A Major is the key of cheerfulness and satisfaction with one's lot in life. To my feeling, its color is orange.
A major has the pitches A, B, C♯, D, E, F♯, and G♯. Its key signature has three sharps. Its relative minor is F-sharp minor and its parallel minor is A minor.
In the symphonic literature examples of symphonies in A major are not as common as for D major or G major - there are after all three sharps. Haydn wrote eight symphonies in A Major, Mozart three. Beethoven's Symphony No. 7, Bruckner's Symphony No. 6 and Mendelssohn's Symphony No. 4 form a nearly complete list of symphonies in this key in the Romantic era. Mozart's Clarinet Concerto and Clarinet Quintet are both in A major, along with his 23rd Piano Concerto.
The key of A does occur more frequently in chamber music. Franz Schubert's Trout Quintet and Antonín Dvořák's Piano Quintet No. 2 are both in A major. Wolfgang Amadeus Mozart, Johannes Brahms, César Franck, and Gabriel Fauré wrote violin sonatas in A major. In connection to Beethoven's Kreutzer Sonata, A major has been called the fullest sounding key for the violin - however, this sonata is not really characteristic as the first movement is in reality mainly in A Minor! It is Beethoven's Third Cello Sonata which is a better representative of A Major.
Characteristic works in A Major:
Wolfgang Amadeus Mozart, Clarinet Concerto, K. 622
The last work Mozart wrote in the concerto genre and his only concerto for clarinet. Although the autograph score is lost, we know from Mozart's entry in his catalog that it was composed between September 28 and November 15, 1791, for Anton Stadler, a close friend and member of the Freemasons. Stadler was a clarinet and basset horn virtuoso in the Vienna Court Orchestra at the time, and Mozart was inspired by him to write this piece and the Clarinet Quintet in A major, K. 581.The first movement of this work is a reworking of a concerto for basset horn in G K. 621b, also supposedly composed for Stadler in 1787. It is thought that between September and November above, the entire work was transposed to A major, the bassoon was added, and the second and third movements were newly written to complete the work as a single concerto. Comparing the current clarinet concerto with the draft of K. 621b, in which only the basset-horn solo part was fully finished, we find that the content is almost the same, with only a few differences.
The oboe has an almost uniform tone, whereas the clarinet is attractive in that its tone changes according to the lower, middle, and higher registers, allowing for a greater range and depth of expression. Mozart had already well grasped these characteristics of the clarinet, which was still a new instrument at the time, and especially made the lowest notes resonate well enough to create a contrasting effect with the higher notes. In this aspect, he is said to have set the precedent for Weber and other Romantic composers.
The fact that both the Clarinet Quintet and the Clarinet Quintet, both of which feature the clarinet as the main instrument, are in A major with the A clarinet instead of the more common B-flat clarinet, seems to have been Mozart's intention. A major, along with G minor, is a tonality that is perfectly suited to the qualities of Mozart's music, which always has a pleasantly lively and sensual mood, and this piece is incomparably beautiful because it blends these tones beautifully into the quiet, clear sound that pervades Mozart's last years.
1st movement Allegro. A major, 4/4 time, sonata form.
The whole movement is longer than those of most of Mozart's symphonies, at 359 bars, but there is no cadenza. The first theme is fully played by the strings and winds, followed by a series of imitative phrases with motifs derived from the theme, and the second theme is omitted.
2nd movement Adagio. D major, 3/4 time, three-part form.
The clarinet quietly begins to play the main melody, accompanied by the strings. In general, this slow movement is not a concerto but a monologue for solo instruments in the style of chamber music. The simple and tasteful melodic line sculpting without any excesses is very wonderful.
3rd movement Rondo: Allegro. Rondo form in A major, 6/8 time.
This finale is full of lighthearted playfulness, and even a hint of humor in the contrasting registers and rhythms, but there is no hearty melody flowing through it. There is a shadow of melancholy, as if the singer has realized that his life is not long enough and has reached a point of resignation. It should also be noted that although the music is in rondo form, there is free treatment of the music in many places that transcends the framework of the rondo form. The rondo section is performed in four movements at the end, without cadenza, and the music dynamic forte.svg easily concludes the whole piece.
When an instrument plays in A Major, its voice is especially crisp, even in the case of an instrument as voluptuous as a clarinet. Mozart’s Clarinet Quintet and Clarinet Concerto take A Major to its highest level, where it is especially poignant and lyrical, aided by its natural sharp quality.
Iceland Symphony Orchestra, Cornelius Meister, conductor, with Arngunnur Árnadóttir, clarinet.
