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The phrase "Mozart Effect" conjures an image of a pregnant woman who, sporting headphones over her belly, is convinced that playing classical music to her unborn child will improve the tyke's...
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During the “Maestoso” and “Poco Adagio” sections, the organist plays low pedal notes which are almost inaudibly low. In the finale, these low notes combine with rumbling timpani to create a thunderous bottom end, and the organist reiterates the plainchant-derived themes of the symphony to add to the overwhelming effect.
The Maestoso is introduced by a full C major chord in the organ: Piano four-hands is heard at the beginning with the strings, now playing the C major evolution of the original theme. The theme is then repeated in powerful organ chords, interspersed with brass fanfares.
- First Movement
- Second Movement
- Third Movement
- Fourth Movement
Allegro ma non troppo, un pocomaestoso. Duration approx. 15 mins. The first movement is insonata form, and the mood is often stormy. The opening theme, playedpianissimoover string tremolos, so much resembles the sound of an orchestra tuning, many commentators have suggested that was Beethoven’s inspiration—but from within that musical limbo emerges...
Scherzo: Molto vivace – Presto. Duration approx. 12 mins. The second movement, ascherzo and trio, is also in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in theHammerklavierpiano sonata, written a few years earlier. At times during the piece, Beethoven specifies one do...
Adagio molto e cantabile – Andante Moderato – Tempo Primo – Andante Moderato – Adagio – Lo Stesso Tempo. Duration approx. 16 mins. The lyrical slow movement, in B-flat major, is in a loosevariationform, with each pair of variations progressively elaborating the rhythm and melody. The first variation, like the theme, is in 4/4 time, the second in 12...
Presto; Allegro molto assai (Alla marcia); Andante maestoso; Allegro energico, sempre ben marcato. Duration approx. 24 mins. The famous choral finale is Beethoven’s musical representation of Universal Brotherhood. American pianist and music scholarCharles Rosenhas characterized it as a symphony within a symphony, played without interruption.This “i...
Maestoso (Italian pronunciation: [ma.eˈstoːzo]) is an Italian musical term and is used to direct performers to play a certain passage of music in a stately, dignified and majestic fashion (sometimes march-like) or, it is used to describe music as such.
Organist Michael Murphy further observes that the four voices of the organ (strings, principals, flutes and reeds) enabled Saint-Saëns to double the tone colors of the orchestra's strings, winds, brass and percussion, thus vastly expanding the variety of instrumental nuances available for his use.
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Baroque organs were tuned not in a ‘tempered’ fashion, but ‘mitteltőnig’ (middle-tuned, i.e. one tone above the normal ‘A’), resulting in a rich, warm and resonant tone. They were the perfect instruments for Bach to explore extraordinary sound possibilities and to create many of his organ and choral masterpieces.
