Mozart And Haydn Comparison

Mozart And Haydn Comparison
Wolfgang Amadeus Mozart and Franz Joseph Haydn are two of the many great classical composers
of their time. Although some of their work may have been underappreciated at the time, their music
is greatly acknowledged, if not well–known, today. Both composers were from Austria, and both
created beautiful classical music. However, there are notable differences in their pieces. This could
be due to their personalities, historical context, or instruments of preference. Franz Joseph Haydn is
called the "Father of the Symphony." He displayed talent in music from a very early age and at eight
years old he was accepted as a choirboy at Stephen's Cathedral in Vienna. This was just the
beginning of his lengthy career, since he lived to be seventy–seven years old. According to the
textbook, in total Haydn composed twelve operas, more than a hundred symphonies, around seventy
string quartets, more than fifty keyboard sonatas, and a large amount of choral music, songs, and
chamber music. When it comes to Haydn's music, the people of his time would say that he
composed lively music. This could be labeled as underappreciation since Haydn's compositions
included quite innovative and unique qualities, which were admired by many composers after him
(including Mozart). Haydn's operas were also special in that he explored emotions in a wider range.
Haydn also invented what is called "false recapitulation," which meant that he would arrange the
music in such a way that it seemed
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The Orion String Quartet and Nash Ensemble: A Concert...
"Mozart for Four
Mozart: String Quartet in F Major, K 590
Mozart: Piano Quartet No. 1 in G Minor, K 478
Performed by the Orion String Quartet and the Nash Ensemble" (gardnermuseum.org) For the
purposes of this assignment I choose this particular concert because I find Mozart's music to be
intellectual and engaging, requiring deep concentration and an open mind to be able the comprehend
the depth of his musical visions. In this paper a will attempt to explore the qualities I like and dislike
in the pieces presented in this concert and endeavor to analyze the "Piano Quartet No. 1 in G Minor,
K 478". I thoroughly enjoyed this concert from beginning to end. The opening piece, "String
Quartet in F Major, K 590", was both soothing and ... Show more content on Helpwriting.net ...
He is not afraid to bring a note of disquiet or to bring emotion, however slight to the music he
creates. This work is a classic example of the string quartets of the time bringing to life the violin,
viola and cello in a gripping way. This piece is a work from Mozart's later years and was written
with King Friedrich Wilhelm II of Prussia in mind.
In the second piece in the concert, Mozart show us the depths that the piano can bring to music by
composing complex movements that were thought, at the time, to be too difficult for the average
listener to understand. This piece is a good representation of chamber music; a genre for intimate
setting that can focus on a few as two performers up to as many as nine. Mozart produced many
pieces fort h piano, but this one brings complexity and depth to the listener and opens the doors to a
new vision of what this composer can create.
During the opening movement, the piano and the violin duel with each other for dominance each
with its own motive. Then the two melodies seem to find a more even balance with each other.
Toward to end of the movement the two start to battle again bringing a degree of energy and drama
to the composition. The second movement is a bit lighter with a cherry piano melody that is
interesting counterpoint to the violins more passionate feel. The other instruments add depth and
texture to the movements but seem to be merely an afterthought in the music.
The piano solo in the

The Golden Age Of Chamber Music
Franz Joseph Haydn Down the history of music, the classical era was known as the golden age of
chamber music. This chamber style of music was largely established by Haydn, Mozart, Beethoven
and Schubert. Joseph Haydn was one of the most prolific composers amongst the first Viennese
schools (Haydn, Mozart, Beethoven), in the classical era. Joseph Haydn was born in Rohrau, a little
Austrian village not far from Hainburg in the year 1732 on March 31st. His parents were of a poor
background but loved music and hard work, maybe it is to say Haydn got his working ethics from
the teachings of his parents. Haydn had always been exposed to ... Show more content on
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At the cathedral, he was taught to sing and play the violin and the piano. He was also taught other
school studies like Religion, Latin, Writing and Arithmetic. Unfortunately, he was dismissed from
the choir with reason being that his voice sounded terrible along with the coming years.
Nevertheless, He was still hardworking and industrious and sought to seek help from people like
Metastasio, (a poet) and Nicholas Porpora, (his singing master) who taught him how to compose
music. Haydn was becoming famous and later got to meet Gluck, (the opera composer), Wolfgang
Mozart and his father Leopold Mozart. Later on, Haydn attracted the attention of the music loving
aristocracy of Vienna. At the age of 29, he was invited to become the music director (or vice–
capellmeister as it was called) to the family known as the Esterhazys of a great man, Prince Paul
Nicolaus Esterhazy. They were a wealthy Hungarian family known for their patronage of the arts.
This was otherwise known as the patronage system which was famous during the classical period
whereby kings, popes and the wealthy provided support and privileges to musicians or artists; in
return, they create more music or art for their sponsors (patrons). Haydn had in possession an
orchestra, an opera company, a

The Contribution Of Antonin Dvo ?� Ak ( 1841-1904 )
Antonín Dvořák (1841–1904) was one of the most versatile and prolific composers of the nineteenth
century, reaching into almost all genres of music from piano miniatures to comprehensively
conceived vocal–orchestra compositions. His output encompasses nine symphonies and fifty–five
other orchestral pieces, eleven opera, eleven works for chorus and orchestra, nine small choral
works, thirty–five sets of songs and duets, fifty–five chamber works for various combinations of
instruments, and thirty–two sets of short pieces for piano. In each of these areas he created works
that can be considered masterpieces in their genre.
Dvořák was arguably the foremost representative of Czech culture in an international context. His
music captured the ... Show more content on Helpwriting.net ...
He was the oldest of eight children. His father, a music lover, played violin and zither to entertain
his guests, and also played in the village band.
Dvořák's musical journey started when he was six years old. In 1847 he received his first musical
education on entering the village school, where he learned singing and violin from the teacher and
Kantor Joseph Spitz. His musical talent was evident when he was still a child. During his childhood,
he had the opportunity to play in church and with the village band, which performed the usual
repertory such as polkas, mazurkas, marches, and waltzes.
His parents saw his talent in music, and they sent him to live with his uncle at the nearby small town
of Zlonice in 1853 when he was twelve years old, where he could continue to learn German,
essential in Bohemia at that time. There, he could also continue to learn music. As a consequence,
his musical education continued to grow under the guidance of the church choirmaster Joseph
Toman and by the Kantor Antonín Liehmann, who was the principal of his school. Antonín
Liehmann taught him violin, piano, organ, figured bass, and music theory. Three years later, in
1856, Dvořák continued the study of organ and music theory with Franz Hanke while he attended
the German municipal school in the

Essay on Haydn and Mozart
Between the years 1782 and 1785, Wolfgang Amadeus Mozart wrote six string quartets which were
dedicated to his friend and fellow composer, Joseph Haydn. These quartets, known as the "Haydn
Quartets," were among Mozart's "first six masterpieces in the medium" (Keller, 64). In composing
these works, Mozart was inspired by Haydn's recently published Opus 33, which is also a set of six
string quartets. When Haydn wrote his Opus 33 in 1781, it was the first time he had written for the
string quartet in a period of ten years. With the six pieces of Opus 33, Haydn established a style of
chamber music that he described as being in "an entirely new, very special manner" (Pauly, 45). At
the same time, it had also been nearly 10 years since ... Show more content on Helpwriting.net ...
The royalty of the time was especially interested in having small instrumental groups play at their
social gatherings and official events. The music of these small groups was known as chamber music,
because it was usually meant to be performed in a royal patron's private chambers (Rosenstiel, 547).
In order to suit the tastes of the aristocracy, this type of music was generally light and elegant. Both
Mozart and Haydn were masters of the classical style. Haydn, born 24 years before Mozart, was an
innovator in the development of the style. Mozart followed Haydn's lead and went even further by
becoming a true master of classical forms. Mozart's works also show a strong sense of emotion,
which adds to their power.
Haydn wrote more than 80 string quartets during his long career. By the early 1770s, "the four–
movement format was standardized" in Haydn's quartets (548). After an exciting first movement in
sonata–allegro form, Haydn often used a minuet for the second movement. The third movement was
usually a slow piece and the fourth movement was usually another up–tempo form like the first
movement. This order of movements differed from the traditional order, in which the second
movement was a slow piece and the third movement was a minuet. By changing the order, Haydn
expressed an element of the classical style, because the four movements are balanced in terms of
their "expressive weight" (Rosen, 280).

