Mozart Sonata Essay

The succession of the pieces (Bach Toccata in D mi zero(prenominal), Mozart Sonata in B flat, Liszt Transcendental Etude nary(prenominal) 9, and Rachmaninoff Sonata no. 2 in B-flat Minor) argon arranged in ordain to typify the transgression of music development from the contrapuntal baroque mildew represented by Johann Sebastian Bach, the gradual transposition of the sonata form between the fancy and classical dates through Wolfgang Amadeus Mozart, and the combination of tonal heaviness and virtuosity as strand in the compositions of Franz Liszt and Sergei Rachmaninoff.Each composition is characterized through the era in which it is tranquil in order to understand the development of musical forms, styles, and influences from the early17th century to the latish 18th century. Bach represented the strict polyphonic harmony of the era characterized through two independent tonal forms in the melody and abstruse which go againstd may stand al star as two bring out melodies exclusively combined, the tones form another polar melody which sharply represents the elaborate heaviness of the baroque era, not only characterized in music but also art disciplines as well (Griffiths 101).Mozarts sonatas ar in the main identified as playful tunes ranging from early pieces which show influences of other composers much(prenominal) as Franz Joseph Haydn to later developments which clearly show Mozarts musical genius. His sonatas argon a gradual transition from the polyphonic form to the utilization of the monophonic or single melody form. On the other hand, Liszt and Rachmaninoff represented a total break from the early baroque/classical issues wherein the romantic period identified their works to be focused on expression or emotion while maintaining regard from the development of the classical sonata form.Liszts compositions are noted for its technical beauty and virtuosity requirement while Rachmaninoffs compositions are broadly speaking heavier compared to the varying degrees of tonal construction found in Liszts (Copland 91). First, we analyze Bachs Toccata in D minor. Mainly one of the most recognizable pieces in music, the composition is arranged for the pipe electronic organ where the instrument magnifies the full grandeur of the composition as well as the sound of the instrument itself. The piece is actually followed with a fugue which is generally the follow-up the contrapuntal polyphonic style of the Toccata.As mentioned, the piece is an subject of polyphonic structure where the melody and bass are two separate melodies that produce one harmony. Tempo in common time, the whole structure of the piece is free form with a slight repetition of the stem turn followed by a series of thematic development. The gloss is somehow dark, generally typified by the heavy sound of the instrument itself as well as the tonal forte of the chords. On the other hand, Mozarts sonata sharply contrasts with the color of Bachs as the melody is lighter with the tempo learn to a fast yet playful manner.The piece is separated into common chord movements and as the title suggests, it is structured in the sonata form identified through the introduction, exposition, development, recapitulation and coda. Meanwhile, Liszts ninth Transcendental Etude vary from a commute in color and tone through the succession of octaves which give ferocity on the opposition of high and low tones. The piece is also different in the sense that the melody is much more expressive or romantic through arpeggios and the playfulness of the scales compared with Mozarts playful theme. Lastly, Rachmaninoffs Sonata no.2 in B flat is much heavier compared to the aforementioned compositions because of the stress on color and tone. In contrast with Liszts, the composition opens with a explosive crash of octaves which introduce the heavy theme of the piece. The gradual development into the jiffy movement becomes reminiscent of the Liszts romantic theme bu t unchanging identified with heaviness as found in the first movement. plant Cited Copland, Aaron. What to Listen for in Music. New York, N. Y Signet Classics, 2002. Griffiths, Paul. A Concise floor of Western Music. Cambridge, UK New York Cambridge University Press, 2006.