The Background Of L Arlesienne

Chopin’s prelude in Dᵇ is from the romantic period, which began in the late 18th/early 19th century. Composers like Chopin were at the forefront of this change in music, developing the writing and playing of solo piano, orchestral and opera works and how music was performed. There were many composers from this era that were very well known, especially in their later years, or after their deaths: Liszt, Beethoven, Schubert, Schumann, Chopin, Verdi, Brahms, Tchaikovsky and Strauss are just a few of the better known ones. There was a lot of experimentation at the start of the period therefore changes in how composers wrote and played melodies, harmonies and rhythms

In the second movement, the percussion section is more noticeable, especially at the beginning. This movement is also in D minor. The range of the melodic tune is dramatic. At times, I recognized the downbeat in three measures (da da da). This

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

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.

The piece makes use of an allegro tempo (‘moderately fast’), setting the foundations for the relentlessly aggressive nature of the piece. This is supported by the irregular aforementioned 5/4 time signature, which when combined with the allegro tempo, creates an intense, uneasy, and unnatural mood. A 5/4 time signature will almost always ‘place the listener on edge’, as it is an irregular time signature, due to the odd number of beats (5) in each bar. This manipulation of tempo and time signature was an ingenious decision by Holst, as it establishes the foundation of the piece through his portrayal of the unnatural, uneasy atmosphere of war. However, the addition of a time signature change to 4/4 in bars 68-92 (C1 – see figure 2.1) would be extremely effective in assisting the sections’ ‘military’ atmosphere (as the act of military marching is typically rigid, regular, and constant), further supporting Holsts’ theme of unpredictability. The strings ostinato at the opening of the piece is coloured by a mechanical timbre, achieved through the use of ‘col legno battuto’ (Italian for ‘hit with the wood’). ‘Col legno’ is a technique which involves striking the strings with the wood of a bow, as opposed to drawing the hair of the bow across. The obvious manipulation of this technique results in an extremely effective mechanically percussive

The dynamic increases to fortissimo at mm. 73 as the texture thins and harmony becomes very clear for a brief section. In this second closing theme G major, G augmented, and E minor7 in the bass are strongly arpeggiated before four octaves of C, D and G quickly reaffirm the key of G. This cadential crash is followed by some of the softest and lightest material of the whole movement, which due to the surrounding measures is proved to still be part of the second closing theme.

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.

Then follows a scherzo with trio - Molto vivace - also in D minor. The scherzo itself is in sonata form with all parts repeated. The octave tuned drums immediately announcing the important role they play in the tonality of the movement as a whole. Then follows a hushed fugato, which serves an introductory purpose as the full force of the orchestra. Then follows a more harmonic path with the utmost vigor. The second subject in C major adds an unusual harmonic flavor. The trio has a quasi-pastoral flavor, The trio is played only once, although Beethoven fools us into believing we will here it once more at the end, like in the first movement but it abruptly ends.

The first song played from the Orchestra was Infernal Dance. The whole orchestra plays a loud chord to show the intensity of the piece. The rhythm of this movement is syncopation due to the rhythm not being on the beat. This makes the strong beat weak, thus giving a chilling ambience. Infernal Dance then transitions to the soothing movement Berceuse. Berceuse is a lullaby played by the bassoon. The Orchestra concludes the concert with Finale. Finale is the finishing piece of The Firebird and uses one french horn for the melody in a dynamic of piano. The whole orchestra soon joins in creating a hymn like choral. Instead of ending with a grand note, the brass takes the melody at a faster pace developing a celebratory ending. With its uneven rhythmic and extravagant arrangement this Suite fashions a spellbinding

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

The piece written at a slow tempo and has a meter of 4/4 throughout. It has a soft and small dynamic range, moving between pianissimo and piano, and a light texture. The piece is written with three staves in order to clarify and neaten Debussy’s notation. The piece has a B-flat in the key signature, suggesting D minor. The piece mainly centers around the pitch D.

The first orchestral ritornello tutti section begins with Theme A in the tonic (A major) key. In bar 16, a codetta starts with A major, but the tonicization ends with an E at the end of bar 24. This means during bar 23, the key has been modulated to dominant E. However the key modulates back to A major at bar 25. The codetta at bar 44 starts in the tonic key and ends also in the same key at bar 56, right before the solo starts. The Intro theme A starts at bar 57 as the clarinet solo enters.

The slow 12 bar introduction starts with an unusual opening of what seems like the wrong tonality as dominant chords resolve upwards in the first 4 bars. The harmonic progression is very atypical, constantly modulating around the tonic C major by playing chords in the dominant G major, dominant seventh, subdominant F major and relative minor A. This sustains a dominant tension throughout this section.

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

The rest of the orchestra enters; the high woodwinds take the fugue theme while the lower instruments emphasize each downbeat with familiar chordal movement. The fugue enters the development section and twists through a variety of major and minor tonalities. Mozart delays the recapitulation by inserting three Adagio major chords repeated three times. Now the ‘magic number’ is made blatantly apparent. The second Allegro opens, in Bb this time, and the anticipation build as Mozart introduces dramatic dynamic contrast and contrapuntal texture. The overture ends in its original key, with three pronounced Eb major chords accentuating the triumphant conclusion.