Second Viennese School (VIII) – Suite for Piano Op. 25 (2)

In this post, I will continue with the analysis of measures 15-16 of Prelude Op.25 from Richard Kurth’s article.

As observed, in measure 15 the same dyads used in the beginning of the prelude, appear in harmonic manner. {Db,G} in the left hand is actually {2,3} taken from P0 and I6. The first double note {F,E} played by right hand is {0,1} from P0, and {Bb,A} is {0,1} from I6. On the second beat, {Ab,Gb} in the left hand is {4,6} from both P0 and I6, {Eb,D} in the right hand corresponds with {5,7} from P0, and finally {C,B} is {5,7} from I6. P0 dyads in this measure are on strong and I6 dyads are on weak beats. But the balance between them is reached through the fermatas on tetrachords on the weak beat, followed by a rest.

In measure 16, the {Eb,D} in right hand is derived from {8,9} in I6 and {F,E} in the left hand is I6’s {10,11}. These two dyads are articulated from each other by rhythmic and register difference. What is spectacular about the P0 dyads {F,E} and {Eb,D} appeared in measure 15 and 16 is that both of them show up harmonically and in a strict timing in measure, while treated in a melodic and free rhythmical manner in measure 16. Also {Bb,A} and {C,B} dyads appearing both in measure 15 and 16 (as tetrachord) are treated as off-beat in 15 and down-beat in 16. Moreover, the horizontal motion of right hand’s dyads in measure 15 gives us two groups of <F4,Bb3,Eb4, C4> and <E5,A4,D5,B4> carrying exactly the same intervals (perfect 5th and minor 3rd), while keeping the same interval between two voices throughout the measure. In the same measure leaf hand carries two different types of chromatic motion; one is <G3,Gb3,F3,E3> which is a direct chromatic descending motion, and <Db3,Ab2,C3,A2> that holds a chromatic relation between Db and C as well as A and Ab, which is virtually the rhythmically augmented imitation of <F4,Bb3,Eb4,C4> in the right hand.

The rhythmic relation between the three passages in each hand is the similar with a different ratio among the hands. In right hand, 8 notes are followed by 16th notes, while in left hand, the eighth note at the beginning of measure 16 is preceded by quarter notes in measure 15, which delivers the concept of imitation in the left hand, dragging the attention from right hand to left.

TO BE CONTINUED!  :]

Film Music (VIII) – La piel que habito: Los vestidos desgarrados (music by Alberto Iglesias)

The Skin I Live In (Spanish: La piel que habito) is a 2011 Spanish psychological thriller film written and directed by Pedro Almodóvar, starring Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet, and Roberto Álamo. The Skin I Live In is based on Thierry Jonquet’s novel Mygale. The film premiered in May 2011 in competition at the 64th Cannes Film Festival, and won Best Film Not in the English Language at the 65th British Academy Film Awards. Almodóvar has described the film as “a horror story without screams or frights”.

Alberto Iglesias is a spanish composer who composes many film scores and he mostly works with Almodóvar. Los Vestidos Desgarrados (The Torn Dress) is the main theme of the movie. When you watch the movie, music can be seen as a part of violin concerto but it is not. When you listen to all the pieces you will understand the genre of the music.

The Torn Dress is a reflection of anger, fear and curiosity. In order to understand and evaluate this scene and music, you should watch the complete movie.

When we look at the scene, we see a woman who rends the clothes and then she cleans torn pieces. In this short scene, we hear dominant violin arpeggios which are harsh, fast, and forte. Composer wants to show women’s depressive mood and he also wants to make an affection about the movie, because this scene is almost the beginning of the movie and nobody has any idea about the subject or what comes next. Composer’s approach is very affective to create curiosity and work reaches a success. In addition, this theme is that of the women’s depressive mood and stress. This idea comes from operatic culture. As you know, in romantic period characters have own themes and this technique has been provided for the connection between music and drama. This music is composed and placed on movie with similar reasons. Lastly, strings appear at the end of arpeggios to increase the effect. However, this orchestra is a virtual, computer based one. Why I am telling this, is because violin part is a real instrument and when real instruments are combined with virtual instruments, ear can recognize a major contrast. This is the only criticism that I would make.

If you do not watch this movie yet, I strongly recommend it.

PS:  Composer won the best score award with this movie in 2011.

Complete work:

Maurice Ravel – Bolero (trombone solo) (VI)

Maurice Ravel – Bolero

Composer started to compose Bolero as a trial but after the completion of the piece, it became Ravel’s most famous work. At the beginning of Bolero, it sounds like a Spanish ballet. However, Ravel composed this little theme for large orchestra with a slow and consistent development of the theme in content as well as in tonality. Ravel identified this wonderful work as “the piece for orchestra without music”. On the contrary, we can see that, despite the theme is just repeated several times with differences in instrumentation for 15 minutes, Bolero is one of the most important pieces in orchestral literature.

