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Ralph Vaughan Williams biography
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Ralph Vaughan Williams: Symphony Number Five
Ralph Vaughan Williams, descended from the famous Wedgwood and Darwin families, was born at Down Ampney, Gloucestershire in 1872. In 1890 he entered the Royal
College of Music, and in 1892 he entered Trinity College, Cambridge. One of the greatest of the British composers, a prolific writer of music, folksong collector, and champion of British cultural heritage, he died aged 85 in 1958.
His ashes are interred in Westminster Abbey alongside the nation's greatest artists and poets. Symphony No. 5 in D
Introduction
The symphony contains a lot of material from RVW's then unfinished opera, The
Pilgrim's Progress. When he began the Fifth Symphony, RVW thought he may never finish the opera, and didn't want to waste any good ideas. The symphony does not have a programme, it is absolute music. It is in four movements: a "Preludio" first movement, a Scherzo, a "Romanza" slow movement, and a "Passacaglia" finale.
First Movement : Preludio
From the very beginning, RVW puts the key signature of this movement into doubt.
The movement opens with a horn call in D, set against a firm base (or bass?) of octave C's. Could it be that in the great traditions of British musical
'amateurism', RVW got his transposition wrong? Or is this a deliberate feature of the music, intended to blur the tonality? Musicologists prefer the latter explanation. This is by no means an unusual feature of his music, when he was asked what the 4th symphony was about, RVW replied "It is about F-minor", alluding to his sometimes hazy tonalities, often augmented by his use of modal, mainly pentatonic melodies, which, with no leading note, often help to 'fudge' the tonality. Apart from the horn call, the brass is seldom used, and the texture is light and airy. The first violins then enter, high on the E string, doubled at the octave below by the seconds in an introduction, before their main theme at (1), doubled by flutes. The triplets add rhythmic variety, as well as providing a distinctly 'folkie' feel. During the course of the movement, the distinctive dotted rhythm of the horns hardly ever leaves us. There are some rather abrupt key changes. i.e. Eb to E at (5). We are taken into the Allegro by a sudden change in mood. The music darkens with a slightly sinister version of the horn call in the bassoons. We then enter the Allegro, with a scurrying in the strings, whilst the wind begins a downward progression of notes, which builds to a climax, with strings in semiquavers, until we reach the original
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
This movement was also in complete sonata form, like the first, but started out with a fugue, containing timpani solos and then later concluded with an abrupt
I was impressed by the range of the pieces that were performed as they were from 18th century classical symphony arrangements to contemporary techno pieces. However, the pieces that moved me most were Mozart’s Molto Allegro, Oaken Sky by Chris Rogerson and Beethoven’s Symphony No. 5. In hindsight, I am surprised that the two pieces from the Classical Era had such an impact on me. Perhaps, “classical” pieces were what I expected to hear at a Symphony. Oaken Sky evoked the most imagery for me and the conductor’s introduction of the piece was perhaps partly responsible for my ability to go from the earth to the sky in my mind’s eye. Oaken Sky was definitely a pleasant surprise and very pleasing to all of my senses. I was fully engaged in body, mind and soul with Rogerson’s composition. Cielito Lindo was interesting and the soloist really enhanced the piece with a stellar performance. Warehouse Medicine caused an incongruent stirring in me; perhaps I was not prepared for electronics to be added to the symphony. Ravel’s composition, Le Tombeau de Couperin, was a moving piece, but did not engage my senses, only my intellect. This work essentially left me feeling confused and although I appreciated the description of the dedication of the work by the composer, this was my least favorite piece. The “CPCC” soloist, Juan Caljero’s, rendition of Cileito Lindo was mesmerizing. Charlotte
... began the piece, and the beat of the drum was frequent. After the introduction, the rest of the musicians joined. The pianist also had a solo part with the companion of the drum. The pace of the song was moderately fast, and the song ended with a climax.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
If you are part of society, I think it is safe to make the assumption you are familiar
The opening theme consists of a sinister sounding, descending organ phrase made from the notes A,
The choir opened with “I Sing the Greatness of Our God” by Fred Bock and words by Isaac Watts. This piece began with the organ playing the melody softly in triple meter. The choir came in on an off beat and sang a homorhythmic arch contour. The choir began softly and crescendoed quickly. After the introduction, the first verse was sung alternating between the men and women, they started out acapella. The choir came back together and sang the chorus of the song in unison and crescendoed with the organ until they were singing fortissimo. This piece had an overall allegro tempo and had a generally repetitive theme. It was apparent that
Brunner. This composition was also conducted by an Auburn University student. As soon as they started to sing it was very quiet and gradually got louder. While listening to this song I was immediately reminded of a hymn that you might sing in church. This work also was accompanied by a piano. The choir sang on a four-part canon throughout most of the song. When they were all singing different parts I instantly saw how talented they were by the way they could do that. At the very end of the work all of the men came back together as one and all finished in a bass voice. When they were all in bass voices you could hear the echo in their vocal cord which mad the composition that much
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 tempo can sound unclear at the start as it sounds a bit like 6/8. The song has frequent syncopation in the vocal and instrumental lines. The song starts with a use of cross rhythms created by a hi hat. The piece is entirely diatonic and is in the key of G Major with a modal feel.
Ludwig van Beethoven was born in Bonn, Germany in 1770. His works are traditionally divided into three periods. In his early period, he focused on imitating classical style, although his personal characteristics of darker pieces, motivic development, and larger forms are already evident or foreshadowed. In his middle period, he is beginning to go deaf, and has realized that he cannot reverse the trend. His works express struggle and triumph. He stretches forms, with development sections becoming the bulk of his works. He is breaking from tradition and laying the groundwork for the romantic style period. In his late period, he breaks almost completely with classical forms, but ironically starts to study and use baroque forms and counterpoint. He is almost completely deaf, and his works become much more introspective with massive amounts of contrast between sections, ideas, and movements. He dies in Vienna in 1827.
...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.
... 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.
...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.