Monday, May 08, 2006

SPEIGELBERG PLEASE ACCEPT THIS BLOG!

..okay....so..its about 12 an a half...or 45 minutes late........ crap..

My blog is on Elise Balzer's recital..it was AMAZING!..I didn't really know much of her rep. so i cant comment on it Other than her emotional performance was stunning. When she performed Liu's two arias from Turandot, she almost cried and moved me to tears as well. You could hear the sobbing in her tone and see the tears welling in her eyes and yet she still produced glorious sounds. It was one of the best emotionally charged recitals i've been to. especially since she's graduating and is Barbara's last voice major ever. damn depauw politics
Well I finally remembered to do this blog, which is funny because it's our last one.
This week I spent a lot of time listening to string quartets by Dvorak because I got the idea fixed in my mind that I would analyze one of these for my theory paper. This seemed like a good idea because Dvorak is one of my favorite composers and I really like string quartet, so clearly I should write a ten page paper about one.

I chose to write about Op. 96 nicknamed "The American" but I'm not going to blog about it right now because i have to get a paper out of this so I better save my thoughts. The piece I almost chse is Op. 51. This quartet is much more lengthy than Op. 96 and also much more characteristically czech. As in Dvorak's Symphony 9, Dvorak strives to capture American folk music in quartet no. 12. In quartet no. 13 (op. 51) Dvorak's nostalgia for his homeland is much more distinct because rather than trying to mix his influences in the piece he is much more grounded in the folk music of the Czech Republic.

My favorite movement is the third, "Romanze. Andante con moto" because of its lyrical melody and beautiful line that is passed from voice to voice (or instrument to instrument if you will) This work is overall very memorable in beautiful.

Sunday, May 07, 2006

Joel Elliot's Recital

This week I attended and participated in Joel Eliott's Senior recital on Sunday evening. As someone who enjoys a very ecclectic selection of music, I thoroughly enjoyed his recital as the collection of music was quite diverse. His first piece was a classical selection for piano and trombone. It was very modern and the harmony was quite different than what I am used to hearing. The second piece he played was on piano, and to my surprise, he is quite an accomplished pianist. The third and fourth songs were written by Joel himself and performed (and sung) by him on guitar. They were more folk-oriented and very cheery, giving the recital a nice intermission between the more difficult classical and jazz selections. The last 3 songs were straight from the real book (juju, in a sentimental mood, and nutville), and I participated in this section of the recital. It was very fun and entertaining. Thompson has very nice acoustics and we were able to jive as a combo very nicely. Overall, the performance was very different from what would normally be played at a senior recital and it was a breath of fresh air for me.

Chicago XXX

So, I got the brand new Chicago studio album, Chicago XXX, as one of my birthday gifts over spring break, and I'm definitely glad that I did. This is Chicago's first album of new original material in over a decade, but it was worth the wait.

The album starts out with their new hit single "Feel." This is the first single to feature Robert Lamm's lead vocals is quite a long while. Lamm is one of the few remaining original members of the band, and is the writer of such hits as "25 or 6 to 4," "Saturday In The Park," "Colour My World," "Questions 67 & 68," and "Does Anybody Really Know What Time It Is?." He is in perfect vocal form on this album. His smooth baritone grasps the listener from the start. He even shows off some belting, quite impressively.

The next song is "King Of What Might Have Been" which features Jason Scheff's maturing tenor voice. Scheff replaced the legendary Peter Cetera in the late 80's, and really started out as a pure imitation of him. However, on this album, he really shows his own creative edge. He also sings on the tight harmonic track, "Caroline."

The vocalist who really dominates this album is the epic Bill Champlin, who replaced Terry Kath after he died. After Cetera left Chicago, Champlin was the one who generated the most hit material, including "Look Away," "I Don't Wanna Live Without Your Love," "Chasin' The Wind," "You're Not Alone." On this album he soars with "Why Can't We," "Already Gone," "Lovin' Chains," and "Better."

