I'm doing this song for my sophomore proficiency exam and I've been listening to a lot of different recordings of this song to decide on some embellishments. My favorite recording is by Lorraine Hunt with the Philharmonia Baroque Orchestra conducted by Nicholas McGegan.
This song is from Theodora Act I, scene 5. This is an oratorio made up almost entirely of loosely connected arias to tell a serious story, which made it unpopular during its time. At this point in the opera, Theodora has been imprisoned for being a Christian and the government is going to make an example out of her by forcing her to be a prostitute before killing her. Now, I know what you're thinking, but this is a very GOOD SONG!!! In the song Theodora pleads with the angels to take her now to her death so she does not have to ruin herself in the eyes of the Lord. She wants to die for her God as his humble and faithful servant and not as a prostitute.
It is your typical da capo aria of the time. The A section is pleading with the angels in a sweet melody and constant repitition of "take, oh, take me!" in a Mi-Re-Fa-Mi pattern throughout. The B section is where she gets angry and almost impatient with the angels and says "Speed to your own courts my flight, clad in robes of virgin white." There is some striking chromaticism in the words "virgin white" because of the irony that most likely she will not be a virgin when she dies. (Eventually she is murdered during a rescue attempt by her "boyfriend")
Well, that's enough depressing stories for your mid-week. But I do HIGHLY suggest looking up this song. It's just beautiful. One of Handel's most unappreciated works if you ask me!
Tuesday, March 01, 2005
Andrea Boscelli- L'Atesta
The underlying structure of this piece is very simple, but out of the limited foundation is built a very beautiful and passionate with a melody that seems to go all over the place. The accompaniment of the piece is kept very repetitious, sounding out one note at a time on the keyboard to spell at the chord (arpeggios) and with a few strings echoeing. The keyboard is continuous playing a similar sequence throughout, allowing Boscelli to take many pauses in the singing and making the phrasing very clear. Most of these phrases are symmetric in length. A melodic motive in the voice part repeats often, and the contour and material is the same throughout. While this sounds like possible boredom, Boscelli is able to create an intense emotional effect and great beauty. The piece maximizes Boscelli’s great voice by frequent registry and dynamic changes to give the piece interest. For example, Boscelli will sing a melodic motive softly and on low notes, and then he’ll frepeat it 3 octaves above very loudly, and there is a completely different effect. Boscelli’s voice is unmasked, as it should be. Mask
HINDEMITH: Symphonic Metamorphosis on Themes of Carl Maria von Weber ii. Turandot: Scherzo
This is my favorite symphony in the world, plain and simple. Ever since my sophomore year in high school when I was introduced to the music of Paul Hindemith, he has pretty much had me enthralled, and I've loved learning about him.
When I studied with Nancy King at UofM we talked a lot about Hindemith in my lessons, I was working his Sonatas for Oboe and English Horn at the time. She told me that one of the most important things to keep in mind with his music is that when Hindemith came to the United States, the first two types of music that he heard were the ones that influenced him the greatest. Those two types were patriot songs\school fight songs and jazz. The fight song style can relaly be heard famously in the fourth movement of this piece the March, and I really feel like the rhythm in the Scherzo gives it a lot of jazz-like qualities. These two types of music are so present throughout the Symphonic metamorphosis, that its clear to the listener that my oboe teacher was in fact correct.
The scherzo is is probably the most difficult of the four movements just because it really carries out the expectations of any great symphony work. It is extremely demanding of each and every part respectively and requires that the instrumentalists play in an extremely virtuostic\soloistic manner. The texture changes so quickly from the dense, full sound of a full orchestra, thick with low brass, to say an English Horn solo at the drop of a hat, its important that the members of the orchestra really be on top of things at every second, or at least that is my take on this piece having played it several times...
The other big thing about Hindemith is RHYTHM. He was obsessive when it came to different rhythmic motives, and the scherzo's difficulty level is due to the complicated rhythms combined with the sometimes sparse texture. The middle section of the piece really gets complicated as the theme gets twisted into somewhat of a fugue section, and is passed to nearly every instrumental section.
The at a first listen, the coolest thing about this piece is the general ambiance that it creates. It sets a precedent for the rest of the piece, and gives kind of a kooky, spooky tone to the overall work as a whole, something that I think Hindemith was also fond of in his work.
When I studied with Nancy King at UofM we talked a lot about Hindemith in my lessons, I was working his Sonatas for Oboe and English Horn at the time. She told me that one of the most important things to keep in mind with his music is that when Hindemith came to the United States, the first two types of music that he heard were the ones that influenced him the greatest. Those two types were patriot songs\school fight songs and jazz. The fight song style can relaly be heard famously in the fourth movement of this piece the March, and I really feel like the rhythm in the Scherzo gives it a lot of jazz-like qualities. These two types of music are so present throughout the Symphonic metamorphosis, that its clear to the listener that my oboe teacher was in fact correct.
The scherzo is is probably the most difficult of the four movements just because it really carries out the expectations of any great symphony work. It is extremely demanding of each and every part respectively and requires that the instrumentalists play in an extremely virtuostic\soloistic manner. The texture changes so quickly from the dense, full sound of a full orchestra, thick with low brass, to say an English Horn solo at the drop of a hat, its important that the members of the orchestra really be on top of things at every second, or at least that is my take on this piece having played it several times...
The other big thing about Hindemith is RHYTHM. He was obsessive when it came to different rhythmic motives, and the scherzo's difficulty level is due to the complicated rhythms combined with the sometimes sparse texture. The middle section of the piece really gets complicated as the theme gets twisted into somewhat of a fugue section, and is passed to nearly every instrumental section.
The at a first listen, the coolest thing about this piece is the general ambiance that it creates. It sets a precedent for the rest of the piece, and gives kind of a kooky, spooky tone to the overall work as a whole, something that I think Hindemith was also fond of in his work.
"Because" - The Beatles
“Because” by The Beatles
Because the world is round,
it turns me on
Because the world is round
Ah … Because the wind is high,
it blows my mind
Because the wind is high.
Ah ….Love is old, love is new
Love is all, love is you
Because the sky is blue,
it makes me cry
Because the sky is blue.
Ah …
Not the most popular Beatles song, but one of the most intriguing, in my opinion. The song was released on the Abbey Road album in 1969 for both the UK and US versions. On the Beatles Discography website (an awesome resource for any Beatles fan) it reads that John’s inspiration for the song came when Yoko played Beethoven’s Piano Sonata No. 14 in C# minor (the Moonlight Sonata) on the piano for him. He playfully asked if she could play it backwards, and being the pianist that she was, she did. John later claimed that the melody from “Because” is actually Beethoven’s Piano Sonata No. 14 backwards.
I don’t have the sheet music for both pieces with me, but supposedly the harpsichord arpeggiation for “Because” is a direct lift from the first movement of the Moonlight Sonata. Listening to both, it really does sound like John stole the left hand arpeggiation from Beethoven, although the chord progression isn’t necessarily the same. In fact, I grabbed a piano and found that “Because” is even written in the same key, C# minor. I had never thought about this before, but it really does make “Because” much more humorous, in that goofy, Beatles-ish sort of way.
