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By: Beethoven
Type: sonata
The first movement is in the traditional sonata form that Beethoven inherited from his classical predecessors, Haydn and Mozart (in which the main ideas that are introduced in the first few pages undergo elaborate development through many keys, with a dramatic return to the opening section—the recapitulation—about three-quarters of the way through). It starts out with two dramatic fortissimo phrases, the famous motif, commanding the listener's attention. Following the first four bars, Beethoven uses imitations and sequences to expand the theme, these pithy imitations tumbling over each other with such rhythmic regularity that they appear to form a single, flowing melody. Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E flat major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment. The codetta is again based on the four-note motif. The development section follows, using modulation, sequences and imitation, and including the bridge. During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda. |
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By: Beethoven
Type: andante
The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, violins, with a triplet arpeggio in the violas and bass. A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos, and a coda to close the movement. |
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By: Beethoven
Type: scherzo
The scherzo offers contrasts that are somewhat similar to those of the slow movement in that they derive from extreme difference in character between scherzo and trio … The Scherzo then contrasts this figure with the famous 'motto' (3 + 1) from the first movement, which gradually takes command of the whole movemen |
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By: Beethoven
Type: finale
at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third "dance" movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is not known whether Beethoven was familiar with this work. |
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By: Franz Schubert
Type: leid
This song is in rondo form (ABACADA) |
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By: Fryderyk Chopin
Type: mazurka
The final Mazurka of the set is more characteristic and free than the others. Although it remains in the very homophonic texture, the dynamic variation is much greater. The piece ends with the same four measures as it began, with no pedal, the chords played by the left hand portamento, the tone and time fading away in a perdendosi. These four measures would later be sampled by Henryk Górecki in the opening of the third movement of his third symphony. |
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By: Vincenzo Bellini
Type: Giuseppe Verdi
From: Norma |
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By: Giuseppe Verdi
Type:
From: Otello |
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By: Richard Wagner
Type:
From: Götterdämmerung |
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| Dream of a Witches Sabbath |
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By:Hector Berlioz
Type:
From: Symphonie fantastique |
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By: Johannes Brahms
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From: Variations on a Theme by Haydn |
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By: Bedrich Smetana
Type:
From: The Bartered Bride |
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| Romeo and Juliet Overture Fantasy |
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By:Piotr Tchaikovsky
Type:
From: Romeo and Juliet |
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By: Lili Boulanger
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By:Scott Joplin
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By:W. C. Handy
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From: |
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| New East St. Louis Toodle-O |
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By: Duke Ellington
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From: |
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By:Charlie Parker
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By: Amy Beach
Type: Violin Sonata
From: |
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By: Charles Ives
Type:
From: Three Places in New England |
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By:Rodgers and Hammerstein
Type:
From: South Pacific |
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By: Leonard Bernstein
Type:
From: West Side Story |
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| excerpts from The Rite of Spring |
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By: Igor Stravinsky
Type:
From: The Rite of Spring |
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| excerpts from Pierrot Lunaire |
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By: Arnold Schoenberg
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From: Pierrot Lunaire |
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| Symphony op. 21 (movement 2) |
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By: Anton Webern
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From: |
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By: Milton Babbit
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From: Philomel |
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By: Shulamit Ran
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By: Tan Dun
Type:
From: Symphony 1997 |
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