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...
Walking 4is the fourth and last of the piano pieces that make up Ronald Karle's Walking Suite.
The first thing that strikes you about this last of the four pieces in the suite is its key; it's the only one not in B minor, but in C minor.
It's also the one that most strongly evokes an atmosphere similar to Erik Satie's Gymnopédie (although all four pieces create this atmosphere).
On the other hand, just as the first two pieces of the suite share much in common (same harmonic structure, same key, and same time signature), this one resembles the third, especially in its construction.
To a certain extent, the arpeggio accompaniment is abandoned, replaced by one in which, on the first beat of the measure, the left hand plays the root of the chord, and on the second beat, the complete chord, but arpeggiated (note the difference between an arpeggio, which is played with a measured rhythm, and an arpeggiated rhythm, which is played quickly and without a measured rhythm).
The piece is monothematic (like its predecessor), although with a greater degree of elaboration.
In the first section, the theme is presented in the key of C minor, with a melodic texture accompanied by the left hand. After this section, it is repeated, and as an introduction, the left hand plays a cadential process that leads to the dominant (G minor), where the theme is presented again, this time adding filler notes to the right-hand melody. This second section is repeated, after which another cadential process returns us to the main key.
In the third section, the theme reappears in C minor, with a greater density of notes in both the right and left hands, and is then repeated.
A new cadential process by the left hand suggests the end of the work, although a coda unexpectedly appears. which is none other than the main theme, slightly varied, in the form of improvisation (as we already noticed in the previous piece), highlighting a three-note motif, reminiscent of the coda of Walking 3. Finally, we hear again the characteristic cadential process that has linked each of the sections of the piece, to, this time, bring it to a close.
Comentarios
Publicar un comentario