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Connie Ju| [The Moldau] Smetana | Year 11 Music 2 Musicology Essay| | Smetana’s Moldau is a musical portrayal of the main river which usually runs through the countryside of Bohemia (present day Czech Republic). The piece commences with a sweet one tavern theme that is played simply by two single flutes, which represents the drip of a little creek. The soft tune played in piano and “lusingando”, meaning to be enjoyed in a coaxing style, present the sensitive and smoothness of the normal water.

The ascending semi-quavers accompanied with a small crescendo at the start of the expression as well as a two quaver sets at the end of the bar create a rippling effect, symbolising the slight waves of a stream. Furthermore, the lone plucked pizzicato quavers by the strings add little splashes of colour to embellish the constantly flowing melody of the airy flutes. The sunshine, fluttering tone colour of the solo flutes and the thin texture show the obvious appearance with the water mainly because it makes its way through the land.

Tavern 1 -2 (solo flutes) Bar you -2 (accompanying strings) The first tavern theme is definitely repeated to become the basis of this extract, however there are also different versions of the theme were the starting note is changed to indicate a different sort of scenery or maybe some family pets, such as tiny fishes, that are swimming through the water that will make the water full of life. Club 5 (repeat of the theme)Bar 8 (variation of theme) Bar 12 (variation of theme)

The texture of this function begins while very slender as there are simply solo flutes that play the melody that portray the simple and tiny stream accompanied with mild pizzicato of strings that add to the strengthen colour. Because of this the start of this kind of piece is usually played within a thin homophonic texture. Bar 1 -4 (homophony) Yet , when the structure at club 16 can be compared to the first four pubs, it is fuller as you have the addition of clarinets that play another melody. The brand new melody is a on the contrary motion to the existing flute melody and plucking strings which stand for widening with the tiny creek so the water is shifting a bit more extremely.

The polyphonic texture involves two key layers plus the randomly positioned pizzicato chords which are an indication of water’s unpredictable motions. Bar 18 (flutes, clarinets, strings – polyphonic texture) The two tiny rivers that make up the larger Moldau meets in bar twenty-eight where the clarinets stop for any bar and the violas begin their tune. This short bar acts as a bridge, the bond where the lakes finally merge to create a great river. The bigger river in bar 30 is presented by the three different layers, flutes, clarinets, and violas.

Continuous semi-quavers that rise and along with pitch continue to represent the fluidity and continuity of the water nevertheless the extra level means that the river can be wilder with bigger dunes and other moves. Bar twenty-eight (melodies played by flutes and strings) Bar 29-30 (flutes, clarinets, viola) Club 36 views even more levels as the strings continue to play the flowing tune of the river. The start of the bigger body of water is indicated with a strong ideal cadence by lower strings (bar 36). At the largest point from the river, pub 40, the entire orchestra plays.

All the instruments playing together expresses the idea that this is a climax with the river and it is wildest at this moment. The wind musical instruments, however , perform a sluggish melody of slurred agrafes and quavers with a slow crescendo and the instruction of “dolce”. The brand new melody gives the idea that the river is usually experiencing different landscapes, just like quiet, calm pastoral lands or going hills inside the distance. This polyphonic consistency continues until the end with the excerpt. These additional strengthen colours additional build after the regal nature with the river along with its better movements.

Pub 36-37 (increased layers) Pub 40 (different melodies, thicker texture) The dynamics on this piece correspondingly represent the growth of the riv. In both equally bars you and two, there is a lone crescendo additionally an feature, this is the water just starting out it is therefore not very remarkable compared to club 20 and 21 where there is a crescendo and a decrescendo within one club. Moreover, in bars 41-42, not only are there crescendos and decrescendos but the additional sforzando indication.

The “p” for piano in the club directly following (bar 43) simply increases the tempestuous mother nature of the normal water as there are more dramatic issues happening within a faster-flowing huge river. Bar 1 (slight crescendo, “lusingando”, accent, “p”) Bar 20-21 (crescendo and descrendo) Pubs 41-43 (dramatic dynamics) The tone colour of the tools also alterations as the river develops. The solitary flutes in the beginning create a fairly sweet, airy, light sound of your stream nevertheless the orchestral playing altogether coming from bar forty five onwards makes a stormy sound much like the torrents of a outrageous river.

Obtaining the lower strings playing the melody rather than the winds describes the strength of the matured lake compared to the higher pitched flutes that displayed the fragility and silk of a stream. Bar 40 (full orchestra playing , polyphonic texture and extra tone colour) This kind of musical software by Smetana artistically delivers the development of the enduring Moldau Water through the use of various techniques including texture, composition, rhythm, develop colour, and dynamics. They can represent every aspect of the continuously moving water, beginning with a delicate stream and finishing having a majestic lake. Word Depend: 940