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...
It is said that the seasons, as well as other natural processes, influence people's moods; thus, many have a favorite season and even a least favorite, while others, more resilient, adapt to each season, managing to make the most of each one.
However, the change from one season to another can trigger the mood swings we've been discussing.
With this piece, titled "Gray Days," composer Bethany Wakim opens the door to her feelings about the transition between those last days of winter, when the sun seems to want to melt the fallen snow, and the first days of spring, when the last snowfalls seem to resist the imminent warmth.
It is a short piece, which can be divided into three sections of six bars each and a short two-bar coda.
With its slow, relaxed character and a melodic texture in the right hand accompanied by long chords in the left, which helps us determine the end of the second section and the beginning of the third, the piece creates an introspective and meditative atmosphere, inviting us to close our eyes and connect with ourselves.
One detail that stands out is the subtle counterpoint between the right-hand melody and another melody in the left hand during the second part of the first section, which is the thematic exposition. This is an important detail, as in the two bars of the coda, this same counterpoint appears in the left hand, but accompanying the theme of the second section in the right hand.
Another detail is the way the sections are linked: the first section ends with a minor second harmonic interval, the same interval with which the second section, or development, begins. The development section ends with the motif from the first theme, which also begins the third section, or recapitulation.
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