The song uses John, Paul and George on joint lead vocals, harmonizing on three parts throughout the song. John also plays lead guitar, while Paul plays bass (as usual) and George plays a moog synthesizer (?). George Martin plays an electric harpsichord on the track, which adds a classical music element. Electric harpsichords were also “hip” at the time. It was the ‘60s, man, and Baroque was IN.
I love how the lyrics are straight from an acid trip: The cyclic feeling of the harpsichord arpeggiations could make a drugged up person really dizzy. The lyrics are reminiscent of the times when you’re stoned and you start discussing really deep things like the meaning of life, and are we alone? and what is love? and why is the sky blue? Also the phrases, “It turns me on” and “it makes me high.” Very psychedelic. It makes perfect sense.
Tidbit: There’s a great cover of this song done for George Martin’s farewell album (the Beatles’ famed producer) performed by Vanessa Mae and a large chorus.
Another interesting tidbit: The band had a running joke about Beethoven references. Whenever a reporter asked them, “What do you think of Beethoven?”, Ringo would answer, “I love him … especially his poems.”
:) Groovy, baby.
Because the world is round,
it turns me on
Because the world is round
Ah … Because the wind is high,
it blows my mind
Because the wind is high.
Ah ….Love is old, love is new
Love is all, love is you
Because the sky is blue,
it makes me cry
Because the sky is blue.
Ah …
Not the most popular Beatles song, but one of the most intriguing, in my opinion. The song was released on the Abbey Road album in 1969 for both the UK and US versions. On the Beatles Discography website (an awesome resource for any Beatles fan) it reads that John’s inspiration for the song came when Yoko played Beethoven’s Piano Sonata No. 14 in C# minor (the Moonlight Sonata) on the piano for him. He playfully asked if she could play it backwards, and being the pianist that she was, she did. John later claimed that the melody from “Because” is actually Beethoven’s Piano Sonata No. 14 backwards.
I don’t have the sheet music for both pieces with me, but supposedly the harpsichord arpeggiation for “Because” is a direct lift from the first movement of the Moonlight Sonata. Listening to both, it really does sound like John stole the left hand arpeggiation from Beethoven, although the chord progression isn’t necessarily the same. In fact, I grabbed a piano and found that “Because” is even written in the same key, C# minor. I had never thought about this before, but it really does make “Because” much more humorous, in that goofy, Beatles-ish sort of way.
The song uses John, Paul and George on joint lead vocals, harmonizing on three parts throughout the song. John also plays lead guitar, while Paul plays bass (as usual) and George plays a moog synthesizer (?). George Martin plays an electric harpsichord on the track, which adds a classical music element. Electric harpsichords were also “hip” at the time. It was the ‘60s, man, and Baroque was IN.
I love how the lyrics are straight from an acid trip: The cyclic feeling of the harpsichord arpeggiations could make a drugged up person really dizzy. The lyrics are reminiscent of the times when you’re stoned and you start discussing really deep things like the meaning of life, and are we alone? and what is love? and why is the sky blue? Also the phrases, “It turns me on” and “it makes me high.” Very psychedelic. It makes perfect sense.
Tidbit: There’s a great cover of this song done for George Martin’s farewell album (the Beatles’ famed producer) performed by Vanessa Mae and a large chorus.
Another interesting tidbit: The band had a running joke about Beethoven references. Whenever a reporter asked them, “What do you think of Beethoven?”, Ringo would answer, “I love him … especially his poems.”
:) Groovy, baby.
Telemann Suite in A Minor
I played this piece with my high school band my senior year of high school and now that I'm studying another baroque piece and after Kuijken's visit, I thought it would be interesting to revisit this. The piece begins with the soloist and the ensemble playing a slow theme in unison. It was a nice contrast to the Bach sonata in b minor because with that, there are clear soloist and accompaniment sections, but they are split up much more sporadically throughout the piece, whereas this happens in large chunks. Following the initial unison part, the soloist takes over and the orchestra has the accompaniment position. By now, the melody is no longer the long flowing motive we started out with, but has switched over to a fast-paced part, which is comprised mostly of sixteenth note scalar patterns. Most of the solo throughout its featured sections has this part. The soloist exits after awhile and the piece goes back to the orchestra/solo being in unison. It continues on with this quicker melody and then returns to another solo section, still containing mostly sixteenth note patterns. All of the solo material has seemed to tonicize different notes many times throughout its scale patterns, varying it a little every time and sometimes playing around in major keys. Finally, the soloist and orchestra return to unison and finish up the fast section before returning to the initial long, flowing melody we were first introduced to. Throughout the piece, beats 1 and 3 were emphasized and all others were played down, just like a good Baroque interpretation.
"Midnight Rider" by the Allman Brothers band
The structure of the song "Midnight Rider," written by Greg Allman, is very simple. It starts with a short guitar introduction, about four measures long, the rest of the instruments come in for eight measures, and then the verse starts. There are three verses in the song, all consisted of four lines, with the last two lines of each verse being the refrain. So really you could say that Allman only wrote three, two line verses with each line having the same melody and the refrain only being slightly different. All of the verse have parallel melodies. The intro guitar part is a mixture of strings that sound to be part of one chord. They continue to play when the bass, drums, and lead guitar come in for the next eight measures, and the only time the guitar intro ceases to play is during the refrain and the instrumental break, separating the second and third verses, when it plays straight chords. The very rockin' style of this song makes it slightly difficult to determine exact melodic solfege but it is obvious that the main melodic theme is based on a minor triad of some sort, possibly "re-fa-fa-la" which is "I've-got-to-run." It's even odder because I assumed that the song was in a major key, but now I'm not totally sure. Yet, the exact notes are really not so important in comparison to the more noticeable vocal harmony that happens throughout the whole song. After the second verse, there is an instrumental break with a guitar solo, a short jam, and then two lead guitar parts playing together, harmonizing at certain points even though they are playing completely different parts. The song is probably in a slow two which you might determine by listening to the percussion which uses a classic rock beat: the bass drum on the first beat and the snare on the second. The bass line is very solid because it either stays fairly stagnant or follows the motion of the rhythm guitar. There is also an organ that accompanies with straight chords during most of the song. Overall, it is easy to hear a lot of motion chord from I to V to I again.
I really enjoy the smooth rocking sound of this song and how all the simple parts play together to really jam. I especially like the lyrics which describe the speaker's life on the road or run, however you wish to see it. First, the speaker has "got to run to keep from hidin" and he's "bound to keep on ridin'", meaning he's always on the run. The verse talk about the down sides to this life in the fast lane; "I don't own the clothes I'm wearing, and the road goes on forever." In the last verse the speaker has finally given up his crazy lifestyle, "I've gone past the point of caring. Some old bed I'll soon be sharing." He has given up and settled done, kind of sad. The words of the song are very interesting and have deeper meaning than most listeners care to notice.
