For me, the best part is the third and final movement (skip to 26:26 above). It’s a very natural sound, and that is probably what Sibelius was intending.
#Redline tango instrumental full#
The symphony is full of moments where the harmony itself is static, and melodies are played across it as if it were a drone. Sibelius’ harmonic language is really quite consonant, to the point where it’s almost too much so. I had the pleasure to perform this piece with my college orchestra in 2012, and I was probably one of the few people that actually enjoyed it.įirst written in 1915, this symphony is weird, but not in the ways you may expect for a twentieth century symphony. While I enjoy this symphonic poem, and the connotation with Finnish nationalism, Sibelius’ symphonies are more of my thing. Jean Sibelius is most famous for this piece: The idea also works with harmony, where the rate of changing chords will often reflect the tempo and melodic motion of a given piece, and this is likely to grow faster as the piece continues.īut what about music that does the opposite? This is the kind of music I’ve been listening to most recently something that keeps me frozen in time. You can also apply this concept of increasing musical velocity to symphonic movements, in that symphonies are likely to end with the fastest movement, driving towards the finish. This creates motion in music, moving both through performer and the listener into the subsequent phrase until the piece comes to a close. In fact, in the rules of traditional counterpoint, individual melodies with an accelerating rhythm, in that the note values increase across a measure or phrase, are preferred over ones that do not accelerate. When one listens to music, there tends to be some level of rhythmic drive to the piece or song.
It was as if I was in stasis and the world was unfolding around me. Between performing a recital, graduating college, attending a summer composition festival, moving to my own apartment in Gettysburg, starting work at a winery, moving to Nashville, and starting work at Naxos, 2013 passed me by all too quickly. In fact, it has been exactly one year, and a very crazy one at that.
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