Billy The Kid Copland

5 utilize various different musical concepts throughout the performance. For instance, the opening trumpet solo in movement I Trauermarsch, exemplifies monophony within the movement composed in rondo form. Next, the fast tempo of Movement II Stürmisch bewegt, mit größter Vehemenz represents allegretto, whilst featuring a myriad of discords until reaching the final resolution. Furthermore, Movement III Scherzo, represents an abrupt shift in the symphony's style switching from the dark minor scale of movements I and II to the more jubilant major scale. Moreover, Movement IV Adagietto slows the symphony’s tempo to adagio, and only employs the use of the Stringed instruments. Last but not least, Movement IV Rondo-Finale speeds up the symphony once more up to Allegro, ending in a dramatic climax with a brief cadence. Mahler’s Symphony no. 5 took the audience on a musical rollercoaster, employing countless musical

To assign the first movement of Beethoven’s Ninth Symphony the sonata form would truly be a subjective judgment. I will first explain how this movement fits thesonata form; then I will discuss how it diverges from this form in rather fascinating ways.

Both Haydn's and Beethoven's first movements are composed in sonata form, with an exposition stated in the opening that is then developed and recapitulated. The size of Haydn's opening movement is somewhat smaller than Beethoven's, whose opening exposition itself seems larger than life. Haydn's first movement is roughly six minutes long, and the length of Beethoven's first movement only exceeds Haydn's by about a minute and a half to two minutes.

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

In a variant of sonata form, Beethoven recalls themes from the third movement. Berlioz’s fourth movement is quite dramatic as an execution is portrayed in the music, one must take into account that this was not the finale of the Fantastique as Berlioz decided to add another scene in the text. On the other hand, following the man’s death, there is a roaring triumphant ending; similar to Beethoven’s extended coda. (Please see next page for example).

Ludwig van Beethoven - Symphony No. 5 | Gustavo Dudamel I was able to hear his use of themes. My overall impression was that it was a bit different than the rest. The theme was still in C minor. I could hear that he was

The third movement lead straight into the fourth, and that lead into the fifth movement without missing a beat. The fifth and last movement of this symphony is in sonata rondo form, which is a blend of the two. A rondo is when the first theme, A, repeats several times with other music (B, C). This form then also shares characteristics of the sonata, so it has a development section as well that is common in sonata

Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.

From the start of the overture, it is much more joyful and lighter than what experienced before in Leonora No.3 (1806). The heavier sections balance well with the lighter notes and doesn’t overpower the piece. Beethoven copied parts of Mozart’s style in this overture.

“He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound” Kerman and Tyson. Beethoven’s sixth symphony (also known as the pastoral symphony) has qualities of both the classical and romantic periods and illustrates Beethoven’s revolutionary ideas as well as highlights his classical influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven’s work such as the balanced phrasing, the

Beethoven’s symphony No. 5 in c minor, Op. 67, I has four movements allegro con brio, andante con moto, scherzo allegro, and allegro. The first movement is a sonata that contains a motif and fortissimo phases using imitation and sequence with a constant flowing melody. The second movement contains two themes in alternation. The first theme starts later followed by the second which later dies of as a third theme is born followed by fortissimo The third movement contains a scherzo and trio and is in ternary form the theme is immediately stated and continually gets revived. The fourth and final movement starts immediately after the third and is a variation of a sonata. The piece has strong cadence and recapitulates only to finish in an extremely

Another piece of music that was written during this time, which shows off his quality once again, would have to be, Symphony No. 5. This symphony is part of Beethoven’s middle symphonies, 4, 5, and 6. All three of these were also composed within three years (1806-1808). While many people may be familiar with the sixth symphony, Pastoral Symphony, the fifth one has remained the most famous. It is a stark contrast to many of his other works because the key “can be considered the musical projection of

Symphony No.8 in B minor, D.759 is written in late Classical/early romantic period by an Austrian composer, Franz Schubert. He started composing the piece in 1822, but ceased after he completed the second movement. Although the first and second movements were orchestrated by him, he has also left a piano score of the third movement, Scherzo, which is nearly completed (up to bar 120) and the first 20 bars of its orchestrated score. Schubert has left brief notes on the manuscript for the first three movements, but he simply wrote ‘flute’ for the fourth movement.

Beethoven’s Pathétique Sonata op. 13 no. 8 in c minor. First movement: Grave
https://www.youtube.com/watch?v=i60LrIq3cr8
Beethoven, being a bridge between the Classical and Romantic eras, wrote many pieces influenced by both times. The Pathétique Sonata also follows a typical sonata form with 3 movements, the first movement being the most popular to be performed as a solo. The first movement, Grave, also follows sonata form with an introductory theme before introducing three main themes in c minor, e-flat minor, and E-flat Major, respectively. The development contains variations on all three themes and the introduction

Although the symphony is written in the key of C major, Beethoven begins the introduction with a PAC in F major in measure 1. He immediately moves away from this key as measure 2 begins with a V7 (G7 chord), which looks as thought it might resolve to the expected I chord in C major. However, this forms an interrupted cadence (V-vi), as Beethoven substitutes an A minor chord for the expected C major chord on beat 3 of the second measure. There also seems to be a modulation to G major with the use of F# in mm. 3-4, but this is immediately neutralized it in the violin parts in measure 4. The sense of an established key is further negated by the violin melody in measure 4 with a G#, which rises to an A, thus acting as a chromatic passing note. This completes a rising chromatic melodic line (F# – G – G# – A) in the violin parts, which also weakens any sense of G major tonality. Although measure 5 seems to move toward the C major tonality with the V7 (G7 chord), the effect is weakened by the 1st inversion resolution in measure 6, as well as the C# passing tones in the violin part. In mm. 8-10, there are G#s in the bass and bassoon parts leading to an A minor chord in measure 10 instead of C major. The tonal ambiguity continues though measure 12 with F#s occur in a rising G major scale in the strings, only to be dismissed at the last second with naturalized F in a descending flurry which leads into the Allegro.