I really enjoy the smooth rocking sound of this song and how all the simple parts play together to really jam. I especially like the lyrics which describe the speaker's life on the road or run, however you wish to see it. First, the speaker has "got to run to keep from hidin" and he's "bound to keep on ridin'", meaning he's always on the run. The verse talk about the down sides to this life in the fast lane; "I don't own the clothes I'm wearing, and the road goes on forever." In the last verse the speaker has finally given up his crazy lifestyle, "I've gone past the point of caring. Some old bed I'll soon be sharing." He has given up and settled done, kind of sad. The words of the song are very interesting and have deeper meaning than most listeners care to notice.
Monday, February 28, 2005
The Planets. Jupiter, the Bringer of Jollity
Gustav Holst
London Symphony Orchestra
The piece begins with a very dense, fast rhythm in the high winds of all sixteenths on the same alternating intervals. This rhythm accompanies many of the motives of this section, and functions as a way to establish tempo, and add depth to the expository line. The phrasing and metric accents establish a simple quadruple time signature. The first two measures of the wind rhythm serves as a way to also introduce the expository line, and signal throughout the section that it is returning back to the original theme. The expository line in the brass starts with a syncopated rhythm of eighth quarter quarter eighth quarter. The solfege of the line is something like fi-sol-mi-la-sol . . . and is effective due to the close steps except for the jump in mi. after four measures the phrase ends in an IAC. The same motive is then repeated after adding more voices and a crescendo, ending on an IAC. The piece then enters more of a transistional section, it is less dense, without syncopation and the accompanient line. The section eventually leads to a new expository line in the strings. The new line is very lite, deffinitly reflecting the joyous theme. It then transistions into another new motive in the brass, in three eight. The rhythm is just quarters, with the first note jump up to emphasize one. The motive is very effective because of the simplicity of it, especially because of what the listener is used to hearing. One is also emphasized by the low string down beats on one. The next phrase carries the motive to the strings, and the brass take the accompanient. The brass accompanient is a half note starting on two, and rephrases the emphasis of one with ti-do. This theme especially contrasts with the beginning sections because of its stablility in rhythm, tonality, and density. As the rhythm is continually repeated, it starts to transistion back to the original theme through the sixteenths heard in the beginning. It then decrescendos and enters another new motive, this time in the strings. This is my favorite motive in the piece, due to the deep register in the strings and pull the rhythm creates on do. The solfege is something like: mi-fa-sol-sol-do-ti-la-do-re-do-ti- . . . The first period of this motive ends in a PAC. The motive is especially shaped by the descending scalar bass line. The section ends in a PAC, and transistions abruptly back to the original theme; definitly a rounded binary form. This last function goes from developmental to terminal. One thing I really liked about the piece is the effective contrast of motifs. The first one was very dense, and energetic. The second one was more lite and joyous, and the third very sad and beautiful. Part of that contrast is due to the difference in phrasing and especially cadences. The first section signaled cadences more through dynamics and rhythm, while the third one used that tension from the pull of five to one. All the motives are somewhat contrasted, at the same time they are very well blended in a way to highlight their better qualities. They each manage to create some sort of pulse that keeps it moving all the way to the end.
London Symphony Orchestra
The piece begins with a very dense, fast rhythm in the high winds of all sixteenths on the same alternating intervals. This rhythm accompanies many of the motives of this section, and functions as a way to establish tempo, and add depth to the expository line. The phrasing and metric accents establish a simple quadruple time signature. The first two measures of the wind rhythm serves as a way to also introduce the expository line, and signal throughout the section that it is returning back to the original theme. The expository line in the brass starts with a syncopated rhythm of eighth quarter quarter eighth quarter. The solfege of the line is something like fi-sol-mi-la-sol . . . and is effective due to the close steps except for the jump in mi. after four measures the phrase ends in an IAC. The same motive is then repeated after adding more voices and a crescendo, ending on an IAC. The piece then enters more of a transistional section, it is less dense, without syncopation and the accompanient line. The section eventually leads to a new expository line in the strings. The new line is very lite, deffinitly reflecting the joyous theme. It then transistions into another new motive in the brass, in three eight. The rhythm is just quarters, with the first note jump up to emphasize one. The motive is very effective because of the simplicity of it, especially because of what the listener is used to hearing. One is also emphasized by the low string down beats on one. The next phrase carries the motive to the strings, and the brass take the accompanient. The brass accompanient is a half note starting on two, and rephrases the emphasis of one with ti-do. This theme especially contrasts with the beginning sections because of its stablility in rhythm, tonality, and density. As the rhythm is continually repeated, it starts to transistion back to the original theme through the sixteenths heard in the beginning. It then decrescendos and enters another new motive, this time in the strings. This is my favorite motive in the piece, due to the deep register in the strings and pull the rhythm creates on do. The solfege is something like: mi-fa-sol-sol-do-ti-la-do-re-do-ti- . . . The first period of this motive ends in a PAC. The motive is especially shaped by the descending scalar bass line. The section ends in a PAC, and transistions abruptly back to the original theme; definitly a rounded binary form. This last function goes from developmental to terminal. One thing I really liked about the piece is the effective contrast of motifs. The first one was very dense, and energetic. The second one was more lite and joyous, and the third very sad and beautiful. Part of that contrast is due to the difference in phrasing and especially cadences. The first section signaled cadences more through dynamics and rhythm, while the third one used that tension from the pull of five to one. All the motives are somewhat contrasted, at the same time they are very well blended in a way to highlight their better qualities. They each manage to create some sort of pulse that keeps it moving all the way to the end.
Beethoven - Symphony no. 3 mvmt. 1
According to our music history textbook, one of the notable, revolutionary aspects of this piece is the almost programmatic way in which Beethoven uses the main theme - like a hero, the main theme faces challenges (other themes, etc.) but always defeats them. It seems as though the main theme struggles through developmental sections, but always triumphantly returns like a victorious hero.
However, to me, it sounds like most other music that has thematic material. Forms such as sonata and especially rondo had been used by composers for a long time before Beethoven, and when I listen to pieces it seems as though the same plot is involved, though the main theme may be based on a different emotion or concept.
Regardless, I felt very interested while listening to this piece. My imagination invented scenes to go along with the music, which probably happened because I knew the historical context of the piece and the images Beethoven was trying to portray.
However, to me, it sounds like most other music that has thematic material. Forms such as sonata and especially rondo had been used by composers for a long time before Beethoven, and when I listen to pieces it seems as though the same plot is involved, though the main theme may be based on a different emotion or concept.
Regardless, I felt very interested while listening to this piece. My imagination invented scenes to go along with the music, which probably happened because I knew the historical context of the piece and the images Beethoven was trying to portray.
