Casals Suite by Marc Migo Casals Suite by Marc Migó utilizes several techniques that are rather innovative in respects to time, including, but not limited to, an atmospheric sound achieved by false harmonics, suspended time vs. active time, approximation of the duration of notes, lengthy cadenzas for the performers and many more. This piece is written for violin, cello, and piano and consists of 5 movements that are connected to one another. Since the movements move seamlessly from one to the next, the audience and listeners lose the concept of time and begin to feel confused as to which movement is currently playing. Another factor that plays into the audience confusion of time is the fact the motif seen in Figure 1 repeats several times
This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful
Movement two takes on a very slow tempo. Movements three and four then pick the pace right back up and finishes off allegro. Overall, the main differences can be found throughout the way the movements are paced out in the three works, mainly focusing on Beethoven’s symphony no.5 and Haydn’s Symphony No.94, and also how the themes and variation are played into it as
Movement two constantly follows many shifts and settles down as we approach movement three. Movement three is titled “Adagio Molto e Cantabile- Andante Moderato” which appears to be in a major key compared to movement two’s minor sounding key. This shift allows the crowd to stray away from the sad sounding grasp the minor key holds. Immediately as the third movement begins, we have a heavenly sounding melody played by the violins.
The part of the piece that was taken by Eric Carmen was the them from the second movement in the concerto. Describing the second movement of the musical composition, it begins with the strings ascending and making the music have a sort of lifting feel. Then the piano gently enters with an “apreggiated figure” and the strings join back in and the piano and strings work together to produce the main theme of the concerto. The music has a slight crescendo and then starts to fade away. Finally, the solo piano finishes the second
The beginning of this movement reminds me of bees, the way the tune darts back and forth. Around the fourth minute of the song during Fugue, the sound gets lighter and sounds more feminine to me. That particular part of the song made me picture ballerinas in my mind and I could see it being played at a ballet. As the song progresses, it gets darker, like in Toccata, and makes me feel like a battle of some sort is going on.
Since the piece is so long, there are many themes and section s that are displayed. That being said, there are some common tones and groupings that repeat themselves. One key featured the piece uses is ritornellos and episodes. At first, this piece might not seem like a concerto, especially compared to those typical of western art music. The solo voice isn’t at all like the ones found in concertos like Vivaldi or Bach.
All of the pieces were sang in monophony, with the main voice singing over a piano accompaniment. The first piece was performed by a woman singing in soprano. There are also multiple times where the composer used an accelerando and a ritardando to display a change in the attitude of the singer. The beginning of the song starts off in a slower tempo, then speeds up during the chorus, then slows back down. The second piece was one of the duets, and it had consonance when the two men singing sang in harmony with each other.
This movement begins with a beautiful love song until a turbulent middle sections rudely interrupts its dream-like reverie. The finale, Andante-Allegro, begins with a quiet, introspective introduction in the piano alone which then leads into an exuberant Allegro. At the Allegro, the violin breaks forth with ascending, slashing passages from its lowest to its highest register, creating a sense of drama and importance. However, then comes a playfulness that sneaks into the music almost without notice. And then after a rush of virtuosic passages from both violin and piano, the sonata comes to an explosive end.
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.
Both J.S. Bach and G.F. Handel use different aspects of music to compose important pieces of music. The baroque period is often known as the time when artists exaggerated their motion and produced drama through interpreted detail. Both of these composers used this baroque style to convey messages through their music. The similarity in their music was that it is in a spiritual manner. J.S. Bach’s style was a harmonic and motivation manner, which Handel’s is more of a narrative.
First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. 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.
This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).
In present-day practice, it is typically performed in an orchestral arrangement. It is a serenade that is made up four-movements. It opens with a bright allegro in sonata form, and a slow, lyrical second movement follows. The third movement is a light minuet, and the finale is a brisk rondo. The characteristics and historical background of this genre was known to be a form of courtship but eventually transitioned to being a set of light dances at social gatherings, “Although it originally denoted an evening song for courtship, the term serenade by the late 18th century was used broadly to describe a chamber work intended for light entertainment on a social occasion.