Podcasts about Sonata form

Here are two statements by Dmitri Shostakovich about the same piece, the 8th symphony that we are talking about today: Statement No. 1, Shostakovich's published comments about the symphony when it was first performed in 1943: The 8th Symphony reflects my…elevated creative mood, influenced by the joyful news of the Red Army's victories…. "The Eighth Symphony contains tragic and dramatic inner conflicts. But on the whole it is optimistic and life-asserting. The first movement is a long adagio, with a dramatically tense climax. The second movement is a march, with scherzo elements, and the third is a dynamic march. The fourth movement, in spite of its march form, is sad in mood. The fifth and final movement is bright and gay, like a pastoral, with dance elements and folk motifs. "The philosophical conception of my new work can be summed up in these words: life is beautiful. All that is dark and evil rots away, and beauty triumphs." Statement No. 2, from the disputed book Testimony, published in the 1970s: ‘And then the war came and the sorrow became a common one. We could talk about it, we could cry openly, cry for our lost ones. People stopped fearing tears. Before the war there probably wasn't a single family who hadn't lost someone, a father, a brother, or if not a relative, then a close friend. Everyone had someone to cry over, but you had to cry silently, under the blanket, so no one would see. Everyone feared everyone else, and the sorrow oppressed and suffocated us. It suffocated me too. I had to write about it. I had to write a Requiem for all those who died, who had suffered. I had to describe the horrible extermination machine and express protest against it. The Seventh and Eighth Symphonies are my Requiems. I don't know of a more profound example of Shostakovich's doublespeak, or of his ability to make diametrically opposing statements about the meaning behind his music.  Shostakovich's 8th symphony premiered at the height of World War II, and it was not a hit, unlike his 7th symphony which had swept the world with its seeming patriotic fervor and its devastating condemnation of the Nazis. Shostakovich's 8th is a very different piece, darker, edgier, less catchy, less simple, and certainly less optimistic. It was panned in the Soviet Union by the official critics and was effectively banned from performance in teh Soviet Union from 1948 until the late 1950s. It was also not particularly popular outside of the Soviet Union, as the 7th's popularity and accessibility dwarfed the 8th, though this equation has now flipped, with the 8th symphony now probably becoming slightly more often played than the 7th. As always with Shostakovich, he mixes tradition with his own Shostakovich-ian innovations. The symphony has a Sonata Form first movement, but that movement is longer than the following three movements combined. It has a darkness to light theme from C Minor to C Major, like in Beethoven's 5th and Mahler's 2nd, but whether the ending is optimistic is subject to furious debate. It has not 1 but 2 scherzos, but they are among the least funny scherzos ever written, and it has a slow movement that is surprisingly un-emotional. The requiem Shostakovich speaks of seems to happen slowly over the course of this 1 hour symphony. It is perhaps Shostakovich's most ambiguous mature symphony, and it is also thought of as one of his greatest masterpieces. Today on this Patreon Sponsored episode, we'll dive into this remarkable work, trying to create a framework to understand this huge and demanding symphony. Join us!

I had long hesitated to write a show about any of Beethoven's late string quartets.  These are pieces that professional quartets spend the better part of their careers grappling with, struggling with, failing with, and much more rarely, succeeding with.  They are some of the most extraordinary pieces of art ever conceived of.  5 quartets, Opus 127, Opus 130, Opus 131, Opus 132, and Opus 135, all written near or at the end of Beethoven's life, arguably representing the pinnacle of everything Beethoven achieved. They explore not only every conceivable emotion, but they dig down into the core of those emotions, defiantly refusing to skim the surface and daring to ask and then answer the fundamental questions of life and death.  Everyone has a favorite Late Beethoven Quartet, but mine has always been Opus 132, and so this week I'm taking the opportunity to take the leap into Late Beethoven.  We'll discuss Beethoven's situation as he recovered from a life-threatening illness which he was sure was going to be his end, the unusual 5 movement structure of the piece, and this week, the first two movements of the quartet, the first of which, to me, defines everything that Sonata Form can do to express emotion and a narrative in a piece of absolute music. Join us!

