OBSERVE MUSIC
Concerto No. 21 in C major for Piano and Orchestra, K.467, second movement is also known as “Elvira Madigan“; named from a Swedish film and was used at length on that sound track. The graceful, slow movement would sooth any beast with its rhythmic resonance and graceful rhythm. This classical piece still entices a longing to close the eyes and listen to the swaying beats as the mind wonders through the ebb and tide of this musical dynamic.
Movement no.2 starts with many instruments playing in unison as a background of cellos and bass drone a pattern. As the score progresses, the flute, oboes, bassoons and horns play their part conveying the song a consonance feel. The ensemble is not complete without the piano to play the melody and solo in this enriching piece. Although there were timpani in the background, I did not notice the sound of that instrument being played in this version of the concerto. The majority of the music is played in C major with sections of minor involved throughout the piece. The flow of the music is peaceful with a positive appeal, while played in minor; it has a melancholy sound to it, almost a yearning. The piece is mostly conjunct, but would not complete with the disjunct melody. During the piano solo, the pianist skips two octaves down to play part of the tune. There is constant alternating between the two motions throughout the piece. Regular rhythm is the majority with occasional irregular rhythm being thrown in. For example at 19:07 minutes into the video, the feel of the rhythm changed from regular to irregular. This type of score is similar to a waltz using the triple meter, but was well played utilizing the duple similarly. The regular beat seemed to always have some sort of drone or an under beat throughout the piece, except the piano solo, however, the piano played the underlined beat on the bass keys. The second movement has a satisfying feel to the harmony. It was written with mostly consonant harmony with dissonant meters thrown in. The consonant sounds were heard while the piece is play in major and the dissonant would be heard while played in …show more content…
The conductor interpreted the piece beautifully, very legato; the subtleties between p (piano) to f (forte) were smooth and transition less. Often the conductor would crescendo and decrescendo to bring the dynamics to the music at the right moment intervals. If the use of ff (fortissimo) would have been used, the piece would not have been as smooth or legato.
Movement no.2 starts very smoothly, bringing the listener into the circle of comfort with the harmony. As it progresses, the feel of the music appears to take another path from the comfort circle by changing the tempo and dynamics slightly. The rhythm changes to a jaunty sonata or melody, having the feel of being free. As before, the composer then brings the music back to the original song cycle, into his circle of comfort.
This movement epitomizes how music can bring emotion to the listener. The departure and return in this piece feels tangible, thereby eliciting a reaction. Even to the untrained ear, this is a beautiful piece of music. While listening to the music repeatedly, looking for answers to questions, the composition can be appreciated fully, as
Concerto No. 21 in C major for Piano and Orchestra, K.467, second movement is also known as “Elvira Madigan“; named from a Swedish film and was used at length on that sound track. The graceful, slow movement would sooth any beast with its rhythmic resonance and graceful rhythm. This classical piece still entices a longing to close the eyes and listen to the swaying beats as the mind wonders through the ebb and tide of this musical dynamic.
Movement no.2 starts with many instruments playing in unison as a background of cellos and bass drone a pattern. As the score progresses, the flute, oboes, bassoons and horns play their part conveying the song a consonance feel. The ensemble is not complete without the piano to play the melody and solo in this enriching piece. Although there were timpani in the background, I did not notice the sound of that instrument being played in this version of the concerto. The majority of the music is played in C major with sections of minor involved throughout the piece. The flow of the music is peaceful with a positive appeal, while played in minor; it has a melancholy sound to it, almost a yearning. The piece is mostly conjunct, but would not complete with the disjunct melody. During the piano solo, the pianist skips two octaves down to play part of the tune. There is constant alternating between the two motions throughout the piece. Regular rhythm is the majority with occasional irregular rhythm being thrown in. For example at 19:07 minutes into the video, the feel of the rhythm changed from regular to irregular. This type of score is similar to a waltz using the triple meter, but was well played utilizing the duple similarly. The regular beat seemed to always have some sort of drone or an under beat throughout the piece, except the piano solo, however, the piano played the underlined beat on the bass keys. The second movement has a satisfying feel to the harmony. It was written with mostly consonant harmony with dissonant meters thrown in. The consonant sounds were heard while the piece is play in major and the dissonant would be heard while played in …show more content…
The conductor interpreted the piece beautifully, very legato; the subtleties between p (piano) to f (forte) were smooth and transition less. Often the conductor would crescendo and decrescendo to bring the dynamics to the music at the right moment intervals. If the use of ff (fortissimo) would have been used, the piece would not have been as smooth or legato.
Movement no.2 starts very smoothly, bringing the listener into the circle of comfort with the harmony. As it progresses, the feel of the music appears to take another path from the comfort circle by changing the tempo and dynamics slightly. The rhythm changes to a jaunty sonata or melody, having the feel of being free. As before, the composer then brings the music back to the original song cycle, into his circle of comfort.
This movement epitomizes how music can bring emotion to the listener. The departure and return in this piece feels tangible, thereby eliciting a reaction. Even to the untrained ear, this is a beautiful piece of music. While listening to the music repeatedly, looking for answers to questions, the composition can be appreciated fully, as