Intermezzo的資料

Brahms Intermezzo in A major



This piece is in composite ternary form. It starts out in A major and at first has four symmetrical phrases that seem to make up a phrase group more than periods of some sort. After the phrases, there is a rather sudden modulation. The A section continues until the pickup to bar 49. The line before this contains an extra terminary phrase/cadential extension and then we have the B section. B is in binary form. There is a drastic drop in tempo in bar 57, along with a ritardando beforehand, switch to legato, and a dynamic marking of pianissimo, all of which set this section apart from the others. This lasts until bar 64 when it returns to a part similar to the one we were first introduced to in the B section as can be seen by the left hand's arpeggiations. The A section returns in bar 76 after a ritardando and decrescendo, and then there is a change in dynamic. It begins with the original motive from the beginning of the first A section but then changes into having more of a developmental function.



COPLAND, AARON






American composer, b. Brooklyn, N.Y. Copland was a pupil of Rubin Goldmark and of Nadia Boulanger, who introduced his work to the United States when she conducted his Symphony for Organ and Orchestra in 1925. Although his earliest works show European influences, the American character of the greater part of his compositions is evident in his use of jazz and of American folk tunes, as in the short piece for chamber orchestra, John Henry (1940). Copland's many ballets include Billy the Kid (1938), Rodeo (1942), and Appalachian Spring (1944). He composed music for the films Of Mice and Men (1939), Our Town (1940), The Red Pony (1948), and The Heiress (1949). His major orchestral works are El Salon Mexico (1936) and the Third Symphony (1946). Copland wrote a song cycle, 12 Poems of Emily Dickinson, and a quartet for piano and strings (both 1950), Canticle of Freedom for chorus and orchestra (1955), and a tone poem Inscape (1967). With Roger Sessions he founded the Copland-Sessions Concerts (1928–31) and in 1932 organized the American Festivals of Contemporary Music at Yaddo, Saratoga Springs, N.Y. He lectured extensively and received many awards. His writings include What to Listen for in Music (1939, rev. ed. 1957), Copland on Music (1960), and The New Music: 1900–1960 (rev. ed. 1968).

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