Q2 Listening Log

Title Analysis

Haydn- Surprise Symphony ● It was designed to be surprised. I believe that

it's more effective because he places it right
after the same motive. I think that his use of
transitioning into the second section was an
effective form of trickery. I believe that the
comic juxtaposition of soft with loud is not the
only reason it’s surprising. To me it almost
feels like the surprise is a beat late every
single time. I think he does this on purpose so
that it falls when we don't expect it.

Mozart- The Magic Flute ● Much more dramatic like the Hadyn. I believe
that the main thing that gave their music space
in history was the stark contrast it made
compared to the stuff that came before it.
Much more tension. Instead of phrases
resolving they each lead into the next. The
allegro section employs the use of texture and
different timbres to create interest. I still here
a stepwise bass but it is less prominent and
isn't always playing. More soloistic playing,
which is answered by the full ensemble.
Minor section made use of descending lines
and effectively condensed the orchestra, then
built it back up. Contrast is key. Time is more
rigid.

Berlioz- Hungarian March from Damnation of ● Love this piece. I think its use of secondary
Faust dominants is masterful because its mixed with
the tonic key just enough to provide interest
every time we move to a different chord. The
call and response nature of this piece is
slightly different in that each phrase is split by
an interlude of different material. Playing this
in band was a lot of fun. Again the dynamic
and tonal contrast is what makes this piece
interesting for me.

Beethoven- Symphony no. 3 ● This is considered Bethoveen’s masterpiece

and I understand why. The soaring
counterpoints in the Horns and Cello’s are to
die for. I love the way it starts off with less
intensity and slowly builds it within each

Beethoven- Symphony no. 9
Schubert- Unfinished Symphony
Bruckner Symphony 7
Mendelssohn A Midsummer Night’s Dream
Schubert Symphony 7
section. The overall energy in the piece is
amazing. I keep hearing little suggestions of
other pieces by Bethoveen and I can’t tell if
it’s just me or he did it on purpose.
● This is another masterpiece. The tonal shifts
and modulations are especially well done. It
very much suggests a more melancholy mood
than no. 3. The Allegro sections are light and
Bethoveen’s use of the brass is fleeting. I
believe that the chorale at the end is quite
unique in its structure. Choir is gorgeous.
● I love the way that these later pieces started
experimenting with a return to melody in the
bass. I feel that the opening of this symphony
is especially effective at setting the mood. I
think that around this time period, composers
were starting to use different sections of the
orchestra individually rather than as a whole
which I believe is great.
● I love Bruckner’s work. His ability to make
the ensemble weep is amazing. His texturing
is always meticulous and I really enjoy the
way he uses light strings for atmospheric
effect. I tend to do that. The first movement
was especially moving. I’m starting to notice
what we might call cliche chord changes in
this later music. I think that this era is what
originally had these chord changes even
though today they are found most commonly
in cinematic music. His use of the Brass’s
power is incredible. The finale left me with
goosebumps.
● I found this piece to be a bit more of a
traditional style piece. It very much reminded
me of one of Arban’s fantasy and variations. I
can’t say that it was my favorite but I like
Mendelssohn’s other work because of how
emotional it is.
● I like this one. It’s got nice melodies. I think
that it sounds a little to classical. Much more
like Mozart or Bethoveen than Bruckner or
Liszt. His use of counterpoints is good though.
 I think his music is a little to linear in general.
I feel little to no emotional connection to it.
That being said his masterful technique of
melding many different harmonic and
rhythmic lines together does add excitement.

Liszt- Les Preludes ● Liszt is by far the best orchestrator on this list.
His music is quite emotional. His use of
different and unique modes in writing his
melodies is exceptional. His foreboding
baseline is brilliantly juxtaposed with the
simpering harmony in the upper flutes. His
brass is perfectly balanced and his music
creates exactly the type of atmosphere that I
like to hear.