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Wow, talk about turning something bad into something good. :) I love this song. Thank you Weird AL. :)
Next on the list of pieces that I’m learning. Super extra challenging aria because of the recitative in the beginning. But, as they say, nothing worth doing is ever easy.
“Ombra mai fu” is the opening aria from the 1738 opera Serse by George Frideric Handel.
In the opera, the aria is preceded by a short recitativo accompagnato of nine bars, setting the scene (“Frondi tenere e belle”). The aria itself is also short; it consists of 52 bars and typically lasts 3 to 4 minutes.
The instrumentation is for a string section: first and second violins, viola, and basses. The key signature is F major, the time signature is 3/4 time. The vocal range covers C4 to F5 with a tessitura from F4 to F5.
The title translates from the Italian as “Never was a shade”. It is sung by the main character, Xerxes I of Persia, admiring the shade of a plane tree.
|
Frondi tenere e belle Ombra mai fu |
Tender and beautiful fronds Never was a shade |
Prelude in C-sharp minor (Russian: Прелюдия), Op. 3, No. 2, is one of Sergei Rachmaninoff’s most famous compositions. It is a ternary (ABA) prelude for piano in C-sharp minor, 62 bars long, and part of a set of five pieces entitled Morceaux de fantaisie.[1]
Its first performance was by the composer on September 20, 1892,[2] at a festival called the Moscow Electrical Exhibition,[3] which Rachmaninoff considered his debut as a pianist.[2] After this première, a review of the concert singled out the Prelude, noting that it had “aroused enthusiasm”.[4] From this point on, its popularity grew.
Rachmaninoff later published 23 more preludes to complete a set of 24 preludes covering all the major and minor keys, to emulate earlier sets by Bach, Chopin, Alkan, Scriabin and others.
The prelude is organized into three main parts and a coda:
- The piece opens with a three note motif at fortissimo which introduces the grim C-sharp minor tonality that dominates the piece. The cadential motif repeats throughout. In the third bar, the volume changes to a piano pianissimo for the exposition of the theme.
- The second part is propulsive and marked Agitato (agitated), beginning with highly chromatic triplets. This passionately builds to interlocking chordal triplets that descend into a climactic recapitulation of the main theme, this time in four staves to accommodate the volume of notes. Certain chords in the section are marked with quadruple sforzando.
- The piece closes with a brief seven-bar coda which ends quietly.
[Source]
Popular music? Feh! Call yourself popular when you have remained in rotation for forty human generations.
Yes, this is the same CBC that our government wants to eliminate. I suggest you take action and let Harper know that CBC is a valuable Canadian institution and needs more support, not less.
again with Harmonic and Imitative Analysis.
Listening to music is awesome. Listening to music and understanding what makes it amazing is ‘double-plus’ awesome. :)
Some productions should not leave the stage.
Hollywood…just…stop…please…
bleatmop
Mystro
Dead Wild Roses 
Your opinions…