This particular piece of work takes the form of a comic operetta that is developed by Voltaire. The popularity of this work is as a result of the fact that it is an overtone.
This particular piece of work may be seen as a marriage of all the elements required for a great song. It is appreciated all over the world since different nations and cultures play it over and over. The song is performed in different versions, but the most interesting and popular version of the song is the opera version. During its performance, Bernstein ensured that the sound of the song developed some synchrony with its video.
In order to fully appreciate this particular piece of work, it is important that it should be performed with highest level of virtuosity. The work takes quick paced, and for lovers of Bernstein’s work, it actually develops some form of feverish excitement in them. Meters in the song take the form of seven beats at quick paces and this ensure that the tune remains an upbeat one. The work requires a well-coordinated team that is able to ensemble together (Bernstein, 38).
Each ensemble statements in this piece repeat itself over and over all through the work. This forms a reminder of the fact that is still the same piece of work right from the start to the end.
The work involves numerous melodic ideas along with excellent textures for harmony; these ensure that the piece remains interesting to the listener as well as the group performing the piece. It is important to note that the major stylistic character that has been used in the music is rhythm. All through the piece, rhythm has been strongly attached such that it has formed a smooth flow and pattern of the work.
Analysts of the work have observed that the strong percussion accents as well as the aspect of writing the work in form of orchestrational groupings and brasses have greatly contributed to the quality of the work. The harsh attacks used in the work which are from the ensemble independently make the piece quite interesting. The piece of work is not strictly uniform. The points stated in the piece take a quick succession.
These ideas usually upon presentation, they virtually leave no time for them to be developed. The music quickly transforms its direction to another different idea. This however, has not in any way affected the wide popularity of this work. It still remains a favorite piece of work that is performed in many concerts all over the world.
Copland: Clarinet Concerto
This particular piece uses both strings and harps. This particular piece of work takes the form of a simplified structure which consists of the following parts; a slow movement at the start of the song which forms the introduction to the piece. This is then accompanied by a gradually fast movement towards the middle and the end of the piece.
Lastly, these two aspects of the songs are then linked together with a cadenza. It is worth noting that the major part of the piece which consists of a rather fast movement has been seen labeled as slow and expressive. This has been associated with Latin American culture, a place which formed the source of the writer’s literature as well as inspiration. In the piece, it may be observed that Stoltzman’s clarinet tends to gradually rise above the strings as well as the harps being played.
This particular action has the effect of developing not only some sweet melody, but also it makes the music to be quite poignant and beautiful as well. Looking at the cadenza, it develops a rather sharp and also technically demanding rhythm, which is delightfully played by Stoltzman. It tends to enhance some form of bridge in the movements that are in contrast to the lively as well as jazzy tunes which make the piece to be very interesting.
The first part of the concerto tends to induce some kind of Appalachian Spring as well as additional wistful melody which takes the form of a pure singing tone and is then mixed with the strings in the background (Copland, 64). This part is then closely followed by fast movements which tend to leave the cadenza in some form of dust such that it becomes rather dramatic.
These transitions from both low to high interludes as well as the unique and simplified rapid scales in between each part of the piece form a major attraction to the piece. This piece has uses a string orchestra which involves both harp and piano in equal measures to develop a uniquely harmonized tune that always leaves the audience wanting to hear more. Many critics have acknowledged the music to be quite a huge success.
Sibelius: Symphony No. 5 in E-Flat Major, op. 82
This is a unique piece which has clarity as well as substance and a positive antipode all through its structure. It takes the form of a romantic symphony. It has been divided into different symphonies. However, both the second as well as the fifth symphonies are deemed as the most interesting symphonies in the entire piece. Sibelius’s piece depicts the mood that was present during his time; a mood filled with great determination.
The first movement in Sibelius’s piece tends to end in a rather odd and inconclusive way; as though it had been introducing the second movement. The third movement takes a simplified form such that it has some slow movements all through it. The slowed movement contributed to the overall beauty of the piece such that it allowed the listeners to be able to not only internalize the piece, but also it allows the audience to connect and develop some kind of relation and personal attachment to the piece.
It is observed that the final part of this particular piece of work appears more like the raging associated with forces of nature since it takes a drop from high and simplified tunes to a final and slowed end. The movements in all the symphonies have been linked together through the use of a bridge passage. This linkage outlines the inter-relations that were between the major movements which were the first and the second movement. It therefore, results to formation of some kind of whole upon linkage of the first and second movement.
Towards the climax of the symphony, the tempo of the piece tends to quicken gradually such that it helps to clearly incorporate the audience in the transition. It uses vigorous melodies as well as trumpets that are in synchrony to each other forming a uniform pattern in the rhythm of the piece. All the events in the climax of the piece are conducted in an accelerating tempo which seems to blend with the musical instruments being played in the background.
The themes in this piece are developed smoothly and gradually with the tempo of the symphony such that the audience is able to understand and internalize the message of the piece. Other than the added musical equipment to the piece, the beautiful melody that develops gradually from the start of the piece coupled with sweet tunes from the harps form a general interesting piece of work.
The two major strings in this piece are played in quavers and it accelerates only to drop towards the climax of the piece. In the third movement, the piece takes a different twist such that unlike other pieces, it starts with rushing figures in each string.
This is then capped with a softer version of sweet symphonies which gradually become powerful and more pronounced as the piece moves towards the end. The fifth symphony is characterized by interrelated ideas which are explained through use of rhyme and melody. It emphasizes on the tone of the entire piece such that uses traditional harmonic tunes to lure the listener’s attention (Norine, 73).
Sibelius’s piece not only provides for a sweet as well as rhythmic tune but also this piece goes a long way in educating the listener through use of different aspects of music. For instance the quick transition from a high pitched tune to a rather tune in between the movements provides the listener a chance to be able to understand the transition that occurred during the period of recording.
Works Cited
Bernstein, Leonard. Overture to Candide; Symphonic dances from West Side Story; Symphonic suite from On The Waterfront; Fancy free. S.l.: Arte Nova Classics, 1997. Print.
Copland, Aaron. Compositions by Aaron Copland: clarinet concerto, Copland piano variations, rodeo, Appalachian spring, fanfare for the common man. Memphis, Tenn.: Books, LLC, 2010. Print.
Norine, John. A comparative analysis of the 1915 and 1919 versions of the Symphony no. 5 in E-flat major, op. 82, by Jean Sibelius. New York: Oxford University Press, 2010. Print.