Prelude in B minor, from Prelude, Fugue and Variations – Cesar Franck The Prelude, Fugue and Variations is a well-known and popular organ work by the Belgian composer, pianist and organist Cesar Franck (c.1822-1890). Written in 1862, it is a piece from part of the larger Six Pieces pour le Grand Orgue, consisting of three movements. I will be performing only the very evocative yet trance-like prelude, set in the melancholic key of B minor. Cesar Franck was the well-known organist and choirmaster at Sainte-Clotilde in 1859. It was at this Parisian church, that Franck received the new 'Cavaille-Coll' organ, designed by the organ maker Cavaille-Coll. The instrument, presenting a different tone colour and style, instigated Franck's rapid experimentation with the profound innovations of the …show more content…
The opening prelude is a pastoral melody in B minor, opening up the work with a seductive, expressive oboe cantilena in the upper voice. Due to the size, acoustics and organ in the Wesley chapel, my interpretation of the piece will vary from the original, premiered on the Cavaille-Coll organ. Due to the nasal yet soft tone of the oboe on this organ, to make the melody more nostalgic and flowing, I have coupled the solo Hautbois with the Flute; on the swell manual. Similarly, I tend toward a slower and more held back interpretation, in order to have the notes resonate clearly in the chapel hall. Together these registrations create a held-back melody, painting a picture of a nostalgic countryside scene close by the Parish of Sainte-Clotilde in which Franck was inspired; The melody being highly reflective of this country side scene which he composed by. I have chosen the Dulciana in the left hand accompaniment on the Great-Manual along with the further use of the open diapason stop on the pedal; these arpeggiated chordal accompaniments must not overshadow the solo
This essay is anchored on the goal of looking closer and scrutinizing the said poem. It is divided into subheadings for the discussion of the analysis of each of the poem’s stanzas.
“You gotta play this piece like an English military band would,” said Jules during band one day while rehearsing the first movement of Gustav Holst’s Second Suite in F. “1. March” begins with four notes played by the low brass which is then echoed by the upper woodwinds. The trumpets have a noble melody which broadens when the entire ensemble joins in. Next, the piece lightens up with an upper woodwind melody. Later on there is a euphonium solo, and following that is a grand theme with an extremely distinguished style. After, there is a change in style and time signature. One simple theme repeats with different dynamics and instrumentations every repetition. The Wind Ensemble played this piece at the Winter Band Concert on December 11, 2013. This work, though easy looking at first glance, was genuinely difficult to put together. It had few layers, so mistakes or intonation problems were extremely noticeable. Furthermore, the style of the piece was extremely intricate and hard to master. Therefore, “1. March” had positives and negatives regarding intonation, balance and blend, articulation, style, and dynamics throughout the entire ensemble and the low instrument section.
The five section structure, numerous types of repetition and rhyme create a clear event in the ballad which flows easily till the very end. Most of the medieval ballads use basic language that will be comprehensible for beginners readers and less educated, but also to focus one’s attention to a scene its emotion or anything significant in that language. Through the use all these techniques and previously mentioned they make this medieval ballad typical of its orally-transmitted
middle of paper ... ... show the skill of the Hebrides- texture and instrumentation. The instruments the Hebrides is scored for is typical of the classical period and relatively small, as detailed above. however, Mendelsohn does not use this to hinder the drama of the piece with bright, tranquil motifs (the inital theme in the cello in bar 1) contrasting heavily with the dramatic full-orchestral sound heard at bar 87 and other instances. To conclude, we have shown that there are numerous examples of the way Mendelsohn has shaped the Hebrides- including contrasting texture, the use of sonata form and the contrasts within that form- to make it memorable and weave his varying ideas together.
of this piece -- the clarity of the oboe, and the lovely tune of the
While perusing through the aggregate of the ballad, the storyteller gives the onlooker clear indications of misery by means of perplexity, unobtrusive triggers, affection, memories, and the perspective of a mother. The speaker affirms for us the affection she has for her dead youngsters and the frightful memories, which uncover themselves throughout the methodology of anguish. Perusing the sonnet likewise uncovers the truth this by all account not the only abortion the speaker is composing of, ended up being a real supporter to the lamenting in the ballad. The ballad is an extraordinary read for any novice or anybody encountered with verse. With a mixture of subjects all around the sonnet, one may find that there is more than simply despondency, which shows itself in the work.
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.
This section represents a tranquil interval. It is a summer evening in the country and he hears two shepherds piping. The tranquil moment of the quiet summer evening alone with the pastoral duet fills his heart with an unfamiliar calm. Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness. The 4th movement: March to the Scaffold.
The 24 Préludes (Op 2) are often compared to the Préludes of J.S Bach's Well Tempered Clavier and although both sets are similar in many ways, Chopin's are not meant as introductory pieces as Bach's, which are designed to lead into fugues, as they stand strongly on their own as poetic miniature piano pieces.
The exposition of Dussek’s Piano Sonata in G Major can be broken down into two primary themes, two secondary themes, and finally a transition into cadential extension. The first primary theme is made up in large by a parallel period. The antecedent begins on measure 1 and continues to measure 4. A 2:2:4 sentence connects the antecedent with the consequent, which begins on measure 12. Much like the antecedent, the consequent gives off an impression of statement and response; however, it is more apparent in the consequent due to the drastically changing dynamics. Overall bleeding into the continuation of the consequent which begins on measure 16. The continuation concludes with a sequence emphasizing the central theme of the piece. The silence within the figures of this theme bring attention that a change is about to take place, leading into the second primary theme. While it can be considered a transition due to the right hand primarily playing sixteenth note runs with a chromatic structure, measure 23 is the beginning of the second primary theme. The secondary theme can b...
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.
The parts of this piece written by Mozart are the Soprano, Alto, Tenor, Bass and Cello/Organ parts. Sussmayr wrote the Corni di Basseto, Fagotti, Trombone (alto, tenor, and bass), Violin 1 and 2 and Viola. The part of this piece I was given is written in the key signature of Bb major and G minor, however it modulates to C minor at measure 9, Ab major at measur...
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
...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.
Suddenly in the center a manual (the place where the organist sits) comes out of the floor and rises to create the centerpiece I had been missing. This is a Wurlitzer, which generally means a Theatre organ. These are the rather unconventional organs, as they have to have the ability to imitate multiple styles so they can recreate other music, it’s for entertainment. For instance, here, they allowed you to put in song requests. And the organist played everything from Bach’s Toccata in D Moll (pipe organ, the kind in churches) to Rhapsody in Blue (orchestra) to anything in the Great American Songbook, and other genres. The other types of organs include the Electric organ, the Hammond, the Allen, or the Reed