--Dance of the Anitra
Grieg was asked to write a score for Ibsen's poetic drama Peer? Grieg was asked to write a score for Ibsen's poetic drama Peer Gynt, which was completed between 1874 and 1875, but the two suites (in four parts each) that he chose to compose from the score were not produced until 1888 and 1891, respectively. Both suites are representative of the composer Grieg's work. The play "Pehr? Although not a masterpiece of the famous Norwegian writer and playwright Henrik Ibsen, it occupies an important place in the author's entire repertoire. Ibsen's poetic drama Peer Gynt makes extensive use of symbolism and allusion. Kinte" uses a lot of symbols and metaphors to create a series of confusing dream worlds and images, analyzing the extreme egoism of the Norwegian upper class at that time, while touching on many major political events in the world at that time. About Ibsen's poetic drama, Grieg summarized it on the title page of his Second Suite as follows: "Pehr? Günter is a character morbidly addicted to fantasy, a victim of power and arrogance. As a young man, he had many rough and reckless behaviors, and suffered many tricks of fate. Pere? After running away from home and traveling a great deal, Gentile returned to his old age, and a shipwreck on the way home left him as destitute as he had been when he left home. Here he is greeted by Solveig, the lover of his youth, who has been faithful to him for many years, and, exhausted, he puts his face in Solveig's lap and finally finds rest." Although the Solveig Song from Suite No. 2 is truly a masterpiece, it is the Suite No. 1 that is generally more popular. The eight pieces chosen for the two suites are arranged only as the music dictates, and are not at all constrained by the plot development of the original play.
The first suite of Pere? Kinte" Suite No. 1 is divided into four sections:
(i) "Morning Scene"
(ii) "The Death of Ossie"
(iii) "The Dance of Anitra " - from Act IV, Scene VI of the poetic drama. In an Arab sheik's tent in a desert oasis, the sheik's daughter, Anitra, is dancing to Pere? Kinte in a pander to her. The music depicts this very scene, but strictly speaking it goes far beyond its role as a soundtrack, since it participates directly in the content of the drama and becomes an inseparable part of the verse play (fragment 3).
(iv) "In the Palace of the Demon King"
The second suite of Pere? Kinte" Suite No. 2 is also divided into four segments
(i) "Ingrid's Lament"
(ii) "Arabian Dance"
(iii) "Pere? Günter's Return"
(iv) "Solveig's Song"
--Mozart K332 Sonata for Piano in F
Mozart k332 Sonata for Piano in F major,
First movement: Scherzo form
Second movement: Scherzo form with omitted unfolding section
Third movement: Scherzo form
The five sonatas of K310, K330-333 were written in Paris in a very tragic state. Mozart's intention to arrive in Paris to have a good development, but no one cared, it turned out that the childhood tour of Europe received all the honors are no longer there, it turns out that the aristocrats just as a clown for their own pleasure. Mozart was in dire financial straits when he was struck by the death of his mother, who had traveled with him to Paris and was so poor that he could not even afford to buy her a coffin. (He put the body in a sack and threw it into a cemetery for the poor, just as he did when he died.)
Even with all this misfortune, the Sonata in F major is still very cheerful and joyful, and only in the sub-part is there a modal fragment in the same key as the dominant minor, and the whole piece is built on a very joyful foundation, and the direct transition to the same dominant key seems to have a kind of Schubertian effect.
Mozart's markings in the ostinato are exact, such as legato, staccato, and minor legato, and he is more astute than Beethoven in this respect. Some of the staccatos are marked according to the bowing of the strings of his time. The staccato lines do not span bars, such as the 4 bars at the beginning of the theme of the Sonata in F major (K.332), we play the first 3 bars as a big staccato line, and then, a small breath. Do not play the first 3 bars in a single line, and then, one small breath, as labeled on the score. Play with tone.
No. 12, K. 332, F major, elegant, good for playing and teaching, with a more brilliant Allegro in the third movement. The slow movement uses a lot of elegant ornamentation.
If one briefly analyzes the nature of Mozart's sonatas, the first movements with themes that are concise and overflowing with Mozart's characteristically light and graceful style are in G major (K.283), F major (K.332), C major (K.545), bB major (K.333), and C major (K.330). the three D major and F major (K.547) first movements have themes are luminous and energetic, like those of a symphony orchestra.
--Chopin's Harmonie in B-flat Minor OP31
Composed in 1837 and dedicated to the daughter of Count Festenstein.
Chopin Harmonie No. 2 OP31
The Harmonie had already arisen in the Baroque era, when it referred to a light-hearted three-measure piece that was more in keeping with the original meaning of harmonic - tongue-in-cheek. In the second half of the classical school, the Harmonie was often used as the third movement of a suite, replacing the third movement of the Minuet. At first, it also remained somewhat harmonic in nature. Later, especially in Beethoven's works, the Harmonie movement has lost any sense of ease, retaining only the triple meter, and emphasizing the rapid dynamics. Chopin's Harmonies, also in three beats, but with the grandiose ideas he put into play and the contrasting of many different images, have lost all sense of the original meaning of the word harmonic, and, have become an independent musical genre. In this new sense of the Harmonie, Chopin was again the first to pioneer it. No wonder that when his "Harmonies" first appeared, many people were puzzled: where is the "Harmonies"?
The most played of Chopin's four Harmonies are No. 2 in B minor and No. 3 in #C minor. Here's a look at No. 2, the Harmony in B Minor.
Written in 1837, this piece was already in its fully mature compositional period. The skeleton of the compositional structure is sonata form, with considerable freedom of treatment. The first theme of the piece, as soon as it appears, draws us in like a magic force, a sharp Allegro: the voice is very weak, the triplets rise upwards with agility and restlessness, as if posing a "question" in anticipation of an answer. After a moment's silence, there is a sudden, firm answer, as if defying the unsettling question. The first theme develops between these questions and answers. A transition to a gorgeous but still unsettling stream of sound leads to the first theme. This is one of Chopin's most fascinating and mesmerizing lyrical themes, which is happily sung by the right hand against the backdrop of a beautiful wave of broken chords in the left hand: the song is transposed and rises higher into the blue sky, where the sky is clear, and there is no longer a trace of restlessness to be seen, and this is the true answer to the "question of restlessness", which is the longing for happiness. This is the real answer to the "problem of restlessness", which is the longing for happiness. After the repetition of the two themes, the middle section begins. The middle section begins softly and serenely, as if the sun is warm. Then comes the tune of a folk flute: the music remains in a peaceful mood until the other theme of the middle section, the "duet" consisting of a question and an answer, gives rise to a slight stirring of uneasiness, and the tune of the two dialogues is: this "duet" is reproduced in the following way: this "duet" is a "duet", and this "duet" is a "duet", and this "duet" is a "duet". The two dialogues are in tune: this "duet" is reproduced as an emotionally charged debate. The second theme of the middle section is a piece of rapid florid music, as beautiful as a rainbow, the stream of sound joyfully chugging up and down, completely clearing away the tumult of uneasiness and revealing a bright light. The three themes of the middle section are repeated before the piece recapitulates the first and second themes from the beginning. It ends on a glorious D major, expressing Chopin's optimism for a better future.