What makes this album great is that it sounds like a mix of the styles of the early Chicago and the later Chicago. This isn't just an album filled with ballads, which is what they resorted to in order to live in Cetera's shadow. They have a lot of upbeat jazzy and funky tunes. This may be due to leadership shown by Lamm and Champlin. They have a lot of modern pop tricks in their sound, probably thanks to producer Jay DeMarcus. All of the instruments sound great as usual. Chicago prove themselves as true professional musicians yet again.

Mozart +Woodwinds= you know

So yeah, probably the only people understand the title are Jessi and Corinne, but I thought it was funny. I'm writing tonight on the piece I'm analyzing for the theory paper: Mozart, Sinfonia Concertante in E-flat major K. 297b. I think one of the most interesting things about this piece is that there is great controversy as to whether Moazart actually wrote it. I should probably say that is is attributed to Mozart. Anyway, it's still music, and where there is music, there is analysis...

The three movement work is for oboe, clarinet, horn, bassoon, and orchestra. I really like this piece as a whole, and the performance I have of it is amazing. A double exposition, first by the orchestra and then the soloists, opens the first movement with a somewhat jarring offset of meter. Although I guess if you are really paying attention the meter is still present. The way the soloists' sounds are woven together is usually a sort of call and answer, with a lot of unison and sequences. There are couple of place with an Alberti bass pattern in both the clarinet and bassoon.
The second movement is an adagio with intensely lyric falling patterns in first the bassoon, then clarinet, ending up in the oboe, which hands the melody to the horn. The solo parts really are fairly equal in how often they have the melody versus background parts.
The last movement is a theme with variations, and probably my favorite movement of the entire work. An orchestral interlude is in between each variation. A bouncy theme in the oboe seems to get mouthed off by the clarinet in the first variation, like a child back-talking a parent. The second variation is led by the bassoon with a legato line, interacting slightly with the horn.
The third variation brings it back to the clarinet, moving into triplet rhythms. A dolce fourth variation is dominated by the oboe, almost sounding menore. The fifth variation brings us back to duple with slured eighth notes in oboe and clarinet.
The sixth variation opens with flare on an oboe run which weaves with clarinet runs. The seventh variation is a duet between the horn and bassoon at first, moving into the clarinet. The ends of the phrases are owned by the oboe.
The eighth variation is a figural variation in the oboe with eigth notes interjected into the theme. The ninth variation opens with an impossible horn run to which Corinne says "Who are you?" It is reminiscent of the sixth variation. The tenth variation is again dolce with suspension sequences in the oboe against the rest of the quartete. This variation is extended by two measures compared to the rest. The final variations are in a triple meter, seeming to skip to the end of the piece. They alternate phrases between the oboe and clarinet for the most part. The last variation starts slow and then accelerandos to the end.

Tosca

Is AWESOME! And now that I"m getting good at the Italian language it's even more awesome cause I can understand most of it, without reading the subtitles. I think Puccini is a genius. He uses motives to represent each character and presents them in a very subtile way. Which rocks! My favorite part musically and dramatically is when Tosca kills Scarpia. There is this gorgeous dramtic music that just swells and takes over the drama. I love when music and drama can match so well. Music can create such mood swings too. For instance: At the end of the opera Tosca thinks that her lover Cavodossi is going to be fakely executed, but he is really killed. At first the music is all hopefully and rather casual, but as Tosca realizes that Cavadossi is really dead the music quicly changes with the realization. It is a beautiful and horrific moment in the opera.

Jesus Deserves ALL the Praise!

I know the title to this blog seems a bit strange...but contextually, when you realize that this is the last blog I have to write...ever...i think Jesus deserves some praise...if not all of it (lol). As much fun as i have writing these dumb things, i think I'll enjoy not having to write them much more. Um...so, yeah

Last week, I said I was gonna write about the "classical music tour" i was taking...highlighting the Austrian stop I was supposed to make. Scratch that...because I wasn't all that pleased with what I heard. Instead, I'm gonna take a brief moment and talk about a little German Romantic Piece that I enjoy analyzing for this dumb paper due Wednesday: Dichterliebe (by Robert Schumann)

There are 16 movements...(i know...*cringe*...). At this point, i've gotten to about half of them, but tomorrow, I'm gonna make a HUGE push to get to the rest. I've read the texts for all of them, and am quite impressed. The cycle on the whole is about love, through the eyes of a poet (hence the name Dichterliebe ~ Poet's Love). From the beginning, the poet is happy because love has found him, but by the end, he's upset and deep in sorrow because love has left. (very sad).

