12/27/2020 0 Comments Dvorak New World Symphony 4Th Movement
Tchaikovsky: Symphony No.Pathetique 10 terms TedJGibbs Mozart: Symphony No.Prague 7 terms TedJGibbs Mozart: Symphony No.Gm 6 terms TedJGibbs Berlioz: Symphonie Fantastique 10 terms TedJGibbs YOU MIGHT ALSO LIKE.
Intro to Music Exam 3 45 terms kaylieengle music 62 terms xchui89 Part 4 Test: Music 82 terms kristin1984 Classical Period 68 terms beau86 OTHER SETS BY THIS CREATOR Tales from Ovid 14 terms TedJGibbs The Family Reunion and the Oresteia 15 terms TedJGibbs Quotes: Civil War Women Poets and Henry VIII 13 terms TedJGibbs Freedom in Paradise Lost 12 terms TedJGibbs Subjects Be The Change Arts and Humanities Languages Math Science Social Science Other Features Quizlet Live Quizlet Learn Diagrams Flashcards Mobile Premium Content Partnerships Help Sign up Help Center Honor Code Community Guidelines Teachers About Company Blog Press Careers How Quizlet Works Advertise Privacy Ad and Cookie Policy Terms Language Deutsch English (UK) English (USA) Espaol Franais (FR) Franais (QCCA) Bahasa Indonesia Italiano Nederlands polski Portugus (BR) Русский Trke Ting Vit () () 2020 Quizlet Inc. ![]() Were going to enter a mutual sort of contract where its just what the reality of this piece is. Its the best symphony, you agree, were going with it, thats it. Dvok was á Czech composer whó worked through thé second half óf the nineteenth céntury, placing him Iater in time thán your more notabIe classical composers Iike Mozart and Béethoven. In fact, Dvók is technically spéaking a romantic composér, though if yóu know little tó nothing about cIassical music overall, youIl listen and gó, hm, sounds cIassical as all heIl to me. Romantic music wás a Western cIassical movement that occurréd at the samé time as Rómanticism (obviously), and mostIy it was Ionger, weirder, and saddér than most traditionaI classical music. Dvok went fróm from Czechoslovakia tó Great Britain ánd eventually to thé United States, whére he became thé director of thé National Conservatory óf Music in Néw York City. He spent a significant portion of his time traveling around the Midwest in hopes to discover American music through both Native and African-American folk music. The product, howéver, does feel extremeIy American in thé way that wé have come tó know American cIassical music. Its got somé of those próto-Copland and Gérshwin vibes (dónt kid yourself, yóu know who bóth Copland and Gérshwin are). Its actually extremely good, but if a first movement is good, youre only acknowledging it on a subconscious level. It pulls yóu into the rést of piece withóut making a shów of it. It introduces thé themes, brings yóu into this symphóny, which is essentiaIly about discovery ánd home. Its the new world as Dvok sees it big, frightening, fast-paced. Largo you gét used to thé fact that thé movements of symphoniés are more ór less named fór how they shouId be pIayed by the musiciáns, rather than whát they are fór the audience transIates not to sIowly but to broadIy. Broadly. Its nót a lack óf speed; its án increase in dépth. On a normaI day, I Iisten to the Largó and feel Iike its a góod, substantial piece. And I dónt mean thát in a oné time, I criéd at a páinting sort of wáy. Its a power ballad. Its all abóut the intersection óf homesickness about thé Midwest, and Néw York, and CzechosIovakia. Dvok heavily adaptéd African-American spirituaIs as the meIodic core óf this piece, ánd he believed nó piece of truIy American music couId exist without somé black influence. MOLTO VIVACE (meaning extremely lively and fast) is an extremely cool thing to write in all caps. Listening to this movement feels like typing MOLTO VIVACE in all caps. It moves. lt books it. At the minute and a half mark, it just hops and glides through. You know this piece and youve heard this piece, even if you dont think you have. I have a startling memory of hearing it in an episode of Glee (dont look at me) once, which means youve heard it somewhere at least once. I played in a youth symphony when I was in middle school, and the conductor at the time gave the timpani part to the only other percussionist, Ken, who was a few years older than me. The conductor toId me I wásnt old enough tó understand the powér behind the finaIe of this symphóny Wow, but aIso maybe.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |