Rite of Spring by Igor Stravinsky
Rite of Spring by Igor Stravinsky
Interestingly, this unorthodox composition is rumored to be written as a piano piece and intended for four hands at the same time, instead of the regular 2-hand piece. The tempo jumps from pianissimo to an erratic fast and high paced decibel. Positively if the piece was divided into two, that would still be parallel understandable. The full orchestra interpretation clearly deviates from mainstream classical music as the intro is made up of, if I am not mistaken, minor and augmented chords.
As if to underscore unrest, the piece brings into mind an escape from solitude, with hardly any predictable timing. For me, this piece is not intended to induce melodic humming, but rather serves as a soundtrack for a particular storyline. Whatever the tale Stravinsky had while composing this, it must be truly an imaginative and wild one. Appalachian Spring by Aaron Copland Quite the opposite of the former piece, Copland is reminiscent of Vivaldi and Taichovsky. The arrangement is safe, utilizing a built up that is pleasing to the mass listeners.
Originally intended to be a ballet orchestra piece, the clarinets and other wind instruments create an atmosphere most pleasing to the senses. Midway to the song, there comes the “thickening” of the sound as the cellos and full-orchestra violins come into play. I would highly recommend closing one’s eyes while listening to this to achieve maximum aural experience. Wozzeck by Alban Berg This early 1900’s opera does not have as intense a treatment on music as the other choice pieces have.
Considering that the storyline backdrop highlights as well as comments upon the class systems present during the time of its composition, the monotonous ambience of the composer is duly justified. Though I was always curious and wanted to understand what makes opera “opera”, this piece composed almost a hundred years ago certainly brings me a step back to square one. Piano Concerto, Movement 1 by Ravel Finding itself in between the spectrum, this piece has a combination of oddly and unthinkable arrangements and instrumentations.
The first few seconds of the piece features a slide of the notes up and down half the keyboard six times before finally finishing on the 7th time on the full keyboard. It certainly boasts a lot of musical creativity as there are different musical variations and styles fused into this wonderful piece. Before the first minute ends there are 3 distinct sustained notes that immediately set this piece apart from the rest. Amongst all the choice pieces, I enjoy this one the most for its seemingly arbitrary cross-genre style, which I think reflects my personality
Musical of Choice Off List: MakeDamnSure by Taking Back Sunday Taken from their 2006 sophomore album “Louder Now”, this punk anthem is one of my all-time favorites because of the simplicity of its beat and its direct-to-the-point structure. As I ponder on it now, the power of this song is so prevalently seen that even in the absence of the punk distortions and the hit-hat off beat intro, the vocals and the guitar riffs instantly produces the attraction to the listener. I will vouch that whether you are six or sixty, this tune will catch your attention and get you humming its anthem line “You gotta make damn sure…”.
Lyrically, the song urges certainty within ones soul. At first listen one wouldn’t really notice the lyrical intentions, but it has been shared by the band members that this song combines emotions of frustration and a drive to do better than the next person beside you. There are moments in this song where the vocals almost hits lullaby proportions. Apart from the bridge, this song is all power, without mimicking trash metal levels. In sum, this song is so controlled, every facet of it is a perfect and cultured mix of melodic punk, and by-the-book song writing.
Subject: Igor Stravinsky,
University/College: University of Arkansas System
Type of paper: Thesis/Dissertation Chapter
Date: 23 September 2016
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