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A 5 page concert review that discusses the writer's impressions of four works on the program. The works discussed include Bruckner's Seventh Symphony in E major; Beethoven's Piano Concerto No. 4 in G major; and Chopin's Sonata in B minor and his Barcarolle, opus 60. Bibliography lists 3 sources.
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5 pages (~225 words per page)
File: D0_khbbcc.rtf
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emotions. As with Bruckners other symphonies, his Seventh is in four movements: beginning with an allegro movement; following by an adagio; a scherzo and concluding with a modified sonata for
allegro finale. An interesting feature of the tonal color of the orchestration is the inclusion of a tuba (Jackson, 1997). In the final movement of the Seventh, a sense
of tension is developed through the unexpected harmonic structure. The exposition presents three major themes; however, the recapitulation surprises the listener by presenting these themes again in reverse order (Jackson,
1997). Furthermore, the harmony is not what listeners have been conditioned to expect, as the music delays reaching the solace and feeling of completion that comes with hearing a return
to the dominant chord. The reverse capitulation seems to emphasize the tragic feeling that the music conveys (Jackson, 1997). It suggests that death is always unexpected and represents a great
emotional loss. However, the feeling of grief succumbs to one of joy, which suggests that the deceased has been welcomed into heaven. There is a joyful transformation of the
Sevenths opening theme (Jackson, 1997). However, throughout the movement there is always the accompanying emotional message of grief and loss, which indicates that Bruckner never completely loses his focus on
what the loss of the deceased means to those who have been left behind, while he simultaneously acknowledges the glory of the afterlife (Jackson, 1997). Beethovens Piano Concerto No.
4 in G major, Op. 58 While Bruckners symphony definitely elicited feelings of grief, Beethovens concerto is much more abstract. Rather than offer the listener a definitive program, this is
pure or absolute music, but with the rather abstract twist that Beethoven offers the listener numerous surprises. The first surprise is that it is the soloist who begins, and opens
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