The Musical Expedition: The Baroque, Classical, and Romantic Eras

Jonathan Huang 4th period orchestra

Dallas Symphony Orchestra February 25, 2010

ART
Baroque Era

The Calling of Saint Matthew by Caravaggio Cunningham, Lawrence. Culture & Values: A Survey of the Humanities. Belmont: Thomson Wadsworth, 2006. p. 375

Classical Era

Shortly After the Marriage by William Hogarth Cunningham, Lawrence. Culture & Values: A Survey of the Humanities. Belmont: Thomson Wadsworth, 2006. p. 424

Romantic Era

The Family of Charles IV by Francisco Goya Cunningham, Lawrence. Culture & Values: A Survey of the Humanities. Belmont: Thomson Wadsworth, 2006. p. 460

grade because it was that piece, but it also reminded me of Finlandia because of the suspense and many emotions that are expressed. The tremolos in Finlandia were like the calm and soft sections of this piece, and the beginning was very loud and adventurous. This piece really wanted me to move because not only could I hear the energy, but I could feel the energy through the orchestras movement. If I was deaf, I could even imagine the changes in dynamics because of the movement of the orchestra. After the concert, I looked around and saw everyone aweinspired with their jaws down. This piece was definitely the musical work of the century. With such an incredible performance, it was difficult getting out of the Theatre because of the mass amount of people just commenting on the greatness of the piece. When I finally got to the time machine, I looked at the time and it read: 11:08 PM. I was dismayed because it was so late, and I couldnt get the ten hours of sleep I usually get, but I was still content with the amazing performance. While all the little kids were running around outside, I was able to experience the musical works of the great musical eras.

It was a beautiful day outside: sunny and warm with a slight breeze in the air, but I was inside. I was always inside working on something whether it was as simple as a new computer program or as complicated as a time machine. And on that fine Tuesday afternoon, I was working on the time machine alone in my room. All the other kids were playing outside, but whats the use? Making a time machine would at least contribute something for the human advancement while playing outside would only provide a little enjoyment if any. Nevertheless, I spent my time working, working on something bigger than NASAs ever done. It was great, more than great, and I was almost finished. No wonder it was a fine day because on that day, I finally finished my 6-year project. At exactly 8:24 PM, I finished The Time Machine. It was beautiful, more than beautiful. After spending ten minutes staring at it, I had a problem. What should I do with it? Where should I go first? I spent an hour thinking, just thinking of where I should go. To 1907 when Albert Einstein published his Theory of Relativity? To the Bubonic Plague? To when Alexander the Great ruled almost all

added a new texture that was really enjoyable. The third movement wasnt all that great, but the crescendos were apparent, and the repeated lines by the cellos were tuneful. The flutes, lyrical lines really compounded the cellos and the strings which brought a nice

for the Classical Era, and the conductor finally looked normal, standing on the podium with a baton. Right before the concert started, the audience became silent, and the suspense built. The first four notes told my all I needed to.

balance to the orchestra, especially with the large orchestra that was common. This movement didnt have as much mood which made it

This piece was the bomb. It started with a bang, but then it suddenly got soft, and then loud, and then soft. The mood was ever-changing.

seem like Beethoven broke away from the Classical mechanics for The brass came in, but then the flutes and clarinets played a very that movement. The fourth movement really ended this whole lyrical passage that introduced the legato-styled violins. There were symphony well, especially since I played this piece before. Like the many sudden changes, and the music was very suspenseful. The first movement, the beginning started with a bang. The spicatto (15) added texture and the brass really set the tone for the suspense and of nobility. There were many syncopations and rhythmic differences foreshadowing. Again, there was not as much rhythmic change, but in the piece. The melodies really stood out and stuck to my mind. there were some syncopations. The fourth movement was mostly The wide emotional range was pleasant to the ear. The best part was played moderately fast, maybe an allegretto. The mood swings were that this was only the first movement. Although the other movements quite apparent, and the melody popped up time and time again. Many of the characteristics followed other Classical Era pieces, especially graceful with the flutes in parallel with the violins. The brass since the pieces were mostly homophonic. This piece not only reminded me of Symphony No. 5 Mvmt. 4 that I played in eighth calm, it still had a sense of disturbance in the air. The pizzicato sounded, again, very noble, and although this movement was very werent as epic, they were fantastic. The second movement was very crescendos were really full, and the brass sounded like they were part

of Eurasia? But in the end, I decided to travel to the Baroque era when the performance of Concerto No. 1 in A minor for Violin and String Orchestra was about to start. Dont ask me why out of all the places I could be, I chose here. I just needed some peace and quiet after my success of creating the first time machine. I always had a thing for music, but I have to admit, Bach let

