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The rite of spring opinion
Stravinsky the rite of spring analysis
Stravinsky the rite of spring analysis
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The Rite of Spring is breath taking. Personally, I felt it more of a Rite of Passage. The high energy and erratic combinations made me feel an unusual restlessness in my body. When first listening to the bassoon play I expected the composition to be like Spring itself. Spring is soft, flowing, gently to a smooth performance. I wasn't expecting such raw emotion and aggressive tones. I believe this is hwy the audience of the first performance became so erratic and aggressive themselves. The audience who was used to the theater being upper class, Stravinsky took the upper class in high society and brought them back to a more primitive, a more vulgar, and more open time in life which I believe made them feel vulnerable thus having at lashed out on the performance …show more content…
Stravinsky wanted the audience to feel the their inner self locked away. Stravinsky wanted the audience to feel restless, awaken and even scared. These feelings he himself felt that inspired him to write Rite of Spring while he visited his country home. Diaghilev on the other hand wanted and even knew that this performance was going to create a reaction and even told the conductor to not stop the orchestra no matter what was going on. Stravinsky, I believe realized that the audience wasn't ready for such music and tried to stop the performance only to realize what Diaghilev told the conductor. I see it as Stravinsky wished to share his feelings and his desires with his music, but realized the music was too much for the people of this time. " Stravinsky was too far forward trying to go
The first movement felt as though it was the beginning of a riddle sure to be solved later in the symphony. It began with a sense of suspense with all basic elements of music: tonality, melody, and rhythm. The entire first movement was of an established sonata, between all instruments. However, what caught my attention was the mumble of the low strings which erupted into violins. I was on the edge of my seat for what was to come.
Conductors are seen as the leader of an orchestra or band and are given most if not all the credit for the music played. For such a simple task that consists of counting the beats, showing the mood for the music, and giving people cues to enter, conductors are as good as their orchestra or band, not by their talent. In this passage by Igor Stravinsky, Stravinsky discusses that the work the conductor puts in is negligible to the work the orchestra it self and that concerts should be about the complex qualities of the music played instead of how the conductor impacts the performance.
The music of course was the main focus and for me I really enjoyed The fountains of Rome. This piece was near the end but I found myself to really enjoy The Fountains of the valle Giulia at Dawn which opened up with an oboe, and sounded like I was right near a fountain in the morning. Birds were chirping as the day started with a beautiful peaking of the sun beginning. The Triton Fountain in the Morning had an interesting beginning that started off with a high pitch. At first the horn frightened me but it set the tone with the violins mixed with some sort of symbol as if we were jumping right into the morning. It contained so much excitement in it, like a bursting ray of emotion. However, I did dislike one piece due to it contrasting too much to my favorite piece of the symphony. From The Pines of the Villa Borghese it came at me like a sudden rush, it abruptly ruined the subtle calm feeling I was experiencing too quickly and made it feel like I had an orchestra chasing after me. My favorite piece from the symphony was The Fountain of Rome was La fontana di villa Medici al tramonto. This one particularly caught my interest because it felt like it tied everything together by stringing emotion along. The entire songs presence was calming and subtle as everything was slowed down with a softer dynamic. What really drew me in was
Almost definitely imitating the act of new life waking in the spring soil, Stravinsky starts the haunting introduction to his world-renowned ballet, Rite of Spring, with a high-pitched lone bassoon. The unstable eeriness continues as a horn and a pair of clarinets join in the rubato tempo. Just as everything wakes and bursts into life in spring, so does the piece as more and more instruments join in. Each instrument seems to have a different theme, but seems necessary in portraying the thick texture needed to symbolize the inevitable climactic arrival of Spring. After the orchestra has finished its first outburst and almost all instruments have initially come in, a strange harmonic effect is applied to the viola.
