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	<title>Musician Matters&#187; Music Analysis</title>
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		<title>George Handel Concerto Grosso Op 6</title>
		<link>http://musicianmatters.com/music-analysis/g-f-handel-concerto-grosso-op-6/</link>
		<comments>http://musicianmatters.com/music-analysis/g-f-handel-concerto-grosso-op-6/#comments</comments>
		<pubDate>Thu, 31 Dec 2009 18:23:03 +0000</pubDate>
		<dc:creator>Simon</dc:creator>
				<category><![CDATA[Music Analysis]]></category>

		<guid isPermaLink="false">http://musicianmatters.com/?p=154</guid>
		<description><![CDATA[Handel’s compositional style was varied and diverse. His travels throughout Europe and collaborations with other composers such as Corelli gave him plenty of material from which to draw upon. His concerto grossi op 3. and op. 6 both display his cosmopolitan style and technical ability to synthesise these styles successfully. His heavy involvement with opera [...]]]></description>
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		<title>Antonio Vivaldi Concerto for Violin RV 286</title>
		<link>http://musicianmatters.com/music-analysis/antonio-vivaldi-concerto-for-violin-rv-286/</link>
		<comments>http://musicianmatters.com/music-analysis/antonio-vivaldi-concerto-for-violin-rv-286/#comments</comments>
		<pubDate>Thu, 31 Dec 2009 18:17:08 +0000</pubDate>
		<dc:creator>Simon</dc:creator>
				<category><![CDATA[Music Analysis]]></category>

		<guid isPermaLink="false">http://musicianmatters.com/?p=141</guid>
		<description><![CDATA[Vivaldi was a bold innovator of the concerto form. With over five hundred concerti penned he undoubtedly sought many different ways of adding variety to what could have been a very repetitive activity. The audiences for his concerti must have been well accustomed to the use of ritornello form in the first movement and therefore [...]]]></description>
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		<title>Concerto for Violin in A minor J.S.Bach BWV 1041</title>
		<link>http://musicianmatters.com/music-analysis/concerto-for-violin-in-a-minor-j-s-bach-bwv-1041/</link>
		<comments>http://musicianmatters.com/music-analysis/concerto-for-violin-in-a-minor-j-s-bach-bwv-1041/#comments</comments>
		<pubDate>Thu, 31 Dec 2009 17:50:25 +0000</pubDate>
		<dc:creator>Simon</dc:creator>
				<category><![CDATA[Music Analysis]]></category>

		<guid isPermaLink="false">http://musicianmatters.com/?p=127</guid>
		<description><![CDATA[The first movement of this concerto is a wonderful example of Bach’s innovative approach to an already well established concerto form. The ritornello form, so frequently used in concerti of the time, is clearly used as a fundamental structure. What makes the work so interesting, however, is the experimental nature in which Bach manipulates the [...]]]></description>
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		<title>Mozart Piano ConcertoK488</title>
		<link>http://musicianmatters.com/music-analysis/mozart-piano-concertok488/</link>
		<comments>http://musicianmatters.com/music-analysis/mozart-piano-concertok488/#comments</comments>
		<pubDate>Sat, 19 Dec 2009 21:58:33 +0000</pubDate>
		<dc:creator>Simon</dc:creator>
				<category><![CDATA[Music Analysis]]></category>

		<guid isPermaLink="false">http://musicianmatters.com/?p=29</guid>
		<description><![CDATA[In In the varied first movement structures of Mozart’s piano concertos, few fall into the sonata form with more ease than K488. Its clarity of form and suave melodic style create a sublime unison that displays Mozart’s mastery of the concerto form. Its aria style melodies point to a strong operatic influence in the concerto [...]]]></description>
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		<title>Beethoven&#8217;s Symphony 8</title>
		<link>http://musicianmatters.com/music-analysis/beethovens-symphony-8/</link>
		<comments>http://musicianmatters.com/music-analysis/beethovens-symphony-8/#comments</comments>
		<pubDate>Sat, 19 Dec 2009 21:28:10 +0000</pubDate>
		<dc:creator>Simon</dc:creator>
				<category><![CDATA[Music Analysis]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Music History]]></category>

		<guid isPermaLink="false">http://musicianmatters.com/2009/12/beethovens-symphony-8/</guid>
		<description><![CDATA[Beethoven’s eighth symphony stands between two towering works of the symphonic genre. The seventh and ninth symphonies were revolutionary works and marked the apogee of symphonic development for that time. In between these two goliaths stands Beethoven’s self-described ‘Little Symphony’ which, when compared to its neighbors does appear less substantial but in fact it contains the lengthiest finale of any Beethoven symphony written at that point in time.]]></description>
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