The music is quite interesting, and the cycle is one of the most famous of its kind. Interesting enough, though is the fact that many of the movements are ridiculously hard to analyze, because they're so short...but we'll work on that for Wednesday!

Happy Blogging!
James

Mozart - JUST SAY NO TO CATHOLICISM!!!!!

I'm in a cynical mood right now. Very bad weekend, you know the whole deal, Michael's depressed... yadda yadda yadda....And to tell you the truth, I would've rather had a root canal than sit through the mass I saw the orchestra and chorus perform today. Nothing against the performers or anything, it just didn't tickle my fancy. I'm sure it was kind of rude that Joel Elliot and I both dozed off half way through, but I could not stay awake.
I did recognize a few things from the mass, like the terms that I learned in music history. It was also nice to have a printed transcription of the words so that you could see what people were saying. I also found it odd that both Professor Crouch and Smith wrote a commontary about performing the piece. I think that helped the audience realize the complexity of setting something like this up.
I also didn't know that there were solosits during the mass. I figured it was like people singing the kyrie, gloria, etc... but this was premiered as an actual performance piece.
The reason why I didn't like the Mozart mass was because I just really don't get entertained by vocal music. A lot of it seemed to blend together because it was all in sequence. No offense to the performers or anything (I can only imagine what you think of some of the crap that I play) but I just don't like it. The only part I enjoyed was the duet between Liz Hartnett (despite her walking stage front while the orchestra was still playing and you could hear her shoes) and another mezzo. The imitative counterpoint they sang was beautiful and really impressed me.
It was rather interesting to hear what an old-school style mass was, but I would've been more entertained to hear some Gregorian chant out of my music history book.
It also amazes me that people could be that into religion than to sit through all of that every Sunday (I may be uneducated about this, but it's a mass right? so therefore I thought it was played at the service, right?) Anyway, it was the last recital that I needed credit for and that's that folks! From now on I'll stick to Carmina Burana for my choral selection.

Last post...i think

Trisha's Recital- May 5, 2006
Trisha started her recital off with Bach’s aria, “qui sedes ad dextram Patris” from Mass in B Minor which showed off her voice and Amanda’s piano playing. She then sang a song cycle of gypsy songs in German by Brahms. They were quite short and I especially liked the one about the roses.
"S’manie implacabili" from Cosi fan tutte opened the second part of the recital..it seems like I’ve heard this piece sung a ton lately. It has a showy recicitive and the aria is very memorable, but it’s Mozart so what do you expect.
Next Trisha sang a Poulenc song cycle, Le Bestiaire, which was delivered quite well. Much character is needed for these songs and Trish certainly told the stories through her eyes. They were very short pieces which didn’t make a whole lot of sense to me, they went from one about dophins to one about a grasshopper, but were pretty cute. Paper wings, a song cycle by Jake Heggie was next. These also didn’t seem like they had any relevance to each other either. But each individually was really funny and tonally very interesting.
The program ended with two musical theatre pieces, Stars and the Moon from Songs for a New World and then the last piece, Trish sang with Sarah Fox, “For Good” from Wicked. Pretty much the whole audience was in tears.
Overall it was a very assorted and emotional program.

Mozart 40

So, since I spent a bit too much time this weekend with Mozart 40, I am going to give you a preview of the piece. The piece is interesting to analyze, for three out of the four movements in this symphony are in sonata form. Without giving too much away about the content of my paper, each of the sonata form movement really is formed in a different way. It is interesting to see the ways in which Mozart has taken a relatively strict form and changed it to make it accessible yet interesting in three movements. It is also very interesting to see a second movement in sonata form. I really like this form for a slow movement; it allows the thematic material to get beyond simply a statement when you have three distinct shots at it in the expo, develop, and recap. This symphony is one of his later and is arguably the most famous symphony that he wrote. The piece was originally written without clarinet parts, but it is evident he revised the score at a later date to accommodate his clarinetist friends. There are parts of this work that, if heard out of context, you would believe were from the sometime in the romantic period or perhaps later. Each of the movements has a different emotion associated with it with a range of emotions within each of these movements. Ok, I think that is enough…I don’t want to repeat what I have said in my paper, so yeah. This is a very cool piece and according to Jessi, “it gets in your head really easily" and she would know since I subjected her to it a few times.