"River Dance" from a Celtic Album with the Boston Pops Orchestra
This CD gets me in the mood to study in Ireland next semester. I love the Riverdance piece, because even though it's stereotypical Irish "traditional" music, it helps motivate me to keep working no matter how exhausted or stressed am I am. It's divided into sections that sound like completely different songs that are interconnected through a steady 3 beat meter. Some of the sections sound very techno with screeching guitars while other sections have the traditional foot stomping violin pulses that make one want to soar through the sky in a riveting dance even if this person is completely incapable of doing so. This piece uses every structural phenomenon imaginable from huge dynamic contrasts starting very lyrically with images of sheep grazing on rich green hills to vigorous fortes that pull everyone into its embrace. The timbre and density is constantly changing with instrumentation from flutes, to guitars, to violins, to drums. The rhythm and tempo fluctuates frequently. I have no idea what the form would be considered but I know the piece is jiggin'.
Rachmaninov: Sonata for Cello & Piano in G Minor III. Andante
Rachmaninov: Sonata for Cello & Piano in G Minor III. Andante
It is a very tranquil piece which is made up of a lot of sustained chords. The cello part mimics the piano part a lot throughout and seems to be mainly focused on the i and V chord in the A sections with occasional and increasingly wanderings away from it in the B section. Very simple, yet complex how purely beautiful it is. Extremely flowing from one part to the next even through key changes there is no jolting feeling of the change…just very calming. It’s about half way through the piece where the piece develops from the very calm and tranquil feeling to one that could be envisioned as the sun trying to shine through the clouds. As the end of this B section you have a very satisfying feeling as if all though you just got worked up everything is going to be okay. Then the A section returns to really give you the sense of home with the focusing chords being i and V. Towards the end there are some accidentals thrown in to give a sense of tension before the final chords, which really makes those final chords even more sweet to the ear now that it is all simple chord tones.
It is a very tranquil piece which is made up of a lot of sustained chords. The cello part mimics the piano part a lot throughout and seems to be mainly focused on the i and V chord in the A sections with occasional and increasingly wanderings away from it in the B section. Very simple, yet complex how purely beautiful it is. Extremely flowing from one part to the next even through key changes there is no jolting feeling of the change…just very calming. It’s about half way through the piece where the piece develops from the very calm and tranquil feeling to one that could be envisioned as the sun trying to shine through the clouds. As the end of this B section you have a very satisfying feeling as if all though you just got worked up everything is going to be okay. Then the A section returns to really give you the sense of home with the focusing chords being i and V. Towards the end there are some accidentals thrown in to give a sense of tension before the final chords, which really makes those final chords even more sweet to the ear now that it is all simple chord tones.
Devienne, Flute Concerto in E minor
This flute concerto by Francois Devienne is an excellent example of classical flute composition. The famous third movement, the Rondo, is my favorite.
In the first 8 bars of the movement we can hear the beautiful theme of the piece that we find to permeate the rest of the piece. In the large scale, this piece come in three large sections. It is roughly a rounded binary form, of A B A'. In the first section, we hear the theme of the piece played out, usually alternating phrases. Devienne makes use of the triplet and 32nd note,
in juxtaposition with the theme. This gives developmental sections much more contrast. The increase in rhythm also builds excitement and shows off the performers virtuosity.
The B section is definately a transition period. Almost completely removing itself from any semblence of the original theme, it modulates twice into the foreign keys of F major and Eb Major.
In the recapitulation of the main theme, we hear that theme again. Devienne adds a little more speed, building the excitement of the piece until its flurry of a conclusion.
I really like this piece, even though it is very classical. There are few surprises as most melodic movement is scalar, and cadences are typical and expected. However, Devienne's craftmenship of melody and his use of grace notes really bring out the best music in a flute.
In the first 8 bars of the movement we can hear the beautiful theme of the piece that we find to permeate the rest of the piece. In the large scale, this piece come in three large sections. It is roughly a rounded binary form, of A B A'. In the first section, we hear the theme of the piece played out, usually alternating phrases. Devienne makes use of the triplet and 32nd note,
in juxtaposition with the theme. This gives developmental sections much more contrast. The increase in rhythm also builds excitement and shows off the performers virtuosity.
The B section is definately a transition period. Almost completely removing itself from any semblence of the original theme, it modulates twice into the foreign keys of F major and Eb Major.
In the recapitulation of the main theme, we hear that theme again. Devienne adds a little more speed, building the excitement of the piece until its flurry of a conclusion.
I really like this piece, even though it is very classical. There are few surprises as most melodic movement is scalar, and cadences are typical and expected. However, Devienne's craftmenship of melody and his use of grace notes really bring out the best music in a flute.
Jack Johnson- Sitting, Wishing, Waiting
So one of my friends from highschool highly recommend I download this song, and it instantly became my song of the week. (Seriously. Download. It. Now.) Jack has such a smokey sweet voice that no matter what he sang I would like it. But this song represents the personal struggle that I think everyone goes through in relationships.
The chord progression and alternation between building tension and happy I-V progressions is very striking and makes you listen. He starts out saying, "I'm always sitting, wishing, waiting for you" and he talks about how much he likes "you" in a happy melody. Then he says, "Must I always be waiting for you? Must I always be playing the fool?". Then he goes over all the things he has done for this girl like get to know her friends even though he hated them and all that he gets is insulted in return. Poor Jack Johnson. At the end of the song, he resolves that he's never "waiting on love" again because it's too much trouble.
Way to go Jack. Stick to your guns.
The chord progression and alternation between building tension and happy I-V progressions is very striking and makes you listen. He starts out saying, "I'm always sitting, wishing, waiting for you" and he talks about how much he likes "you" in a happy melody. Then he says, "Must I always be waiting for you? Must I always be playing the fool?". Then he goes over all the things he has done for this girl like get to know her friends even though he hated them and all that he gets is insulted in return. Poor Jack Johnson. At the end of the song, he resolves that he's never "waiting on love" again because it's too much trouble.
Way to go Jack. Stick to your guns.
"Think of Me" from Phantom of the Opera
"Think of Me" from The Phantom of the Opera. Music by Andrew Lloyd Webber. Lyrics by Charles Hart. Performed by Sarah Brightman.
This is a pretty famous song and a pretty famous show, so I don't feel like I need to include much background information, but I would like to include a little bit. An opera company is in rehearsal for a new opera they are putting on. The primadona who is supposed to be singing the aria quits the show, and at the last minute Christine takes her place. At the beginning of the song, they are still in rehearsal, and she is singing it for the director and producers for the first time. The music starts out very timidly, the only accompaniment is arpeggiated I chords. When Christine comes in it is very hushed and shy. This is for a dramatic purpose... she begins timidly but throughout the piece her voice gets bigger and bigger with her newfound confidence. (Unlike Emmy Rossum in the movie who just kind of had a light not yet fully developed voice which never got any bigger throughout the song... but that is beside the point)
The melody is full of octave leaps. When the first verse begins, the orchestra comes in beautifully and plays the melody again, but the music has modulated to a higher key. The orchestra plays for 8 measures, and during this time the scene is changed from rehearsal to the actual performance. The texture in the orchestra is a lot more full under the vocal line now because all of the instruments are playing. She is now singing the melody in full voice and it is gorgeous.
