Modality linked Vaughan Williams to his English past, and also to the powerful European tradition of Western music. His homage to Tallis goes beyond traditional modal chords. True to its Renaissance ancestor, this Fantasia is monothematic, lending itself well to complex textural variety. The piece is actually for three co-existent ensembles: double string orchestra and string quartet.
The larger string orchestra allows the spacious, rich chords to swell to a major climax; the smaller ensembles four violins, two violas, two celli and bass in the one; solo quartet in the other help to maintain an atmosphere of intimacy and gentleness, even in the fuller sections.
The composer specified that the two principal ensembles were to be placed apart if possible. The fact that Vaughan Williams returned to this Fantasia twice to revise it — in and — is an indication of how important the piece was to him. Its seamless flow and effective scoring lend it a timeless quality that transcends both its Elizabethan roots and its twentieth-century birthplace. Instrumentation: two flutes, oboe, two clarinets, two bassoons, two horns, harp and muted strings.
Alas, its faults I can perceive only too well: the influence of Chabrier is much too glaring, and the structure rather poor. The remarkable interpretations on this inconclusive and conventional work have, I think, in great measure contributed to its success. Ironically, Ravel confessed that his evocative title was primarily chosen because of its mellifluous alliterative appeal in his native tongue. Otherwise it is rather atypical of his music. The style is deliberately archaic, a concession to the slow, processional sixteenth-century Italian dance from which it takes its name.
Major sevenths and ninths give it its rich harmonic aura. Even at age 24, Ravel knew how to establish and maintain a magical mood. Instrumentation: woodwinds in pairs; four horns, two trumpets, three trombones, bass tuba, timpani and strings. Those picturesque surroundings gave rise to the melodious Second Symphony. It is nearly devoid of the tension and tragic struggle that permeate the First Symphony.
The first movement is in gentle, swaying triple time. Though it has dramatic moments, notably a fugal development section, the Allegro non troppo firmly establishes an aura of benign geniality that prevails for most of the symphony. The coda includes a dreamy horn solo, one of those delicious scoring details that rewards careful listening.
The rich key of B major provides the backdrop for a rare hint of darkness in this predominantly sunny symphony. Though the cello section relinquishes the melody at its second statement, they reclaim it several times, and retain a high profile throughout the movement.
Surprisingly, Brahms emphasizes the darker sound of the lower instruments by retaining timpani, trombones and bass tuba in his instrumentation; frequently they remain silent in slow movements. Timpani and low brass disappear in the Allegretto grazioso. More an intermezzo than a scherzo, this gentle movement rocks gracefully between major and minor modes, recalling similar ambivalence in Schubert. Both trios include some fine woodwind passages. In the end, however, he was simply not cut out to succeed as an academic.
Ironically, Ravel became widely known by a piece that is atypical of his style. Many composers grow to resent certain of their creations that become so popular as to overshadow others of their efforts that they consider more deserving, and so it was with Ravel and his Pavane. It encapsulates an emotional coolness, a restrained melancholy, and a mysterious timelessness that lends it a unique personality.
James M. Program Notes. Page s : 7. Page s : 8. Page s : 6. Keyboard Transcription - Rock. Page s : Page s : 5. Printable Classical PDF score is easy to learn to play. Learn more about the conductor of the song and Easy Piano music notes score you can easily download and has been arranged for.
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