At the top of the score for the Danish composer Carl Nielsen's 4th symphony, he wrote: “Music is life, and like it, inextinguishable.” This could easily be the shortest podcast I've ever done. I could leave you with that quote and then play you the beginning of the symphony, and you would understand everything Nielsen wanted to portray in this remarkable music. But don't worry, I won't do that. Carl Nielsen's music has never quite made it into the standard standard repertoire, but if there is one piece of his that is played more often than any other, it is his 4th symphony, subtitled The Inextinguishable. But as a whole, Nielsen's 4th symphony is not easy to digest. It is a piece that is contradictory, in the sense that Nielsen uses an extremely small set of motives to write practically every note of music in the score, and yet sometimes the music can feel like a stream of consciousness. Nielsen himself wrote: “I have an idea for a new composition, which has no programme but will express what we understand by the spirit of life or manifestations of life, that is: everything that moves, that wants to live ... just life and motion, though varied – very varied – yet connected, and as if constantly on the move, in one big movement or stream. I must have a word or a short title to express this; that will be enough. I cannot quite explain what I want, but what I want is good.”  There is a James Joyce-esque sense of jump-cutting between different ideas, as if that inextinguishable life force is unaffected by earthly things like form and recognizable structure. But if you peek under the hood of this piece, you find that it is really in 4 movements, and the first movement is even in a kind of a Sonata Form. It has an intermezzo, a slow movement, and a rambunctious finale. In many ways, this is a conventional symphony, but in terms of the musical material and the way Nielsen decided to manipulate that material, it is anything but conventional. We'll talk about all of this today, including the influence of World War 1 on the symphony and on Nielsen himself, and the remarkable music that throws us along like a relentless and boundless current of energy. Join us!

"Sonata” and “sonata form” are not the same thing, and that—in any kind of piece, not just sonatas—a movement composed in sonata form consists of three primary sections: an exposition, a development, and a recapitulation.

“Sonata form” and the musical form known as the sonata are not the same thing. A sonata is a piece - usually for piano or for piano and one other instrument—that's composed of several distinct sections called movements.

Today I'm going to be talking about one piece, but in two different ways.  I'm going to start today with an in-depth look at Brahms' Piano Quartet in G Minor, an early piece of his that reveals an incredible sense of drama, drive, and creativity. This is very different music than I've talked about before with Brahms as this is decidedly the work of a young composer, without all the burnished maturity of Brahms' later music. This is also a great opportunity to revisit the bedrock of the Classical and Early Romantic eras, Sonata Form, a form that makes so many pieces from those eras intelligible and clear.  But I'm also going to be talking about another piece. Well, it's the same piece, but to some people, it sounds so completely different that it constitutes a completely new piece entirely. To some others, myself included, it almost constitutes an entirely new Brahms symphony. What I'm talking about is the composer Arnold Schoenberg's arrangement of Brahms's Piano Quartet for a massive orchestra, filling the stage with instruments that Brahms never would have even conceived of! You don't often think of Schoenberg and Brahms in the same breath, but Schoenberg was a devotee of Brahms' music, and often defended him against those who called him a crusty old conservative composer. But Schoenberg was still Schoenberg, and this arraangement of the quartet reflects that in a lot of ways. So along with an exploration of Sonata Form, I'll save a look at the Schoenberg arrangement for the end of th show, since this is a great chance to look at orchestration and how a composer takes a piece written for 4 people and transforms it into a piece for 100. So today we'll dive into this vast and complex piece, and along they way we'll visit Schoenberg's fascinating and sometimes downright wacky arrangement.  Join us!

奏鳴曲式作為18世紀古典樂派到20世紀後浪漫樂派最主要的作曲手法之一，但奏鳴曲式到底是什麼意思? [bgm (opening)] Beethoven, Symphony No.5 Op.67, mvt I [bgm] Satie, Gymnopedies, No.1, 2, 3 Powered by Firstory Hosting

QRR mods Rachel and Ella talk to Carole Cummings about her latest book Sonata Form, a masterful fantasy with war and dragons. The book we talked about in the beginning but forgot to name was Amberough by Lara Elean Donnelly. Books mentioned: Testament of Youth by Vera Brittain Blood Indigo by Talulah J. Sullivan

