Mozart K. 175 Concerto for Piano
Odyssey 4, 538-560
Menelaus tells Telemachus he began to weep bitterly to, as he must learn from Proteus the murder of his brother Agamemnon. The God encouraged him but to hurry up, maybe he hit the killer then even if Orestes did not already killed. From Ulysses knew
it only this much: He was being held by the nymph Calypso on her island by force. He was neither rower nor a ship to get away from there.
Like Odysseus from Kalypso, so feel trapped father and son in the unpopular Salzburg service they provide according to half-heartedly. The hope for a permanent position in Italy has broken out and the trial of Leopold in the summer of 1773, to reach something with the Empress. unsuccessful
Amadé goes in this time when innumerable sacred works, Divertimenti, string quartets, piano sonatas and symphonies emerge, unperturbed the path of the innovator. The late puberty, the youthful conductor has to run in socially controlled manner, his 'Sturm und Drang' he experiences the more audible in his music. His urge to move, who can often "in the room like a dog flea" go look for a way out, away from Salzburg.
dates from this period, the first self-composed piano concerto KV 175th is the focus of dialogue between piano and orchestra. Unusually for the time is not obvious casting of strings, two oboes, horns, trumpets and timpani.
Mozart has his first concert for a long lasting taste. In the concert, he shows ambitious access not only to choose the 'brilliant' key of D major and large orchestra, but especially in the masterly and original handling of the form, in the balanced interplay between soloist and orchestra, in the orchestration (especially the Andante ma un poco Adagio ) and in the way he uses musical ideas to each other.
The unconventional set is undoubtedly the final , a sonata, which crowns the work with a surprising semi-ironic combination 'learned' and 'gallant' style elements. Amadé begins with a canon-led main theme, followed by a dance- syncopated reconciliation and a very buffoonesque page set.
He later replaced by the way the 3rd Set by a fascinating Allegretto grazioso (KV 382)
Mozart has his first concert for a long lasting taste. In the concert, he shows ambitious access not only to choose the 'brilliant' key of D major and large orchestra, but especially in the masterly and original handling of the form, in the balanced interplay between soloist and orchestra, in the orchestration (especially the Andante ma un poco Adagio ) and in the way he uses musical ideas to each other.
The unconventional set is undoubtedly the final , a sonata, which crowns the work with a surprising semi-ironic combination 'learned' and 'gallant' style elements. Amadé begins with a canon-led main theme, followed by a dance- syncopated reconciliation and a very buffoonesque page set.
He later replaced by the way the 3rd Set by a fascinating Allegretto grazioso (KV 382)
K. 175: 1st Allegro
K. 175: 2nd Andante ma un poco Adagio
K. 175: 3rd Allegro
K. 175: 1st Allegro
K. 175: 2nd Andante ma un poco Adagio
K. 175: 3rd Allegro
buffoonesque from Buffo (ital: funny, funny) = in opera and operetta tenor (Tenorbuffo) or bass (basso buffo), which is in the play because of his role in the comedy charge
.
K. 175: 2nd Andante ma un poco Adagio
K. 175: 3rd Allegro
K. 175: 1st Allegro
K. 175: 2nd Andante ma un poco Adagio
K. 175: 3rd Allegro
buffoonesque from Buffo (ital: funny, funny) = in opera and operetta tenor (Tenorbuffo) or bass (basso buffo), which is in the play because of his role in the comedy charge
.
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