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.
The stringed instruments were the accompaniment; therefor, they began with harmonics, chromatics, and tremolo for various measures rather than having a moving part. The melody was given to the flutes and soloist, Sami Junnonen, who was also very talented. The song was about 22 minutes long and he had the whole piece memorized. It sounded very sad, but soothing simultaneously. There were visuals around the theater, which made it easier to understand and visualize what Lopez was trying to describe when writing the song.
This symphony did a great job of being quiet if their part wasn’t the melody or harmony. For example, in the first piece by Tchaikovsky the low brass had the baseline and the woodwinds had the melody, so the low brass played at a piano level, while the woodwinds played at a mezzoforte level. Throughout the first song, the orchestra did a nice job of going from forte to piano in an instant. Also, when they gradually grew or dropped down their dynamics, they were in unison. Towards the middle of the piece, there was a round starting with the brass.
The melodies in The Magic Flute always linger on hours after I have listened to them. What is more, the conductor of the version I listened to, Riccardo Muti and the Wiener Philharmoniker excellently executed performance of this beautiful,masterful work. Lastly, The Magic Flute contains one of my favourite arias ever written because of how dramatic it is but more importantly how technically demanding it is and it is none other than the famous Queen of the Night aria (translated to English), ‘Hell’s Vengeance Boils In My Heart’ and specifically the version sung by Edita
He also had an exceptional hearing and memory that he notated almost an entire choral piece after hearing it once during his visit to Rome. He wrote many concertos (especially the piano concertos) and sonatas for his own virtuosic performance during the trip. Talent may helped in one’s musical journey but most importantly, it was Mozart’s passion in performing and music writing that won acclaim from the rich. Clara Wieck (1819-1896) is another example of a child prodigy born in a musically inclined family. Both parents played the piano and encouraged Clara to perform regularly at a very young age.
The first movement, like the Gershwin Concerto in F, starts off in a percussive way, but with just one beat by an interesting instrument (a clapper) which sparks playful and watery arpeggios from the piano soon after. The flute provides little dance-like rhythms to join those arpeggios, followed by quick rising and falling piano glissandos that create rainbows of brilliant colors. The first flute theme returns soon after, which then transitions into a slow and mysterious slow theme from the piano which gives off an almost bluesy feel. That particular flute theme, along with the slow piano theme, could be classified as main themes of this movement because both return after a developmental episode that follows the first appearance of the slow theme.Towards the end of this movement, we get a long series of magical-sounding ascending and descending piano trills which then fall into a very low, but ambitious bass line which carefully (but quickly) builds up into a climactic and cheerful finale that concludes the movement with an exciting boom at the
Here, Strauss has the wind instruments flutter tongue in order to sound like the whining of the sheep. In this variation, Strauss uses a technique that Arnold Schoenberg called tone color melody. Tone color melody occurs when, “instruments maintain constant pitches and drop in and out of an orchestral texture, creating a melody of tone colors.” This technique is quite successful in transporting the audience into a dream world. Although Strauss’, Don Quixote, doesn’t have a very traditional form, it still follows that of an absolute theme and variations, and there are evident melodies and rhythms that are used to depict certain
Mozart, however, changed the mold. He incorporated an emotional side into his works and emphasized music based off of sound, notes, tone, and pitch as a form of art outside of religion (Brown 55). Music became more broad and open to all. In addition, Mozart had extraordinary performance skills thus, leading to his honor as an embodiment of classical movement (53). “Despite Mozart’s uncouthness and immaturity, he produced one work after another that seemed divinely sponsored as they transcended his own personality.
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.
Theme B (section B); 4.16 modulacije This second section is known as Breast Milky (2:55-5:26). The theme is a complete contrast to the section A because while the melody in section A is loud and playful the melody in theme B is calm and peaceful. The section B is shaped in a form called sonata. The section starts with cellos’ solo accompanied by the hammond organ. The music has again a romantic “allurg”, which is the characteristic of progressive rock music of XXth century.