythm is reinforced by a powerful bassoon. The coda is lead by horns and joined by the rest of the orchestra to a thrilling close. The second movement is a slow movement and begins quietly with a simple main theme presented by strings. I felt like I was in church. The melody of the movement makes it seem simple but it still has many variations within.
The original theme is maintained within the development in a very refined and deliberate way. This movement evokes clarity and relaxation. The piano builds to a crescendo and backs away as if were weeping. The piano is seems to fade away as a low woodwind plays long notes and sustains the theme. A very low tone on the piano and woods is held for long periods and then the piano dashes out vibrantly and the orchestra joins in a spirited conclusion of the movement. The third movement is a classic rondo that seems to begin without a distinct break from the second.
The Essay on Franz Josef Haydn Piano Movement Orchestra
Franz Josef Haydn wrote quite a few concerti for piano, which have never really enjoyed the popularity of such pieces by Wolfgang Amadeus Mozart. While some accuse Haydn's piano concerti of being too 'light' or having 'no meaning', I find those to be inaccurate surface impressions. I have found a great deal of enjoyment from these pieces of Haydn, and one of my favourites of his piano concerti is ...
The piano again traverses the scales dramatically and is accompanied by the orchestra. The drums fade as the piano solo fades out. With the pause, the piano jumps aggressively back into the chromatic scales which are a foundation of the themes throughout the concerto. The orchestra is along for the ride to a rapid and powerful finish. The “Pastorale” symphony and Piano Concerto “Emperor” present dynamic representations of nineteenth century music which represented more direct and unrestrained emotions (Strayer 209).
Both pieces are energetic and lead the listener through a winding path of emotion.