Beethoven Op. 28 and me

I realize that I have all ready blogged on the first movement of this piece, but I've listened to the last three movements much more fully this weekend than probably any piece all semester. The second and third movements are both composite ternary form. The third movement is a fun one- Sonata Rondo! Of course, I dont want to reveal too much of what I wrote in my paper, but I'm willing to share a few interesting tidbits.

First of all, Beethoven does not leave the tonic key of D major in this work. Usually the second movement will be written in the dominant or something, but all Beethoven does is change the mode. The second movement is in d minor.

Also, it is well documented that the second movement of this piano sonata was Beethoven's favorite and he would play it for himself all the time. It's also the least "Pastoral" of the work.

Another interesting thing, is the phrase length in the first movement. Beethoven uses
ten measure long phrases, which is a rather uneven number.

Lastly, I learned (from analyzing and from Corinne) that Sonata Rondo form is a lot harder to analyze than it seems. Transitions can be longer than you think, and that you should not choose a symphony to analyze... especially one with three movements in sonata form. you're likely to spend hours and hours on one movement, cursing the composer to no end.

crazy death music...but freakin awesome

I listened to the new TOOL album that came out Tuesday. It is quite simply amazing. Along with the polyrhythms and great lyrics, this band adds so much more than anything I've ever heard with metal music. I'm not a huge fan of dark metal or "death" metal but this is easily one of my favorite bands and forms of music I've ever heard. Their innovativeness preceeds anything that will ever be played again. No one can recreate music like this. Even if you don't like the style of music, all of you should have some sort of respect for the talent that each of these musicians have. Use it to get motivated for finals...

This site really hates me

So as some of you may know, I haven't been able to access the site in weeks. BOO BLOGGER!! Anyway, I will put my last post up with pride. German Lieder are funny. They all sound similar. While I was sitting in the German diction recital on Wednesday, I realized that all of the songs sound similar (except for James's song from Tannhaeuser, which was very well done). Most of the German Lieder we sang were from the same time period (Romantic), with a few classical and 20th century, and I realized then and there that one can tell the era just by listening (I probably should have realized this during music history, it would have come in handy). I also realized that Schumann sounds different than Schubert who sounds different from Brahms. One can tell which songs are Schumann, Schubert, or Brahms just from listening. The three have very different styles which all fit into the style of Romantic Lied. Many of the songs are strophic or in rounded binary or ternary. Mine was rounded binary. Good times. Singers, yay last diction concert EVER!!!!!!!!!!!!!!!!!!!

Mozart Rocks My Face Off!

Ok, I know some people don't like Mozart, but I do! So you know I had tons of fun performing his Mass in C minor this afternoon. Not only was it a great honor and experience being a soloist, but also being able to perform it. I felt we did pretty well on it too.

I know Mozart used a lot of inspiration from Haydn (or was it Handel? I always get those two mixed up). You can tell by the way he uses pattern runs in the "Cum Sancto Spiritu" and "Osanna" movements.

Another cool thing about Mozart with this peice is how the orchestra reiterates what the chorus sings. Very much like part doubling. I think he used that to highlight certian texts and passages. The use of his text painting is wonderful.

I found my favorite movements were the "Kyrie" and "Qui tollis". "Kyrie" has such a beautiful yet tense melody and sound. Unlike most Kyrie movements I've heard which are light and simple, this one really grabs your attention. And when the soloist sings, than you get the sweet little light melody, like an angel coming out of the group to plead for them. But than it goes right back to that tense melody in the end. Than the "Qui tollis" I feel is the most intense of them all. I mean, you've got two choirs singing at once, making you not sure where to listen with the same intensity and energy if not more. And to add more tension, the orchestra plays those dotted eighths and sixteenths.

