Johann Strauss II , known for his waltzes and lively compositions, had a unique approach to his creative process. He consistently sought contemporary and relevant themes to serve as the driving force behind his new musical compositions. This approach ensured that his work remained fresh and connected with the audiences of his time. One notable instance of this creative approach was the composition of this polka, composed in 1864. This piece of music was specifically crafted for a summer concert held in the picturesque Russian town of Pavlovsk. It's fascinating to note that Strauss drew inspiration for this composition from the world around him. In this case, he found it in the emerging technology of the time, namely, the steam locomotive. The composition itself is a testament to Strauss's ability to capture the essence and energy of the subject matter. The rhythm of this dance piece mirrors the rhythmic chugging and movements of the old-fashioned steam trains that were prevale
Beethoven - Piano Sonata No. 14 in C-sharp minor, Quasi una fantasia, Op. 27, No. 2 (Moonlight Sonata)
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The epic melodies and rhythms of the "Moonlight" Sonata bring to the imagination vivid images of the reflection of the moonlight in calm waters, as well as clouds that portend the storm and threaten the peaceful scenery.
Beethoven's genius as a composer radiates through the familiar themes of this famous sonata. He conveys to a single instrument the full emotional power of his symphonies.
Beethoven composed this sonata in 1801, before losing his hearing. He is said to have dedicated it to his first love, Countess Julieta Guicardi, and the evolution of the feelings this sonata depicts, from serenity to agitation and tension, may reflect this relationship, which ended when she married someone else.
Beethoven himself did not name the sonata "Moonlight" - this description later came from a German poet in which, the first part of the work recalled scenes of moonlight in the calm waters of Lake Lucerne in Switzerland. From here comes, after all, the universally accepted comparison of music with the wrinkled surface of water that is suddenly disturbed by a rushing storm.
Of course, this corresponds to the kind of image Beethoven could have painted with his music.
I. Adagio sostenuto
The first part begins with the familiar theme of a seamless "triplet" flow, with a normal rhythmic substrate of the bass or left hand. The result is that of the wrinkled surface of the water with a feeling of ebb and tide that endures. The familiar melody penetrates the whole place and introduces a feeling of almost ecstatic serenity.
II. Allegretto
The second part solves the spell with its lightest and fastest pace. The mood remains quiet, but the tone is more measured and bold. Almost at the end of the part, the music gets stronger and becomes more threatening as if it forees a sudden end to the serene atmosphere. Then he calms down again progressively, as if he expects the unattainable.
III. Presto agitato
There's a lightning-fast change of pace in the final part where the threat breaks the surface and musically releases hell. The fury that soars mercilessly at the keys symbolizes the storm's violence over the undisturbed water until recently.
The pace only reassures for a moment, then builds up tension for the final outburst before the abrupt conclusion. The result is that of releasing a terrible energy followed by the release.
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