Analysis of The Sleeping Beauty by Tchaikovsky

The development and recapitulation section opens with the strings and flute playing antiphonally in a minor key. The melody is very rhythmic and uses accelerando. The strings then play ascending and descending scales, before playing a melody that is accompanied by brass. The French horns and woodwind section then play in imitation. There is a crescendo, with ascending scales played by the woodwind. The strings play an inverted pedal as the French horn and woodwind imitate each other again. The cello then plays the melody, imitated by strings and flute. An ascending and descending string passages follow, with cymbal crashes. The brass and strings play a syncopated rhythm, which is repeated by the orchestra and uses cymbal crashes. The orchestra then repeats the fight melody, using cymbal crashes, suspensions, triplets and descending scales, whilst the trumpets play the Friar Lawrence theme. Following the crescendo, there is a descending string scale, then the woodwind then plays an arpeggio melody whilst the

After The Nutcracker, The Sleeping Beauty is perhaps the favorite ballet of children (and adults who never quite grew up). The story is a well known fairytale and young dancers take part in the performance, particularly in the Garland Waltz segment. Peter Martins’ streamlined production of The Sleeping Beauty seems to be choreographed especially for little viewers. In some versions of this ballet the plot can be lost amidst all the dancing. Martins’ Sleeping Beauty allows the story line to shine through.

This piece was used in Gilbert’s and Sullivan’s comic opera, The Mikado. It consists of dramatic love stories and astounding wit. Just from the beginning, the audience can sense the playful tone from the light and constantly changing notes. In addition to the quicker tempo and forte sound, adding the xylophone to the whole band establishes an impressive entrance. There was also a great transition from the playful scene to a more serene one. The bass drums and cymbals were then used to build the piece to the original melody once again. At the end of the piece, the whole band played together while the xylophone filled in their rests. Although there were some players who weren’t as precise for the ending, it was still stimulating, which is the main purpose of the

The Sleeping Beauty is a celebration of life, humanity and --love! It suggests that we never truly come alive, never truly become aware of the endless possibilities this world presents us with or the dangers that confront us until--

This song uses long, smooth, and connected bows. It also includes a piano. I would describe this piece as a meditation kind of thing. I could imagine someone meditating to this song. It is very soothing and you feel like your underwater seeing all these fish. I really like that they added the piano because that tells the main story in this piece. I love how this piece starts in the beginning (in other words I like how they jump right into it in the beginning). This piece was originally scored for a chamber group of flute/piccolo, clarinet (B flat and C), two pianos, glass harmonica, xylophone, two violins, viola, cello, and double bass, but it usually performed today with a full orchestra of strings, and with a glockenspiel replacing the rare glass harmonica. This is one of my favorite pieces throughout the

The fourth was selections from Divertissement for Oboe, Clarinet, and Bassoon (1927) composed by Erwin Schulhoff, three movements were played. The Charleston: Allegro began with a brigh tone, upbeat rhythm, producing dance to the beat of the music. The second movement, Romancero: Andantino sounded playful, with the individual instruments playing consecutively in the introduction playing the same note. The tempo is more andantino, relaxed and mezzo forte. The last movement was the Rondo-Finale: Molto Allegro con fuoco, it featured a lively theme, faster tempo (prestissimo), many repeated tones playful notes with all instruments, and concluded fortissimo rushing at the end.

Strings and horns can be heard here and are playing vigorously. The entire orchestra joins in and there is a constant tempo with varying dynamics and changes in pitch. Next, the strings are the predominant instruments [5:35] with cymbals crashing indicating a chaotic tone. You can also hear some of the oboe and bassoon march being played, this time stronger than before indicating more power. Brass is now heard as the dominant instruments playing [6:17], then the strings join in and are also playing very quickly.

Each year, it is a tradition within my family to see “The Nutcracker” at Christmastime. “The Nutcracker” is a ballet about a young German girl, Clara, who dreams of a Nutcracker Prince and a battle with a Mouse King, that was helped to be made famous by a Russian composer, Peter Ilyich Tchaikovsky. Along with “The Nutcracker”, Tchaikovsky composed the works from two other popular ballets, “Swan Lake” and “Sleeping Beauty”. Tchaikovsky and his compositions played a major role in changing and shaping the face of ballet.

Sergei Lifar noted in his article that Swan Lake and The Sleeping Beauty were retained in Diaghilev’s (founder of the Ballet Russes) repertory in early 20th century, even though these productions were rather unpopular in Paris during that period. Today, these Russian ballets from Tchaikovsky are

The king and queen have thrown a huge party for their daughter’s birthday and everyone is happy and celebrating. While Aurora is dancing with princes from other countries, a woman shows up with a gift for Aurora. Aurora happily accepts the gift and begins to dances with it. Not knowing that there is a needle hidden inside, she accidentally pricks her finger. The woman who gave the gift then changes into Carabosse’s robe revealing who she really was. Everything in the palace suddenly changes and the stage starts to get dark and covered in vines while all the dancers on stage begin to falls

The first movement begins with the lower strings playing rather softly, with the French horn and the winds coming in behind them. The minor tone of the piece, and the gradual increase in the dynamic, helps build tension. The movement has many tempo changes as it presents two different themes during it. The themes themselves can be very loud, especially with the full orchestra playing,

While the song continued to play I could also hear flutes, doubling piccolo, oboes, English horn,clarinets,horns,trumpets,cornets,trombones,tuba,timpani,percussion,harps, harmonium, and strings. The song had a fragile fleeting sound which becomes more impassioned, yet dramatic stroke that quietly fades. Tchaikovsky music has a conventional sonata structure and plunges into a truncated recapitulation following the enormous exposition. His music rises to a frightening climax and then fragments into the movements to a shattering sound. The ending started to fade away in a B minor, it was a gentle peaceful

In Russia everyone has heard about great ballet Firebird by Stravinskiy at least once. The music of this composition is bright and colorful and you

The piece opens with vibrato and glissando in jazz style in the tenor range of the bassoon which is quite a challenge. The transition of each mood which occurs by switching meters is a challenge because each transition is a new tempo. The most challenging part for the bassoonist is towards the end of the piece with fast running technical passages and trills. Overall, this piece has a very difficult harp part with harmonics and contemporary techniques such as producing timpanic sound, pedal slide, tremolo, etc. The flute part is not very challenging but will require the flutist to perform various techniques such as “saying ‘s’ while blowing into the instrument.”

There is a long standing tradition in the dance world of using fairy tales as inspiration, particularly in ballet (Lawson, 1964; Roslavleva, 1966). Choreographers, from Martha Graham to George Balanchine have the ability to pick, choose, discard, interpret, and manipulate these folkloric stories and parables in order to fit their choreographic intentions .In the case of Sleeping Beauty, Mats Eke and Rudolf Nureyev’s versions are both relevant to today’s audiences and they both play vital roles by giving each set of audiences a warning for parents with children. Even though both productions have the same fundamental themes and narrative structure at the heart of each work, their manifestations highlight the capacity of dance to change over