Have you ever listened to a piece of music, closed your eyes, and imagined yourself in another place, in another time, or as another being?  It can easily be said that music has an acute ability to literally lift you from your shoes and transform you into anyplace you want to be. But… was that always the case? In the early part of the Classical Era, composer Franz Joseph Hyden created a way to merge the characters and events of what was then known as Comic Opera and through no words at all, build the foundations of what would become Sonata Allegro form and in doing so, completely change the world of classical music by influencing practically every composer who came after him. In this episode of The Art of Listening, Jeff Bradbury and Gabriel Gordon discuss the history of Sonata Form and share examples of how an idea that started on the stages of opera morphed over 100 years through the introduction of the Tone Poem into what we hear today on movie screens and our favorite video streaming services.

In this episode, I talk about what sonata form is and how it developed. All musical examples are used for educational purposes only.

Johannes Brahm's Symphony No. 3, composed in 1883, is the shortest, subtlest, and most concise of his four symphonies. Each movement demonstrates Brahms' mastery of the form as he ranges from boisterous to introspective, ending on a note of dignified restraint. Series: "La Jolla Symphony & Chorus" [Show ID: 35728]

Johannes Brahm's Symphony No. 3, composed in 1883, is the shortest, subtlest, and most concise of his four symphonies. Each movement demonstrates Brahms' mastery of the form as he ranges from boisterous to introspective, ending on a note of dignified restraint. Series: "La Jolla Symphony & Chorus" [Show ID: 35728]

Johannes Brahm's Symphony No. 3, composed in 1883, is the shortest, subtlest, and most concise of his four symphonies. Each movement demonstrates Brahms' mastery of the form as he ranges from boisterous to introspective, ending on a note of dignified restraint. Series: "La Jolla Symphony & Chorus" [Show ID: 35728]

Johannes Brahm's Symphony No. 3, composed in 1883, is the shortest, subtlest, and most concise of his four symphonies. Each movement demonstrates Brahms' mastery of the form as he ranges from boisterous to introspective, ending on a note of dignified restraint. Series: "La Jolla Symphony & Chorus" [Show ID: 35728]

Johannes Brahm's Symphony No. 3, composed in 1883, is the shortest, subtlest, and most concise of his four symphonies. Each movement demonstrates Brahms' mastery of the form as he ranges from boisterous to introspective, ending on a note of dignified restraint. Series: "La Jolla Symphony & Chorus" [Show ID: 35728]

Johannes Brahm's Symphony No. 3, composed in 1883, is the shortest, subtlest, and most concise of his four symphonies. Each movement demonstrates Brahms' mastery of the form as he ranges from boisterous to introspective, ending on a note of dignified restraint. Series: "La Jolla Symphony & Chorus" [Show ID: 35728]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35725]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Show ID: 35725]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Show ID: 35725]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Show ID: 35725]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Show ID: 35725]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Show ID: 35725]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Show ID: 35725]

Brahms' "Academic Festival Overture," which the composer offhandedly characterized as "a potpourri of student songs," features an unusual treatment of standard sonata form. What emerges is one of those rarities in classical music: a fun piece, full of antic humor, that invites the listener to laugh along with the composer. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35725]

In the 2018/2019 season the La Jolla Symphony performed Florence Price's "Violin Concerto No. 2," and inaugurates their 2019/20120 season with Price's "Violin Concerto No. 1 in D Major." Florence Price was the first African-American woman to have a symphonic piece performed in the 1930's by a major orchestra, but her work has been sadly neglected in the decades since. The chance discovery of several scores in 2009, including the two Violin Concertos, has sparked renewed interest in her compositions. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35399]

In the 2018/2019 season the La Jolla Symphony performed Florence Price's "Violin Concerto No. 2," and inaugurates their 2019/20120 season with Price's "Violin Concerto No. 1 in D Major." Florence Price was the first African-American woman to have a symphonic piece performed in the 1930's by a major orchestra, but her work has been sadly neglected in the decades since. The chance discovery of several scores in 2009, including the two Violin Concertos, has sparked renewed interest in her compositions. Series: "La Jolla Symphony & Chorus" [Show ID: 35399]