Ludwig van Beethoven, Cello Sonata No. 3, Op. 69
Beethoven composed five cello sonatas: two in Op. 5, Op. 69, and again two in Op. 102. Unlike the violin sonatas, which were concentrated in his early years, he left masterpieces in the cello sonatas that are representative of his early, middle, and late style. Among Beethoven's chamber music, these five sonatas are second only to the string quartets in terms of success, and they are important in understanding Beethoven's chamber music as a whole.
Of the five cello sonatas, the most widely known is the third, Op. 69. Composed at the same time as Symphonies Nos. 5 and 6 and Piano Concerto No. 5, it is a very substantial chamber piece that represents the "forest of masterpieces" of Beethoven's middle period.
The cello was given an equal role with the piano for the first time in history with this work - earlier cello sonatas were in effect "piano sonatas with cello accompaniment." The treatment of the cello is dramatically more daring than in the previous Op. 5, and while utilizing the cello's natural ability to play low notes and cantabile, the cello is also actively used, including high notes, and the possibilities of the cello are greatly expanded compared to previous cello works. The piano, on the other hand, sings boldly and freely, including octave duplication, but without disturbing the cello's progress. In terms of compositional technique, Beethoven's skills of this period are also on a high level, as both cello and piano use elaborate counterpoint throughout the work.
1st movement Allegro ma non tanto. A major, 2/2 time, sonata form.
The cello plays a majestic A major first theme, which is followed by the piano, and the piece begins. The second theme in E minor is developed by the cello and piano in three-tonal counterpoint. The treatment of the cello in this area is a great improvement over that in Op. 5, as the cello is no longer accompanied by the piano, but is given an independent status. The development section also shows the organic relationship between the cello and piano. After the recapitulation section, the coda begins, using the motive of the first theme. Here, Beethoven's signature technique of compressing motives is used, and the piece builds up to a climax. After the cello and piano play the first theme, the piece closes with the cello melody.
2nd movement Scherzo: Allegro molto. A minor, 3/4 time, A-B-A-B-A form.
A vigorous scherzo with a bright trio.
3rd movement Adagio cantabile - Allegro vivace. E major - A major, 2/4 time - 2/2 time, sonata form.
The movement begins with a graceful, grandiose Adagio Cantabile in E major, an introduction in which the cello's sostenuto abilities are on full display. The mood changes from the A major genus seven chords, and the cello plays a light first theme. From this point on, the music changes to A major, 2/2 time, in an Allegro vivace sonata form exposition section, and the theme builds to a great climax with the addition of the piano. A short development and a recapitulation section that proceeds according to the formula lead to the coda. In the coda, the piano's spectacular melody crescendos greatly to a dynamic fortissimo, and after an explosive climax played by the ensemble, the cello and piano advance, ending the entire piece majestically on a final chord.
SOL GABETTA, VIOLONCELLO & SEONG-JIN CHO, PIANO
Franz Schubert, Piano Quintet in A major, D. 667, "Trout Quintet"
Another happy piece of music in A Major - I always see a trout frolicking in the water when I hear the first movement! It was written when Schubert was young and full of happiness, in 1819, when he was 22 years old; it was not published, however, until 1829, a year after his death. Rather than the usual piano quintet lineup of piano and string quartet, the Trout Quintet is written for piano, violin, viola, cello and double bass. The composer Johann Nepomuk Hummel had composed two quintets for the same instrumentation, and the Trout was actually written for a group of musicians coming together to play Hummel's work. The piece is known as "the Trout" because the fourth movement is a set of variations on Schubert's earlier Lied "Die Forelle". The quintet was written for Sylvester Paumgartner, a wealthy music patron and amateur cellist from Steyr, Upper Austria, who also suggested that Schubert include a set of variations on the song. The rising sextuplet figure from the song's accompaniment is used as a unifying motif throughout the quintet, and related figures appear in four out of the five movements – all but the Scherzo. As in the song, the figure is usually introduced by the piano, ascending.
1st movement: Allegro vivace. A major.
The first movement is in sonata form. As is commonplace in works of the Classical genre, the exposition shifts from tonic to dominant; however, Schubert's harmonic language is innovative, incorporating many mediants and submediants. This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flatted submediant) in the eleventh bar. The development section starts with a similar abrupt shift, from E major (at the end of the exposition) to C major. Harmonic movement is slow at first, but becomes quicker; towards the return of the first theme, the harmony modulates in ascending half tones. The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert. It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.
Second movement : Andante. F major, two-part form.
This movement is composed of two symmetrical sections, the second being a transposed version of the first, except for some differences of modulation which allow the movement to end in the same key in which it began.
Third movement : Scherzo - Presto. A major. Trio in D major.
This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major, the flattened mediant, or the relative major of the parallel minor (A minor).
Fourth movement : Andantino - Allegretto. D major. Variations on "Trout".