At the B section there is a meter change from 4/4 to 12/8. There are now mostly half notes instead of quarter notes and eighth notes. Both of these factors cause the tempo to slow down a great deal.
When the melody comes back again, it is at a very hushed volume and sounds expressive and almost secretive. There is a huge crescendo at the end of the line when she sings up the scale on half notes and hold out a high do. There is a brief orchestra break, and Raoul (an old childhood friend of Christine) sings about her from the balcony. Christine comes in once more and sings the motive that has appeared throughout the song, and then comes the big finish. The cadenza at the end of this song is pretty impressive (especially for musical theatre music) and quite well known. The orchestra joins back in with Christine on the final and highest note, which of course has a formatta over it. Once again I will end my entry saying... what a great show! Hey DePauw faculty... this is a little more classical... can I sing something from Phantom??? Huh??? Please??? :-)
This is a pretty famous song and a pretty famous show, so I don't feel like I need to include much background information, but I would like to include a little bit. An opera company is in rehearsal for a new opera they are putting on. The primadona who is supposed to be singing the aria quits the show, and at the last minute Christine takes her place. At the beginning of the song, they are still in rehearsal, and she is singing it for the director and producers for the first time. The music starts out very timidly, the only accompaniment is arpeggiated I chords. When Christine comes in it is very hushed and shy. This is for a dramatic purpose... she begins timidly but throughout the piece her voice gets bigger and bigger with her newfound confidence. (Unlike Emmy Rossum in the movie who just kind of had a light not yet fully developed voice which never got any bigger throughout the song... but that is beside the point)
The melody is full of octave leaps. When the first verse begins, the orchestra comes in beautifully and plays the melody again, but the music has modulated to a higher key. The orchestra plays for 8 measures, and during this time the scene is changed from rehearsal to the actual performance. The texture in the orchestra is a lot more full under the vocal line now because all of the instruments are playing. She is now singing the melody in full voice and it is gorgeous.
At the B section there is a meter change from 4/4 to 12/8. There are now mostly half notes instead of quarter notes and eighth notes. Both of these factors cause the tempo to slow down a great deal.
When the melody comes back again, it is at a very hushed volume and sounds expressive and almost secretive. There is a huge crescendo at the end of the line when she sings up the scale on half notes and hold out a high do. There is a brief orchestra break, and Raoul (an old childhood friend of Christine) sings about her from the balcony. Christine comes in once more and sings the motive that has appeared throughout the song, and then comes the big finish. The cadenza at the end of this song is pretty impressive (especially for musical theatre music) and quite well known. The orchestra joins back in with Christine on the final and highest note, which of course has a formatta over it. Once again I will end my entry saying... what a great show! Hey DePauw faculty... this is a little more classical... can I sing something from Phantom??? Huh??? Please??? :-)
Another obscure song! "Min Barndom" - Tommy Korberg
“Min Barndom” is a Swedish version of the Jacques Brel song, “Mon Enfance.” The cover is sung by Swedish crooner Tommy Körberg, whom hardly anyone has ever heard of but is a huge name in Sweden and Denmark. The track is found on his CD, Tolkar, a compilation of Jacques Brel songs performed in Swedish.
I discovered Tommy Körberg (I’ll refrain from using the umlaut now because it’s a pain in the ass to insert each time) on the original concept album of Chess, an ‘80s rock musical by Tim Rice, and Abba’s Benny Andersson and Bjorn Ulvaeus. The musical is glorious, and Korberg is definitely the strongest voice on the recording. He is known for playing the lead of The Russian in virtually all major productions to this date – that’s over 20 years and he’s now about 55 years old! Korberg was also set to play the original Phantom and was one of the first considered to play Jean Valjean.
Korberg’s voice is a rich velvety baritone with a strong upper register. It amazes me that he’s never had any formal training, and yet his technique is perfect, his breath support incredibly strong, and his voice has gotten better with age.
OK, on to the song … now that I’m done raving! J “Min Barndom,” or “Mon Enfance” is about a man remembering his childhood. I wish I could find a full English translation, I only have a paraphrased version. Basically the man longs for the happiness and simplicity of his boyhood – playing cowboys and Indians and teasing girls. He comments on how life is so complicated as a grown man, and how he would like to slip back into his childhood self and have careless fun again. Even though I have NO understanding of Swedish, the song’s meaning is still universal. I think all of us at one point or another have remembered our past and wished that we could return to those days and forget today’s complications. The song had some political undertones then and now – then it spoke out against the Vietnam War, and now it can be adapted to any conflict.
The song only has piano accompaniment by Swedish pianist Stefan Nilsson, yet you could hardy call it accompaniment. The song seems more like a classic art song, with the piano and singer having equal roles in telling the story. The accompaniment is languid and dramatic (reminds me of Liszt) – lots of trills in higher octaves in the beginning. Most of the piano part is divided into ascending arpeggios in the left hand (which sounds like it’s in the treble) and lots of dazzling virtuosic movement in the right hand – trills, turns, improvisations. I don’t know if Brel intended any symbolism when he wrote this, but I interpret the left hand as kind of the stable, reality check – reminding the character of his complicated, adult life. The right hand represents the fantasy of his childhood, which is why it’s more elaborate and playful. The accompaniment is very romantic in style.
The song is mostly in strophic form – there are three verses with little variation except in the piano part. A change in the melody occurs afterwards, kind of a developmental section. I wish I knew the words at this point, because it’s the climactic point in the song and must also be the realization in the poem! Korberg sort of speaks one phrase for added emphasis.
Korberg’s interpretation is very beautiful, one of my favorite songs. Its an interesting departure from Brel’s original version, since Brel liked to sing-speak his songs with his raspy, yet expressive voice. Korberg’s voice is also heavily expressive, yet his wonderful vocal tone takes the song to a whole new level. Needless to say, I love it!
I discovered Tommy Körberg (I’ll refrain from using the umlaut now because it’s a pain in the ass to insert each time) on the original concept album of Chess, an ‘80s rock musical by Tim Rice, and Abba’s Benny Andersson and Bjorn Ulvaeus. The musical is glorious, and Korberg is definitely the strongest voice on the recording. He is known for playing the lead of The Russian in virtually all major productions to this date – that’s over 20 years and he’s now about 55 years old! Korberg was also set to play the original Phantom and was one of the first considered to play Jean Valjean.
Korberg’s voice is a rich velvety baritone with a strong upper register. It amazes me that he’s never had any formal training, and yet his technique is perfect, his breath support incredibly strong, and his voice has gotten better with age.
OK, on to the song … now that I’m done raving! J “Min Barndom,” or “Mon Enfance” is about a man remembering his childhood. I wish I could find a full English translation, I only have a paraphrased version. Basically the man longs for the happiness and simplicity of his boyhood – playing cowboys and Indians and teasing girls. He comments on how life is so complicated as a grown man, and how he would like to slip back into his childhood self and have careless fun again. Even though I have NO understanding of Swedish, the song’s meaning is still universal. I think all of us at one point or another have remembered our past and wished that we could return to those days and forget today’s complications. The song had some political undertones then and now – then it spoke out against the Vietnam War, and now it can be adapted to any conflict.