In the 2018/2019 season the La Jolla Symphony performed Florence Price's "Violin Concerto No. 2," and inaugurates their 2019/20120 season with Price's "Violin Concerto No. 1 in D Major." Florence Price was the first African-American woman to have a symphonic piece performed in the 1930's by a major orchestra, but her work has been sadly neglected in the decades since. The chance discovery of several scores in 2009, including the two Violin Concertos, has sparked renewed interest in her compositions. Series: "La Jolla Symphony & Chorus" [Show ID: 35399]

In the 2018/2019 season the La Jolla Symphony performed Florence Price's "Violin Concerto No. 2," and inaugurates their 2019/20120 season with Price's "Violin Concerto No. 1 in D Major." Florence Price was the first African-American woman to have a symphonic piece performed in the 1930's by a major orchestra, but her work has been sadly neglected in the decades since. The chance discovery of several scores in 2009, including the two Violin Concertos, has sparked renewed interest in her compositions. Series: "La Jolla Symphony & Chorus" [Show ID: 35399]

In the 2018/2019 season the La Jolla Symphony performed Florence Price's "Violin Concerto No. 2," and inaugurates their 2019/20120 season with Price's "Violin Concerto No. 1 in D Major." Florence Price was the first African-American woman to have a symphonic piece performed in the 1930's by a major orchestra, but her work has been sadly neglected in the decades since. The chance discovery of several scores in 2009, including the two Violin Concertos, has sparked renewed interest in her compositions. Series: "La Jolla Symphony & Chorus" [Show ID: 35399]

In the 2018/2019 season the La Jolla Symphony performed Florence Price's "Violin Concerto No. 2," and inaugurates their 2019/20120 season with Price's "Violin Concerto No. 1 in D Major." Florence Price was the first African-American woman to have a symphonic piece performed in the 1930's by a major orchestra, but her work has been sadly neglected in the decades since. The chance discovery of several scores in 2009, including the two Violin Concertos, has sparked renewed interest in her compositions. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35399]

I’ve long hesitated to write a show about any of Beethoven’s late string quartets.  These are pieces that quartets spend the better part of their careers grappling with, struggling with, failing with, and much more rarely, succeeding with.  They are some of the most extraordinary pieces of art ever conceived of.  5 quartets, Opus 127, Opus 130, Opus 131, Opus 132, and Opus 135 - all written near or at the end of Beethoven’s life, these pieces represent the pinnacle of everything Beethoven achieved, yes, even far beyond his symphonies in this conductors opinion.  They explore not only every conceivable emotion, but they dig down into the core of those emotions, defiantly refusing to skim the surface and daring to ask and THEN ANSWER the fundamental questions of life and death.  Everyone has a favorite Late Beethoven Quartet, but mine has always been Opus 132, and so this week I’m taking the opportunity of getting a Patreon sponsor request from Maria for a piece of chamber music to take the leap myself into Late Beethoven.  We’ll discuss Beethoven’s situation as he recovered from a life-threatening illness which he was sure was going to be his end, the unusual 5 movement structure of the piece, and this week, the first two movements of the quartet, the first of which, to me, defines everything that Sonata Form can do to express emotion and a narrative in a piece of absolute music.

Two things mark Beethoven's Symphony No. 8 in F Major, his shortest symphony and one of the least-performed. The first is its energy; contrary to classical sonata form there is no slow movement. The second is its unflagging good humor. The Eighth is full of high spirits, unexpected twists, unusual colors, and musical jests. In the symphony's lightness some listeners detect traces of the influence of Haydn and Mozart, but as with all of Beethoven's work the language is uniquely his own. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34688]

Two things mark Beethoven's Symphony No. 8 in F Major, his shortest symphony and one of the least-performed. The first is its energy; contrary to classical sonata form there is no slow movement. The second is its unflagging good humor. The Eighth is full of high spirits, unexpected twists, unusual colors, and musical jests. In the symphony's lightness some listeners detect traces of the influence of Haydn and Mozart, but as with all of Beethoven's work the language is uniquely his own. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34688]

Two things mark Beethoven's Symphony No. 8 in F Major, his shortest symphony and one of the least-performed. The first is its energy; contrary to classical sonata form there is no slow movement. The second is its unflagging good humor. The Eighth is full of high spirits, unexpected twists, unusual colors, and musical jests. In the symphony's lightness some listeners detect traces of the influence of Haydn and Mozart, but as with all of Beethoven's work the language is uniquely his own. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34688]

