Walter Hilse

Everything in this piece was thought of in specific detail in order to portray the intent as well as possible. For example, in this work there are three distinct sections and for each new section, there is a new song that is played. The songs used in this work are ‘Something About John Coltrane’ by

The interesting fact about this composition is that the tempo is expressive of “religious solemnity” (Pilich). Obviously one can comprehend the fact that music contains not only mere words but can foster certain emotions that are associated with a particular piece of music.

Contrasting to ‘Didn’t my lord deliver Daniel’ we move onto ‘Fix me Jesus’ which is performed as a duet and portrays the priest and someone that has gone to confess. The lighting changes to blue and white which gives a crystal like intensity. At the start of this section the male figure is stood behind the women and almost covers her movements as if to protect her and to show the trust. The repetition of the women’s hand gestures also seems as if he’s giving her his blessing. There is also repetition from sub section one ‘I’ve been buked’ with the use of proximity and actions such as the bird pose which helps to portray the emotion of this part. Throughout this part the women doesn’t always focus on her partner but is still reliable on him. This is shown through tilted balances and lifts where the male is the supporter. There is an extensive use of weight bearing, strength and trust which are all metaphors within this piece and the use of off kilter positions and balletic actions help to enhance the mood.

Early in the poem, Jarman points out the “sermon’s trenchant commentary on the world’s ills” (2-3), illustrating a mutilation of the connectedness of the congregation focusing instead on the very real but nonetheless generic ills of the world. Furthermore, the phrase “hand-wringing” (4) seems to describe the shaking of hands as the congregation members greet each other with the peace of Christ, again listing the routine of the congregation. Although, it appears to be more inclined towards a description of a helpless, passive anxiety that corresponds well with a sermon designed to impose guilt without inspiring action. Jarman goes on to compare the persistent nature of sin even in moments of peace with “motes of dust ride, clinging” (8). In this line, Jarman suggests that the congregation is sinful even after all the doctrinal procedure done to become clean from sin. Even the structure of the octave suggests a conventional and never changing sonnet form with 14 lines, a perfect Italian rhyming scheme, and a fascinating iambic pentameter alone, that inspires nothing more than an

Thesis: The Liturgical Drama Ordo Virtutum by Hildegard of Bingen was fundamental in the creation and development of later works, providing religious inspiration, unique and expressive composition, and reflections of individual experiences in order to create the first liturgical drama of its kind.

Plantiga, Leon. "Beethoven's Concertos: History, Style and Performance. " New York: W.W.Norton, inc., 1999. pp.3-21, 113-158

These “higher forms of art” refer to German composers such as Bach, Beethoven, Brahms who were always considered some of the top composers to musicologists all over the world. Here, Taruskin tries to explains to the readers that Dvorak didn’t compose his New World Symphony to be a purely “American” piece; he composed it piece to promote German musical colonialism!

The famed Czech composer, Antonin Dvorak, was born in a Bohemian village of Czechoslovakia on September 8th, 1841 (Carlson & Smith, 154). After several years of living and learning music in his home village, eventually Dvorak moved to Prague at the age of 16 to continue his education in music. Pursuing his studies diligently, and after working various odd jobs, he eventually became a professor of music at the Prague Conservatory (Pogue & Speck, 64). While in Prague, he married his lovely wife Anna Cermakova in the November of 1873, and was happily married for the rest of his life to her (Encyclopedia Britannica). Performing all over Prague, eventually Dvorak’s incredible work was discovered by the famed composer Johannes Brahms, who recommended Dvorak to Brahms’ publisher Simrock. Simrock took to liking Dvorak’s works so much, that he agreed to publish works like the Moravian Duets in 1876, and the Slavonic Dances in 1878. These works

As I first examined this work, I could not focus on just one portion of it. Although each part tells its story, there it one overall explanation. As usual, I am drawn to the center of this piece which would be a man sitting in an oval like throne. With a closer look, I look at this man and see a cross behind him, with angelic figures in the background. I conclude this important

And for this reason, it is necessary to be examined and researched in the future as the studies of his biographies and symphonies. Particularly, the reviews of his work, recording, and books are found repeatedly and fundamental analytical studies from M.A, or M.M for his symphonies were also searched

Dvorak Symphony no. 9 was written in 1893 by Antonin Dvorak who was a late romantic composer. Dvorak grew up in a small village near prague and when he turned 16 he moved there to study music. In 1877, a fellow composer convinced a music publisher to print Dvorak’s music which lead to him being able to tour Europe and conduct his own pieces. In 1901, he was appointed director of the prague Conservatory but died 3 years later. His symphony no. 9 is one of his greatest works but this particular piece is part of his collection, From the New World.

After Dvorak left the Organ School in 1859, he basically disappeared from the public eye for twelve years until 1871, which is when he emerged back into the public as a composer. For those twelve years he spent in seclusion, he was occupied with extensive writing in the classical form (8). To much grief and disappointment Dvorak’s first son died in September and his second daughter in October of 1877. These tragic losses were experienced within his grandiose oratorio “Stabat Mater.” For the next twenty years, Dvorak was invited to other European countries to conduct performances of his own works while enduring a struggling relationship with his publisher Hitherto Simrock (7).

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.

This piece begins with very heavy bass. The strings come in with a verging agile moving passage. While strings play the agile melody, brass play very heavy fanfare-like scalular passages. This main idea repeats again leading to a new light section led by a trumpet solo. This section greatly contrasts the opening passage. This passage slowly morphs back into the original section through a long and drawn out crescendo. The dynamic returns to piano to feature woodwind instruments such as flute and oboe. This strings play pizzicato to contrast the oboe soloist. Throughout many sections of the piece, is an ostinato bass line. This bass line gives the piece an medieval feel in 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.