Ravel’s magnificent Bolero solo is very important for trombone because performers are always confronted with some problems. When the piece starts, trombone player has to wait for that important solo and when the solo comes, performer must play b flat which is the highest note for trombone and later on, other high notes emerge as well. At the d flat, which is in the second subject, performer must give an extra attention to the glissando. If orchestra’s volume is high and the tempo is slow, performer needs an extra breath. Generally after the long notes, performer has to breathe because that can save some energy and assures the mouth position. When the orchestra rests, including vibrato makes this solo better. Performer has to make good control (especially breath and mouth position) when the notes are starting to get across the bass octave. Besides, at the end of the solo, when the volume gets loud, performer must catch a qualitative sound.

The best solution for the Bolero’s trombone solo is to exercise after memorizing because of the high pitches. Otherwise performer cannot play consecutively. So, if performer always remembers this solo in his mind, it will be useful for playing in right positions. And also, performer has to play high notes in forte because of their mouth condition. In addition to that, every conductor wants a different tempo, so studying in different tempos will be useful either.

Launy Grondahl – Concerto for Trombon and Orchestra (V)

Launy Grondahl – Concerto for Trombon and Orchestra

f moll

L. Grondahl composed this piece in 1924 for Wilhelm Aarkrogh’s desiderative. At that time, Aarkrogh played trombone in Kopenhalg Royal Orchestra. Grondahl starts music with violin when he was eight years old and when Aarkrogh wanted that piece from Grondahl, Grondhal was a composition student. In 1925, composer was became a conductor of Denmark Radio Orchestra. Until in 1956, he was a conductor of that orchestra and his trombone concerto is the most popular concerto that he composed.

This concerto comprises of three movements. It is a typical late romantic piece and concerto’s form is typical too (fast-slow-fast). In every movements, it has two themes. In first and third movement’s themes are contrasted each other but second movement’s theme’s style is same. Piece continues 15 minutes. Some technique parts, large intervals and involved rhythmic In addition to that, in concerto, key changes lots of time.

First movement is Moderato Assai ma Molto Maestoso. It stars very strong, magnificent, rhythmical and clear theme. This theme repeats in measure 14 but this time, theme gets in b flat minor. In measure 17, character changes and it prepares music for second theme. Second theme stars at measure 34 and this theme is cantabile so, these two themes are totally different from each other. This movement is in high octave and performers can show themselves with playing rubato and soft in that high octave. In measure 58, it returns first theme but here it is not in f moll, it is in a moll.  Measure 70, it returns to second theme and it continues until measure 90.

Second movement is Quasi una Leggenda. This movement occurs from two themes. Solely, these two themes are softer and slower. First theme’s tempo is 7/8 and it is Andante Grave. It is really characteristic but it is not cantabile as second theme. Second theme’s tempo is 6/8 but it is more dynamic. This theme’s bound notes get triple in 3/4 measure. Theme ends with pedal note which is b flat.

Third movement is Finale. It starts as first movement theme’s character and after that it passes third movement’s theme. This movement’s main theme is 6/8 and Allegro Scherzando. In theme, there is lots of syncopation. Last movement’s second theme occurs in measure 50.  Grondhal used softer character than first theme as we can hear that similarity in first movement. It continues 15 measures and it provides ease to performer because there is not syncopation anymore. In the middle of this second theme, composer offers a choice and this choice is about octave. If performer choose the first choice, performer must play e flat in high octave and it is really hard to play at last movement because generally, performers get tired until last movement.  In the ending theme, there is c note at high octave in 4 measures. These measures must played fortissimo and stringendo. After 2 measures, concerto ends with brilliant character.

Firt movement’s begining of concerto:

 

Nikolay Rimsky–Korsakov – Concerto for Trombone and Orchestra (IV)

Nikolay Rimsky–Korsakov – Concerto for Trombone and Orchestra

B Flat Major

Korsakov is a Russian composer and he received a less music education in his childhood. His family wanted that him to be a soldier but in 1861, he met with Balakirev and he realized his talent with Balakirev’s help. In 1871, he became a professor at St. Petersburg Conservatorium. Reportedly, he came his lessons with his soldier uniform. We can heard that concerto’s style is kind of band. Moreover, this concerto’s premier played with band.

Concerto starts with Allegro vivace and when trombone starts to play, it climbs over two octaves and triples must be played in tempo. Orchestra’s beginning is too short and after trombone’s entrance, it separates in two parts. At the continuation of interlude solo trombone theme continues. After variations, performer start to play again first theme and it climax with b flat note which is in the high octave.

