The chant melody is soon shifted up to a higher register and is played by woodwinds and pizzicato 9 strings in a quick dance-like rhythm (Kamien, 2014: 297). Alterations with the violas in the beginning of the witches’ dance, followed by low tubas and bassoons in forte playing the Dies irae in long even notes. Higher horns and trumpets starts the beginning of the Dies Irae, but this time played faster (Kamien, 2014: 298). The woodwinds starts the section off with the Dies irae as a fast staccato
Bach: Brandenburg Concerto No. 2 in F major, BWV 1047 The instruments heard throughout the concerto are violins, violas, a cello, a bass, an oboe, a recorder, a keyed trumpet, and a harpsichord. The first movement begins at a quick tempo. Sixteenth notes are played constantly and are passed around the different instruments. Throughout the sixteenth not passages or mordents and other embellishments.
The first movement is a trumpet solo with band accompaniment, very melancholic and reflective. The second movement begins by setting up the intricate motif from the woodwinds. As more sections slowly build upon each other, the conflicting metric lines form something that can only be described as majestic. Mackey’s skillful manipulation of time signatures eventually leads into a large 5/4 section that features the low brass. This is a transitory section that leads to a much more flourishing 4/4 – 5/4 section in half time.
The rhythm was pretty upbeat and not all too complicated. I think the music must have included quite a bit of improvisation as they would be playing for a while before taking a break. I mean they could have changed songs, but sometimes it just sounded like they kept making new melodies for the same song. I liked it. It seemed very free.
Haydn’s Symphony No. 100 in G major came in one of those ups and downs mentioned earlier. But out of that tough time, Haydn’s Symphony 100 “enjoyed a career-high success. His Military Symphony was the 1794 season’s third and final premiere… “The audience demanded an encore after the second movement, which introduced ‘Turkish’ instruments previously only heard in the Opera House” Haydn’s Symphony is a loud robust piece. It is amazing.
The third act has more serious tone so the lighting is brighter than the first act but very minimal. The sounds of the play work in a very similar fashion. Even before the play, there was a plethora of songs from the Simpsons being played while the audience waited for the production to begin. The play does have musical elements so there are many times that the dialogue calls for random spots of song. This important for the understanding the play as a whole.
As the string instruments moved in harmony, the brass instruments were incorporated with a slow tune. The piece eventually progressed to be more theatrical. The melodies gathered pace and the music became more powerful with the consistent entries of different instruments and melodies. One category of the instrument was pursued by another and eventually all instruments were playing in harmony with each other. The ending was the peak of the piece.
The first movement, Allegro molto moderato, presents a confident minor-mode theme, the outline of which is directly related to following, themes that were more lyrical. The whole movement suggests an urgency that cleverly turns into the scherzo in the second movement, Allegro molto. This second movement is driven by a continual motion and rhythmic strength, but also echoes keynotes from the first movement. Adagio non troppo, is the third movement and at once is serene and unassertive, its extended lyrical lines in the viola alternate with gliding chords from the piano. In the final movement Allegro molto, the piano performs agile quickness, and the string melodies intertwine with each other, then merge in strong accord.
Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofé many times. The piece received its show in the concert, An Experiment in Modern Music which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band, with Gershwin playing the piano. After the great success of an experimental classical-jazz concert held with singer Eva Gauthier at Aeolian Hall on November 1, 1923, band leader Paul Whiteman decided to attempt something more exciting. He asked Gershwin to add a concerto-like piece for an all-jazz concert he would give in Aeolian Hall on February 1924. The song itself had no words, it starts soft, then gets loud, then keeps rotating between the two.
The first song was “Hosanna” by Hillsong. The same band was up there. There was the rhythm section and the singers but this time there was a piano. This sing was slower than the first but also definitely the loudest because of the congregation shaking their clappers. “Hosanna” was a duple meter beat.