On March 25th at 8:00 pm in the Staller Center, Stony Brook symphonic orchestra with Glen B. Cortese as the conductor performed three musical pieces. One of the musical pieces is
Schumann’s Symphony No.3 in E flat major or the “Rhenish” symphony originally composed by Robert Schumann. The symphony, which divides into five movements, shows the importance of structural arrangement in musical composition to develop the audience’s emotions in certain directions. Movement I:lebhaft sets up the main theme of the movement by opening with a major melody at an allegro pace. The choice of a major mode not only creates a sense of a happiness, but also enhances the allegro tempo to create a lively feeling carried by the timbre of the string section. …show more content…
As the third movement continues, the movement repeats a minor melody to major melody pattern from the start of the minor melody at 15’59” and 17’14” and the start of the major melody at 16’44” and 18’25”. With the repeat of the second minor to major melody pattern, the string family began to be more prominent towards the end of moment, allowing the softer tone of the section to guide the gradual decrease of tempo to a halt concluding the third movement. This type of ending allows the next movement to not explored feelings from the previous three movements. As the symphony was inspired by a trip to the Rhineland, the name “Rhenish” may fit the symphony by each movement, referring to the stages of the composer’s emotion during his …show more content…
It allows a harsher tone to take place, which conveys a more serious feeling than before. This also allows the music to reflect the meaning of Feierlich that refers to solemn or serious and grave. Similar to the first movement, they are several times during the fourth movement where contrast is used to create a greater emphasis on the desired effect from the fourth movement. From the beginning of 24’14”, the strings enter at a piano dynamic which creates a contrast with the brass at a forte dynamic. Through the continuation of contrast, at 24’24” the brass returns with a forte dynamic which reemphasize the serious and grave feeling that was introduced in the beginning of the fourth
Schumann’s Symphony No.3 in E flat major or the “Rhenish” symphony originally composed by Robert Schumann. The symphony, which divides into five movements, shows the importance of structural arrangement in musical composition to develop the audience’s emotions in certain directions. Movement I:lebhaft sets up the main theme of the movement by opening with a major melody at an allegro pace. The choice of a major mode not only creates a sense of a happiness, but also enhances the allegro tempo to create a lively feeling carried by the timbre of the string section. …show more content…
As the third movement continues, the movement repeats a minor melody to major melody pattern from the start of the minor melody at 15’59” and 17’14” and the start of the major melody at 16’44” and 18’25”. With the repeat of the second minor to major melody pattern, the string family began to be more prominent towards the end of moment, allowing the softer tone of the section to guide the gradual decrease of tempo to a halt concluding the third movement. This type of ending allows the next movement to not explored feelings from the previous three movements. As the symphony was inspired by a trip to the Rhineland, the name “Rhenish” may fit the symphony by each movement, referring to the stages of the composer’s emotion during his …show more content…
It allows a harsher tone to take place, which conveys a more serious feeling than before. This also allows the music to reflect the meaning of Feierlich that refers to solemn or serious and grave. Similar to the first movement, they are several times during the fourth movement where contrast is used to create a greater emphasis on the desired effect from the fourth movement. From the beginning of 24’14”, the strings enter at a piano dynamic which creates a contrast with the brass at a forte dynamic. Through the continuation of contrast, at 24’24” the brass returns with a forte dynamic which reemphasize the serious and grave feeling that was introduced in the beginning of the fourth