Richard Muhlfeld 's His Quintet For Clarinet, 2 Violins,...
In his Quintet for Clarinet, 2 Violins, Viola, and Cello Op. 115, Brahms creates an important and
influential work in the chamber music repertoire. By writing his Quintet for the specific clarinetist
Richard Mühlfeld's artistic brilliance, and by taking musical liberties with conventional forms and
expectations, Brahms crafts the intimacy and seriousness one has come to expect from chamber
music. Towards the end of his life, Brahms had intended on retiring from composing. Around 1891,
the Meiningen orchestra, with whom Richard Mühlfeld held his career with, frequently featured
Brahms's music at well known festivals in the area. Previous to meeting Mühlfeld, Brahms had no
interest in centering his writing onto the clarinet. He felt the ... Show more content on
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The Joachim Quartet concerts were known for being a major series performing strictly string
chamber music. Brahms had convinced Joachim with his manuscripts that the work was worthy of
the sacrifice of adding clarinet and piano to the series. The highly regarded reputation of the
Joachim concerts certainly allowed for the seriousness of the Quintet to be featured, for all of the
cleaver composition techniques Brahms employed were certainly appreciated by the intellectual
audiences the Quartet frequently attracted. The Quintet follows the general guidelines for form that
audiences of the time have come to expect from serious string chamber music pieces. The first
movement acts as a Sonata form with some unexpected variation, the second as a three–part song
form. The third and fourth movements begin to some unconventional practices. In the third, instead
of a scherzo movement in 3/4 time, we get a sonata allegro in 4/4 and 2/4 time. In the fourth, the
audience gets a theme and variations, but the tempo is considerably slower than what one would
normally expect from a concluding movement. In 1891, the only memorable clarinet quintet was
composed by Mozart. If one were to come into a performance of the Brahms Quintet with Mozart's
Quintet in mind, they would expect the clarinet to take the most important role, with the strings
accompanying more often than not. This is certainly not the case in Brahms's work, as the

Franz Schubert Research Paper
Biography of Franz Schubert *No Works Cited Many prominent musicians produced major works
during the romantic period. Among these are Beethoven, Strause, and Bach. But the musician that I
think had the most impact, was Franz Schubert. Franz Peter, born on 31 January 1797 was one of
fourteen children born of Franz Theodore Schubert and Elisabeth Vietz, four of which survived. He
grew up in an apartment that daily converted to a classroom in which his father taught several
elementary school classes. He received a thorough basic education; his father being a good teacher,
and son being a bright student. From his father Franz also learned to play the violin, and from his ...
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He was orderly and disciplined in his creative musical life and rather free spirited in his social life,
spending evenings in Vienna's numerous cafes. Never successful in obtaining a steady position, he
was largely supported by his wealthy male friends, occasional funds from publishers, and such
short–term positions as a foray to Hungary to teach the wealthy Esterhazy daughters. Schubert is
music history's first bohemian. Schubert lived the whole of his life in Vienna, a city much
overshadowed by Mozart, Beethoven, and Haydn. With the rise of a middle class society, opera
houses and concert halls were very much a part of everyday life. Vienna, however, was also under
great political stress during this period, constantly at odds with France. When Schubert was an
adolescent, Vienna was invaded and occupied by Napoleon. Schubert lived in a climate both
preoccupied by music, occupied by French armies, and governed by oppressive political
administrations. In his music can be heard the cheerfulness of stoicism and the influence of the
common man being invited into the sphere of art music. A significant characteristic of Schubert's
life is the blending of his devotion to compose and his need for socializing. His circle of friends,
which included artists, poets, and musicians, would often gather to hear the music of their composer
friend, who they affectionately nicknamed "Schwammerl". These gatherings came to be known as
"Schubertiads". This was the

Biography Of Felix Mendelssohn 's ' The Mendelssohn Quartet '
The piece my ensemble piece will be performing is the Mendelssohn Quartet Op.44, movement 1.
The composer, Felix Mendelssohn was born on February 3, 1809, in Hamburg. Germany. As a son
of Moses Mendelssohn, who was a successful banker, Mendelssohn was born into a very wealthy
family, which gave him certain advantages such as providing him a rich and ideal cultural setting for
his artistic mind to flourish. His received good education as well. While Mendelssohn's father
disliked Jews that converted from Judaism to Christianity to gain social acceptance outside of the
jewish ghettos, Felix still ended up following Christianity, and even baptized his whole family in the
name of Jesus. When Mendelssohn was a child, his family moved to Berlin where he would meet
Ludwig Berger. Felix took piano lessons from Berger and also studied from Karl Zelter on
compositions. In the early 19th century, Mendelssohn quickly established himself as prodigy and
displayed an interest in arts and music thru his ability to perform on the piano and violin, as well as
painting. At the young age of nine, he made is public debut and during his childhood he had written
five operas and eleven full orchestral symphonies. In the late 1810's, Felix Mendelssohn took part in
the Singakedemie Music Academy, where he wrote numerous pieces such as multiple violin sonatas,
a cantata, two piano sonatas, and a short opera. In 1821, Karl Zelter took Mendelssohn to the port,
Johann Wolfgang von Goethe. Immediately,

Franz Schubert
Life of Franz Schubert.
Franz Peter Schubert (Schubert) is one of the great Austrian composers in the Romantic era. He is
famous for songwriting, which he has written over 600 songs (Burkholder 598). He was born in
1797 in Himmelpfortgrund, the suburbs of Vienna, Austria with the great talent in music (Brown).
His father, Franz Theodor Schubert, was a schoolmaster and an amateur musician. Schubert's father
was teaching music to his own children by himself. Shubert started showing his great music talent
and won a scholarship to study music in a boarding school in Vienna. At the school, he had private
lessons from Antonio Salieri, a composer who is famous for his operas and kept taking lessons from
him even after Schubert left the school due ... Show more content on Helpwriting.net ...
The work consists of four movements, Allegro, Andante con moto, Scherzo, and Presto. The
subtitle, "Death and the Maiden" was named after his previous song work, which contains the same
themes as the string quartet. One of the unusual features of this string quartet is that the all
movements are written in minor keys while typical string quartets contain movements in both major
and minor keys. (It modulates into major keys but tonal centres stay in minor keys.) That must
reflect his feeling regarding his hopeless future because of the illness he contracted in the same year.
I chose the second movement of the string quartet to arrange since I found that unusual feature of
the key as stated above, while the second movement of typical string quartets tend to be written in
major key if the first movement is written in a minor key. Besides, the 2nd movement is written in
the form the variation by using the accompaniment of his previous song work "Death and the
Maiden"(Rothwell). Finally, I arrange the movement for piano solo because it would be to reach a
rather than a string quartet and I would like to show pieces that are written for other instruments to
people who don't have much opportunity to listen to classical chamber music at a