Arnold Schoenberg "broke down the traditional tonal system and invented a new way of organizing music" with the concepts of "twelve-tone music," "Emancipation of the dissonance" and "equal rights of pitches." He persisted his sense of tonality through his life. Pierrot Lunaire consists of musical settings of 21 poems about the character and set for voice, flute, clarinet, cello, violin, and piano. He took "atonality to never before heard places." Igor Stravinsky was a primary tonal composer with an anti-romantic attitude who sought to extend musical ambiguity as far as possible, while remaining within the tonal system. He was an objectivist who treated everything in composition including emotion as object. His work The Rite of Spring has highly
The ninth symphony is my favorite symphony just because the music is so heavenly. It seems in the beginning of the piece brings a person from darkness to light. Beethoven, I believe, was ahead of his time. To me, he is the greatest composer of all time. His music is not just sounds of music played together in harmony, but a way of life. The music he created for the world is not just to listen to it, but grabs onto the emotion he was setting up. Beethoven's unordinary style cannot ever be copied by any composer or music artist. Today, when we hear music of any kind, we can only thank a certain person, and that person should be Ludwig van Beethoven.
Igor Fedorovich Stravinsky was one of the greatest composers of the 20th century. The son of a famous bass singer at the Imperial Opera, Stravinsky showed little inclination to pursue a musical career, but while pursuing law studies in 1902, Stravinsky met Nicolai Rimsky-Korsakov, who advised him to study music instead. Stravinsky began studying with the famous Russian composer in 1903, and after Rimsky's death in 1908, never had another teacher. Stravinsky's early works caught the imagination Sergei Diaghilev, impresario of the famed Ballets Russes, who invited him to compose a ballet. The result was The Firebird in 1910, which was followed by the even more successful Petrushka in 1911. With his ballet The Rite of Spring in 1913, with its representations of prehistoric pagan Russian rituals and sacrifice, Stravinsky's music ignited the most famous riot in the history of music. With its eclectic rhythms, absence of melody, and savage energy, The Rite of Spring marks the true beginnings of 20th century music, and even today never fails to thrill or amaze listeners.
Classical music can be best summed by Mr. Dan Romano who said, “Music is the hardest kind of art. It doesn't hang up on a wall and wait to be stared at and enjoyed by passersby. It's communication. Its hours and hours being put into a work of art that may only last, in reality, for a few moments...but if done well and truly appreciated, it lasts in our hearts forever. That's art, speaking with your heart to the hearts of others.” Starting at a young age Johann Sebastian Bach and Ludwig van Beethoven have done just that with their musical compositions. Both musical composers changed the world of music and captivated the hearts of many. Their love of composing shared many similar traits, though their musical styles were much different.
In Beethoven’s Eroica symphony he uses each of the four movements to tell a story of different feelings such as life, joy, death and future. In the symphony’s first movement he conveys through his music the feelings of life, youth, hope, joy, and then confusion in the form of a sonata. The second movement embodies death both public and personal and a sense of innocence this movement is more of a funeral march a type typical to this time. The third movement seemed to convey the future and the joys of creativity this movement appears lively and rapid movements typical of scherzo style with varying dynamics until ultimately reaching a full fortissimo. The fourth movement is where Beethoven showed off his skills as a great composer and who he was showing off what the movie “Keeping score, Beethoven’s Eroica” called his musical fluff overwhelming the audience with a sense of paradise and joyful emotions.
Gutmann, Peter. “Igor Stravinsky – The Rite of Spring.” Classical Notes. 2002. Web. 17 September 2011.
...htly syncopated, again with ornamental notes by the flute. There is a crescendo, which contrasts long notes and staccato notes, creating an unusual rhythm. The crescendo builds up to a perfect cadence with the timpani crashing.
In a nutshell, the Italian Symphony does reflect the features of a 19th century orchestral piece. Most importantly, it totally demonstrates Mendelssohn’s mature composition style of combining both classical genres and romantic style together within a piece. This explains why he is regarded as one of the most important figures in the music history.
Igor Stravinsky’s The Firebird and Benjamin Britten’s A Young Person’s Guide to the Orchestra have some similarities while they also have their differences. Igor Stravinsky premiered his piece in 1910 and the work was an instant success. Stravinsky’s The Firebird is composed of two sections that consist of a full orchestra. The Firebird starts off with a French horn playing in a slow melody creating an andante tempo while more instruments enter soon leading to the full orchestra. Stravinsky repeats one melody over and over while creating alterations in rhythm, tone color, and dynamics. In the second section Stravinsky begins his piece off softly but then the music crescendos. Additional instruments begin to play and the melody continues to
... 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.