The song only has piano accompaniment by Swedish pianist Stefan Nilsson, yet you could hardy call it accompaniment. The song seems more like a classic art song, with the piano and singer having equal roles in telling the story. The accompaniment is languid and dramatic (reminds me of Liszt) – lots of trills in higher octaves in the beginning. Most of the piano part is divided into ascending arpeggios in the left hand (which sounds like it’s in the treble) and lots of dazzling virtuosic movement in the right hand – trills, turns, improvisations. I don’t know if Brel intended any symbolism when he wrote this, but I interpret the left hand as kind of the stable, reality check – reminding the character of his complicated, adult life. The right hand represents the fantasy of his childhood, which is why it’s more elaborate and playful. The accompaniment is very romantic in style.
The song is mostly in strophic form – there are three verses with little variation except in the piano part. A change in the melody occurs afterwards, kind of a developmental section. I wish I knew the words at this point, because it’s the climactic point in the song and must also be the realization in the poem! Korberg sort of speaks one phrase for added emphasis.
Korberg’s interpretation is very beautiful, one of my favorite songs. Its an interesting departure from Brel’s original version, since Brel liked to sing-speak his songs with his raspy, yet expressive voice. Korberg’s voice is also heavily expressive, yet his wonderful vocal tone takes the song to a whole new level. Needless to say, I love it!
"and so it goes"...billy joel
the song begins with the melody being played in simple chords...the only variance is a suspension here and there. when he starts singing, the accompaniment is still in the chordal style. there is a brief piano interlude in the middle, but for the most part it's solo voice above piano and a keyboard.
I don't know about you, but the structure of the chords with the voice above it is remarkably like a hymn. i think he went for this because of the degree of honesty and power he put in the lyrics. no one is going to argue with a hymn, and because it has this same sacred feeling...i feel as though he words and thoughts are sacred also. not sacred about god, but sacred and beautiful and very special. there are lots of 4-3 suspensions that add an extra sort of longing, and pull in the listener, just a little bit more.
here are some lyrics, because i think he's a genius:
in every heart there is a room/a sanctuary safe and strong
to heal the wounds of lovers past/until a new one comes along
i spoke to you in cautious tones/you answered me with no pretense
and still i feel i said too much/my silence is my self defense
and every time i've held a rose/it seems i only felt the thorns
and so it goes, and so it goes/and so will you soon i suppose
but if my silence made you leave/then that would be my worst mistake
so i will share this room with you/and you can have this heart to break
and so it goes, and so it goes
and you're the only one who knows
I don't know about you, but the structure of the chords with the voice above it is remarkably like a hymn. i think he went for this because of the degree of honesty and power he put in the lyrics. no one is going to argue with a hymn, and because it has this same sacred feeling...i feel as though he words and thoughts are sacred also. not sacred about god, but sacred and beautiful and very special. there are lots of 4-3 suspensions that add an extra sort of longing, and pull in the listener, just a little bit more.
here are some lyrics, because i think he's a genius:
in every heart there is a room/a sanctuary safe and strong
to heal the wounds of lovers past/until a new one comes along
i spoke to you in cautious tones/you answered me with no pretense
and still i feel i said too much/my silence is my self defense
and every time i've held a rose/it seems i only felt the thorns
and so it goes, and so it goes/and so will you soon i suppose
but if my silence made you leave/then that would be my worst mistake
so i will share this room with you/and you can have this heart to break
and so it goes, and so it goes
and you're the only one who knows
Sunday, February 27, 2005
Rhythm of the Night- Moulin Rouge
Welll gosh darnit...i my comp just deleted everything i just wrote...grrrr!!! So, now condensed version in case it is posting somewhere: i like this piece. I think it is funny how Moulin Rouge takes place in Paris and the beat is Latin samba. It follows the standard verse, chorus, verse, keychange, chorus, extended ending in chorus form. Otherwise known as a binary form. I like the rhythms in the piece. Not much else to say, just a good example for the verse, chorus form. grrrrrrrrrrrrrrr!!!!!!
Rhythm of the Night- Moulin Rouge
I like this song alot. What I find interesting and kind of amusing about this is that the whole Mooulin Rouge story takes place in Paris, and the main rhythm of this song a latin samba...hah hah. This follows the simple verse, chorus, verse, key change, chorus, extended cadence type form. Fairly predictable. I just really like the rhythms in this song and how they work with the words. I just think it is a lot of fun, nothing really deep about it, just thought it was interesting and a prime example of the very typical verse, chorus binary form. Have a wonderful night!
Rhythm of the Night- Moulin Rouge
I like this song alot. What I find interesting and kind of amusing about this is that the whole Mooulin Rouge story takes place in Paris, and the main rhythm of this song a latin samba...hah hah. This follows the simple verse, chorus, verse, key change, chorus, extended cadence type form. Fairly predictable. I just really like the rhythms in this song and how they work with the words. I just think it is a lot of fun, nothing really deep about it, just thought it was interesting and a prime example of the very typical verse, chorus binary form. Have a wonderful night!
"Sheer Heart Attack" by Queen
As the title might indicate, this song could very well cause a heart attack if an old person heard it a full blast. It is a song written in the early years of punk rock and was intended to show groups like the Sex Pistols that Queen could do the same thing.
The song begins with a guitar slide, vocal pick up la-ti on three and four and bursts into action. The song begins with three four bar phrases as the verse with the first two bars of each staying on the I chord with vocal and the second two bars mostly staying on the V chord with no vocal but some lead guitar. The rhythm guitar, bass guitar, and bass drum have driving eighth notes with usual two and four snare at a tempo of probably quarter note 150
After this begins the chorus which has three separate parts. The first part is eight bars stays entirely on the V chord which really makes the listener anticipate the main chorus. The vocal has also quickened to every other measure. The second part, however, is similar to two of the first four bar phrases but has the singer singing through the last bar finally into the main chorus. The main chorus is defined by the fact it is the first time the bass guitar and rhythm guitar have quit doing the constant eighth notes. Rather, they provide the rhythmical accompaniment by doing a 1 (234) (12) 3 (4) 1 (2) & (3) 4 (1) & (2) 3 4 behind the vocalist for the very long "sheer" and then the "heart attack" is part of two bars of the eighth note material again. This repeats two more times. Then the background music changes again, with the drums joining the vocal for a syncopated (two eighth notes, one eighth rest, etc.) "in-ar" ticulate which provides good rhythmic representation of the word.
The verse section and the chorus is repeated again with slightly more involvement from the lead guitar.