The Austrian Composer : Franz Of The Formal And Structural...
The Austrian composer Franz Joseph Haydn (1732–1809) was arguably the founder and developer
of the formal and structural principles of classical style. His work included hundreds of symphonies,
string quartets, and instrumental sonatas. Haydn was an innovator and many composers after him,
modeled his style.
FOUNDATIONS
On March 31, 1732, Franz Joseph Haydn was born in the charming village of Rohrau, Lower
Austria which is on the Hungarian border. Joseph, called Sepperl by his German parents, was born a
peasant boy. Haydn's father helped the village head to build and repair wooden wheels. His mother
worked as a cook in the Palace of Count Harrach before she married. Remarkably, neither of
Haydn's parents could read music, but his father was a self–taught harpist. Hadyn's father and
mother had 12 children. Anna Maria died in 1754 and Mathias remarried and had five more
children, all of whom died in childhood. Luckily, Haydn's parents recognized and supported his
talent for music. At age five, he became the music students of a schoolmaster at Hainburg, Johann
Matthais Frankh. At 8 years old, he worked at the Cathedral of St. Stephen 's in Vienna as a
choirboy. By 1749 his voice had changed and he was no longer able to sing high choral parts. He
played a joke on a fellow classmate by cutting off her ponytail. This resulted in a severe lashing and
his dismissal from school. After being dismissed, Haydn had no place to stay, and his family could
not help him financially.

Franz Schubert: A Biography and Musical Analysis Essay
Franz Peter Schubert, born January 31, 1797, is accredited as one of the most gifted musicians of the
19th century ("SCHUBERT"), and is considered to be the last composer of the classical era and one
of the first romantic composers (The Biography). His relentlessly impoverished life was short in
comparison to many people of the era – his death was on November 19, 1828 (two months shy of
his 32nd birthday) – and his music was generally unrecognized and unappreciated during his time,
but his exemplification of romantic lyricism and immense amount of composing, which
encompasses approximately 600 liturgical music scores and lieder (lyric songs); nine symphonies
that truly represent the era of classicism; several pieces for the stage; choral ... Show more content
on Helpwriting.net ...
Salieri acclaimed Schubert as a "musical genius," and the two would continue working together
until separating in 1817 (The Biography). While in the seminary, Schubert attended choir practices,
practiced chamber music and piano, and performed as a violinist in the students' orchestra. He was
soon given a leadership role and sometimes conducted when Ruzicka was absent. While Schubert
was in the seminary, he wrote his first songs, including "Hagars Klage" (Hagar's Lament, 1811) and
"Der Vatermörder" (The Patricide, 1811), which captivated many of his teachers, with one teacher
noting that Schubert "had learned everything from God" (Forney 273). As with most men, puberty
altered Schubert's voice. Unfortunately for Schubert, this meant the end of his early success, as he
was required to leave the seminary in 1813 ("SCHUBERT"). Soon after his dismissal from the
university, Schubert wrote his first symphony (1813). He was then pressured by his parents into
studying at Normalhauptschule, a teacher's training college in Vienna, as they wanted him to pursue
a career of education rather than music (Forney 273). He then began working as an

Chamber Music Concert
The concert that I went to was Masterworks Series in BargeMusic, New York City's floating concert
hall, located in Brooklyn. It was a classical chamber music concert, compose by two instruments of
the string family of cello, and violin and in the percussion section the piano. The selections played at
the concert were; Barber(1910–1981) Sonata for Cello and Piano in C minor, Op.6. Beethoven
(1770–1827) Sonata in C Major, Op 102 No.1. Weber–Piatigorsky(1786–1826) Sonata No 5 in A
Major, Op.10b, J.103, and last but not the least Beethoven(1770–1827) Piano Trio in E–flat Major,
Op.70 No.2. During the concert there was a small intermission of about 15–20 minutes. I really
liked the concert, but what I loved the most was the final set in Piano Trio

Bronx Arts Ensemble: Chamber Music Concert Review
For my first concert report of this semester, I attended the Chamber Music Concert put on by the
Bronx Arts Ensemble. The performance consisted of three chamber pieces from the classical and
early romantic periods; "String Trio in B Flat Major, D. 471" by Franz Schubert, "Quartet in E Flat
Major, Op. 2 No. 1" by Bernhard Henrik Crusell, and "Divertimento in E Flat Major, K. 563" by
Wolfgang Amadeus Mozart. Each song was played in true historic fashion (although we only heard
four of the six movements from Mozart's composition), and it was very stimulating to be able to see
the music we have been listening to in class being played live. The first song that we listened to,
composed by Schubert in the early renaissance period, was very light and airy. However, certain
sections within the piece did have aspects of dissonance, creating a dramatic contrast to the
otherwise playful melody. In addition, I noticed that the composition was clearly in sonata form,
with four evident themes (one of them in cadence) repeated and developed quite consistently. Even
though I did ... Show more content on Helpwriting.net ...
2 No. 1" by Crusell was my personal favorite of the concert. Bernhard Crusell was an early romantic
composer and notable virtuoso of the clarinet; he is known as one of the first to incorporate the
instrument into his music. Moreover, he was especially inspired by Mozart, and this inspiration is
heavily reflected within his compositions. This particular piece was played for us by a quartet
consisting of a cello, viola, violin, and (of course!) a clarinet. To my ears, it almost seemed that the
clarinet was somewhat of a leader for the other instruments, providing a springy and peaceful
contrast to the lower, fast–paced, and seemingly darker melodies of the string instruments. This
contrast was perhaps one of the most enjoyable parts of the composition for me; it made the music
feel suspenseful, fearful, and somewhat flirtatious all at the same

Joseph Haydn Research Paper
Franz Joseph Haydn is one of the most recognizable names and characters of the Classical era. He is
recognizes as the inventor of the string quartet, and tutored many other easily–recognizable
musicians such as Ludwig van Beethoven and Amadeus Wolfgang Mozart. Haydn's first experience
with music was when he was eight, and he was recruited to sing as a choirboy at St. Stephen's choir
in Vienna. He eventually came to love the keyboard and violin, and supported himself in his early
years by teaching and playing violin. His most famous pieces include: the "Rider" quartet and the
Surprise, Military, Drumroll and London symphonies. The listening example: Symphony no. 94 is
known as the Surprise Symphony, and is the second of the twelve London Symphonies. ... Show
more content on Helpwriting.net ...
This love of Amadeus stems from my father showing me the movie "Amadeus" as a young boy.
Opera Seria refers to a very serious opera, this style of opera was the predominant style in Europe,
and was typically performed for royalty and individuals of the more affluent social classes. A non–
mozart example of Opera Seria is Rinaldo by George Frideric Handel
Opera Buffa refers to a genre of opera that is more comical in nature, and was written for the lower–
echelon of people... i.e. 'peasants'. Mozart authored many of these vaudevilles in order to support
himself when times were not great. Typically, Opera Buffas were light–hearted and sweet with
happy endings, a polar opposite of the tone of Don Giovanni. A non–Mozart example is: "Giovanni
Battista Pergolesi's La serva padrona".
Singspeil refers to a type of opera in the German language, which was rare in these days. German is
a very rough language when compared to the typical language that opera was performed in: Italian.
Typically, a Singspeil was very comical in tone and nature, yet in the hands of Mozart, it was
transformed into a more serious performance. Mozart's work, The Magic Flute, is probably the most
well–known singspeil. A non–Mozart Singspeil composer is Johann Adam

