Not only does Holst successfully create a musical picture of the Bringer of Warm but it is hard not to also hear this as a testament to the Great War itself and the horrors that accompanied this period in history. A pounding ostinato rhythm in five beats to the bar dominates almost the entire piece, with gigantic trombone melodies, rapid strings runs and epic percussive interruptions. Holst leaves us in no doubt from the outset of the piece. Holst composed a piece for each of the known planets with the idea of capturing their own unique astrological characters.
This suite of pieces was composed from 1914-16 in the middle of World War One. Finally, the father reaches the safety of the farm only to find his child is dead taken by the Erlkönig.Ĥ. Whether a dream, a fever or pure imagination, the terror of the child and pace of the ride carries us through this song with alarming rapidity. This is not a surprise when we understand that the music depicts a fast ride through the night as a desperate father carries his frightened child on horseback to escape the Earl King that the child believes is after him. The song an extraordinary composition that opens with an unrelenting triplet figure in the piano, creating an overwhelming feeling of urgency and fear. Schubert revised this astonishing song a number of times before he was content to publish it as his Opus.1 in 1821. Mozart’s score brings the tension to almost fever pitch as Don Giovanni is encircled by a chorus of demons who drag him down to hell. The Commendatore gives Don Giovanni one last chance to repent but he remains unmoved by the offer. What happens next is pure operatic genius, deeply dramatic and troubling. The murdered Commendatore (who is killed by Don Giovanni in act one, scene one), arrives and knocks on the doors of Don Giovanni’s, house having jokingly been invited to dinner by Don Giovanni himself. The opera Mozart considered to be one of his opera buffa, or lighter more comic operas and there are many scenes during the opera that are indeed comic especially Leporello, Don Giovani’s servant.īy the time the opera reaches this last scene, Don Giovanni is about to meet a nasty end. Don Giovanni, the protagonist, is a character based on the legendary Don Juan scoundrel, murderer and womaniser. The video above is to the final scene in the second and last act of the opera. 527 by Mozartįor me, this is one of the most outstanding operas Mozart composed. A fast Rondo finale finishes the sonata with a feeling of great triumph.Ģ. In the second movement, Beethoven produces one of the most lyrical and memorable melodies from his whole oeuvre. A turbulent and highly operatic allegro springs from the introduction and moves the music towards a more familiar sonata-form movement that is interrupted later by an echo of the opening.īeethoven stretches the movement into all manner of highly innovative directions to arrive back at the opening for one last time before a rapid descending scale concludes the first movement. In this opening Adagio introduction, Beethoven effortlessly captures the energy of the entire movement.
There is a very real sense of something about to take place from the first chord that the pianist plays. The drama begins immediately with this relatively early period Beethoven sonata for piano in C minor.
Some may be familiar, others perhaps less so, but I hope to leave you in no doubt about the dramatic intentions of these composers and the lasting effect of these pieces of music. In this article, I am going to take a whistle-stop tour of some of the most dramatic classical ever composed.
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