All in all, it's a beautiful peice of music and I love listening to it! (and singing it!)

Mozart definitly rocks my face off!

the complete atomic basie

one of my favorite albums of all time, I spent some time relaxing to count basie's "the complete atomic basie"

Every single track on the album is great, swinging like crazy. The opening track, the kid from red bank, is a huge up-tempo tune that, again, swings like crazy. The count has a solo, one that proves simplicity is bliss. He uses only 3-4 notes and sounds great doing it.

My favorite track on this is "splanky." I played this at a jazz camp at eastern illinois university. a simple, medium paced tune, the melody is really spectacular.

Everything on this album is wonderful, solos, time, swing, balance, trumpeters...wow.

Trisha's Recital...

It's always a little sad when a Senior does their recital as they know it is normally their last performance as a soloist at DePauw. HOwever, Trisha Wells' recital took that sadness to a new level. For reasons that I won't talk about in this blog, it was VERY hard for Trisha to be able to perform with her mom in the audience and yet it was awesome that she did.
In my opinion this recital was the BEST that I've ever heard Trisha sound. Amanda (Trisha's accompanist) was outstanding, as usual. They were very much together throughout the entire recital. The format of the repertoir was much alike any of the voice recitals, with all four of the common languages (English, German, Italian, and French). I felt that Trisha's German and French diction was especially good, and her musicality was great. Her acting was very good, however there were times when she tried to do all of her acting with her eyes rather than her entire body. The last piece of the first act that Trisha sang, Dinah's Aria - Bernstein, was beautiful and I felt that it was a GREAT piece to end with.
Trisha ended her recital with a duet from Wicked (For Good), which she sang with Sarah Fox. Before this piece began, she made an announcement to her mom that it meant the world that she was here for her last recital at DePauw. At that point, (Before the music even started) many of the people in the audience were crying. If you don't know this song from "Wicked", the words are very powerful and especially meaningful to Trisha and her life right now. Trisha began the song very beautifully, but when it was time for Sarah to come in, she couldn't do it. SHe was crying and it was very hard for her to sing. Everytime Sarah would lose it, Trish would grab her hand and sing to her. It was very sad and yet as the song went on they did hold it together and sang this piece excellent. By the end of this song about 80% of the audience was in tears or even sobbing in some cases. It was a very sad and upsetting experience, but at the same time, a VERY well done job by Trisha Wells.

last blog!!!!

So this week I listened to some Gilbert and Sullivan, more specifically the Pirates of Penzance.
The first time I ever heard this music I think I was about 5 or 6.My parents are friends with a couple that belong in some theater group that likes to put on Gilbert and Sullivan shows adn used to do them in the theater at University of Chicago.

I think my favorite song is "I am the very model of a Modern Major General" The recording I have is a little slow compared to others I've heard, but it still is an impressive piece. The lyrics are very clever, even including a jab at H.M.S Pinafore, G&S's previous operetta.

Maybe this is a strange thing to notice, but some of the songs sung by the females are somewhat similar to some Andrew Lloyd Webber writing, especially of Phantom.

The story line to Pirates is pretty strange, the main character Frederic was given as an apprentice to a band of pirates as a child when his nurse misunderstood her orders of apprenticing him to a pilot. The story takes place on his 21st birthday when he is released from his servitude. It turns out that he hates the pirate life and only has worked for them out of a sense of duty and plans on turning them in. He then falls in love iwth the major general's daughter and plans to turn the pirates in and marry her, but then the pirate king points out that he was born in leap year..so instead of turning 21 he really just turned 5, and therefore must stay with them until 1940.I don't want to ruin the ending, so I'll stop there.



so yes. last blog. yay.

Tuesday, May 02, 2006

so i forgot my blog again.....

but I am going to avoid writing about the band cd...even though i could write lots...

This week I listened to a little Puccini, all of the great Puccini opera arias to be exact. A year ago I would have cringed at the thought of sitting down and listening to a bunch of arias, but I've learned tolerance.

From a few conversations I've had with "normal" people about opera. It seems that to people who don't know music, Puccini is a favored opera composer. While I had the cd going my roomate started pretending to sing along to "Nessun dorma' from Turandot. The arias are all highly emotional and I think that appeals to the general public. And after listening to these I started to realize that I heard a lot of them show up in movies.

so yeah. Puccini=good times.

