Flighty and flirty, Nerina is at once morally repulsive and enormously fun to watch (as so often seems to be the case with characters in popular entertainment), and this aria is no exception. She manages to flounce, pout, and prance her way through this song, describing the way she will use a false simplicity in order to woo the man and the life she desires (Seymour 2009). Though as one critic fairly aptly said of Haydn's work in general and this opera in particular, "there are enticing moments, but the listener's pulse never quickens," this aria has more than its share of enticement (Kennedy 1997).
The melody of this aria, however, is confessedly an exemplar of the type of enticing yet rather mundane quality of some of Haydn's work that Kennedy was peaking of. It is a very beautiful piece, and it flows quite well, but there is no real moment of surprising musical innovation on Haydn's part. Instead, the song slowly build to a climax that is noticeable only because of the way it is set off from the rest of the music -- pauses before and after a series of high notes (delivered with varying degrees of success by different singers) that Nerina sings at a crowd of listeners at the beach. She definitely does appear to be singing at rather than to them; this in keeping both with her character in general and with the substance of the aria she is singing, which places her in a class all her own.
This is perhaps the source of the greatest displeasure regarding this aria. The words themselves are witty and exciting, to a degree, and Nerina's thinking of herself as both witty and exciting is made demonstrably clear. The melody, however, does not bear either the wit or the excitement out, but rather seems to water down the substance of the aria with the predictability and straightforwardness of the melody. Again, it is not that the music is not beautiful...
They restated the chorale melody completely and had a different contrapuntal setting each time." Two famous variations artists in the Baroque era are George Frideric Handel and Johann Sebastian Bach (Wikipedia Online). In the Classical Era, Wolfgang Amadeus Mozart, Joseph Haydn, Ludwig van Beethoven, and Franz Schubert, are among the famous variations artists. Following are the types of variations in the Classical Era. Penultimate Variation This variation works on a slow tempo with multi-movements. Final
It seemed less a powerful expression of creative energy than simply a quality piece of music performed to perfection. One section I did not particularly care for was Tuba Mirum. This section chronologically follows the powerful Dies Irae section, and does so a little weakly, in my opinion. I enjoyed the tenor solo in this section, but felt that overall it was too restrained, and too anticlimactic coming on the
Minimalism, "Like serialism, this style uses repeated patterns and series and steady pulsation with gradual changes occurring over time. But whereas serialism is usually atonal, minimalism is usually tonal and more harmonic" (Spielvogel, 942). One could say that minimalism was a reflection of the hippie sixties that rejected the acquisitional tendencies of one's parents in favor of a more streamlined and strategically stark composition. The advent of modern classical music
Jazz Performance Report Jazz in its essence is a group of assorted musicians seamlessly communicating with one another. The communication may be planned or take place in spontaneity as the musicians become one in music. Since the tempo, key, rhythm and etiquette of the music is so potent, the musicians allow for great excitement generated by the music to shine, thereby making spontaneous improvisation easier. Jazz is a constantly evolving music
joy of attending the Mostly Mozart Festival Orchestra concert at Lincoln Center. The Mostly Mozart Festival Orchestra performed a total of two pieces. The first of the two was the Violin Concerto No.3 in G. major, K.216(1775) and the second was Symphony No.41 in C. major, K.551("Jupiter"). Louis Langree was the conductor of the performance and Simone Porter was the featured violinist. In spite of the hot weather (86
Baroque vs. Classical Music Although music from the 17th, 18th, and 19th century is all often grouped under the designation of 'classical' music today, the Baroque and the Classical periods have distinctive features and stylization that are immediately apparent when listening to the great composers of both eras. When listening to a Baroque work, the contrast between different 'movements' is quite notable. The celebratory Baroque work Handel's Water Music, for example,
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