Main Items of Change in Bartok's Concerto
The Bartók model is more dissonant, harmonically ambiguous in places,
and more interesting rhythmically. It is written for a large full
orchestra with no set concertino group and involves more use of
percussion instruments. Bartók uses short, narrow melodic phrases
with a strong contrapuntal texture in places. He uses scales other
than major and minor, and there is extreme chromaticism and virtuoso
handling of a wide range of instruments, with specific and direct
instructions for the playing of those instruments.
In the first movement, the wedge figure which appears frequently is
very chromatic. The Serbo-Croat melody in bar 76 is based on the
germinal motive: F, G, Aflat, Bflat, Bnatural, C. The F – Bnatural
of which is based on the octatonic scale made up of alternating tones
and semitones, it is also an augmented fourth, tritone. In this
section, the time signature changes very frequently. The clarinet and
oboe parts at 118 play a whole tone scale, with the interval of a
tritone between the parts.
The theme at 155 in the oboe is based on an Arab melody, with a narrow
range, with a drone in the bass. There are often parallel moving
chords, such as in the violins at bar 192, and the trumpets and harps
at 462. These parallel moving chords are reminiscent of Debussy and
impressionistic elements.
In the recapitulation, all of the subjects are brought back in the
wrong order. At 424, like 192, the chords between the flutes and oboe
are spaced out, with the oboe between the flute parts, and the second
flute playing very low. At this point, there are cross rhythms with
t...
... middle of paper ...
...trong contrapuntal fugue with a bizarre village band type
accompaniment. A series of octatonic scales begins in bar 409, and
there are whole tone scales in the strings at bar 533, with glissandi
in the basses.
Throughout the work Bartók uses a wide range of percussion
instruments, such as timpani, cymbals, side drum, tam-tam and bass
drum. Bartók uses very precise instructions for the playing of these
percussion instruments, such as in the first movement at bar 390,
cymbals to be played with the thick end of the Side Drum stick, in the
second movement at the start, the side drum to be played without
snares, and in bar 114 of the fourth movement, the tam-tam is to be
played laissez vibrer.
Therefore, the main items of change are more dissonance, rhythmically
more interesting, and the use of a larger orchestra.
The opening theme consists of a sinister sounding, descending organ phrase made from the notes A,
An outcast is a person who has been rejected by society or a social group, an outsider. Many times outcasts are rejected, isolated, and judged. However, what gives us that right to isolated, reject, and judge other people? When in fact you may not even know the person whom you are showing this impoliteness to. Djuna Barnes was an outcast. She has been rejected, isolated judged yet, she figuratively took the word outcast and made it her own. She speaks for those who can’t speak for themselves.
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
Wolfgang Amadeus Mozart composed an exemplary piece of classical music that can be seen in television and films of the twenty-first century. Mozart would hear a complete piece in his head before he would write it down. He created pieces that had simple melodies, but also the orchestration sounded rich. Out of the forty-one symphonies Mozart composed, I have chosen Mozart’s Symphony No. 40 in G minor or better known as The Great G Minor Symphony, written in 1788. Mozart’s Symphony No. 40 is considered the most popular out of all forty-one symphonies because the opening movement is very memorable. Mozart’s Symphony No. 40 is effectively composed through the use of a specific form, elements of music, and using the appropriate instruments so one can see brilliant scenes unfolding.
Mozart’s Symphony No. 41 was his last and longest symphony he composed. While listening to this breathtaking piece of music, one specific aspect of this piece stood out to me; this being the instrumentation. In this symphony, many different instruments were used. While listening, I recognized many of them. A flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings make up this famous piece that is known world-wide by millions of people.
Percussion instruments are by far the most dominant of the four major instrument families. There are many different types of cymbals and drums, which are ...
Each movement of the work corresponds accordingly to a different country in Europe at the time known for a particular style of dance. The Intrada would be the opening of the program, followed by the French Basse Dance, the English Pavane, the Italian Saltarello, the Spanish Sarabande, and finally concluding with the German Allemande. Even though the work was performed by a modern ensemble, where many instruments had not even been invented when music of this type was originally composed, the instrumentation of the brass section versus the woodwind section and the artistry of the musicians performing are able to recreate a much older style. Overall, the piece Courtly Airs and Dances, is an emulation of a style dating back to the Renaissance period of music, with each movement reflecting a particular style of dance characteristic to the culture of individual European
At bar 54 the theme in the oboe, clarinets and cellos is based on the
This is a song released in late 1980’s, written and produced by Giorgio Moroder and performed by Donna summers. It is an all time disco classic which used futuristic production in an era where the industry standard was orchestra.
In the woodwind family, the piccolo and the bassoon are being played. In the brass family, the French horn and the trombones are being played. In the percussion family the bass drum, triangle and the cymbals are being played. Lastly, in the string family, violas and cellos were being played throughout the 4th movement of Ode to joy. In addition, the famous Ode of joy melody is a simple, folk-like song, that Beethoven worked on for approximately 20 years. The effects that the choir introduces that the theme is very intense. The sopranos, altos, bass and tenor gives a very powerful message. It gives the provides the audience with a different perspective from the previous instruments that were being
The Violin Concerto No. 1 in G minor, Opus 26 is one of the most famous violin concertos over the musical history. It is also considered to be the most renowned work by the German composer Max Bruch. I will begin with a short explanation of why I choose to analyse this piece followed by what makes this piece so remarkable. I will then present the musical context – German Romantic period – in which this piece was composed and discuss how it is representative of this period. Also, I will present briefly the biography of the composer and relate his life and style with this particular piece of music. After, I will explain the basic structure of a concerto, associate it with this violin concerto, and analyse how each movement is related. Then, I will analyse some psychoacoustic parameters of this piece (pitch, dynamics, rhythm, and texture). Finally, I will give my appreciation of this piece in term of beauty, musical expression, and mood.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
Ludwig van Beethoven once said “Music should strike fire from the heart of man, and bring tears from the eyes of woman.” Beethoven is known as one of the greatest composers of the classical era who was not afraid to push the boundaries of the music world. But who was the man behind the music? Beethoven’s life was filled with many obstacles beginning at a young age. This can be heard throughout all of the music he writes. One piece in particular is Symphony No. 3 also known as Sinfonia Eroica.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.