Monday, May 01, 2006

Hey, Sorry this is a little late but I listened to a lot of music this week and couldn't decide what to write about...Anyway, I listened to the Barber Violin Concerto performed by Perlman and the Boston Symphony. I hadn't heard the third movement but it was crazy. I couldn't really tell if I enjoyed the movement because of how crazy it was or if I just have such a great deal of respect for anyone that can play it that well, or both. But, it was cool none-the-less and the first movement still continues to be one of my favorite violin concertos.

Opps...

I know this is late and I'm sorry! I just remembered that I had to do it! This weekend has been nuts!

Well, I really don't know what to write about this week since I really haven't listened to anything new. Well, except for Zombies from the Beyond. I did tech crew for that show this weekend, so I've been hearing that music non stop for the last 2 weeks with rehearsals and performances.

What a crazy musical. It's suppose to be a parody on 50's pop culture, and a cross between a really bad b-list 50's sci fi movie and b-list musical. It's actually pretty funny. There are many sexual inuendos however. But anyway, the music involved is ridiculous. You can tell is really is inspired by the 50's. Every song has a corny melody and there was only 2 pianos involved. There's a shoo-wop song called "In the Stars" which of course embodies your typical 50's ballad or sad song with even a verse spoken, there's a dance number that involves one of the main woman characters and all the men do a song and dance called "Blast off Baby" and a tap dance song called "Atomic Feet". What I found interesting was that they made the villian or the alien, Zombina, into a coloratura soprano. All of her songs were very operetic which is different.

All in all, the music was crazy and interesting with a bunch of chromatisism that drove me nuts most of the time because I felt it didn't sound right and there was quite of range of notes as well.
Jen Chapin is one of my favorite singers. She doesn't necessarily have a beautiful voice, but it has a really cool edgy quality to it while still being enjoyable to listen to. I also really like the lyrics to her songs because they actually have enough depth to them to make me stop and think about them. Her album Open Wide, which I listened to this week, is especially cool because it is just Jen Chapin singing and Stephen Crump playing the bass. There are no other instruments accompanying her at all. I didn't even know that this could work, but it actually does quite nicely because it adds to the pensive quality of her lyrics and the afore mentioned "edginess" in her voice. I will admit that by the time the album is over, I've gotten my fill of this particular sound, and am ready for some music with a little more texture to it than just voice and bass, but all in all this album provides a nice change of musical scenery.

Memoirs of a Geisha

So, I listened to the soundtrack to the film Memoirs of a Geisha. It is absolutely beautiful and I recommend it for everyone!!! I usually do not like just instrumental or orchestral music, but I would be content to go to a live performance of this without the movie playing in the background. In fact, I've put it on my mp3 player. However, it makes sense with the movie and plays an essnential role. Each main character has an instrument that basically is their musical equivalent. The cello is Sayuri, the young geisha and it represents a bittersweet innocence..and a very lyrical yet melancholy violin is the Chairman which is her love interest.
The orchestra also makes use of traditional japanse instruments such as the Shamisan, this one long 13 stringed instrument that can be tuned at will, gongs, and these long wooden flutes. It really has an ineffable effect and it really has to be listened to to fully enjoy. It's one of the best scores done for a movie that I've ever heard. People praised titanic and lord of the rings, but this beats them all...because it holds so much more meaning,

Sunday, April 30, 2006

Sgt. Pepper

Well, driving home last night I randomly chose to listen to Sgt. Pepper's Lonely Hearts Club Band by The Beatles. I'd have to say that this is definately my favorite of all CDs by the Beatles. In fact, one song, Within you Without You is literally the song that sparked my interest in Indian music and is the reason for me pursuing my trip to India this past January. There is so much good music by the Beatles it's rediculous to think of how they could come up with all the stuff they did.

