The brass section of the orchestra plays rapid chords in fortissimo that are repeatedly answered by descending high woodwind section that descends to pizzicato in the cello and bass section of the orchestra. The varied witches’ dance is imitated by bassoons, horn punctuations that are followed by the low string section with a mezzo-piano dynamic and in the brass section the chant of Dies irae (Kamien, 2014: 299). The fugue theme of the witches’ dance is introduction by the lower strings and then imitated
The work displayed Beethoven’s middle period compositional style that shows great advance in terms of musical and writing style for the violin. Overall, the 2nd movement was well-proportioned. Occasionally, the piano part is more complex than the violin part however the principal theme is shared between the Violin and Piano. Max Bruch Violin Concerto in G minor
With that being said, it also brings me to my next analysis. The Waltz of the Flowers composed by Pyotr Ilyich Tchaikovsky was my most favorite pieces during the concert. This piece sounded magical and it got me in to the Christmas spirit. The song started off with the sweet and soft sound of the harp accompanied by the clarinets and after the generous cadenza the horns joined in. By the time the strings started playing I fell in love with this piece of music.
Paganini uses ascending and descending octave double stops at a fast tempo frequently in this piece. After the A section closes, the B section begins. The B section is very similar the introduction. The same rhythmic patterns are used and the same emotion is produced. Octave passages are used that produce a weighted feeling on the listener, just as it is in the introduction.
The first movement was very intense, and Mrs.Orth had a very serious face. This movement used every instrument on stage, and was very complex, disjunct and scattered. The excitement picked when the piece was really scattered for a while, and then all of a sudden the orchestra got loud. The brass and percussion, overpowered every other intrusement and held the same note for a few second. The second movement brought a sense of balance to the overall piece.
The abrupt silence in between the themes seemed to build a form of climax to the piece. The English horn gave this piece so much character appropriate for the era it was composed. Throughout the piece, I like the way the English horn was the foundation of the piece and with accompaniment and response of flute and oboe made everything flow together so euphorically. The sixth piece of the evening was Canonic Sonata No. 2 in D Major TWV 40:120 Spirituoso composed by G.P Telemann.
This is a transitory section that leads to a much more flourishing 4/4 – 5/4 section in half time. In all my years of appreciating music, this section has impressed me the most in any piece. As Mackey’s work begins to fall into the conclusion of the piece more and more sections intensify, and then the shift to the ending results in a very grandiose return to a modified half time section. The band begins an internal call and response from brass and woodwinds and there are background trumpets calling back and forth to each other. As the tribute to Stravinsky’s “Firebird” (according to Mackey, that is what this piece is) closes, what more could be appropriate for the piece than a brilliant horn rip to signify regality and also finality?
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.
Because the orchestra uses an array of instruments, a stark contrast is able to be created between the moments when Chaplin is dancing and when he is not. During the dancing the violins play higher notes, similar to how the piano does; however, the violin is also accompanied by bells, adding to the joyous instrumentation. During the preceding and following moments when Chaplin is not dancing, the violins play lower notes and without the accompaniment of loud bells. The addition of the bells causes the soundtrack to be significantly different than the non-dancing scenes. An additional effect of creating a unique sounding soundtrack is it makes the music appear to be almost diegetic.
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.