Two things mark Beethoven's Symphony No. 8 in F Major, his shortest symphony and one of the least-performed. The first is its energy; contrary to classical sonata form there is no slow movement. The second is its unflagging good humor. The Eighth is full of high spirits, unexpected twists, unusual colors, and musical jests. In the symphony's lightness some listeners detect traces of the influence of Haydn and Mozart, but as with all of Beethoven's work the language is uniquely his own. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34688]

Franz Liszt composed twelve “symphonic poems,” of which “Les Préludes” has proven to be the most popular. Its structure is deceptively simple, based loosely on sonata form but differing from the classical sonata in its development of a few basic themes, rather than contrasting very different thematic material in distinct movements. The attractiveness of the piece lies in Liszt’s ingenious transitions and transformations as the music moves from episode to episode, by turns turbulent and serene, until the various strands finally come together in the dramatic finale. Explaining the title “Les Préludes,” Liszt posed the question, “What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death?” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33849]

Franz Liszt composed twelve “symphonic poems,” of which “Les Préludes” has proven to be the most popular. Its structure is deceptively simple, based loosely on sonata form but differing from the classical sonata in its development of a few basic themes, rather than contrasting very different thematic material in distinct movements. The attractiveness of the piece lies in Liszt’s ingenious transitions and transformations as the music moves from episode to episode, by turns turbulent and serene, until the various strands finally come together in the dramatic finale. Explaining the title “Les Préludes,” Liszt posed the question, “What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death?” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33849]

Franz Liszt composed twelve “symphonic poems,” of which “Les Préludes” has proven to be the most popular. Its structure is deceptively simple, based loosely on sonata form but differing from the classical sonata in its development of a few basic themes, rather than contrasting very different thematic material in distinct movements. The attractiveness of the piece lies in Liszt’s ingenious transitions and transformations as the music moves from episode to episode, by turns turbulent and serene, until the various strands finally come together in the dramatic finale. Explaining the title “Les Préludes,” Liszt posed the question, “What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death?” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33849]

Franz Liszt composed twelve “symphonic poems,” of which “Les Préludes” has proven to be the most popular. Its structure is deceptively simple, based loosely on sonata form but differing from the classical sonata in its development of a few basic themes, rather than contrasting very different thematic material in distinct movements. The attractiveness of the piece lies in Liszt’s ingenious transitions and transformations as the music moves from episode to episode, by turns turbulent and serene, until the various strands finally come together in the dramatic finale. Explaining the title “Les Préludes,” Liszt posed the question, “What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death?” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33849]

This question was sent by Luciano and he writes: Dear Mr Vidas, Thanks for your reply. Apart the mini course I have a question /big doubt and hope you can clarify. -I found your article "Steps in Composing Organ Sonata " of 13/09/2012 and found it very interesting and clear: it is a kind of Template which I'm using with satisfaction (I'm Composer Amateur and write music only for my satisfaction). - Many years ago I studied the Book of Marcel Dupré :Cours Complet d'Improvisation à l'Orgue" and find something similar but not the same : it is a Binary form exposition I'm sure you know this book and -my questions are 1)are these Templates (yours and the one of Dupré the same thing or not ? 2) Dupré explanation does not mention a secondary theme (is he referring to a monothematic exposition?) 3) In the Dupré Book 1 Page 59 there is a General Plan of "his" Form But now I'm confused since there are substantial differences if compared with your Steps Thanks in advance if you will have time to clarify Luciano

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

The String Quartet in B Minor (Op. 33, No. 1) was the first of six quartets composed in 1781 by Franz Josef Haydn and popularly known as the "Russian" quartets. By this point in his career Haydn was a master of his craft, and with that confidence he began to experiment with the sonata form. This quartet is one of two that Haydn set in the key of B minor, a rare key for both Haydn and the string repertoire, and it has an uncharacteristically adventurous, questing quality. It moves from B minor through several keys, restlessly exploring rhythms, melodies, and modulations before "landing" back upon its home key in the breathless, virtuosic final movement. This piece amply demonstrates why Mozart held Haydn in high esteem. Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 33220]

Tom Service tells stories in sonata form. This word sonata originally meant simply a piece of music. But over the course of music history "sonata form" came to mean something very specific and laid the foundations for over two hundred years of sonatas, string quartets, symphonies and concertos. In this edition of The Listening Service, Tom explores sonata form - according to the revision guides it's all about Exposition-Development-Recapitulation. But it's so much more than that - the template is just the bare bones of a three act drama - lyrical, exciting and compelling musical stories are told in sonata form. How can you hear them? How is it done? With David Owen Norris at the piano, with his Sonata of the Prodigal Son.

