Mozart Sonata Essay

The succession of the moments (Bach Toccata in D minor, Mozart Sonata in B flat, Liszt Transcendental Etude No. 9, and Rachmaninoff Sonata no. 2 in B-flat Minor) are arranged in order to typify the transgression of practice of medicine development from the contrapuntal churrigueresque form represented by Johann Sebastian Bach, the gradual transposition of the sonata form between the rococo and classical eras finished Wolfgang Amadeus Mozart, and the combination of tonal heftiness and virtuosity as found in the compositions of Franz Liszt and Sergei Rachmaninoff.Each composition is characterized through the era in which it is composed in order to understand the development of musical forms, styles, and influences from the early17th century to the late 18th century. Bach represented the unmitigated polyphonic harmony of the era characterized through two independent tonal forms in the melody and deep which separated may stand alone as two separate melodies but combined, the t ones form another(prenominal) unalike melody which sharply represents the detailed heaviness of the baroque era, not only characterized in music but also art disciplines as salubrious (Griffiths 101).Mozarts sonatas are generally identified as playful tunes ranging from early pieces which show influences of other composers such as Franz Joseph Haydn to later developments which clearly show Mozarts musical genius. His sonatas are 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 periods 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 truelove and virtuosity requirement while Rachmaninoffs compositions are generally heavier compared to the varying degrees of tonal social system found in Liszts (Copland 91). First, we analyze Bachs Toccata in D minor. Mainly one of the most perceptible pieces in music, the composition is arranged for the pipe 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 redirect examination the contrapuntal polyphonic style of the Toccata.As mentioned, the piece is an example of polyphonic structure where the melody and sea 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 national followed by a serial publication of thematic development. The color 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 te mpo set to a fast yet playful manner.The piece is separated into three movements and as the title suggests, it is structured in the sonata form identified through the introduction, exposition, development, critical review and coda. Meanwhile, Liszts ninth Transcendental Etude vary from a change in color and tone through the succession of octaves which give emphasis 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 waggery of the scales compared with Mozarts playful theme. Lastly, Rachmaninoffs Sonata no.2 in B flat is much heavier compared to the aforementioned(prenominal) compositions because of the emphasis on color and tone. In contrast with Liszts, the composition opens with a sudden crash of octaves which lay out the heavy theme of the piece. The gradual development into the second movement becomes reminiscent of the Liszts romantic theme but still identified with he aviness as found in the first movement. Works Cited Copland, Aaron. What to pick up for in Music. New York, N. Y Signet Classics, 2002. Griffiths, Paul. A Concise History of Western Music. Cambridge, UK New York Cambridge University Press, 2006.