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The program note continues: "The last idea is a motif of three chords first appearing very softly under the piccolo solo at the beginning of the piece, in flutes, clarinets, and horns. Later it appears at extremely strong dynamic levels, for example in the middle of the Aria movement. Much symbolism also appears: in addition to the (Fanfares), the unbroken hope of the Hussite song, sound of bells, or the tragedy (Aria), there is also a bird call at the beginning (piccolo solo), symbol of the liberty which the city of Prague has seen only for moments during its thousand years of existence." This complex and haunting proclamation of national, religious, and individual liberty stands in contrast to the large, blaring sounds of Samuel Barber's "Commando March" of triumph, with its bright, celebratory sound.
Other compositions in the concert used repeating themes to great effect such as noted band composer Frank Ticheli's...
2." But Husa's use of voices, bells, and radical re-envisioning of each theme was far more striking than Ticheli's more straightforward "Symphony" which lacked the sense of emotional 'narrative' of Husa. Even the more radical works like the Michael Markowski's "Shadow Rituals" with its sharp cascades of notes, rapid changes and varieties of tempos of rhythms did not use repetition as forcefully as the Czech piece. Although Husa's work was not as crowd-pleasing as Markowski's or Ticheli's, much less the velvety tones of Vittorio Giannini: "Symphony No. 3" it was the piece that resonated in the memory, long after the concert ended.
Karel Husa's remarks, which are always included when "Music for Prague 1968" is performed in a program note by his request, are available online, introduced by Steven Stucky for the L.A. Philharmonic, May 2007, http://www.laphil.com/music/piece_detail.cfm?id=2379&bc=1
The program note continues: "The last idea is a motif of three chords first appearing very softly under the piccolo solo at the beginning of the piece, in flutes, clarinets, and horns. Later it appears at extremely strong dynamic levels, for example in the middle of the Aria movement. Much symbolism also appears: in addition to the (Fanfares), the unbroken hope of the Hussite song, sound of bells, or the tragedy (Aria), there is also a bird call at the beginning (piccolo solo), symbol of the liberty which the city of Prague has seen only for moments during its thousand years of existence." This complex and haunting proclamation of national, religious, and individual liberty stands in contrast to the large, blaring sounds of Samuel Barber's "Commando March" of triumph, with its bright, celebratory sound.
Other compositions in the concert used repeating themes to great effect such as noted band composer Frank Ticheli's "Symphony No. 2." But Husa's use of voices, bells, and radical re-envisioning of each theme was far more striking than Ticheli's more straightforward "Symphony" which lacked the sense of emotional 'narrative' of Husa. Even the more radical works like the Michael Markowski's "Shadow Rituals" with its sharp cascades of notes, rapid changes and varieties of tempos of rhythms did not use repetition as forcefully as the Czech piece. Although Husa's work was not as crowd-pleasing as Markowski's or Ticheli's, much less the velvety tones of Vittorio Giannini: "Symphony No. 3" it was the piece that resonated in the memory, long after the concert ended.
Karel Husa's remarks, which are always included when "Music for Prague 1968" is performed in a program note by his request, are available online, introduced by Steven Stucky for the L.A. Philharmonic, May 2007, http://www.laphil.com/music/piece_detail.cfm?id=2379&bc=1
Part 3 - Piano Concerto #2 in G minor, Op. 22 -- Camille Saint-Saens (1868) -- This work is said to be Saint-Saens' most popular piano concerto; premiered with the composer as the soloist and Anton Rubinstein conducting. Saint-Saens wrote it in 3 weeks, and it is scored for a classical orchestra (1 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals and strings). More of
This was particularly true with the masterful oboe and bassoon dialog and the grand finale -- more than hinting with classical harmony of the structure and order of the Viennese universe. Harbison -- Another short and enjoyable piece, masterfully done featuring the HSO's brass section. This is brass playing of the highest degree -- perfect pitch, blended coloration, interesting harmonic structures, and, after the Mozart finale, one is forced to
Le Grand Hautbois During the reign of Louis XIII and especially Louis XIV, the courts were alive with new Baroque music and instruments. Many new wind instruments were being created with a variety of innovations and some other instruments were being newly invented. It was a time of experimentation, as these just introduced instruments had to be tried out for their range, sound and quality. Louis XIV from his childhood on
In other words each music performance is different and the impulsiveness of each performance confirms the concept of indeterminate music. 6) Describe an Indonesian Gamelan. (Textbook p. 282-283) It said that Debussy, when he heard the Indonesian ensemble called gamelan was surprisingly delighted at its diverse and delicate timbers, and decided to use the elements in the impressionistic sound which he was working at developing. The gamelan, a distinctive Indonesian orchestra consisting
Pioneering Jazz Musician, Sidney Bechet About Sidney Bechet Sidney Bechet was a pioneer jazz musician who changed the music of his time into a unique art form. Considered to be one of the greatest jazz musicians of New Orleans, Bechet was an innovator on both the clarinet and saxophone. His music changed jazz music forever and inspired countless musicians of all types. Bechet was born in New Orleans in May 1897. He was
Some Chinese researchers assert that Chinese flutes may have evolved from of Indian provenance. In fact, the kind of side-blown, or transverse, flutes musicians play in Southeast Asia have also been discovered in Africa, India, Saudi Arabia, and Central Asia, as well as throughout the Europe of the Roman Empire. This suggests that rather than originating in China or even in India, the transverse flute might have been adopted through the