To consider a text setting in a song effective, all aspects of the music must work together. The accompaniment, motives, and text must all be one cohesive group. One excellent example of this is Schubert’s “Der Lindenbaum,” which allows each part to communicate with each other and create art. It allows the vocalist to convey the meaning of the text, while being supported by the accompaniment that continues the story. Schubert’s work also has sections that varied in tempo, dynamics, and character. In contrast Mahler’s “Die zwei blauen augen” is not as diverse. His arrangement is repetitive in both the vocal line, and the accompaniment, and its slight variations cannot support the story to a satisfying degree. In comparing the arrangement of Schubert’s “Der Lindenbaum” to Mahler’s “Die zwei blauen augen,,”it is clear Schubert’s arrangement is more effective because of how his work unifies the accompaniment, singer, and …show more content…
His use of the wind motive in both the introduction and the B section assisted in the storytelling. In measures 1-8, the interlude is played on its own, setting the pleasant tone. When it is played again in the B section at measure 45, it is played along with the vocal line to add to the frenzy of the piece. This gives the section a larger sense of urgency. Originally, the wind-like motive brought a sense of comfort and tranquility, like a soft breeze. However, inthe B section, it appears as if the winds have picked up, and are more reminiscent of a tornado. Schubert further mirrors the text with the accompaniment and matches the wind-like triplets with harsh text that refers to cold winds, and the hat that flies away from one’s head. The A’ section begins much like the original A section, and closes the piece by returning that sense of tranquility, bringing back the idea of finding rest and
Section 3 is more merry and cheerful with the violins leading what feels like a race to be won. As they slow slightly we are soon dragged back to full speed and the race is on again. The violins and cello play off of each other as if in composition to see who will win the race. The bass brings in a dramatic flair as if building the suspense for the final climax of the music. The music slows to the point where you feel you have reached the end, but soon you are back on the journey again racing with the violins and lower instruments toward the finish line and the conclusion leaves the listener breathless.
...e when they join in since it is the first time in the whole symphony to hear something like that. The chorus ascends against single notes played by the harp. Upper woodwinds come back as the chorus fades but comes back again and stays until the very end of the piece.
Ostwald, Peter. Robert Schumann - The inner voice of a musical genius. Boston: Northeastern University Press, 1985. 139. Book.
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.
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
Themes and Variations of the Trout Quintet A quintet is a work for five instruments, in this case piano, violin, viola, cello and double bass (piano quintet). The fourth movement of this quintet is a theme and variations on Schubert's song 'Die Forelle' (The Trout). Schubert (1797-1828) was a prolific song / lied composer. Many of his songs took their inspiration from the beauty of nature; 'The Trout' being a good example. Much of his 'lieder' display pictorial word painting effects in either the vocal or piano writing - note the piano 'ripples' of the brook in the accompaniment of 'Die Forelle'.
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.
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
In the first part of this recital the vivaldi, contained a string Quartet. After the first intermission, I looked down at the podium and noticed that the precussions were added which included the timpani, bass drum, tylophone, and cymbals. In this recital Nancy Menk was the conductor, Judith Von Houser was the soprano which played a high note, and Mary Nessinger was the Mezzo-soprano which played a slight softer note. This part of the concert was divided into four pieces. First there was the Magnificant by M. Haydn (the orchestra accompaniment was edited from the composer's manuscript by Mark Nabholz). This piece consisted of strings without violas, two french horns, and an organ.
The second piece, Paratum Cor Meum, was a much shorter piece with very few lyrics. It was interesting to hear a piece by Haydn, since we had discussed this composer in class. I was impressed by the choir members’ ability to remember words in another language, and I enjoyed the sounds of the piano accompaniment.
The song is a solo for baritone, there are in total, four points of view in the composition. The narrator, whose description of the scene rounds off the beginning and end of the story, The Father who responds to the complaints and cries of his son, and the boy, who is reacting in fear and distress to the imposing of the fourth character, The Erl King. Schubert helps to accomplish this by writing in a medium voice range to represent the narrator, a low voice range to portray the father, and a very high range as the boy cries aloud. The voice of the Elf King is always soothing and seductive.
The prelude is setting up the idea of a storm for the listener. This is emulated in the accompaniment by the staccato eighth notes in the first six measures before the text even begins. The tempo marking at the beginning of the piece is Langsam, which means slowly. Slow tempo allows the tension of the storm to build up throughout the piece. In measure 5, there is a forte piano in the accompaniment. The forte piano is a representation of a thunder clap or a strike of lightning. Before the singer opens by describing a storm passing through clear skies, it is already prevalent something dark is happening. This is important because it is showing the listener how dark and unhappy the narrator is. The accompaniment continues this eerie feeling when the vocal line begins and keeps the same eighth notes for several
The wind is described as being awakened from a place of peace and beauty. The line “Thy voice, and suddenly grow grey with fear” seems to describe a sense of darkness and loathing, a chilling feeling flowing through the veins. The west wind is power. The fourth section plays on the feeling that this wind is all-powerful and Shelly seems to give the impression of bowing down before it. Impulses, uncontrollable, tame-less are all words used to describe the wind in this section.