Monday, March 14, 2005

Kabalevsky violin concerto mvt III

The piece starts off ominously with pizzicatto in the strings and stopped horns. The pizz's move up half steps as the horn note stays the same creating tension and the desire for release. The solo violin comes in with a trill, a scale, and an octave higher trill. Then the main melody starts with sparse accompaniment. The melody is structured as a double period with the second phrase ending on a half cadence. Repetition in the solo line and motivic gestures and colors from the clarinet and oboe bring us to the repeat of this melody except it is put into a single contrasting period with a half step modulation at the end. A new theme is presented. It is more lyrical and legato. A new relaxed mode is in the air. This leads into a new section of straight and furious sixteenth notes by the soloists with an off-beat accompaniment from the brass and orchestra. A dual between the soloist and the trumpet serves as a development and transition back to the main melody. It is repeated exactly with a few minor changes of accompaniment. This leads us into the new B section. It is more of a slower, heavier peasant dance, as introduced, but when the soloist comes in it has more grace in it. Even though the rhythms of the soloist have slowed down the accompaniment has become more complex. The melody then repeats itself. The melody is modulated and extended into a secondary theme by the tutti orchestra. This brings us into a development of the main theme of the B section between the percussion, winds, and brass. The theme is modulated and played by the muted trumpet leading into a furious and fast development/transition section full of 8th-2 16th note patterns throughout the orchestra contained in a modulating sequence. Three large and ferocious strokes lead us to the violin cadenza which is played off the first main theme of the A section. Then repeated in minor. Blah Blah more cadenza stuff...double stops, harmonics, scales, etc...We are brought back into the A section with a different texture. The flute plays the double period melody and then the soloist answers with the constrasting period form of the melody. The more lyrical theme comes into play and is played tutti then with emphasis on the soloist. The 16th note section of ferocity comes back with the orchestra playing an off-beat accompaniment. A coda is being played with a combination of the melody of the B section and rhythmic motives of the A section. Trumpets dominate the texture as the harmony is moved as the trumpets repeat the line. The soloist plays triadic material as strokes are played by the orchestra.

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