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
“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.
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
The first work was played was called Suite: 3 Airs, composed by Elisabeth Jacquet de la Guerre (1666-1729) from the Baroque period. This piece had a very stepwise and conjunct melody. The key was mostly bright and major. The harmony was a bit resolving and consonant. The polyphonic texture was recognizable because of the multiple melodies playing together. The tempo of this piece was very constant and remained allegretto throughout. The dynamics was mezzo forte or moderately loud. The formal structure was in the ternary form in which the main idea of the piece was repeating after a small contrast in the middle. Overall, this piece seemed quite unique to me because it was my first time listening to the organ.
Lupo, Benedetto, and Peter Maag, perfs. Concerto for Piano and Orchestra in A Minor Op.54. By Clara Schumann. Orchestra Della Svizzera Italiana. Arts Productions, 2004. 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...
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.
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.
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
And a musical genius Mozart was indeed! As I analyzed this piece, I was continually struck by his following of major voice leading and counterpoint rules. The times Mozart did break away from the standard were masterfully done, engaging to the ear, and he was always able to bring us back home. In this paper I will share with you what I learned about Mozart’s Requiem, Domine Jesu measures 1 through 43. I will start with the big picture and whittle it down to the minute details.
...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.
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
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 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...
...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.