History of the Viola's Role in Part-Writing for Chamber Music
Carolyn Hunter
Music 700
November 1, 2009
Mini–Research Paper #2
History of the Viola's Role in Part–Writing for Chamber Music
There is considerable debate amongst scholars as to whether the birth of the viola preceded or
succeeded that of the violin. However, iconographic and documentary evidence indicate that the
violin, viola, and cello most likely evolved together as a family of instruments very early in the
sixteenth century and almost certainly in northern Italy.
Part–writing for the viola in chamber music has changed dramatically over time. By the end of the
seventeenth century, while the violin had remained popular in chamber music, the viola was very
much neglected. It was not until the end of the eighteenth ... Show more content on Helpwriting.net
...
The end of the eighteenth century marked a change in the treatment of the viola in chamber music.
The change "came about partly because a basic concept of late eighteenth century chamber music
was that a single player played each part (thus setting chamber music apart from the orchestra where
each string part . . . was played by several players)."[2] A greater equality of part writing can be
observed in the mature chamber music, especially string quartets, of Mozart and Beethoven. In
Mozart's last string quartet (K. 590, 1790), the part writing is equalized, and solos are given to the
viola, with a considerable degree of virtuosity demanded of the instrument. In the passage below,
the first violin states the melody and then two bars later the viola plays the same passage just an
octave lower. Example 1. Wolfgang Amadeus Mozart, String Quartet no. 23, k. 590, 1st Movement,
mm. 51–54[3]
[pic]
This example clearly demonstrates equal part–writing for the viola with that of the violin or the
other instruments. In conclusion, it is difficult to answer the question as to why the viola fell out of
favor in chamber music from the time period following its birth in the early sixteenth century to the
end of the seventeenth century. One possible reason is that no parts of

Chamber Music Concert
Concert Report
On Monday April 10, 2017 I had the unique experience of attending the Chamber Music Concert. I
found out about the event through the moodle page and it seemed like a good fit for my first
classical music concert. The venue for the concert was Bezanson Recital Hall where the concert
promptly started at 7:30 P.M. It was a free event and so therefore the seating was first come first
serve or general admission. As I arrived at the concert, light illuminated from the center stage where
the first musicians eagerly awaited to perform. As I looked around I witnessed many people in the
auditorium which seated about 200 people. The crowd ranged from middle–aged men and women to
students supporting the arts and their friends. As everyone ... Show more content on Helpwriting.net
...
As I mentioned, I had never been to a classical music concert before and for this reason did not
know what to expect. I have not listened to much classical music in the past and was honestly
slightly skeptical about how thing would go. Typically the concerts I attend are very loud and with a
lot of crowd noise as they are more mainstream. This classical concert contained very interesting
works of music and was different in that the audience was silent as the musicians performed.
Everyone seemed to be more intrigued to simply listen and hear the works of art that these
musicians were putting on display. I found the event to be very relaxing and interesting with some
of the background knowledge I have acquired throughout the semester. I was able to grasp and take
in the experience more due to the knowledge I have progressively gained about music throughout
the semester. It allowed me to listen in a different way and focus on certain things rather than just
the overall sound. All in all, this was an eye–opening experience that allowed me to take in and
appreciate the art of classical music along with the skills these musicians

Franz Joseph Haydn : The Founder And Developer Of The...
The 18th Century composer, Franz Joseph Haydn, was arguably the founder and developer of the
formal and structural principles of classical style. His work included hundreds of symphonies, string
quartets, and instrumental sonatas. Haydn's innovation and style created a model for many
composers after him.
FOUNDATIONS
On March 31, 1732, Franz Joseph Haydn was born in the charming village of Rohrau, Lower
Austria which is on the Hungarian border. Joseph, called Sepperl by his German parents, was born a
peasant boy. Haydn's father helped the village head to build and repair wooden wheels. His mother
worked as a cook in the Palace of Count Harrach before she married. Remarkably, neither of
Haydn's parents could read music, but his father was a self–taught harpist. Hadyn's father and
mother had 12 children. Anna Maria died in 1754 and Mathias remarried and had five more
children, all of whom died in childhood. Luckily, Haydn's parents recognized and supported his
talent for music. At age five, he became the music students of a schoolmaster at Hainburg, Johann
Matthais Frankh. At 8 years old, he worked at the Cathedral of St. Stephen 's in Vienna as a
choirboy. By 1749 his voice had changed and he was no longer able to sing high choral parts. When
Haydn played a joke on a fellow classmate by cutting off her ponytail, he was met with a severe
lashing and dismissal from school. After being dismissed, Haydn had no place to stay, and his
family could not help him financially.

Chamber Music Progression
Over the past few years, chamber music has been an integral part of my life and career as a musical
artist. I would not be the musician I am today without having collaborated with some of the most
inspiring people I have ever encountered, whether they are world–class experienced artists or young
musicians that are just starting out. My life would not be complete without combining a career of
chamber music and solo performances and over the past few years. I believe they both provide very
different challenges and one cannot be a complete musician without maintaining a balance between
the two. Solo concertos teach you about the most challenging technical issues and sound production
you will encounter. But the way chamber music develops your listening ... Show more content on
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It was through chamber music that I met JP, performing in a concert at Baruch College in New York.
We quickly realized how much we had in common; both of us had come from Spanish speaking
countries to New York City to study and create a path for ourselves. Discussing musical ideas and
composers, we both discovered our common love for Bernstein's Serenade for violin and orchestra.
After much thinking and planning, four orchestras came on board (Alabama Symphony, San
Antonio Chamber Orchestra, Metropolis Ensemble and Balearic Islands Symphony Orchestra) to
co–commission a double concerto to honor Bernstein's Centennial in 2018. Chamber music brought
us together and we were happy to put our minds to work and come up with an interesting project.
We are now in the planning stages for all the other performances outside the co–commissioners and
excited to bring it to a variety of places and people in the next few years. It will hopefully aid
expanding the repertoire and the connections through different music genres and audiences, just like
Bernstein did decades

Chamber Music Spectacular
On November 2nd, 2016, The First Ontario Performing Arts Center held the Chamber Music
Spectacular, showcasing the Walker String Quartet featuring Zoltan Kalman (Clarinet). The
performers in The walker string quartet includes Vera Alekseeva (violin), Anna Hughes (violin),
Gordon Cleland (cello), and Andrée Simard (viola). The ensemble performed twelve exquisite
classical pieces by Brahms, Mozart and Haydn. They were positioned at the front and center of the
stage, with the clarinet placed relatively in the middle of the group, allowing the audience to have
clear and concise hearing of the instruments. Upon entering the concert hall, there was a hint of
formality and anticipation for the music that is to be performed prior to the commencement ... Show
It was interesting watching the interactions between the players as they organize and time
themselves accordingly without a conductor. They all constantly made eye contact and used
exaggerated body language to keep in time with each other and to know when to start the pieces.
Gordon Cleland directly interacted with the audience before the second piece, explaining the
development of the composition and stories of Haydn. This was evidently appreciated by the
audience as it permitted them to understand the piece better and appreciate the development of the
melody more. Overall, the content and happiness is obvious in all the performers as they all seemed
blissful with playing this piece. This radiated throughout the hall as the audience can feel the
enthusiasm behind the performance, allowing them to appreciate and enjoy the concert further.
Being this was my first classical music concert, I was extremely intrigued by the performance. It
was fascinating to watch the performers as they became engrossed in the music. It altered the means
I listened to the music performed as I started becoming captivated in the melody alongside the
musicians, which opened me to appreciate the pieces more. So many different emotions were
provoked through listening to the music live which made the concert such an extraordinary
experience. The Chamber Music Spectacular was