To me, the second movement felt really seasick. The harmony would always butt in, and the solo (3) part always fought back even though it was only one player. Worst of all, it happened again and again and again. The dynamics were the same each time, and I even wondered if Bach just wrote simile (4) and drew in a repeat sign at least ten times. Again, the emotion was definitely there, but only with the solo. It seemed like she was longing for something, but her parents,

me down. I expected a beautiful piece with its use of emotion and or the harmony, would never give it to her. The orchestra was big ornamentation, but I just didnt feel it. There was just so much to too. I mean the orchestra is supposed to be pretty small, like an listen to. Sure, it had a distinct violin melody with a rhythmic harmony in the cellos, but everything was just so loud or so soft. I know in the Baroque era, there isnt that much dynamic contrast, but little better with some parallel action going on between the cellos and in this piece, I felt like there was absolutely no contrast that made me violins. The basso continuo (6) or thoroughbass was easily heard as feel dead. Lots of the things were Baroque like the apparent rhythm it ran continuously throughout the piece. I was able to hear some along with its consistency and its lack of dynamics. However, although the emotion didnt touch me like Romantic music does, I could definitely sense the individual emotions from the musical patterns set by the doctrine of affections (1). The notes were very legato yet I was able to hear some very stressed or marcato (2) notes. it was a characteristic of the Baroque era, and it seemed as if Bach followed the characteristics pretty well. Its comparable to Russlan more ornamentation with the trills and detached notes singing in the background, but the dynamic contrast still lacked, probably because ensemble (5), but here, the orchestra was huge with more than twenty violins and ten violas already. The third movement was a

I was thinking to myself: It must be one of his symphonies, but which one? How many symphonies did he even have? But then it hit me. Four notes, very catchy it mustve been Beethovens Symphony No. 5! Of course, I thought. I quickly ran to the time machine and pressed the year 1808 in Vienna. The adrenaline was rushing through my veins. I could hear the classic piece being played for the first time. I know I didnt want to hear another piece of music played again, but this was epic. It was even in the Classical Era, meaning that I could tell my orchestra teacher that I witnessed arguably three of the best eras for music. Finally, I arrived. The atmosphere was full of anticipation for greatness. Everyone was told that this would be the piece of the century, and only I knew it actually was going to be. I walked into the Vienna Theatre and rushed to get one of the closest seats. I noticed that a lot of people were staring at me, wondering the abnormal clothing I wore, but I didnt mind them because the piece was about to start. I became excited. The orchestra was large, typical

though this Serenade was much calmer. The moving lines were both characteristics of the pieces, but the lines were much more legato in the Serenade. Supposedly, there were supposed to be many changes in time signatures, but I couldnt really hear it. Maybe Dvorak separated from the Romantic characteristics in that way. Naturally, I liked this piece because it was a Romantic-styled piece, but the great changes in dynamics really inspired me to exaggerate my dynamics when Im playing in an orchestra. Fortunately, the audience was impressed too so I could listen to the piece without too many irritations like Ive experienced before. Looking back, I was quite content that Zorro pushed me into the time machine, thus, making me listen to this wonderful piece. However, I already watched two musical performances, and that was all I could handle in one day. But then, I suddenly remembered the epic piece I played in eighth grade. It had something to do with Beethoven, but I couldnt quite clearly remember. I could remember the teacher saying, It was a remarkable piece with its four note motif, but I still couldnt quite grasp the name.

and Ludmilla by M. J. Glinka because mostly everything is loud with a long and easily recognizable melody line. Although Glinka was alive during the Classical era, some of the characteristics in Russlan and Ludmilla seemed to have been reflected off from the Baroque era. After listening to this performance with a massive audience, I realized that instead of just playing your part, you need to listen to

Many of you might be thinking, Why are you so upset if you could just go back and change the date? But the thing is, its not as simple as that. Once you go to a specific date, you cant go back until you finish what you came there for. Anyways, after watching the concert, I have to admit, Dvorak is a beast. The beginning of the first movement was very

other sections. Like this orchestra, if you dont listen and pay catchy with some parallel structures between the cellos and violins. I attention to your other sections, nothing will blend, and people like enjoyed the long lyrical lines that were common in Romantic music, me will be left with this bad impression of Bach and the conductor. and the graceful or cantabile (7) style of music really brightened the Although the performance didnt really impress me, I was interested in the art, and I even took some pictures to show for it. With this With all the crescendos and decrescendos, the piece was really depressing concert, I sulked my way back to my incredible time emotional and touching. Similar to many other Romantic pieces, the machine and thought of going to Sparta. Unfortunately, as I was long lyrical lines were obviously present. Throughout the piece, it about to step inside the machine, a masked man whose name was seemed like there were many tempo changes or accelerandos. presumably Zorro from all the people calling him that, knocked me aside and my hand accidentally pushed the lever to the date 1875 so I imagined that Dvorak must have written in many a tempos (8) when Dvorak debuted his Serenade in E major for String Orchestra, Op. 22. string orchestra (9), the orchestra didnt include a piano which was because it seemed like the piece slowed down a lot. Being for a However, the theme always reverted back to the beginning melody piece. Furthermore, I really liked the dynamic contrasts of the piece.

often used in the Romantic era. At the end, the harmonic (10) was very touching because of the lightness of the note. In the second movement, there were many tempo (11) changes. Overall, all the movements had many passages that sounded sweet or dolce (12). During the performance, I was very laid back and impressed with the orchestra. The size was perfect. This large group had the talent and size to be able to perform this piece, especially since Romantic music was meant more for larger orchestras and string sections. Personally, the long lyrical lines impacted me the most. With the deep emotions expressed by the violins and cellos, I could just feel the passion the orchestra. I could tell that not only was I impressed, but everyone around me was too. Whether they were listening intently, or laid back, I could tell that the passionate crescendos and decrescendos really resounded in their hearts. Practically the whole piece was arco (13), but I would have thought it would have been nice to throw in some more pizzicato (14) when the decrescendos slowed down the piece and made it more tranquil. It somehow reminded of Ballo Tedesco with its many dynamic contrasts even