Johann Strauss II , known for his waltzes and lively compositions, had a unique approach to his creative process. He consistently sought contemporary and relevant themes to serve as the driving force behind his new musical compositions. This approach ensured that his work remained fresh and connected with the audiences of his time. One notable instance of this creative approach was the composition of this polka, composed in 1864. This piece of music was specifically crafted for a summer concert held in the picturesque Russian town of Pavlovsk. It's fascinating to note that Strauss drew inspiration for this composition from the world around him. In this case, he found it in the emerging technology of the time, namely, the steam locomotive. The composition itself is a testament to Strauss's ability to capture the essence and energy of the subject matter. The rhythm of this dance piece mirrors the rhythmic chugging and movements of the old-fashioned steam trains that were prevale
Maurice Ravel - Piano Concerto in G major
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The Piano Concerto in G major was composed between 1929 and 1931. Ravel was ill at the time and did not perform at the premiere himself, although he conducted the orchestra. Ravel claimed that the work was composed in the manner of Mozart and Saint-Saëns, although influences from Stravinsky and Gershwin, as well as from the Spanish folk music of the composer's hometown, the Basque region, can be seen. The concerto was Ravel's penultimate composition.
Μovements:
Ι. Allergamente
This concerto has no orchestral introduction. At the beginning of the first part marked Allegramente, the piano appears immediately, although the original theme in a folk style, is introduced by the piccolo. The melody is repeated by the trumpet. In the theme of the piano that follows, the influence of jazz, which exists throughout the work, is felt for the first time.
The piano then introduces a third theme, which adopts the saxophone and the trumpet. The lively part of the development continues the strong, rhythmic feeling of the first part and a part in the form of a canteenza for a solo harp moves mainly in the harmonics. Later, a solo piano cadenza completes the part with a deliberately dissonant descending scale.
ΙΙ. Adagio assai
The slow and lyrical second part, Adagio assai, begins with a theme surprisingly beautiful and simple. A trill completes the extensive piano solo. The music that follows is dominated by woodwinds with the flute in front. The piano, when it does not play a solo role, accompanies.
Towards the end, the English horn appears as a solo instrument, while the piano weaves and decorates. During an extended piano trill, the strings with sourdina reflect the original theme for the last time and complete the part.
ΙΙΙ. Presto
The third part, Presto, begins with a fanfare for tambourine and trumpet. The strange, screeching first theme is presented by the clarinet, while the piano provides the joyful accompaniment. The atmosphere is generally light and happy, with a cheerfulness reminiscent of the music of the circus and reflecting the influence of jazz.Then the music is restless, while the piano passages are combined with the strings and the bassoon.
Later the music is lowered and a quick return of the piano follows. An extensive scale where all the instruments are combined, leads to strong, dissonant chords that complete the work.
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