He continues the first with an answering phrase just for winds, punctuated twice by forceful string chords, and that leads to the first passage for full orchestra. In the new theme he proceeds more subtly: The beginning of the development is spliced neatly into the end of the exposition; the real activity is in the woodwinds, and the piano accompanies with bright figurations.
The recapitulation brings new distribution of material between solo and orchestra.
DEBUSSY: Rondes de printemps: Gigues, from Images for Orchestra | RNZ
After the cadenza comes a buoyant coda whose close is tongue-in-cheek matter-of-fact. Slow movements in minor keys are surprisingly uncommon in Mozart, master of melancholy in music, and this one is in fact the last he writes.
An Adagio marking is rare, too, and this movement is an altogether special transformation of the lilting siciliano style. A second theme is more chromatic and thus still more moody than the first.
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Throughout, Mozart the pianist imagines himself as the ideal opera singer. Pianists differ about what to do here, some simply playing the notes in the score, other filling the gaps in time and space with embellishments of their own. Our knowledge of 18th-century practice suggests that Mozart might well have taken the latter way. After the restraint of the first movement and the melancholia of the second, Mozart gives us a finale of enchanting high spirits.
It keeps the pianist very busy in music that comes close to perpetual motion and in which there is plenty to engage our ear, now so alert to the delicacy and overflowing invention with which Mozart uses those few and quiet instruments. March 25, , Paris, France.
Images pour orchestre (Debussy, Claude)
In , shortly after the premiere of La Mer , Debussy composed a set of three evocative solo piano pieces called Images. English gigues unlike any other gigues. The first movement, Gigues , was the last to be completed, and it gave Debussy a great deal of trouble: Debussy may take some characteristics of the gigue swung rhythms and a bagpipe sound , but there is nothing here of the mood of the merry jig.
The first movement of the Iberia section is full of energy and hard-edged rhythms underlined by clicking castanets. This movement offers striking solos for clarinet, English horn, viola, a virtuoso entrance by the entire horn section, and sultry trombone glissandos. After all the excitement, it flickers out on a few strokes of quiet percussion.
This is music of the perfumed night, full of languorous melodies, subtle touches of instrumental timbre and fluid rhythms. The main subject sounds as if it is being played by a giant guitar; Debussy emphasizes this visually by having the violinists and violists strum their instruments under their arms rather than placing them under their chins.
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At one point the march interrupts a street fiddler and thrusts him aside, and then with a sudden rush the music blazes to a wild finish. France in spring rondes de printemps. Welcome to May with its sylvan banner. Here, however, those nursery tunes are broken down into component bits, mere thematic fragments. Beginning quietly, this movement builds steadily to a resounding conclusion that joyfully hails the arrival of spring.
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DEBUSSY: Rondes de printemps: Gigues, from Images for Orchestra
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Check date values in: The Musical Times , Testing the Limits of Schenker's Theory of Tonality". Piano Trio String Quartet Syrinx for flute Six sonatas for various instruments Retrieved from " https: Suites by Claude Debussy compositions compositions compositions Compositions for symphony orchestra Orchestral suites.