The second variation is induced by the electric guitar. The melody of expressive guitar’s solo is written in minor key, and the consequence of that is melancholic feeling in the song because of the *sad notes* which are used. After the solo the orchestration is getting bigger because the brass and piano are added in order to prepare a new transition. The counterpoint is done by the trombones and that leads to a transition. While the piano creates the counter melody, the voices are starting to be heard in the background.
Quixote’s theme is first presented in the solo cello part and is soon joined by solo violin and English horn. The second theme is first found in the bass clarinet and tenor tuba. The themes are said to mimic the voices and feelings of the two characters. The piece doesn’t always have a clear-cut form, but it uses elements of concerto and variations. The first theme can we heard in the form of windmills as seen in measure 60-78.
The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37). This fourth instance of the A melody is otherwise played the same as in “The Raiders March” until the last two bars, where it immediately jumps into what was the coda of the original piece (1:53). Here, the coda acts as a musical break between the A melody and a new C melody, which is really just the A melody of “Marion’s Theme”. As the strings transition between the two parts at (2:05), one can notice that this version of “Marion’s Theme” differs significantly than the original, most notably in its instrumentation. Here, the horn plays the melody while string ensemble plays harmony for the first six bars (2:09).
For example, we hear church bells in the beginning demonstrating the feel of tolling the death knell which indicates that some one died,while the timphony demonstrates anger towards the end and then there is a piccolo/ flute solo at measure 78, and the brass section demonstrating rage and anger towards the end of the piece. Adding on that, there is a unique oboe part too. This piece also gathers a wide variety of dynamics and expressions making it interesting to play. For example, in the first few measures it starts slowly and softly which gives a sad, funereal feel, then when the alto saxophones, tenor saxophones, and clarinets join,they begin piano then transition to mezzo forte and then returns to piano again. This process gives a feeling of how the sister feels guilty and angry and upset all at the same time for not being able to support her sister before she died.
The album opens up with “Liebesleid” (Love’s Sorrow). Originally composed by Fritz Kreisler in 1905, Liebesleid is an incredibly emotional and remorseful piece. However, when played on the theremin, it strangely becomes romantic. I have heard Liebesleid played so many times on the violin with the same emotion conveyed - sorrow. To hear Liebesleid played romantically is a very strange experience.
“I worked hard. Anyone who works as hard as I did can achieve the same results” (Bach). Johann Sebastian Bach is one of the most influential composers of all time ("Top 10 Most Famous Classical Composers of All Time.") He lived during the Baroque period of music in the 17th century. Baroque music is a category of European Classical music and is recognized for ornamentation added to long melodic lines, the addition and use of harpsichord and basso continuos.
Rich string orchestra sonorities with the melodies given by first and second violins playing at octave. A stormy scale breaks this round continuity and leads us to a flourishing Cadenza which will steadily go and settle down to connect with the Rondo to follow. Finale: Allegro vivace The lengthiest movement of the sonata, it draws with equal freedom from the Sonata-Allegro and Rondo forms. One may even say that it fulfills the function of the "missing" (traditional) Sonata first movement. It assumes the role of the "gravity center" of the entire work.
• Following the full exposition of the second theme group, Brahms drives the movement to its conclusion through an extensive Coda, where the main theme together with its ‘complimentary’ motto-phrase, is given an immensely passionate utterance, until peacefully ending in F Major later. GENERAL REMARKS: • Throughout the movement Brahms uses quotations of the F-A-F motif excessively, in various parts and contexts, sometimes in obvious or not so obvious ways. • An interesting aspect of this movement regarding harmony, is the persistent use of the interval of the Third (Major and minor) as means of modulations or harmonic
This piece has three movements, Allegro moderato, Adagio di molto, and Allegro ma non tanto. This piece starts off with a slow and expressive solo by the soloist, Alexi Kenney. The change in dynamics, the use of vibrato, and other techniques enhanced his solo. The orchestra then plays with a homophonic texture with some tempo changes. A few fast solos and a few slow ones followed.
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.