The fourth movement is a theme and variations on Schubert's Lied "Die Forelle". As typical of some other variation movements by Schubert, the variations do not transform the original theme into new thematic material; rather, they concentrate on melodic decoration and changes of mood. The theme is presented by strings only, followed by six variations. The
fourth variation is in D minor, and the fifth is in B-flat major. In each of the first few variations, the main theme is played by a different instrument or group. The concluding variation is similar to the original Lied, sharing the same characteristic accompaniment in the piano.
5th movement : Allegro Giusto. A major, sonata form.
The Finale is in two symmetrical sections, like the second movement. However, the movement differs from the second movement in the absence of unusual chromaticism, and in the second section being an exact transposition of the first. Although this movement lacks the chromaticism of the second movement, its own harmonic design is also innovative: the first section ends in D major, the subdominant. This is contradictory to the aesthetics of the Classical musical style, in which the first major harmonic event in a musical piece or movement, is the shift from tonic to dominant (or, more rarely, to mediant or submediant – but never to the subdominant).
Juhani Lagerspetz, Sini Simonen, Steven Dann, Franz Ortner, Michael Seifried at the 15th Esbjerg International Chamber Music Festival 2013.
Felix Mendelssohn, Symphony No. 4, Op. 90 ("Italian")
1st movement Allegro vivace - piu animato poco a poco. A major, 6/8 time, sonata form.
The piece opens with a lively first theme presented by the violin over a two-bar introduction with light ticking of the woodwinds. The motive of the first theme is developed for 60 bars, followed by a transitional phrase of about 50 bars, and then the second theme in E major is presented with a calm expression on the bassoon and clarinet. After the second theme is developed, a small ending with the first theme follows. The development section begins with a fugue with a new theme derived from the transitional phrase of the presentation section, and the motive of the first theme is counterpointed to it. This develops to form the climax, and after a pause, the recapitulation section begins as usual. In the coda, the violins and flutes present a new melody, and the new theme of the development section is combined with the motive of the first theme. The piece ends with a cheerful run of staccato triads. The entire movement is infused with a lively and exuberant atmosphere.
Second movement Andante con moto. D minor, 4/4 time, rondo form (A-B-A-B-A)
After a call to arms, a simple and melancholy melody is presented by the woodwinds. The strings play a characteristic rhythm. The middle part is in D major.
Third movement: Con moto moderato. A major, 3/4 time, three part form.
A gentle tune, almost like a minuet. The main theme is reminiscent of German folk dances. The middle section begins with a horn signal, and the violin and flute play an ascending rhythmic pattern.
Fourth movement Saltarello: Presto. A minor, 4/4 time, free rondo form.
The "saltarello" is a dance popular among the people near Rome. In the middle of the piece, a smooth note pattern appears in the tarantella rhythm. After a short introduction, A is presented, and after a frenetic progression, B is presented. After A appears again, C appears, this time in flowing, fast triplets. The movement ends violently in A minor. Although this A Major symphony ends in A Minor, the happy atmosphere of an Italian holiday has been expertly caught.
hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) ∙
Paavo Järvi, Dirigent
Johannes Brahms, Violin Sonata No 2 in A
Composed in the summer of 1886, seven years after the completion of the Violin Sonata No. 1, at a summer retreat on the shores of Lake Thun (Switzerland). During this period, Brahms was enjoying a full life, making friends with many people and at the same time producing many works, including the Piano Trio No. 3 and the Cello Sonata No. 2.1st movement, Allegro amabile. Three-quarter time. Sonata form.
The piano plays the main theme, and the violin plays an assistant role, impressing the audience with the beauty of its tone. While the first theme is a profound A major (C#-G#-A) harmony with pianistic expression, the second theme is based on the main chord G#-H-E in the key of E major. Both are elegant and characteristic of Romantism.
2nd movement, Andante tranquillo - Vivace, Dual time in 4/4. F major. Rondo form.
At the beginning, the piano right hand and the violin counterpoint the theme. This gentle theme is repeated twice in D major. vivace in 3/4 time. D minor. The same counterpoint treatment is used. The first movement and the second movement are both in a calm singing style, so this movement is treated in a slightly rhythmic manner.
3rd movement, Allegretto grazioso (quasi Andante). 2/2 time. A major. Rondo form.
The combination of triplets, eighth notes, and six-note diminished seventh chords is used to prevent the rhythm from becoming monotonous. The coda ends with a heavy violin note.
A relaxed work that brings out the pleasant and satisfied feelings of A Major.
Augustin Hadelich and Orion Weiss play Brahms sonata no. 2 in A Major Op. 100
[Includes parts of text from the relevant articles on the Japanese, Dutch, German and English Wikipedia sites]