How Dmitri Shostakovich Adhere From The Conventions And...
In this essay I will be discussing the extent that Dmitri Shostakovich adhered to and rebelled from
the conventions and traditions that were normalized in classical music and I will offer varied
examples of the many times Shostakovich has obeyed and dissented within music throughout his
career. The career span of Shostakovich extends from 1926 when he presented his first major work,
Symphony No.1 to 1970 when he presented Quartet No. 7.
Born Dmitri Dmitrievich Shostakovich on the 25th September, 1906, in St. Petersburg, Russia, the
composer began his descent into classical music at the age of 9, before later moving on to study at
the Petrograd conservatory. Throughout his life he compiled 15 symphonies, 15 string quartets and
36 film scores as well as many other compositions. Within his musical work and the course of his
career Shostakovich managed to both adhere to traditions set within classical music as well as
dissent from them, I will be exploring these.
I would first like to address what traditions are associated with classical music to highlight how
Shostakovich dissented from these.
I will begin by briefly explaining the definition of chamber music, the definition of chamber music
is "Instrumental music played by a small ensemble, with one player to a part, the most important
form being the string quartet." (www.oxforddictionaries.com)
Traditionally chamber music was often intended for a small and intimate audience rather than for an
orchestral performance that

Heard-Chamber Music Concert Analysis
I am seeking funding support from the Office of the President for three concerts to be presented by
the Bucknell University Orchestra in this spring semester (2016). The three concerts belong to a
series entitled The Bucknell Orchestra Semester of Social Justice. The first program, entitled The
Struggle to be Heard– Women and the Symphony, will commemorate International Women's Day,
and feature classical works and original film scores of great women composers from the 20th and
21st centuries. The second concert, The Struggle to be Heard– Chamber Music of Diverse
Composers, will feature chamber music composed by women, African American, gay and
transgendered composers, performed by students from the Bucknell Orchestra and Music
Department Faculty. The third and final concert, The Struggle to be Heard¬– Music of Social
Justice, will present music inspired by some of the most significant social justice issues of the past
and present, most notably Aaron Copland's A Lincoln Portrait, and Elmer Bernstein's film score to ...
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By showcasing traditionally underrepresented voices and placing important social justice issues in a
musical context, the project will educate, encourage dialogue, and improve the campus climate for

The Creation Of A New Medium : The String Quartet
Franz Joseph Haydn was an essential creator in the genres of classical music, and he played a huge
role in influencing other great composers. Hayden was known for "The Creation of a new medium:
the string Quartet" (Burrows 102), and the evolution of the Classical Era. At eight years old, Franz
Joseph Haydn sang in the choir at St. Stephen 's Cathedral in Vienna. While at St. Stephen's
Cathedral, Hayden learned to play the violin and keyboard. Later after leaving the choir he studied
counterpoint and harmony. Haydn worked for the courts of the influential Esterházy family.
Working with the family, he was able to hire his own musicians and experiment without limitations.
In 1790, Hayden was commissioned by Johann Peter Salomon to write six symphonies for London.
These symphonies were so popular that Salomon requested an additional six symphonies for the
concerts in London. On the first tour of London, Hayden wrote Symphony No. 95, the composition
had four movements, typical of a symphony, and string quartets. The string quartet did not have
many structural forms or procedures prior to Hayden's involvement. Hayden chose to structure and
to incorporate the string quartet into his movement. Hayden broke down the material into notes that
developed the usage of the string quartet.
In the Symphony No. 95 in C Minor, first and second Movements, Hayden used a variation
movement form that changed in the themes so that the audience wouldn't be bored. The variations of
his

Who Is Luigi Boccherini?
Luigi Rodolfo Boccherini is an Italian composer that has around 500 published works. He was
married twice, and had seven children, all of whom would die before Luigi. This would put great
stress on the composer as he neared the end of his own life. He worked for many different masters
as a composer and performer. Notably, Boccherini worked for the Infante Don Luis, the Counts–
Dukes of Benavente–Osuna, and King of Prussia, Friedrich Wilhelm II("Asociación Luigi
Boccherini."). Luigi lived a long life, and was able to compose a variety of works in different
genres. Luigi Rodolfo Boccherini was born February 19, 1743 in the town of Lucca, Italy and died
May 28, 1805 in Madrid, Spain. Luigi was an Italian composer who played the cello and he is noted
to have affected the development of the string quartet as a music genre. Boccherini was the first
composer to write music for a quintet of string, a quintet of strings and a piano and has also
composed approximately 500 musical works, which include symphonies, concerti, and sacred
music. Boccherini wrote in a polyphonic style that was inspired by works of Giovanni da Palestrina
and Arcangelo Corelli. Luigi Rodolfo 's father, Leopoldo Boccherini, was a double–bass player, and
his brother Giovanni Gastoni Boccherini was a notable poet and dancer who wrote librettos. Luigi
was taught from an early age by a musical director at the local cathedral. At about 13 years of age,
he went to Rome to be educated by a renowned cellist

The Musical Show At Madison Square Garden Or Barclays Center
On Thursday, December 11 at 12:30 pm, I attended the musical show in Studio 312 of the Roosevelt
Hall. It 's not the typical performance expected when thinking about attending a concert. Most
people of this generation would assume it 's some performance by a famous artist at Madison
Square Garden or Barclays Center. As the title explains, it is chamber music and is a different
experience. As for the attire, everyone who took part of the performance were dressed in all black.
There were various instruments used such as the harp, piano, viola, flute, guitar, clarinet, violin, and
voices ranging from the soprano, mezzo soprano, tenor, and baritone. The flute, viola, and harp
opened the program for the Chamber Music for Winds and More. It was an impeccable trio. I haven
't ever actually heard a harp when it 's at least 100 feet from me and I can say it was quite beautiful.
The studio was not a very big one which worked to everyone 's advantage. There wasn 't a need for
amps or speakers as the instruments were heard very clearly and experienced at its pure sound. The
movement entitled "Siete canciones populares" was my favorite out of the entire show. Although the
songs were not in English and in Spanish instead, they were still able to grab my attention. I 've
actually heard that passively and actively listening to songs in other languages can help you retain
the language. It 's a gift for language or cultural learners. The mezzo soprano voice and piano
accompaniment

