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Open-level musical analysis course
Engelstalig
Wed 12 Mar ’25 19:30 uur - Wed 2 Apr ’25 19:30 uur

 

Asja Zakhareva - music theorist

Wed 12 Mar ’25
-
Wed 2 Apr ’25
From 19:30 uur
  • Wed 12 Mar ’25
    -
    Wed 2 Apr ’25
    From 19:30 uur
    M by Muziekgebouw Eindhoven

Sonata in D major, Symphony № 5, String quartet №15678 - many music pieces performed these days almost have the same name. Titles so abstract and shallow that they give us no hint of what to expect, but beware: bad titles often hide an immersive musical series! Bright heroes with eventful lives, sharp plottwists, breathtaking climaxes and fascinating finals… This four-day open-level course (given in English) explores how to follow the music presented in three popular music forms: symphonies, sonatas and quartets.

 

WED 12 MAR 2025
Preparing the ground
What ingredients make music pleasant to listen to? With different musical fragments, we will explore the answer to this question. In the second half, it's time to directly go to our main heroes: the symphony, the sonata and the quartet! What makes them so popular?

WED 19 MAR 2025
Symphonies, sonatas and quartets
Though seemingly different genres, these three have more in common than you might expect. We will delve into the underlying dramaturgical path that symphonies, sonatas, and quartets often share. Keeping this ‘story path’ in mind, we will follow the music as a thrillingly unfolding musical novel.

WED 26 MAR 2025
Following the plot: movement by movement
Now its time to apply the knowledge; step by step – movement by movement. This session will be a marathon of pieces from different time periods and composers, challenging and training you to quickly find the most fulfilling listening approach to every movement.

WED 2 APR 2025
Following the plot: big forms and big ideas
This evening, we will regard the big form of all movements together. After all, in essence a symphony, sonata or a quartet is not just one novel or a musical film ­– it is a series. What potential does it give for genres and what great ideas, overarching surprises and reminiscences do composers hide among and between four different movements?