Sunday, April 03, 2005

Chaubrier Espana

The piece starts off with a little intro of many syncopations in 3. It starts off very much like Alborado del Gracioso. First the strings playe pizzicatto then the woodwinds enter. There are some scaluar runs with a couple of small crescendo that finally brings us to the melody. The melody is very simple melodically but somewhat tricky rhythmically. It is a very off-center melody that is syncopated. The melody is passed from cello/muted trumpet to horn to harp to full tutti orchestra at ff. There is much percussion being used. Then there is some development and transitional material as the strings lay down I - V. The horns and cellos come in with a swooping, descending, melodic gesture that grabs the attention of the audience. 8th notes played by the brass choir take the interest next. It is somewhat like a shout-chorus. A secondary melody then comes with same type of construction as before in the main melody. It is first played by the strings on the frog then by the winds with mini swells in the background. The b section of this melody is very legato and luscious and seemless played by the strings and full tutti at ff. We wind down to a development period where very loud statements are played by the trombones then echoed by the woodwinds. This is said to the be only melodic input of emmanuel himself, that the rest of the piece is taken from folk melodies. There is a multi meter section where half the orchestra is in 2 and the other half is in 3 making for quite the intense and rambunctious section. We come back then to the main melody stated at the beginning of the piece making it composite ternary. It is played by the woodwinds. Chabrier then starts to crush the event timing used before. He starts to juxtapose melody after melody instead of in a formal construction. Many different instruments play the melodies this time. The b section of the secondary melody is played by the trumpet and strings added for a nice melodic climax. The rhythmic gesture of the main melody comes back in and is interwoven with the outburts of the trombones. The main melodic gesture comes back in and is passed from woodwind to string each phrase which adds for different colors. A shout chorus of brass comes in again outlining V- I signaling the finality of the piece.

No comments: