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Reflection on Orchestral Works

Reflection on Orchestral Works

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Published by Anish Agrawal
Overture to “La Gazza Ladra”
Gioachino Rossini (1792-1868)

Symphony No.4 in A Major, Op.90(“Italian”)
Felix Mendeissohn (1809-1847)

Piccola Misica Notturna
Luigi Dallapiccola (1904-1975)

Pines of Rome
Ottorino Respighi (1879-1936)

Overture to “La Gazza Ladra”
Gioachino Rossini (1792-1868)

Symphony No.4 in A Major, Op.90(“Italian”)
Felix Mendeissohn (1809-1847)

Piccola Misica Notturna
Luigi Dallapiccola (1904-1975)

Pines of Rome
Ottorino Respighi (1879-1936)

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Categories:Types, School Work
Published by: Anish Agrawal on Dec 25, 2012
Copyright:Attribution Non-commercial

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12/26/2013

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Anish AgrawalNovember 19, 2011The Dimensions of ArtDr. Grace
Overture to “La Gazza Ladra” 
 
Gioachino Rossini (1792-1868)
The scale of the orchestra gives a composer a tremendously variable range. The orchestra canoverwhelm us with diverse timbres and volumes. The degree of loudness or softness in music iscalled dynamics. As I listened to this music, I could relate the use and breadth of dynamics withthe use and breadth of palette in painting. The conductor skillfully treated the orchestra as hisinstrument which at times employed greater force in the production of a tone and createdwider sound waves. This caused greater stimulation of the auditory nerves.
Symphony N 
o.4 in A Major, Op.90(“Italian”)
 
Felix Mendeissohn (1809-1847)
In this large work, the composer explores the full dynamic and tonal range of the orchestralensemble. The symphony evokes a wide range of carefully structured emotions throughcontrasts of tempo and mood. The sequence of movements began with an active fastmovement, changes to a lyrical slow movement, moves to a dancelike movement, and closeswith a bold fast movement. The opening movement takes a specific shape in which the themeis introduced, alternated, and repeated. Some particular instruments introduce a secondtheme, but underneath it, we can hear the cellos and basses reinforcing the initial theme. We

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