Then the instrumental solo comes which has the accompaniment on 1 & 2 & (3) 4 with the 4 on the V chord and the rest on the I chord. But this isn't any traditional solo. Fitting in with the title of "sheer heart attack" the solo is the guitarist playing ridiculously high notes without any regard for rhythm or melody. It's quite annoying unless you're headbanging to the driving accompaniment. After this, the guitar does some swooshing like effect which leads to a drum solo which becomes phased (think 80's electronic drum)
This transitions back into the second part of the chorus, which leads into the third part of the chorus. But at the end of the non-eighth note part (and before the syncopation) the music suddenly ends. It's a weird feeling to hear this driving wall of sound and have it end without any coda or elongated tonic chord. But once again, it fits in with the lyrics of the song.
The song begins with a guitar slide, vocal pick up la-ti on three and four and bursts into action. The song begins with three four bar phrases as the verse with the first two bars of each staying on the I chord with vocal and the second two bars mostly staying on the V chord with no vocal but some lead guitar. The rhythm guitar, bass guitar, and bass drum have driving eighth notes with usual two and four snare at a tempo of probably quarter note 150
After this begins the chorus which has three separate parts. The first part is eight bars stays entirely on the V chord which really makes the listener anticipate the main chorus. The vocal has also quickened to every other measure. The second part, however, is similar to two of the first four bar phrases but has the singer singing through the last bar finally into the main chorus. The main chorus is defined by the fact it is the first time the bass guitar and rhythm guitar have quit doing the constant eighth notes. Rather, they provide the rhythmical accompaniment by doing a 1 (234) (12) 3 (4) 1 (2) & (3) 4 (1) & (2) 3 4 behind the vocalist for the very long "sheer" and then the "heart attack" is part of two bars of the eighth note material again. This repeats two more times. Then the background music changes again, with the drums joining the vocal for a syncopated (two eighth notes, one eighth rest, etc.) "in-ar" ticulate which provides good rhythmic representation of the word.
The verse section and the chorus is repeated again with slightly more involvement from the lead guitar.
Then the instrumental solo comes which has the accompaniment on 1 & 2 & (3) 4 with the 4 on the V chord and the rest on the I chord. But this isn't any traditional solo. Fitting in with the title of "sheer heart attack" the solo is the guitarist playing ridiculously high notes without any regard for rhythm or melody. It's quite annoying unless you're headbanging to the driving accompaniment. After this, the guitar does some swooshing like effect which leads to a drum solo which becomes phased (think 80's electronic drum)
This transitions back into the second part of the chorus, which leads into the third part of the chorus. But at the end of the non-eighth note part (and before the syncopation) the music suddenly ends. It's a weird feeling to hear this driving wall of sound and have it end without any coda or elongated tonic chord. But once again, it fits in with the lyrics of the song.
O Magnum Mysterium
This peace is incredibly beautiful. The voices are angelic, sounding as if the praise is coming straight from heaven. The mysterious sound to personify the mysteries of the Lord is also captured. This is captured in the common movement between consonance and dissonance, the variation between the movement and timing of voices, and the frequently delaying the complete sounding of a chord. The phrasing of the piece is dictated mostly by the words of the piece, usually ending on a melisma of the final syllable (ex. do-mi-nu), and being made clear by the breathing of the choir or a short pause. Also, a phrase ending often is made very clear by the final arrival to the complete consonant chord after non-chord tones had created sharp dissonance. There is no definite form to the piece; it is free=floating and continuous.
"Money" by Pink Floyd
A very interesting song to say the least. First things first, we have what has to be one of the most "unique" time signatures in pop music as we are faced with the asymmetric 7/4 meter. This meter allows the beat to constantly move forward, as it makes us feel we've dropped the downbeat. This disjointed sensation complements the song very well, as the lyrics speak of how much we've all come to rely on money, even though in reality it has no actually value, only what value we attach to it. The whole song is focused in on the bassline groove- a simple do-do-sol-la-do-re-do groove that simply modulates to the dominant for the bridge between verses. Sound effects compliment the introduction, as the sound of tinkling change and cash registers actually count out the awkward beat of the song. After our 2 verses and bridge progression is repeated 2 times, a saxophone solo weaves it's way through one more repeat of the original material, acting as a trasition to the second half of the piece. Now we move to the second half of the song, which is basically a long guitar solo over a new 4/4 time signature. This switch in time signatures doesn't readily feel important, but it drives home the awkward feel of the first half, as this second half is very rhythmic, with the drum pounding out quarter notes, really pounding out the difference. After the long (over a minute) solo we return to our 7/4 feel, for one last verse, which has a weird cadential extension, as if stuck between two beats, it just repeats the last two beats over and over as it fades out. Funky little song, Floyd rocks!
Faure's Requiem - Libera me
This begins with an absolutely stunning baritone solo. The underlying pulse is very aggrivated and moves forward. The chorus comes in singing "tremens, tremens" meaning trembling. The movement's focus is on judgement day and the fear of God associated with it. At the piu mosso, the chorus enters on a fabulous unison. It's very clear and powerful. Because it's fortissimo at this point, the power of fear becomes very aparant. It continues with the original melody coming back into the chorus, rather than the soloist. All in unison, they plea and exclaim their fear for God. The soloist comes back in with that same melody again. It ends with all voices asking God to deliver them to the promised eternity.
Scarlatti: Sonata in C Major K. 159 (banjo, Bela Fleck)
This fast paced Scarlatti Sonata, which sounds as if it is in a compound time signature, may be charactuerized by a number of repeating phrases and similar themes. The beginning measures display a repeated phrase, ending with a half cadence, followed by another repeated phrase with a cadential sort of extension ending with an expected authentic cadence. This first section oftthe song, A, could be called a double period, but it could also be repeated phrases or phrase groups. The melody in the first phrase of section A is mi-re-do-do-ti-la-la-ti-do(with a trill)-ti-ti. The accompanying harmony is only one other note during all of the A section of the piece. Section A is repeated before the piece directly modulates to c minor. In this section, B, the same rhythms are used as in Section A which creates a nice paralleling effect. During this section, as in section A the melody may be heard ver clearly. Most of the non-chord tones are passing or appoggiaturas that flow very smoothly in the fast paced melody. The left hand or in this case the accompanying banjoe strings may be heard playing blacked chords, unlike section A with the two harmonizing notes. Also, many V and I chords could be heard in Section A along with other classical sounding chord progressions, but section B definitly uses more varied chords. Section B seems shorter than A and the end of B uses a cadenza-ish run down the scale to return to the original major key. At this point section A comes back in, giving the piece a nice A-B-A form. Because B and A repeat, we could actually say the song is A-A-B-A-B-A. I enjoy this piece because of its upbeat tempo, modulation to the minor which isn't overly shocking, and it's overall happy/encouraging feel. The song is very nice on piano but is even better when performed by Bela Fleck on the banjoe. The plucked notes give the song even more bounce. In fact, it is a very short piece, and a listener should hear it a few times to gain full listening enjoyment! It helps that parts of the song are repeated, but they can still be missed. I like the rhythmic theme that is used throughout the song.
Oh What a World - Rufus Wainright
Alright, so I warned you all that you'd be hearing more about Rufus Wainright... "Oh what a world" is the opener for his first big album "Want One", and its the perfect big opener for a first big album if I do say so myself.
