I am a insouciant hearer because I like holding music playing. make fulling the environment with sounds. I can listen to music while analyzing and kiping. and I like listening to music because it can do me loosen up and disregard the noise that around me. I attended the concert on October 5 at 8:00pm. Contrapunctus XIX. from The Art of the Fugue. BWV 1080 by Johann Sebastian Bach. Metamorphosen by Richard Strauss and Symphony No. 7 in A major. Op. 92 by Ludwig Van Beethoven were performed. The manner of Contrapunctus XIX. from The Art of the Fugue. BWV 1080 is set advancements to duplicate. three-base hit. and mirror fugues. climaxing in a quadruplicate fugue. Metamorphosen is a memorial lament. Symphony No. 7 in A major. Op. 92 is in four motions. Poco sostenuto – Vivace. Allegretto. Presto and Allegro con animation.
The orchestra had fiddles. violas. cellos. basses. flutes. piccolo. hautboies. English horn. clarinets. bassoons. horns. huntsman’s horns. trombones. bass horn. keyboards and harp.
Contrapunctus XIX. from The Art of the Fugue. BWV 1080 is an unfinished work by Johann Sebastian Bach. The Art of the Fugue is a set of fugues of increasing complexness utilizing every theoretical device. The set progresses to duplicate. three-base hit and mirror fugues. climaxing in a quadruplicate fugue that was uncomplete because of Bach’s decease. and his boy arranged for him. Bach is the Baroque composer. Contrapunctus XIX was integrating counterpoint. and explicitly and consistently explored the full scope of contrapuntal. The volume of this piece is soft. Its pacing is Adagio or Lento ( slow ) . Its contour repeated pitch tune. way is inactive. and had a narrow scope. Its beat is alternation of tenseness and relaxation. It is a strophic signifier. It is a classical music.
Metamorphosen by Richard Strauss. This piece uses as its primary motivic component a transition from the funeral March in Beethoven’s Eroica Symphony. Its pacing is andante ( at at leisure walking velocity ) . Its volume is crescendo ( going louder ) . Its beat is alternation of tenseness and relaxation. Its contour jagged tune. way is inactive. and had a broad scope. It is a repeat and contrast which is treble signifier. It is a romantic music.
Symphony No. 7 in A major. Op. 92 by Ludwig Van Beethoven. The Seventh Symphony is in four motions. After a slow debut ( as in the First. Second and Fourth Symphonies ) the first motion is in sonata signifier and is dominated by lively dance-like beat. The 2nd motion. in A minor. is “slow” . although the pacing marker is _Allegretto_ ( “a little quickly” ) . doing it slow merely in comparing to the other three motions. This motion was encored at the premiere and has remained popular since. The ostinato ( repeated rhythmic figure ) of a one-fourth note. two 8th notes and two one-fourth notes is heard repeatedly.
The 3rd motion is a scherzo and three. Here. the three ( which is based on an Austrian Pilgrims’ anthem [ 2 ] ) is played twice instead than one time. This enlargement of the usual A-B-A construction of treble signifier into A-B-A-B- A was rather common in other plants of Beethoven of this period. such as his Fourth Symphony and String Quartet Op. 59 No. 2. The last motion is in sonata signifier. Donald Francis Tovey. composing in his _Essays in Musical Analysis_ . commented on this movement’s “Bacchic fury” . Its volume is crescendo ( going louder ) . Its beat is tenseness. Its contour jagged tune. way is upward. and had a broad scope. It is a repeat and contrast which is treble signifier. It is a classical music.
I enjoyed the concert so much because I like Beethoven’s music. and I am so happy to see such a big orchestra! I have ne’er seen it before. I am looking forward to go to it once more.