Getting Better is a really nice song with a really cool bass line. Nice and upbeat, I like it.
She's Leaving Home is actually based on a comic strip that one of the Beatles read in a newspaper, and is literally word for word based off the comic. It's still really cool though.
Benefit of Mr. Kite has some really weird words, and is based off an advertisement for a circus in Penny Lane (read the lyrics... you can't make that stuff up)
Within you without you.... AMAZING! The Beatles loved their trip to India, especially George, and a lot of his songs have Indian influences. I remember listening to this song as a kid and loving the sitar and tabla present in the song. It resembles Hindustani music quite a bit actually. Stronlgy suggest listening to this one.
Finally, A Day in the Life is one of the greatest songs ever written. The lyrics are very deep and the music is equally as cool. The last chord was played on 4 pianos!

Not only is the music cool from the Beatles, but the lyrics are equally as cool. It's so cool to think that somebody could come up with as many meaningful lyrics as they did. Sgt. Peppers in my opinion was their best CD, so definately check this one out!

"The Mission"

In honor of the Film Music class watching The Mission, I thought I’d blog about the movie soundtrack. Alas, I have not seen the movie, but there are awesome oboe solos in this.
The opening track, “On Earth as it is in Heaven” has a baroque feel with harpsichord, ethnic vocals and oboe. The theme played by the oboe returns in other tracks, providing continuity throughout.
“Falls” keeps with the overall African feel, considering the film is set in Africa. Strings give an aerial feel to this track, giving the sensation of being in the air.
“Gabriel’s Oboe” is essentially the oboe theme with calmer accompaniment in vocals and murky strings.
“Ave Maria Guarani” is a rendition of Ave Maria with an African twist. A capella choir provides a more formal feel to this track.
“Brothers” is a low register flute solo with harp and strings accompaniment.
“Carlotta” is a guitar solo with strings accompaniment.
“Vita Nostra” has recorder playing the “Gabriel’s Oboe” theme, very similar to “On Earth as it is in Heaven” except with recorder.
“Climb” gives a calmer feel with quiet strings. “Remorse” takes these strings and adds tension and bassoon to the texture. A high register oboe solo ends the track.
“Penance”, another track of tension, is dominated by a chromatic motive.
“The Mission” begins with a flute solo, followed by horn and strings in the Mission theme.
“River” returns the percussion and vocals from “On Earth as it is in Heaven” and develops them further, considering there is no oboe solo above them.
“Gabriel’s Oboe” makes a return visit opening with a bassoon solo and then transitioning into the oboe solo.
The remainder of the soundtrack is relatively the same, finishing with “Misere”, a child vocal solo.

Classical Tour Around the World

So I am now in possession of a box set of 10 cd's highlighting classical music from certain countries called "Classical Journey". It's a huge collection of different pieces from all kinds of composers. One thing that's great about these cd's is that there's a lot of well-known stuff, which makes them more interesting to listen to, especially because I recognize a lot of what's being played. Yesterday I listened to the first volume "Austria"...i really enjoyed this one! Here are some highlights for you:

Mozart's Symphony No. 40 (Molto Allegro)
* I really liked this piece...seeing as how it's one of his more famous symphony movements. I'm really upset because of the fact that now that I'm in Musicianship...i can't just listen to a piece...i find myself listening to form and whatnot. I always take notice of returns of motives and such. (i guess that's culture for you!)

Strauss's Waltz - The Beautiful Danube
* EVERYONE is familiar with this piece...and if you say you're not...you're a terrible liar. I couldn't help but think of a spring scene, with dancing nature and whatnot...i don't know why. Strauss just has that effect on people sometimes, i guess

Mozart's Eine Kleine Nachtmusik
*One of my favorite pieces by Mozart. This "sonata form" (god, musicianship is ruining my life!) piece is a VERY famous piece, and I like it a lot. When I was in high school, the orchestra did this piece, and since then, I've been in love with it. Something about strings just makes me love it even more!

Haydn's Symphony No. 94, 'Surprise' (Andante)
*I think this piece is rather familiar...seeing as how i recognized the main theme, but I can't remember why I know it. Oh well, it's haydn. I like his melodic line for some reason. It's really easy to listen to and get lost in!

So those pieces are just a highlight of the cd that's an hour and a half long. Next week, I plan on listening to the next installment: Hungary!