Franz Joseph Haydn's Music
Franz Joseph Haydn (1732–1809), is one of the eminent composers of the Classical period. "He is
best known for his symphonies and string quartets, which established standards of quality, style,
content, form, and expressivity that other composers emulated." Haydn spent most of his career
serving the Esterházy family (1761–90), which isolated him from the music world, but forced him
to become original, as he himself wrote. Carl Philipp Emanuel Bach (1714–1788) greatly influenced
Haydn. He was fascinated by the expressive style of C. P. E. Bach, and adopted its passionate
quality. The majority of Haydn's keyboard compositions are sonatas. His other keyboard works
include piano trios, theme and variations, dances, fantasias, and capriccios. ... Show more content on
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In Carnaval, although Schumann mentioned that the music was written first and the title chosen
afterwards, the titles express his intimate world and musical thoughts. Many titles are representative
of real life people. Chiarina is a portrait of Clara Wieck, and Estrella is Ernestine. His friends and
musical contemporaries are Chopin and Paganini. Some imaginary characters also participate in
Schumann's visionary world. Pierrot, Arlequin, and Pantalon and Colombine are the characters from
the Italian Commedia dell'Arte. Florestan and Eusebius are his alter egos. These real and not real
characters reflect Schumann's personal fantasies, and his aspiration of escaping from reality, even if
it is only done

The History of Chamber Music
The History of Chamber Music
What is chamber music?
It is ensemble instrumental music for up to about ten performers with typically one performer to a
part.
Since circa 1450, there has been instrumental music designed for private playing. These pieces used
many instruments and (in Germany) it was common that the folk songs would contain 2–3
countermelodies to expand and elaborate the whole, and to arrange the outcome for groups of
instruments. Although the pieces were never written for particular instruments, we can, through
art/paintings, reasonably guess that the viol was a predominant early chamber music instrument.
A more important source of later chamber music is to be found in the ... Show more content on
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Parallel to the developments that led from the vocal chanson, in France, to the instrumental canzona,
primarily in Italy, was the development of the dance suite. Early sixteenth–century dance tunes in all
countries of Western Europe usually had appeared in pairs: one was slow, stately in mood and in
duple metre (i.e., with two beats to the bar); the other fast, lively in mood, usually in triple metre,
and often melodically similar to the first. Through much of the sixteenth century, composers in the
several countries sought to expand the dance pair into a unified dance suite. Suites based on
variations of one movement appeared in England; suites in which each of four dances had its own
rhythmic character, melodically based on the first dance, were written in Germany; sets of dances
with no internal relationships to each other were common in Italy. The most influential steps were
taken in France by composers for the lute or the clavecin (harpsichord). Consisting essentially of
four dance forms that were then popular – the allemande, courante, sarabande, and gigue – the suites
they composed were based on contrasting tempos, metres, and rhythmic patterns. The French
version of the dance suite became the prototype for later chamber–music forms.
It was not until the middle of the seventeenth century that two types of composition –

Reflection About Chamber Music Concert
I had the opportunity of attending the Chamber Music Workshop Concert in the Lang Recital Hall,
located in Hunter College. This concert took place on December 6th, of 2017. Directed by Joao
Luiz, this concert featured numerous performers of whom each specializing in different instruments
and "voice". The musical pieces that were played during this concert were very diverse in terms of
the "environment" and "emotion" it conveyed. As suggested by the title of the concert, the
environment was suited ideally for chamber music. Chamber music is a form of classical music
typically composed of nine compositions or fewer or otherwise, a chamber ensemble. It takes place
in ideally, a small intimate hall or setting. The Lang Recital Hall features a ... Show more content on
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After the performance, they would end with a friendly handshake and a bow to the audience. To me,
this shows that there was no major hierarchy taking place. Being that this performance was indoor, I
do believe that there would be a shift of mood if it were to be in an outdoor setting. The
environment would completely change if it were in an outside environment as it creates more of an
opportunity for distractions. As mentioned previously, the lighting in the Lang Recital Hall creates a
center of focus around the performers. Among the participants, some dressed casually, while others
dressed traditionally in a simple suit and tie. There was no strong uniformity in terms of the clothing
that was chosen to be worn. However, among the audience, there was generally a strong uniformity
as most chose to wear casual attire. During this concert, a total of nine compositions were played.
Duo for 2 Flutes Op, 102 n. 2 was played by Yeami Kim and Megan Lyons. Notturno for Flute,
Clarinet and Guitar Op. 21 was played by Joy Setton, Jorge Sanchez, and Lance Piebenga. Rondo
for Three Guitars was played by Lance Piebenga, Phoebe Balazon and Henrri Guillen. Serenade for
Guitar and Piano Op. 50 was played by Henrri Guillen and Carmond Chang. Aria for Clarinet and
Piano was played by Jorge Sanchez and Christoper Calabrisotto. Followed by the intermission,
Suite Buenos Aires was played by

Analysis of Mozart's K. 515 Mvt. 1
Wolfgang Amadeus Mozart
Quintet No. 3 in C major, K. 515
Andrew McGuire
Dr. Burkart
MUSHIS 200
11/19/2012
Wolfgang Amadeus Mozart was a prodigy of his time, and arguable the greatest of all time. This
paper will discuss an analysis of his third string quintet in C major, K. 515. Through this piece in
Sonata Form we will dissect the exposition, the development, the recapitulation, and the coda; along
with an analysis of the quintet we will briefly discuss parts of Mozart's life, as well as look at the
background of the Viola Quintet No. 3 in C Major, K. 515. Wolfgang Amadeus Mozart was born
into a musical family after his sister Nannerl, by his father and mother Leopold and Anna Maria. His
beginnings would originate in Salzburg, ... Show more content on Helpwriting.net ...
As with codas we find our final theme in the piece the part proceeding the measure of rest (see
Figure 5). Delving deeper into the coda we find theme two reoccurring in the tonic key, this time not
segregated by instrument parts. For the first time in the movement we see the two viola parts
obviously playing what is the theme (see Figure 6), right before we see the second viola briefly
mingle with the cello.
Figure [ 6 ]
After the brief return of theme two between the cello and violas we end happily on the tonic of the
piece. Overall I thoroughly enjoyed this piece. Not only this piece but also this assignment. It is one
thing to sit in class and read about and take notes over sonata–allegro form. It is completely another
to be expected to dive deeper into a piece and try to figure out its inner most workings. As a violist I
also appreciate the fact that Mozart went against the normality of the cello quintet and wrote a viola
quintet. The fact he was willing to go against what was expected of him by society makes me
respect him as a composer even more. After a glimpse into the life of Wolfgang Amadeus Mozart,
we have discussed his Quintet No. 3 in C major. Discussed its themes and their placement, as well
as briefly the variations of these themes. We also saw a brief glimpse into history around the time
that the K. 515 and what could be considered

Confessions Of A Key Board Dabbler
Confessions of a Key Board Dabbler
On September 9th I attended my first SWIC Music Faculty Preview Recital at the Schmidt Art
Center. The venue for the afternoon recital was held in the gallery room, a room set up for an
audience of about 50 music majors. In the front of the hall sat a white grand piano on parquet floors;
the walls of the room were adorned with art of varying mediums. Having mucked around on the
piano as a child, I sat enthusiastically as a musical amateur in great awe of anyone with talent of the
keyboard or gift of music of any kind.
The first two pieces in the program were by Austrian composer Franz Schubert 1797–1828. In 1808,
through a competitive examination, the eleven–year–old Schubert was accepted into the choir of the
Imperial Court Chapel as well as the Royal Seminary. He was a shy youth, and spent most of his
spare time practicing and composing alone. When Shubert was fifteen his voice changed and he left
the choir but continued to study at the seminary. As discussed in lecture, each period of music has a
chain reaction between artists who are affected by the events of their environment. Post war 1950's
America had the progression of Jazz with artists such as Charlie "Bird" Parker pushing the limits of
the saxophone to create the bebop sound, echoed in the rhythm of prose of writer Jack Kerouac and
Jackson Pollock's abstract of the brush. Franz Schubert's fellow artists were no different at the turn
of the eighteenth century as the

Chamber Music Scholarship Essay
As a part of the Hartt Community Division, I am currently participating in a variety of different
ensembles. These include Harmony Winds, a chamber group, and Concert Choir. Due to this, my
family has to pay for three different groups, while simultaneously paying for the other extra–
curricular activities that my sister and I take part in. If I were to receive this scholarship, It would
greatly help my family stay within our budget.
My wish to be in chamber music is a result of my belief that it will help me learn new and different
skills. To start with, I will learn how to play in a small group of musicians who play the same
instrument as me. Subsequently, I will also have instruction in a setting that is not one–on–one, nor
in a band setting.

