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 three pieces are all written in ABA form, the typical form for songs, and feature lyrical, heartfelt melodies that evoke storytelling and vivid imagery. Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion. The second Romance, Einfach, innig (simply, heartfelt) features the violin and piano playing some of the most inward, vulnerable music in the parallel key of A major.
The form of Take Five is usually the introduction, the chorus, the improvisation (drums, piano, saxophone or bass), another improvisation (drums, piano, saxophone or bass), head and the ending. Texture The texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, determining the overall quality of the sound in a piece. It is the connection between the tune and the balance in a piece of music, it is an element. In Take Five, the texture is monophonic, it's very light and clear. The melody in the saxophone is explicit and noticeable from the piano, double bass and the drums.
The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals. The piece comprise of many musical instrument particularly string, brass, and woodwinds. The composer also use repetition in composing as the first part is repeated at the end of the piece, but with more sophisticated dynamics and timbre. In my opinion, the piece by Richard Wagner is a very good example for the topic of Basic Musical Concept that introduce many essential parts like referential listeners and structure of
As seen in these two pieces, Beethoven copied the notes and story told in Mozart’s sonata. The characters created are close replicas and line up precisely, which demonstrates Mozart’s huge influence on Beethoven’s First Sonata. There are several other smaller elements that Beethoven borrowed from Mozart’s sonata. Mozart employed contrasting dynamics to produce a more dramatic mood, which Beethoven copied to create drama between his characters. His angry character stays at a forte (loud) throughout the
These works include Gustav Holst’s The Planets, Mahler’s Second Symphony, and Copland’s Fanfare for the Common Man. The New World Symphony was a stepping stone for my musical appetite, the first piece that I connected with emotionally, the various melodies and phrases evolving throughout the piece. Just as life evolves and develops over time. The New World Symphony changed my outlook on the world, revealing that music is a reflection of humanity and that groundbreaking music is successful in packaging an entire life into a series of movements that can be performed in under an
On the subject of syncopation, there are a few periods in the piece where the performers does become a bit loud all of a sudden. The dynamics of this work starts out quiet or (p) piano level, but then becomes louder or (f) forte all of a sudden and other times gradually crescendo. The range of the dynamic contrasts is that there is a large range difference and those contrasts are gradual the majority of the times. This pieces timbre is mellow, made up from the use of the vocal instruments and stays the same throughout the piece. Overall, the performance of O vos angeli that was analyzed is a beautiful tribute to her work, however without trying to be sexist in any way, I tend to prefer listening to chants that are sung by men rather than women because they just more relaxing to me.
Itzhak and John William have managed to create a sound effect, which is completely neutral, undoubtedly, suitable to a timeframe of the film; it has reflected the suffering the Jews endured during Nazi revolution. The Babel Film The Babel Film directed by Alejandro Gonzalez Inarritu is a thriller drama film. The music genre and soundtrack is classical music orchestra. Musical instruments used include piano and violin, while piano presents a peaceful setup, violin sets a sad
The entire mood of the piece seemed to change at this point. Then the melody reverted back to a slow peaceful melody. This time a violin was played along with the piano. The pattern was repeated until there was a moment of silence which transitioned into the second movement. The slow and soothing voice of the choir started the second movement with the piano and violin.
And most importantly, an even more "organic" connection between parts and movements. This will be sustained and improved upon by the composer all his life. As with each new series, we have here an evolution characteristic of the artist." Movements are all brief and powerfully compact. The analogy between the theme of the first movement: Molto allegro e con brio and the one in Mozart's C minor sonata K 457 is widely known and discussed.