String Quartet in G Minor by Johannes Brahms

The String quartet is composed of four movements, linked together in a similar manner as the movements observed in the other two quartets of Op. 44. The sonata-allegro is the main movement of the quartet and it translates into a warm and hard-hitting idea through the soaring of the first violin melody that opens the string quartet. The intense tonality is enhanced by the smoothly stewing second violin and viola as well as the steady flows from the cello. On the other hand, the theme casts into a sharp F minor while maintaining a noble homophonic chorale tone via recapitulation in B minor. Mendelsohn replaces a Menuetto for a scherzo-proper while moving back into the traditions of the eighteenth century. All the instruments take the music half-heartedly marking it into an Allegretto that is genteel and well composed thereby saving the composition from the weight of numerous admirable manners. A magical texture is evident in the Andante espressivo con moto evidenced by a consistent light staccato in the 16th notes from the second violin, transparent pizzicati from the cello and viola, and a taut tune in the 1st

violin that strings the second violin and its staccato. A snappy rhythm buoyancy and a sonorous brilliance makes up the presto con brio end of the them filling it with the famous E minor violin concerto.

I enjoyed listening to the classical composition, Molto Allegro Vivace especially its spirited and fresh performance culminating into a strong feeling of naturalness. Firstly, it develops a unique affection for transparency, liveliness, and elaborateness of inner voice writing. Secondly, the melody and pitch of the composition are lean and bright giving a complete clarity in all the sophisticated scored parts of the string quartet. Moreover, apart from executing the fast movements with a desirable nuance and control that establishes a lighted performance considering that the tempo is on the brisk side of the spectrum, it also creates a lighthearted performance through its painstaking articulation, polished intonation, and calculated control of the dynamics.

Partita in A Minor Allemande by Johann Sebastian Bach

The Partita in A minor for unaccompanied flute, BWV 1013 is a very unlikely creation by Bach showing his ingenuity. Ideally, it is a music of high Baroque grace and unusual charm driven by implied counterpoints and actual tones that guides the cello and violin performance through the appearances of the allemande, courante, sarabande, and bourrée. However, the opening Allemande of Bach’s Partita for solo flute in A minor is the largest composition among the four movements with sixteen notes that creates a wide binary design. Notably, as the performers engage to develop a plain melody of the implicated treble and bass (harmonic voices) within which the Bach composed the music, there are frequent leaps from one register to the other. This is very identical in design to the Allemande in D minor violin Partita observed in movements from the solo cello and violin works, which are often melodic. Importantly, the advancement to the cadence in each half of the Allemande is enhanced through a juicy and compelling chromatically tumbling miniature arpeggios.

Bach’s Partita in A minor for solo flute is captivating yet filled with uncertainties. In this sense, its date of composition is hard to determine thus making it more demanding on the basis of it the advanced technique of play as compared to other flute solos such as the part of the Fifth Brandenburg Concerto. Therefore, without the good work of the 20th

century editors, it can easily lose its ambience.

Fugue in G Minor, BWV 542 BY Johann Sebastian Bach

The Fugue in G minor was assigned to Bach in his Weimer years in the early 17th century. It was his ultimate achievement in the field of concerted organ music. The performance creates a consistent and ambitious harmony that gives the composition a stable flow. Additionally, throughout the entire circle of fifths, as initially composed by Bach, the performers manage to make two revolutions. In this regard, the fugue creates a gentle contrast with the initial music from the first part (Fantasia) thereby appearing as one peace with the former. It establishes the independence of the composition through the careful edition of the colors in the wind band thus giving satisfying hints of chromaticism and lush chorales. Moreover, the classic fugue unwinds concluding in a welcome cadence through the exhilarating harmonizing of many voices within the fifths.  

The Fugue in G minor is an interesting piece to hear and play. Specifically, it gives a complete organ creativity and shadings of the traditional dynamic period, well stuffed with pedal tones that creates an orchestral delicacy and awareness while strengthening an individual’s appreciation in the long run. It showcases the soloist’s sparkling technique of play and making the composition balanced with lighter fare in a wise manner. Precisely, it treats the listeners with a flourished performance right up to the last deafening chords hence considered among the cornerstone of organ collections.