'The Moldau\r'

'Connie Ju| [The Moldau] Smetana | Year 11 medical specialty 2 Musicology Essay| | Smetana’s Moldau is a melodious giftal of the main river which runs with the countryside of Bohemia (present day Czech Republic). The piece take offs with a sweet one rampart opus that is tinkered by cardinal aviate flutes, representing the trickle of a splendid creek. The soft blood played in piano and â€Å"lusingando”, which means to be played in a coaxing style, draw the delicate and smoothness of the water.The ascending semi-quavers attach to with a s sparkling crescendo at the beginning of the phraseology as well as a two quaver rests at the end of the deflect get to a rippling effect, symbolising the slight waves of a stream. Further much, the lone plucked pizzicato quavers by the arrange add small splashes of colour to decorate the infinitely flowing music of the airy flutes. The light, fluttering beef up colour of the unaccompanied flutes and the thin grain portray the clear appearance of the water as it makes its room across the land. avoid 1 -2 (solo flutes) prohibition 1 -2 (accompanying strings) The prototypical de bill theme is repeated to become the al-Qaida of this supernumeraryct, however thither are also variations of the theme were the starting note is changed to indicate a diametric scenery or perhaps some animals, much(prenominal) as small fishes, that are swimming through the water that make the river full of life. measuring stick 5 (repeat of the theme)Bar 8 (variation of theme) Bar 10 (variation of theme)The texture of this spirt begins as very thin as there are only solo flutes that play the breeze that portray the simple and tiny stream accompanied with light pizzicato of strings that add to the emotional state colour. This means that the start of this piece is played in a thin homophonic texture. Bar 1 -4 (homophony) However, when the texture at bar 16 is compared to the prototypical four proscribe, it is thicker as there is the addition of clarinets that play an alternate striving. This new unison is in a contrary motion to the existing flute melody and plucking strings which represent widening of the tiny creek so the water is piteous a issue more wildly.The contrapuntal texture consists of two study layers and the randomly placed pizzicato chords which are a reminder of water’s unpredictable motions. Bar 16 (flutes, clarinets, strings †polyphonic texture) The two small rivers that make up the braggyr Moldau meets at bar 28 where the clarinets stop for a bar and the violas begin their melody. This short bar acts as a bridge, the inter-group communication where the bodies of water finally merge to create a great river. The bigger river in bar 29 is conveyed by the three different layers, flutes, clarinets, and violas.Continuous semi-quavers that rise and travel by in pitch still represent the liquidity and continuity of the water besides now the extra laye r means that the river is wilder with bigger waves and other movements. Bar 28 (melodies played by flutes and strings) Bar 29-30 (flutes, clarinets, viola) Bar 36 sees even more layers as the strings begin to play the flowing melody of the river. The start of the larger body of water is indicated by a strong perfect cadence by the lower strings (bar 36). At the widest point of the river, bar 40, the whole orchestra plays.All the instruments playing together expresses the notion that this is the completion of the river and it is wildest at this point. The wind instruments, however, play a dilatory melody of slurred crochets and quavers with a drawn let on crescendo and the instruction of â€Å"dolce”. The new melody presents the idea that the river is experiencing different landscapes, such as quiet, unruffled pastoral lands or rolling hills in the distance. This polyphonic texture continues until the end of the excerpt. These additional tone color further build upon th e majestic spirit of the river as well as its more powerful movements.Bar 36-37 (increased layers) Bar 40 (different melodies, thick texture) The dynamics of this piece correspondingly represent the growth of the river. In both veto 1 and 2, there is a lone crescendo plus an accent, this is the river just starting out so it is not very dramatic compared to bar 20 and 21 where there is a crescendo and a decrescendo within one bar. Moreover, in bars 41-42, not only are there crescendos and decrescendos but the additional sforzando sign.The â€Å"p” for piano in the bar directly after (bar 43) simply adds to the tempestuous nature of the water as there are more dramatic things happening in a faster-flowing large river. Bar 1 (slight crescendo, â€Å"lusingando”, accent, â€Å"p”) Bar 20-21 (crescendo and descrendo) nix 41-43 (dramatic dynamics) The tone colour of the instruments also changes as the river grows. The solo flutes at the beginning create a sweet, ai ry, light sound of a stream but the orchestral playing altogether from bar 40 out front makes a stormy sound much bid the torrents of a wild river.Having the lower strings playing the melody instead of the winds depicts the strength of the matured river compared to the higher(prenominal) pitched flutes that represented the fragility and daintiness of a stream. Bar 40 (full orchestra playing †polyphonic texture and extra tone colour) This musical program by Smetana artistically conveys the development of the iconic Moldau River through the white plague of various techniques such as texture, structure, rhythm, tone colour, and dynamics. He is able to represent all the aspects of the constantly moving river, beginning with a delicate stream and coat with a majestic river. Word Count: 940\r\n'