It starts in a canonic form, as a lot of his songs do (so I have noticed). The kind of cool thing is though, is that he's in canon with himself, sometimes there will be up to four part harmony, all done by Rufus and recorded separately then meshed together.
After a few minutes, there is a tuba that comes in and joins the canon playing a simple pattern with two notes that gives kind of a see-saw lilt to the song. The sound byte of coins jingling is then added into the mix and this whole almost fugue of voice, tuba, and jingling coins is created.
Suddenly, (or maybe not so suddenly to an untrained ear) a familiar melody is underneath the vocals and right as the second full strain of lyrics is completed... Ravel's 'Bolero' is playing as the bridge in full orchestral score only for about thirty seconds.
The main lyrics are repeated of course, more slowly and processional-like, also a lot louder, and then the song begins to fade away with 'Bolero' in the background, and the English Horn ends up playing the melody to close out the song along with Rufus' voice in three part harmony humming the opening strain.
It sounds complicated, and it is, but its one of the coolest songs I know!
It starts in a canonic form, as a lot of his songs do (so I have noticed). The kind of cool thing is though, is that he's in canon with himself, sometimes there will be up to four part harmony, all done by Rufus and recorded separately then meshed together.
After a few minutes, there is a tuba that comes in and joins the canon playing a simple pattern with two notes that gives kind of a see-saw lilt to the song. The sound byte of coins jingling is then added into the mix and this whole almost fugue of voice, tuba, and jingling coins is created.
Suddenly, (or maybe not so suddenly to an untrained ear) a familiar melody is underneath the vocals and right as the second full strain of lyrics is completed... Ravel's 'Bolero' is playing as the bridge in full orchestral score only for about thirty seconds.
The main lyrics are repeated of course, more slowly and processional-like, also a lot louder, and then the song begins to fade away with 'Bolero' in the background, and the English Horn ends up playing the melody to close out the song along with Rufus' voice in three part harmony humming the opening strain.
It sounds complicated, and it is, but its one of the coolest songs I know!
Stravinsky's "Symphony of Psalms"
In light of the recent choir concert, I'd like to write on Stravinsky's "Symphony of Psalms." Unlike our performance of it last night, this recording is performed with orchestra. It is composed of three movements. The first movement is underscored by a primordial ostinato, and above it, the choir struggles between the e and f, as if caught in the inevitability of their own mortality. To me, it sounds like civilizations trying to rise against the face of time like crippled birds to the air or waves in the ocean to the sun. The rebellion of the spirit rises only to fall inexorably, creating a rocking sensation and thus adding to the sense of time moving mercilessly foreward. One thing I notice in the orchestration is the presence of the winds--their sharply blunt sound conotes a primitive thrusting.
Flummerfelt felt the second movement to be a response to the first movement. In listening, it seems as though the fugue is a rather nebulous and further perplexing answer to the question of human mortality and existence stated, rather than posed, in the first movement. With its dipping, haunting intervals, slithering like a snake, coiling around the monuments of human limitation, it builds slowly and suprisingly into an almost gentle tapestry, soothing the ear until interrupted by the sopranos singing "I wait." It is perfect, for it seems the answer to our inescapable conundrums is really a sort of waiting silence, a mix of bitter, mocking despair and sweet hope. We wait as we breathe, and nothing shall be certain until we breathe no more. In this section, we also have the only PAC in the entire piece--at the end of the first choral section. It is only held for one beat, because the tonic is quickly spoiled by a lowered half step. Then the choir re-enters, stronger, like a great trudging weight, now carrying with it the chilling intervals of the beginning fugue. It ends with the sopranos holding a c, on a drawn out static chord, that leaves the listener hollow, cold.
The last movement begins with tenderness. "Alleluiah"..."Laudate domine" (praise to god)...It is reconciliation with the mystery, wonder at all paradox and all significance, awe of the human condition. It is my favorite movement--the soprano line is so gentle, magical. But this is not only a calm movement, it is also full of rhythmic frenzy and stark contrast. But how could a movement which concludes such a work be only that of peace and resignation? This is not a passive praise, this is a rhythmic almost angry "laudate dominum" spat out in various syncopations. The voices move together in a rhythmic tension which builds and then subsides again into white ecstasy--but only for a movement, the strength of spirit rises and the voices are joined by the brass section. But again, this returns to a sweet melody in the soprano section accompanied by the basses until the whole choir joins, and builds (with the sopranos rising up and up) and climaxing in a jarring cadence of harsh intervals. Then, all subsides into a resigned wave of hypnotic repetitions of text and melody. This is where I absolutely adore the soprano line--it is otherwordly. (half half quarter quarter--e, d, c, d) The whole work ends on a alleluiah and then breaks the last word "domine", symbolizing man's as a finite being's incapacity to approach the infinite, or rather to achieve the ultimate.
Flummerfelt felt the second movement to be a response to the first movement. In listening, it seems as though the fugue is a rather nebulous and further perplexing answer to the question of human mortality and existence stated, rather than posed, in the first movement. With its dipping, haunting intervals, slithering like a snake, coiling around the monuments of human limitation, it builds slowly and suprisingly into an almost gentle tapestry, soothing the ear until interrupted by the sopranos singing "I wait." It is perfect, for it seems the answer to our inescapable conundrums is really a sort of waiting silence, a mix of bitter, mocking despair and sweet hope. We wait as we breathe, and nothing shall be certain until we breathe no more. In this section, we also have the only PAC in the entire piece--at the end of the first choral section. It is only held for one beat, because the tonic is quickly spoiled by a lowered half step. Then the choir re-enters, stronger, like a great trudging weight, now carrying with it the chilling intervals of the beginning fugue. It ends with the sopranos holding a c, on a drawn out static chord, that leaves the listener hollow, cold.
The last movement begins with tenderness. "Alleluiah"..."Laudate domine" (praise to god)...It is reconciliation with the mystery, wonder at all paradox and all significance, awe of the human condition. It is my favorite movement--the soprano line is so gentle, magical. But this is not only a calm movement, it is also full of rhythmic frenzy and stark contrast. But how could a movement which concludes such a work be only that of peace and resignation? This is not a passive praise, this is a rhythmic almost angry "laudate dominum" spat out in various syncopations. The voices move together in a rhythmic tension which builds and then subsides again into white ecstasy--but only for a movement, the strength of spirit rises and the voices are joined by the brass section. But again, this returns to a sweet melody in the soprano section accompanied by the basses until the whole choir joins, and builds (with the sopranos rising up and up) and climaxing in a jarring cadence of harsh intervals. Then, all subsides into a resigned wave of hypnotic repetitions of text and melody. This is where I absolutely adore the soprano line--it is otherwordly. (half half quarter quarter--e, d, c, d) The whole work ends on a alleluiah and then breaks the last word "domine", symbolizing man's as a finite being's incapacity to approach the infinite, or rather to achieve the ultimate.
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