The musical composition I have picked up is ‘Clair De Lune’. It is a Western classical composition by a French musician Claude Debussy in 1890 and was published in 1905 as a part of Debussy’s ‘Suite Bergamasque’. It is one of the most famous and recognizable composition by Debussy that has also found its way to pop culture many times. Clair de lune, meaning “moonlight” in French, was originally titled Promenade Sentimentale when composed in 1890. (Chaffin, R., Apr 2007)
After listening to the piece (Channel 3 YouTube., October 6, 2008) I analysed the piece is divided in 5-6 sections that have a fairly narrow range but the overall range is very wide because most of the piano keys are put to use (Margaret, E., March 25, 2013). The tempo is slow with a lot of push and pull and a rubato is noticeable
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It was very different from the other two Debussy’s pieces discussed in class- Syrinx and Voiles. It seemed to me that the piece was composed as a dedication to his beloved or created when he was very carefree about his life. Both my thoughts were somewhat incorrect because firstly, the piece was not created as a dedication to someone, it was rather inspired by one of many Italian dramas that he was very familiar with during his time in Italy and gave music to one of the poets’, Verlaine’s poetry from the drama. Secondly, the romantic element witnessed by me was the result of his upbringing in France and it was not a dedication to a person but more like a dedication to himself, to his senses. Also, this was the phase of his life when he was making money and published this piece as a part of his Suite. Clair de lune has been widely heard in many Hollywood movies and one of the places I remember was its usage in a romantic fiction movie, Twilight where two characters who are in love with each other, Edward and Bella Swan are sitting with each
White, Michael. "Classical Music: Sweet Dream, Sour Looks." The Independent. Independent Digital News and Media, 22 May 1994. Web. 15 Dec. 2013.
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.
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
...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.
3 is the second movement of the piece. It lasts around five minutes of the total 22 minutes of the whole Orchestral Suite. Air is written for Trumpet, timpani, oboe, violin, viola and continuo. It is written in major key. The meter is duple, and I would dare to say that it is quadruple. The texture is polyphonic. It has a slow tempo and there is no presence of accelerando nor ritardando. The harmony is consonant. Melody is conjunct and peaceful. Has a lot of repetition. The melody is consistent. The string instruments are prodminant whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del
...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.
There are two pieces in our Renaissance Era musical feature this evening, the first by Pierre Phalèse called Passamezzo d'Italye - Reprise – Gaillarde. Phalèse began as a bookseller in 1545 and not long after he set up a publishing house. By 1575 he had around 189 music books. Much of his work was devoted to sacred music but there was a small amount of Flemish songs and instrumental works. Phalèse borrowed work from many composers and did not hesitate to include other composer’s music in his works. The sec...
The choral writing and texture as well as the lack of counterpoint or difficulty to distinguish it resemble hymn passages which were incorporated into the concerto – particularly in the opening fifteen measures of the second movement, played by the string
This piece by Horatio Parker was composed in 1891. The piece, which lasts approximately 12 minutes, premiered on March 30, 1893, at Madison Square Garden in a concert for the winners of a National Conservatory of Music competition, which was composed by Parker himself. Its composer, Horatio Parker, was born on September 15, 1863 in Auburndale, Massachusetts and died on December 18, 1919 in Cedarhurst, New York. Horatio Parker was a talented composers, conductor and teacher demonstrating his ability to compose as a professor at Yale, where he began choral conducting and taught well known individuals such as Charles Ives. He was later appointed as Dean at
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
The piece opens with an allegro, minor melody with cymbal crashes and timpani rolls. There is a short pause then a major trill. Harp glissandos then accompany a legato oboe melody, which is repeated with a pizzicato string bass. The melody is then repeated by the whole orchestra. There is a crescendo with the tim...
"Clair de lune" by Paul Verlaine (1844-1896) is another example of a famous poem by a French master, which was set to music, of the many composers trying to make a song about that "Moonlight," the best job belongs probably to Gabriel Faure, who wrote several songs to the poetry of Verlaine. Specifically, the French are particularly fond about all what's happening 'au claire de La lune.' Being a symbolist, Verlaine compares the soul of his beloved to a pleasant landscape at which performers of commedia dell'arte engage at various plays and games. This poem, which has inspired so many musicians, including the famous piano nocturne by Claude Debussy, 'Clair de lune,' in his "Suite bergamasque" refers most probably to the paintings of Watteau.
...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.
... 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.