This charming fugue is definitely one of the most celebrated works of Johann Sebastian Bach. Its subject has the unique Bachian form perfection. This music rocks gently as its motion increases in energy towards the end. It starts from the longer notes which gradually give a way to shorter ones towards the end. The voices also are in a transition form throughout the whole composition. At the start they arrive in a descending order from the high tones to the deeper ones: the soprano, alto, tenor, towards the bass. This transition is perfectly achieved without sacrificing even a bit of musicality. It has never become too exuberant or loss its power. The climax of this part is achieved at its winding up where the final statement of composition is executed perfectly by the bass coupled with well played concluding chords.
According to the literary analysis essay, the track was produced using the Roland XV-2020 SRX-06 with an exclusively completed orchestra expansion card. The ‘overall bomb’ was the bit of a gear characterized by some awesome patches. A variety of patches were used in this work which somewhat separated the voices in the sterio to achieve clarity. The overall music part worked out in four voices. It had a pedal voice that was honored as an equal to the manual three voices. At one point, there is an electrifying passage where the feet are used to achieve a sixteenth note figuration of the whole complete counter subject. This is whereby Bach employs imitation between two voices which then fall back down in stages, one step at a time. This music relates to the social condition at the time whereby the freedom of speech and expression was not quite embraced, and music and artwork were what artists used to express the societal issues.
The Marriage of Figaro, Act I
The Marriage of Figaro is a comic opera staged in 1786. Act I entails an empty room in the castle of Count Almaviva. It starts as Figaro measures his nuptial bed’s space and Susanna, his fiancée, tries her bridal hat on the other hand. An argument then ensues because apparently their new bedroom does not look good enough for her. Her problem is that the bedroom is too convenient for the Count. Count is a character who along with Don Basilio, her music master, has been plotting to get her to sleep with him. She clearly warns Figaro about this and soon after she leaves because of the Countess’s ring, Figaro gets very upset and vows revenge. The plot in Act I generally revolves around this issue.
The Act is accompanied by the use of instruments that include oboes, flutes, clarinets, horns, trumpets bassoons, strings and timpani. In addition, the recitavi are accompanied by a keyboard. The performance typically goes on for about three hours.
An important thing that is worth noting is the richness of the writing ensemble, which manages to carry forward the action in a way that is more dramatic than the recitatives would be. A classical style of a musical language is also adapted to convey the drama. It is worth noting that there is a sonata form resemblance in many sections of the opera. This is done through a sequence of keys which build up and create a musical tension that provides the drama with a natural musical reflection. The opera was made in Italy during Emporor, Joseph II’s reign. Due to its licentiousness, it was first banned in Vienna, before its operatic version managed to get an official approval. The society during the day did not embrace open criticism of family wrangles and political systems.
