This paper will concentrate on the analysis and the review of three major performances, Missa Mirabilis, Rhapsody on a Theme of Paganini, Op.43 and Dona Nobis Pacem. These pieces are generally based on religious settings that are very detailed and are represented in a very organized way. This whole idea of this piece was associated with the Eucharist and focused mainly on the body of Christ. Prior to my attendance; I was able to access a recording of Missa Mirabilis, just to get a feel for what I was about to experience. Although the recording was not as good as what I heard first hand at the live performance it was still beautiful. I could only imagine how beautiful it was on the very first ...view middle of the document...
The arranged movement that was used in the piece provided the contrast between different levels of vocals in a very intimate manner and way. This was very instrumental in providing the path that paved way for the difference between innocence and experience by the different groups of performers. It gave a clear contrast between the youthful aggressions against the adult skepticism. This tension between the youth and the aged in the society in this credo period is very common in several other movements.
For example, in the case of the Kyrie, the performance begins with a modest melodic leap, while at the same time; the opposing chorus behaved as if they are correcting the other thus changing the transformation intervals of the performance. In the case of the Gloria piece, one chorus performed the high parts of the song and seemed to depict soaring above the lower voices that characterize the level of heaven over the sinful earth that is clogged with corrupt deals. The high pitches from the choir seemed to provide an almost angelic performance high above the patrons that day as they paved the way for Sanctus and Agnus Dei that was to follow. The treble solo chimes like a church bell while the tenors in the piece invite some sense of secular pop. The whole choir that is characteristic of the Acapella passages is often rested upon the organ that has some interludes with some ascending scales in terms of the pitches that they give out in accordance to the exact performance being carried out in the series of the performances.
Although this was not a new and innovative piece, it did reflect the situations that existed at the time of the premiere of this performance. The professional singers were engaged in the challenge that seemed quite personal and thankful, offering a form that relates to the romantic, ecstatic, popular and at times humdrum appeal. There was the effect of the collective statement of faith that was pegged on the Latin faith and this was indeed the main privilege that was associated with the cathedral performances during this period in time. This piece was orchestrated gloriously and provided a visual of the events that accompanied the whole situation of the times. I felt that it did not overshadow the effects of the worshipers who knelt in the cathedral in order to exalt the name of the God most high when it was first performed at the Westminster Cathedral nor did it overshadow the effects of the patrons the day of my attendance.
The Rhapsody on a Theme of Paganini, Op.43
This piece was written solely for a solo piano that is orchestrated by other instruments like the violin. The Rhapsody on a Theme of Paganini, Op. 43 was written from the period of July 3 to August 18 of the year 1934in by Sergei Rachmaninoff and closely resembling the piano concerto. He wrote most of this work at his Villa in the country of Switzerland. The writer himself took part in the playing of the piano as he was a world-renowned interpreter of solo...
