In Rubenstein’s interpretation of the Mazurka, we get a more cohesive journey than other comparable recordings, namely Vladimir Horowitz. This is due to the general sense of pulse that continues throughout the piece, yet is still ebbs and flows. When he takes time to bring attention to a specific chord, note, or resolution, it builds anticipation for the listener. In the symmetrical minor third progression, he speeds up as he reaches the pinnacle of the passage which propels not only the rhythm, but the harmony as well upwards and upwards, making me wonder when it will come crashing down in beautiful dark wet flames. As for the octet, this recording was slightly less rubato than others that I have listened to.
The first movement, Allegro ma non troppo, is very fiery and powerful. After an initial flourish of piano solo, the violin brings forth the main theme, a romantic, almost heroic melody. As the theme is developed fast passages create a sense of urgent drama. The middle movement is very unique because of its title Improvisation: Andante cantabile. The tranquil violin passages give the impression of improvisational material.
This held tone, A, in both tonic and dominant arpeggios give the melody an obsessional allure. The movement is also noticeable with its long ranging dynamics, crescendos and diminuendos, as well brisk changes, forte and piano. It is very interesting to note that the unique fortissimo indication appears just before the Coda, in that sharp jump to the interval of tenth followed by a long chromatic descent without diminuendo. The Sonata ends by a fast running arpeggio to the low D
Chromaticism disregards the strict rules of tonality (the “key” in which a piece is played) that was defined during the Classical Era. This resulted in the use of dissonance (clashing sounds) and half-step movements which ornament and add dynamics to the piece (Kauble n.p.). In Rachmaninoff’s “Rhapsody on a Theme of Paganini” and “Etudes-Tableaux Op. 33 N. 8 in G minor” both contain elements of chromaticism with their elaborate use of arpeggios (play of broken chords) and repetitive musical themes (Myers n.p.). Music of the 1950’s was also influenced by specific events during that time period.
94 in G Major, or “Surprise”. His Symphony No. 6 reminds me of his Symphony No. 94, especially during the middle of the symphony because of its dynamics and instrumentation, but the beginning of Symphony No.6 is a lot calmer and quieter. Another first impression that I had when listening to this song was how this symphony created a clear image in my mind.
The guitar played by George Harrison is blends in perfectly which also adds timbre while cello is added in about 2:04 and plays softly in the background creating contrast between verses. Piano and violins are in line with each other while the horn steadily plays offbeat in the ' 'though she feels as if she 's in a play. Through out the song, both string and horns come in without us noticing until the mood
Even though string instruments are used in both symphonies, Beethoven 's symphony also uses the piano in his composition and Mozart also uses percussion. Beethoven 's ninth symphony written in a major key which makes it seem happy and joyful. The symphony 's name "Ode the Joy" already gives the listener a hint. Mozart 's fortieth symphony is written in a minor key. Minor keys are often used for sad song, as well as for passionate love songs.
Prelude and Fugue in G Minor, BWV 861 (Book 1) Johann Sebastian Bach (1685–1750) Bach completed the first volume of the Well-Tempered Clavier in 1722 at the age of 37. The aim of the book was to write a prelude and fugue in all keys which are arranged in an ascending chromatic scale in pairs of major and minor scales, for example, C major, C minor, C-sharp major, C-sharp minor, et cetera, for those who wished to learn. Though written in a minor, the piece is by no means stately or solemn in tone. The prelude opens with a dream-like trill in the right hand which comes back later when the subject is absent. At such moments scales play in contrary motion in different ranges and voices.
For example, one can identify the bitter wail of a gypsy lament in K. 426, and the contrast between a regular pulse and its sudden displacement in K. 427 makes for an exciting application of rhythm. Another technique commonly employed by Scarlatti in his sonatas is the use of unconventional (for the time) modulations. K. 426 modulates abruptly to the dominant minor key in the middle of the first section, and proceeds to move through a few more keys in the second section, before returning to the tonic key 35 bars before the
It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the