Symphony -Herbst 4.

Aram Khachaturian (1903-1978) is a Soviet composer of Armenian descent, one of the prominent, celebrated figures of 20th century classical music. His art, which was greatly influenced by Armenian folk music, reveals the composer’s special talent, his works show extraordinary uniqueness. He wrote the Violin Competition for David Ojsztrah in 1940, after which the piece was almost never missing from the repertoire of the renowned artist. (Items: 1. Allegro con fermezza 2. Andante sostenuto 3. Allegro vivace) V. Symphony of Dmitry Dmitrijevich Shostakovich (1906-1975), one of the most often performed for 20th century symphonies, a true modern classical. His dramatic power and richness of melodies made him extremely popular. It is somewhat reminiscent of Mahler, but his voice is even gloomier; frequent modulations yet they place more emphasis on the corrosive mockery radiating from the music. At the climax of the start, two previous themes return: a dotted motif is even more powerful than first, but the lyrical side theme now played by the flute and horn accompanied by soft harp chords, it has lost its former unsettling character and closes in a peaceful, almost otherworldly voice down the item. As a second movement, we hear a short Scherzo, which again shows the influence of Mahler. In the voluminous Largo of the third movement, the brasses listen, and the violins listen to three instead of the usual two parts. are distributed. The espressivo opening melody is played only by the strings; the next theme is for flutes and harp; the first the starting rhythm of the theorem here clearly becomes mourning. Among the inconsolable solo melodies of oboe, clarinet and flute the strings of an orthodox mourning are strung on strings. At the heart of the concept of the work a man stands with all his suffering. The Final of the Symphony solves the tense and tragic moments of the previous movements in a joyful, optimistic way.