Sonata form is one of the oldest composition structures in classical music but it's being rediscovered, and in many cases re-purposed, by contemporary composers. What is the lasting appeal? We'll play music by four composers looking to the past for formal inspiration. This episode also features a tribute to David Maslanka who passed away shortly before the taping. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Piano Quintet, mvt. I by Thomas Adès Thomas Adès, piano; Arditti Quartet: Irvine Arditti, Ashot Sarkissjan, violin; Ralf Ehlers, viola; Lucas Fels, cello Camille for Sax and Piano, mvt. I by David Maslanka Stephen Jordheim, alto saxophone; Christina Dahl, piano 2, by Keeril Makan Either/Or Ensemble: Jennifer Choi, violin; David Shively, percussion Piano Quintet by Thomas Adès Thomas Adès, piano; Arditti Quartet: Irvine Arditti, Ashot Sarkissjan, violin; Ralf Ehlers, viola; Lucas Fels, cello

In this first of three related episodes, Philip begins a conversation on Improvisation. After checking in on recent adventures with the IFCM in Barcelona, Spain and Kaili, China, Philip dives in—discussing improv training, perspectives and experiences in the classical, church and operatic realms. He touches on French organist training, Handel’s oratorios, Baroque ornamentation and Bel Canto, as well as music theory and the importance of understanding Inventions, Sonata Form, Fugue form, etc. Philip talks about a legendary improvisation experience taking over the piano chair for Arthur Kleiner to support a five hour silent film - Abel Gance’s Napoleon - at the Walker Art Center. He digs into the preparation and live improvisations created for Minnesota Opera’s “Newest Opera in the World” as well as frequent and varied types of improvisations on A Prairie Home Companion with Garrison Keillor and his infamous weekly organ improvisations during Sunday services at Plymouth Congregational Church in Minneapolis.

On this two-part series on tonality and sonata form, David Kiser gives the microphone over to Professor of Piano at Converse College, Douglas Weeks who guides us through the sonatas of Mozart and Beethoven. In the course of this series you’ll learn about tonality and the importance of key structure. Douglas Weeks likens it to moving to different rooms of the house, where “Tonic” is the hearth, home base, the center of the house. Below is Part Two. Find Part One and a comprehensive list of terms here . Sonata Form: A Quick Structural Guide Sonata form is the most commonly heard form in the first movements of 18th, 19th, and, to some degree, 20th Century sonatas, symphonies, and instrumental chamber music. Sonata form can be used in other movements of the sonata and symphony as well, but is less common. “Textbook” Sonata Form Introduction entirely optional usually slow Exposition (first show) First subject area (33:28) in tonic “A” theme Bridge (40:10) modulation or half cadence Second

On this two-part series on tonality and sonata form, David Kiser gives the microphone over to Professor of Piano at Converse College, Douglas Weeks who guides us through the sonatas of Mozart and Beethoven. In the course of this series you’ll learn about tonality and the importance of key structure. Douglas Weeks likens it to moving to different rooms of the house, where “Tonic” is the hearth, home base, the center of the house. The podcast will be posted after the show airs on Thursday, September 22, 8 pm, Classical Stations. Below are the time stamps to key terms as they occur during the program. Can’t remember a term? Just find the exact time in the audio player below. Terms are listed in alphabetical order. Scroll down the page to find the written definitions and further explanations. Find Part Two here Authentic Cadence : 21:55 Cadence: 16:25, 20:10 Chord: 6:18 Chromatic: 3:58, 11:29 Diatonic : 11:15 Deceptive Cadence : 32:37 Half and whole steps : 5:14 Half Cadence: 26:50

Description of the sections of sonata form and an exploration of the time at which Mozart wrote his sonata in Bb