Arensky The Crane Analysis

Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.

The first movement began with a very strong texture as the music reflected a very powerful theme. It began with the heavy instrumentation from the strings including cellos, violins, and basses. The tempo was also relatively fast and generally upbeat. About a minute and half in there was a very noticeable solo by the violins which was a bit softer in terms of the texture. The melody seemed to be very upbeat and cheerful. Lasting the form of the movement was very well structured and the instruments backed each other up smoothly.

Throughout the piece, the brass plays the theme in alteration with the timpani and tam-tam. Although the theme is simple, together they create a long musical idea. The overall dynamic of the brass grows throughout creating a sense of power especially when

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

The harp plays ascending scales whilst the oboe plays a minor legato melody. The bass strings play pizzicato then the rest of the string section play tremolando and Crescendo. The brass repeats the melody, accompanied by the orchestra and a string tremolando inverted pedal. A string melody follows, accompanied by pizzicato strings and brass. There is a series of suspensions in the brass with perfect cadences, then an anticlimax with descending strings and brass. The main melody is repeated again, syncopated, in augmentation then there is a diminuendo as melody strings then French horn play melody.

A slow universal crescendo is audible until bar 29, when the dynamic then holds at a fortississimo (fff) – ‘as loud as possible’. Tr.1 provides a rest from the constant dissonant chords in bars 40-42 before returning to the regular rhythmic figure. This opening successfully displays the unpredictable intensity and discomfort of war through is constant rising and falling in dynamics and unexpectedly changing texture. At the end of bar 67 (after B1), all instruments quickly crescendo to another fff, before moving directly into the next section (C1 – see figure 2.2). This presents a triumphant mood through the melody of the brass instruments moving strictly along the D major scale (making regular use of its’ tonic, octave tonic, subdominant and dominant notes), and the lack of minor harmonies and dissonant intervals so commonly used in A1 and B1. The segment slowly begins to incorporate these dissonant harmonies in canon, bringing about an eventual sense of dread as the dynamic builds to a gradual fortissimo (ff) crescendo. Following this crescendo, all instruments participate in an ff universal decrescendo, combining to create an irregular Am (not native to the tonic chord) on a lower register (predominantly A2).

The first and opening piece was a Roman Carnival Overture, Op. 9, by Hector Berlioz. In major tonality, classical piece started with vivace statement, and then slow introduction progressed later in allegro. It featured an independent solo that was performed with an English horn and gradually changed dynamics throughout the classical movement.

Measures 1-5 are a short introduction. The A section begins at the fourth beat of measure 5 and is in A major. The A section ends in a half cadence, which is an E major chord. The B section, which starts on the fourth beat of measure 29, is in C sharp natural minor. This is the relative minor of E major, which was the final chord of the first A section. At measure 49, there is a modulation back to A major which leads into a second A section beginning at measure 50. However, this A section is different mainly because the melody appears in the left hand and the section ends in an imperfect authentic cadence instead of a half cadence. This cadence is at the downbeat of measure 67, and there is no modulation to E major this time. The C section begins at measure 67 and is in A major. This section acts more as a transitional section that leads into a new statement of the main theme at measure 83. The final A section restates the main theme one last

The third movement - Adagio molto e cantabile - is quasi-variational similar and involves two themes: Adagio molto and Andante moderato. Both themes are of unsurpassed beauty. There is no link musically between the themes. Indeed it seems that contrast serves an important function in the movement as also seen in the two dramatic fanfares hear towards the end.

The melody in the first movement opens with the violins and they are then accompany by the violas and the cello. As you keep listening you notice that French horn, clarinets, flutes, and oboes contribute to the harmony. The first movement is also in the key signature of G minor. As you move through the first movement you enter into the second section which is in a different key. The key signature of the second movement is in B flat major. The instruments that have the melody this time are the violins along with the clarinets and bassoons.

As the exposition begins the piece starts in C major. In the primary theme, there is a triplet motive that is automatically established. In addition, the dotted rhythm of m. 3 is also motivic and used through the entire movement. Mozart uses very contrasting dynamics in the first couple of measures. The piece opens at forte, but then dies down to piano in m. 3 only to return to forte in m. 5. Mozart also uses silence at the beginning of the movement to emphasize how highly articulated the movement is. As the primary theme continues to be established m.9 introduces a march like quality to stress the

and another lyrical theme, (denoted hereafter by b). It is clear when one looks at the outline of the themes with respect to their placement, theme "a" is transformed into 8 different versions throughout the composition's first movement, and an additional type, that we will call (a) which utilizes C-G-C-G-C timpani-like motive. This one, namely (a) and a derivative called a6 will play primary roles in identifying and linking structurally important keys and harmonic motions related to changes into different subsections (eg. Timpani theme appears from 288-295 into T3/S3 on minor v,

The cello and organ provide the basso continuo, following the figured bass. The modulation in bar 10 to A major ends in a V7 - I, providing strength to the piece. This differs from Sonata pian’e forte which is in the Dorian mode with lots of root position chords (bar 1 and 2) and suspensions (bar 3). The melody is mostly stepwise and the tierce de Picarrdie in bar 4 gives a sense of balanced phrasing. This is felt again in bar 8, due to the consonant 4th. The modal harmony in bar 13 creates an imperfect cadence to mark the end of the A1 section. An interesting phrygian cadence (IVb - V) is used in bar 16 leads into a short circle of 5ths (bar 17) and then a perfect cadence in F major with a 4-3 suspension (bar 20). This ‘busy-ness’ before cadences was not uncommon, due to the very expressive works that were composed in this era.

After a minor wobble of the director stand, a few adjustments and giggles, Symphony No.1 in D major began. The first movement started off with an eerie introduction, with the first two notes morphing into a birdcall as well as main theme but a very magical sound. It made for a very soothing, romantic time. Throughout the piece I felt as if it told a story as most music does, what I came to believe it was a love story. The Allegro begins in the cello with the second Wayfarer song, “Ging heut morgen Ubers Feld,” (I Walked this Morning over the Field). With a light and happy tone in the beginning as if two lovers had just met, this was the main theme of this movement. Suddenly there was a deep, heavy part maybe one of despair in paradise but that only lasted for a short period as it came to a victorious ending of happily ever after. (Kahn)

The piece has a time signature of 4/4 (C=common time) and is primarily in Db Major, modulating to C# Minor (the enharmonic equivalent). The accompaniment (left hand) through section A is based around the tonic and dominant chords- Dᵇ and Aᵇ- with the repeated quavers being Aᵇ - the dominant. In the B section, the repeated quavers played both as singular notes and octaves are on the dominant G#, which is the enharmonic equivalent to Aᵇ and therefore is the repeated quaver as in section A.