The Father Of String Quartets
Known primarily as the "father of string quartets", Joseph Haydn played an extremely important
role in the development of the string quartet. When the composer first arrived on the scene, the usual
name given to a "string quartet" composition was actually considered a 'divertimento '. This title was
a general term to describe any "one on a part" type instrumental music that was compatible with a
variety of different music scorings, styles and character. It wasn 't until about 1780 that modern
titles/terms such as the quartet and quintet become common for 'serious ' chamber music in the now
standard scoring. (Eisen, Grove, "String Quartet") This change of terminology that happens during
Haydn 's career does not imply that there was nothing 'serious ' being performed on strings prior to
terminology change. In fact, examples of 'serious ' works can be found during Haydn 's op.9 (1769–
70) early divertimentos, with a cello playing the bass line. This serious work of Haydn also
incorporated a new idea within the world of string quartets, a four movement scheme. Throughout
the four movements the textures were varied, having moments of a possible elaborated homophonic
'trio sonata style ', paired with a more contrapuntal polyphonic style.
Another characteristic that encouraged stylistic growth were the various fugal moments being
introduced throughout string quartet music during this time. The Viennese set k168–73 (1773) by
Mozart illustrates an irregular phrase construction,

Concert Chamber Music Analysis
The concert Chamber Music by Two, Three and Four was made up of three different pieces. Each of
the three pieces were composed by, in order, W. A. Mozart, M. Ravel, and J. Brahms. Performing
the pieces were Alicia Eppinga on the cello, Barbara Corbato on the viola, Mark Clinton on the
piano, and Mihai Craioveanu on violin. These musicians performed sub–sections within the pieces
known as movements, which brought their own sense of individuality to the piece while still
creating a sense of unity across the board.
The first piece consisted of piano, violin, and cello. In each of the movements, there were different
musical contexts and styles that lead to the creation of a story– the different phases of life. As the
entire piece progressed, the tonality shifted from being very light hearted, energetic, and happy in
the first movement, to a calmer more relaxing mood in the second, to a more tense and high strung
character in the last. There were more noteworthy characteristics of the piece other than the shifts in
tone. For example, the piano seemed to remain the dominant instrument throughout the whole piece
while the violin and the cello accented it and added depth to the different movements creating a
homophonic texture. Throughout the second movement, the violin and cello mimicked the melodies
of the piano quite a bit as well. Tempos also varied according to the movement, contributing to their
tones. Allegro in the first and last movements created the upbeat and intense

Johannes Brahms : The Crown Of His Chamber Music
Johannes Brahms was born on May 7th, 1833 in Hamburg, Germany into a family that was already
a part of the romantic music scene. His father, Johann Jakob Brahms, was known as a skilled string
and wind performer, and gave his son his first musical lessons. Brahms's parents did not approve of
his early efforts as a composer, as they felt that he had more potential for a career as a performer.
However, the German pianist of the romantic era still dedicated much of his time to his own
compositional endeavors, and had several works published under the pseudonym 'G.W. Marks'.
Unfortunately, he had many of these early works destroyed. Brahms spent most of his professional
life in Vienna, Austria, where he composed for chamber ensembles, piano, symphony orchestra,
chorus, and voice, before he passed away on April 3rd, 1897. Today, he is regarded as one of the
19th century's leading composers.
Brahms dedicated his Quintet for Piano and Strings in F Minor, Op. 34 to Her Royal Highness
Princess Maria Anna Friederike of Prussia. Having completed it in the Autumn of 1864, and
publishing it the following year, it is often referred to as "The Crown of his Chamber Music." Like
most Piano and String Quintets, it is scored for two violins, viola, cello, and two–hand piano.
However, this was not always the case; before being reworked to a quintet for piano and strings,
Brahms's Op. 34 had been set for string quintet, which he found unconvincing, and then again for
two pianos. It was in this

In This Paper We Will Go Through The Development Of The
In this paper we will go through the development of the keyboard through the nineteenth century in
chamber music. We are going to look at three different composers, Joseph Haydn, Ludwig van
Beethoven, and Johannes Brahms. We are going to look and see how they treated the keyboard in
their lives and compositions. For each of the composers we will look at one keyboard chamber piece
so we can learn just a little more about how important it was to each composer and why.
[introduction paragraph to be continued] The first composer we will be looking at is Joseph Haydn.
He was one of the earliest composer of the nineteenth century, living most of his life in the
eighteenth century. Therefore, he becomes the perfect candidate for us to use to ... Show more
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Yes, there were many important composers between Bach and Haydn but Haydn stands out from the
rest. The harpsichord was already in it's decline by Haydn's time and the fortepiano was rapidly
becoming popular among musicians, professionals and amateurs alike. However, it had not yet
become obsolete. There were many amateurs and professional musicians who still owned a
harpsichord or two, including Haydn, who owned a few harpsichords himself. (He owned a similar
harpsichord as the one pictured on the left.) Haydn grew up learning the harpsichord and even
taught the harpsichord when he was a older. Yet, the harpsichord was becoming a thing of the past.
While the harpsichord was not yet obsolete, the way music for the keyboard was being written was
changing. Edward L. Kottick in his book, A History of the Harpsichord, writes that "The dynamics
in the late sonatas of Haydn can be realized to perfection on an English Harpsichord with machine
and swell,...,but Haydn's sonatas are piano music and achieve their full potential only on that
instrument." However, Haydn "abandoned" the harpsichord a few years before the nineteenth
century. Helen Rice Hollis in her book, The Piano – A Pictorial Account of its ancestry and
development, writes: "He [Haydn] urged Madame von Genzinger [a close friend of Haydn's] to buy
a piano saying he could no longer compose for a harpsichord." So right at the beginning of
nineteenth century we already see the