Second movement is Andante cantabile and it is curve. With espressivo parts, performer can show this movement’s cantabile side with long ligatures and crescendo makes these passages more brilliant so, it prepares cadence with this crescendo and high octave notes. Orchestra’s accompaniment is really important for this movement’s duration. Also, intonation is really important for trombone because it is hard to play with good intonation in high octave in slow moment.

Last movement is Allegro and in that movement trombone and orchestra is in conversation. This movement is really showed that this concerto was composed for trombone and band. Firstly orchestra plays and then trombone play the same theme. There are lots of triple croches and in fast tempo, it is hard to play because tongue must be very fast and soft. In the middle of movement, there is a little coda and it continues until the cadence and composer ends the concerto with bugle voice with full orchestra.

Korsakov composed this concerto for tenor trombone but in concerto there are few high notes so that bass trombone players can also perform it. Only in second movement, performers can be inflictable.

The begining of the concerto:

 

Ferdinand David – Concerto for Trombone and Orchestra (III)

Ferdinand David – Concerto for Trombone and Orchestra (es moll)

Ferdinand David (1810-1873) is a very important composer and he was also very important violin player at his period. Some other composers were impressed by F. David. He worked with Spohr (composer) and after that he became a violin teacher at Leipzig Conservatory. In 1835, Mendelssohn appoint him to Gewandhaus Orchestra as concertmaster. After Mendelssohn’s death, David continued his work as this orchestra’s composer and director. Besides, Mendelssohn dedicated his es moll violin concerto and some Mendelssohn’s and Schumann’s pieces dedicated David or were given him for analyse.

F. David’s es moll concerto for trombone and orchestra is a very important classical piece for this instrument. This piece comprises three movements.

This concerto’s introduction is magnificent and brilliance. First movement is “allegro maestoso”. At the beginning of concerto, woodwind instruments play like Mendelssohn’s chorales. After other instruments join, piece gets more rapturous. When trombone starts to play, orchestra gets dim because of trombone’s forte.

First theme is really important at this piece because the rhythmical tension must evoke by playing truth. Tongue must emphasize at semi-quaver and triplet must goes at the end of the note. This rhythmical theme is frequently seen at piece’s all movements. At “Funeral March” movement, this rhythm gets twofold. At the beginning of the piece’s theme occurs at sixtieth measure but in g major.  At eighty-third measure, performer can indicate how trombone is a lyrical instrument. This passage can be thought as cantilena (song) and at this passage, it is really important to play soft and assume control. This passage continues to cadence with developing. This movement connects with a cadence to other movement which is funeral march (andante).

Second movement’s tonality is concerto’s relative minor. This movement is very calm and dark. Performer has to feel the darkness of funeral. At the middle of the movement, there are some little motions but it ends again in calm.

Third movement is “allegro maestoso” and this movement starts first movement’s main theme. The lyrical passage which is also in first movement appears again but this time it is in es moll which is the main tone. First movement and third movements are like same and the concerto finishes with again magnificent.

 

Trombone Literature (II) – Structure of Trombone

                                                       TROMBONE

Trombone is a very old instrument.  It has cylindrical bore and it is has a mouthpiece.  There are six different types of trombone. Slide trombone, tenor trombone, bass trombone, contrabass trombone, alto and soprano trombones, valve trombone. At instrument’s sliding bar, it has 7 positions and it has more than two octaves and it sounds gorgeously. In 16. century, trombone was used in early operas and in L. V. Beethoven’s (1770-1827) c minor op.87 Fifth symphony, it was the first time that trombones used in orchestra.

In early middle age,  people used slide trumpets at wars. In addition to that, it was used at fanfares for kings and leader’s entrance. In that times, they used that instrument only for intercommunication and welcome cerromonies because of that, firstly people did not give an importance to slide trumpet. However in 14. century, people started to use that instrument with other instruments for making music.Hereat, trombone started to progress.

Slide Trumpet:

 

In 16. century, three kind of trombones developed.

1)      Discant posaune (alto trombone)

2)      Gemeine posaune (tenor trombone)

3)      Grosse posaune (bass trombone)

And in 17. century, contrabass trombone was added to that group.

Old Contrabass trombone:

 

In 18. century, people accepted trombone as solo instrument. Before that period, Leopold Mozart, Michael Haydn and Johann Georg Albrechtsberger composed solo pieces for alto trombone and these pieces contributed for trombone repertoire. Addition to that, in 1780 composers started to use trombone in operas. For example;  Mozart’s Don Giovanni and Magic Flute.

In 19. century, composers used three trombones in their pieces.  To exemplify: beethoven’s fifth and ninth symphony.

Finally in 20. century, trombone was progressed with it’s slide positions and controls. Now musicians use these trombones.

In my research paper, I will mention about trombones repertoire and the importance of the trombones in orchestra