My personal review: We had already discussed what a Consolation is in music in a previous article , as well as the possible sources of inspiration for Franz Liszt, the first composer to use the name Consolation for one of his pieces. Donna Mitchell's Consolation No. 2 creates a calm, poetic, meditative atmosphere. It is a piece in two sections, each of which is divided into three subsections, plus an introduction and a coda; its slow and leisurely tempo, as well as the constant accompaniment of arpeggios, are the main characteristic of this piece. It is worth noting that the second section, although it feels like a restatement, has certain variations (especially in the second subsection), which create some interest for the listener, which is further enlivened by the surprising coda. Mitchell's social links: YouTube (Channel 1) YouTube (Chann...
Bethany Wakim - (John Henry Hopkins Jr.) - We Three Kings
We Three Kings (also known as We Three Kings of Orient Are or The Quest of the Magi) is a Christmas carol composed by John Henry Hopkins Jr. in 1857 and tells of the moment when the three wise men come to worship the newborn child in Bethlehem.
Although it is no longer sung like this today, Hopkins Jr. composed it for a male choir, in such a way that each verse is sung by a soloist (there are three in total, representing the three kings) and the refrain is sung in chorus.
Many people consider the melody of this carol sad and nostalgic, however, in this piano arrangement by Bethany Wakim, the composer shows us the opposite, with a melody of a rhythmic and happy nature.
It begins with a short introduction where the melody of the first verse appears with a delicate character.
At this moment, Wakim creates a confusing atmosphere for us, since in the right hand the first five notes of the D minor scale are being played, but the left hand is suggesting a cadence in the Locrian B mode, although the sudden appearance of a B flat, clarifies that we are in D minor, the key with which the next section begins, introduced by some rhythmic bars of a jovial nature, in which the melody of the first verse of the carol can be heard.
Combining 3/4 and 6/8 time signatures and D natural minor and D Dorian scales (with little nods to a Locrian B), she modulates to F major to present the refrain melody.
A new modulating section, composed of a harmonic progression and the melody of the verse, takes us to the climax, where the refrain is presented in E flat major, subsequently cadencing to E flat minor, where it will again present the rhythmic section with the that began, combined with the melody of the verse.
The last chord, of A flat major, fourth degree of E flat, with the note E flat (tonic) tripled, leaves us with a curious sensation, as if the music were floating in the air.
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