The Most Important Composers Of The Nineteenth Century
Johannes Brahms was one of the most important composers of the nineteenth century. Although he
is forever enshrined in music history as one of the three B's (Along with Beethoven, and Bach),
Brahms' contribution to the musical world is far greater than just the letter B. ("Self Confidence"
par. 9) From his works in orchestral music (such as his four symphonies, and concertos) to his
piano, chamber, and choral music, all of these have had a meaningful impact the world of music,
both in the nineteenth century, and today. (Sandberger par. 1) Johannes Brahms was born in
Hamburg, Germany on May 7, 1833, to Johanna Nissen and Johann Brahms. ("Museum" par. 1)At
the age of 7, Brahms began studying Piano under Otto Marxsen, and Eduard Maxsen. ... Show more
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In 1864, these words came to life in Brahms' first piece, German Requiem. Inspired by the death of
his mother in 1865, he selected bible verses himself for the piece, (Forney 244) and it would be the
piece that launched him into stardom. Clara Schumann even remarked: "Seeing Johannes standing
there with the wand in hand, I had to think over and over of my dear Robert's prophecy, 'let him
wave his magic wand and have his way with chorus and orchestra' that today came to fulfillment."
(Sandberger par. 5) In 1871, Brahms moved into an apartment in Vienna, Austria, and soon became
very successful (in part due to his status as heir to Robert Schumann who passed away in 1856, and
the relative fame of his composition German Requiem). (Forney 244) A year later Brahms would
become the director of the Viennese choral society Singakademie. ("Museum" par.15) Brahms also
traveled widely during this period. He would regularly visit various cities in Germany, Italy, and
Austria, and these would serve as the composing sights for many of his most famous works. In 1889
Brahms became an honorary citizen of the city of Hamburg, and was inducted into the Leopold
Order by Austrian Emperor Franz Josef I that same year. ("Museum" par. 29) By 1895, Brahms had
conducted his last concert, and one year later his lifelong friend Clara Schumann passed away.
("Museum" par. 36). Not too

Joseph Haydn 's Lifelong Involvement With The String Quartet
Joseph Haydn (1732–1809)'s lifelong involvement with the string quartet began in the 1750s with a
series of works that proved to be among the most auspicious fruits of his early maturity. Haydn had
enjoyed success as a singer at the cathedral and at court until his eighteenth year, but from that time
on he was obliged to fend for himself as a freelance teacher and musician. As the occasion arose
Haydn tried his hand in a variety of musical genres, composing sacred works, and pieces of
instrumental music. He attracted the attention of music–loving patrons. For several years before he
served as music director to Count Karl Joseph Franz Morzin (1717–83), in 1757 or 58, Haydn
worked for the family of Baron Carl Joseph Fürnberg (ca.1727–67), ... Show more content on
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Although this oeuvre mirrors many of the stylistic concerns of the period and of Haydn's music
overall, the features that most distinguish the quartets are their use of "conversational" textures and
devices, their persistent elevation and seriousness, which is intensified rather than undercut by their
pervasive wit, and their strikingly tactile and performative use of the medium. On the basis of this
achievement, it is proper to regard Haydn as the creator of a new genre. The account transmitted by
Haydn's friend and biographer Georg August Griesinger (1769–1845) makes no reference to
precedents. Although it appears that at least two contemporaries wrote comparable works for four
string parts at around the same time, Haydn's works nonetheless stand out by virtue of their
technical polish, structural control, and sure grasp of the medium's possibilities. Haydn's quartets
were so influential not only because they are great works in a genre whose time had evidently come,
but also because they were so immediately and widely published. In the summer of 1795, Haydn
returned to Vienna from the second visit to England. And in the following year, he began work on
the monumental compositions for vocal soloists, chorus, and orchestra that dominated the final stage
of his career: the two late oratorios, The Creation (1796–98) and The Seasons (1799–1801), and the
large–scale concerted

Chamber And Choir Music Analysis
What are the most obvious themes in Chamber and Choir music? The concert I went to was a
concert by the students from CGCC. They started of the concert with Jazz music, but I was unable
to take notes on that because they were not exactly singing. It was more like an a capella except
without any words. The next portion of the concert was Chamber Singers. I was not very sure what
a Chamber Singer was so I looked it up. Before I looked it up, it seemed to me like it was a medium
sized choir who quickly switch tempo and feature different solos. When I looked it up, it said that
Chamber Singer was a group of 8–40 singers who sing religious or classical songs. The second part
was like the choir my class does, except more complicated and more professional. I noticed that,
although it was two different types of singing, they all had one thing in common, which was that
they all had some kind of form to send emotion to the audience to make them feel a certain mood.
The pacing of the song along with the diverse sections gives out emotion. The two emotions that
where most obvious in all songs where the common emotions of sadness and happiness. The first
and third song I listened to where both from the Chamber Singers and they both gave a happy
cheerful mood. The first one was Achieved is The Glorious Work by Joseph Haydn and the third one
was No Time by Susan Brumfield. They both gave out this happy vibe by having the different
sections sing at unique pace and being very

The Importance Of Being Used During The Classical Period...
In the first movement of Wolfgang Mozart's piece Eine Kleine Nachtmusik, it presents numerous
features of what is being used during the classical period of music. The recording that was made by
the Prague Chamber Orchestra is a good way to hear all of the classical features in the first
movement. The first movement is the first track on the album that was published in 1985. While it
has an excellent recording of the movement, it is not a traditional quartet but a larger ensemble.
Along with that, the score to the piece itself is a good aid to see the features presented as well. It is a
good visual aid to pinpoint where the classical features are in the first movement, and it is good to
use along with the audio recording so the listener can see where the features may be without fully
analyzing the movement, despite it being a mini score. With its features, it is also in a very popular
form that was used during the classical period. In his article "Sonata Form", James Webster breaks
down and describes what sonata form is and how it was used. He also briefly discusses the
distinction between sonata form and its other related forms even though the first movement to
Mozart's piece is in one version of the sonata form. One biography about Wolfgang Mozart, which
was found on The Biography.com, discusses his entire life. They talk about from when he was just a
child learning to how no one knows he died. Although it does go into great detail, it does not
mention his

Student Chamber Music Concert
On Monday, April, 18, 2016, I attended a concert held by Wake Forest University's Department of
Music. The performance was titled "Student Chamber Music I Concert" and it began promptly at
7:30pm. 7. The program that was distributed when I came in was very helpful in explaining the
repertoire. The music to my surprise was very enjoyable! The concert began with a flute ensemble.
The first work they played was called "Allegro" by Demenico Cimarosa. This sonata was originally
written in the Romanic Era for the piano. There were six flutists playing. The next composition was
"Madrigals" by Samuel Adler which was composed for six flutists and written in the Twentieth
Century. The final programmatic song the flute ensemble played was "Bohemian Dance" ... Show
There were two students with violas and two students with cellos. They began with "My Lady
Hundson's Puffe" by John Dowland. At the beginning of this song from the Renaissance Era, they
plucked the strings of their instruments. One of the cellists left and began to play the harpsicord. I
could not tell when this work ended and when the next work, "John Come Kisse Me Now" by
William Byrd began. I felt awkward because neither I nor the audience gave applause. This work
was also from the Renaissance Era. The harpsichord solo was very unpleasant to listen to. Their
final performance was, "Two masquing dances" which featured "The Goates Masque" and "The
Witches' Second Dance". The works were composer was anonymous. Even though, these two works
were from the Renaissance Era, they had more melody and somewhat of a sonata form. This was my
least favorite section of the concert. Following the Consort were four guitarists. They played Gypsy
Dances, Op. 55 by the Twentieth Century composer, Jacquin Turina. The first movement, "Ritual
Dance" was slow and formal sounding. As they moved to the second movement, "Seduction
Dance", the tempo started out slow but gradually became faster. The guitars seemed like they were
doing a call–and–response. The third and last movement, "Zambra", was played at a very fast
tempo. There were more guitar solo parts in this section. There was also a rondo at the

Mozart And Haydn Comparison

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Mozart And Haydn Comparison