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Author: admin | Category: Roland Piano | 11.06.2014

Oedipus Rex is, above all, a piece of music, and so a consideration of the work should include some description of the form and mechanics of the music. Oedipus Rex starts with the Male Chorus singing of the "demoralized" city of Thebes, which is suffering from a plague.
Creon is revealed from behind a scrim and is greeted enthusiastically by the Chorus with loud G Major chords. Firmly planted in D Major, Oedipus pulls the key up to Eb (again!) via a very lush melody line (Example 11-a), the D transformed into a Major Seventh of the new key. Act Two of Oedipus Rex starts with a direct repetition of the "Gloria!" sung to welcome Jocasta's entrance. Jocasta tells Oedipus not to trust oracles, for oracles said that Laius was to be slain by her son (having abandoned her only child to die on a mountain because of that oracle, she is underetandably bitter). Oedipus's final solo is given a lot of attention by the critics, primarily because IS manages to express the deep emotion Oedipus suddenly feels with very simple harmonic materials.
The Epilogue is announced by trumpet fanfares that are a cross between Verdi and 20th Century Fox. IS counters this by pointing out the tension—building effect of the static rhythm, and he is correct --- perhaps in a hundred years audiences will be able to listen to this music without perceiving the connection to the popular idiom. Most of the arias are ABA, or some variant, like ABCDA or ABAC (where C is a new thought transitioning into a new development). The orchestration leans very heavily on the woodwinds, primarily the clarinets and hassoons, and the low strings ('celli and double basses). The arias of Creon, Tiresias, the Messenger and the Shepherd are relatively easy and straight—forward compared to the extremely difficult slides, leaps and flourishes in the arias of Oedipus and Jocasta. The choral writing comprises some of the beat parts of the score, and one could easily appreciate Oedipus as a choral work with interspersed arias. This chromaticism is, of course, reminiscent of the chromaticists, namely Chopin and Liszt. This is Chapter IV of "Stravinsky's Oedipus Rex: The Handelian Ring," written in May of 1980 and, nearly 25 years later, realized on the Internet using GIF and MIDI files to visually and aurally illustrate the examples. If you'd like to download the The Nice Guys theme song or download The Nice Guys trailer you've come to the right place. Here are the latest high resolution The Nice Guys wallpapers which you can download right now.
Before the action begins, Oedipus has unknowingly killed his father, Laius, the former King of Thebes, and married his mother, Jocasta. Oedipus's major fault is obviously his conceit; having solved the Sphinx's riddle, he brags constantly of his abilities and promises to save Thebes.
This is another text-setting incongruency, for, though Oedipus is boasting, his bragging figure is absent (Example 7).
The Chorus sings of the gods and eventually greets Tiresias, the seer, who appears from a cave. The D to Eb step becomes the major thematic element of the aria (Example 11-b) --- and it took Tiresias, the bass, so long to just reach the D!
The "Gloria" itself consists of C Major chord shouts of "Gloria" (see Example 12) alternating three times with a short canon between the basses and tenors.
The chords, the first two, minor, the second two, sweeping diminished diminished-seven chords (piano added), have a definite familiar out—dated ring to them, and Bernstein places them as Handelian Recitativo.


The Chorus echos the word "trivium" and Oedipus becomes suddenly afraid --- he killed ("kekidi," Example 16) an old man at the crossroads. The Chorus has wondered whether Oedipus was born of the gods, but the Shepherd declares that Oedipus was abandoned by his mother and father.
At first he thinks Jocasta has fled because she is ashamed of his lineage (the accompaniment is Example 20). Then there are a few "shudders" (Example 22), and the Messenger, the Shepherd and the Chorus shout the truth: Oedipus is the slayer of Laius, his parent, the husband of Jocasta, his parent! Another composer might have expressed Oedipus’s realization with loud horrifying dissonances, but IS sees Oedipus as a man suddenly laid bare. The violins and violas are used so infrequently that they are practically unnecessary, only handling melody during orchestral tutti.
Back in the eighteenth century, minor seconds were considered taboo, but IS uses them with a vengeance.
IS develops many of the devices he will bring to full fruit in the Symphony of Psalms, such as canon, fugue and a new sense of vocal harmony, the last independent of convention. Rather than move through a chord progression, say Bb-Eb-C minor-G-C Major-D-G, IS slides down to Gb, calls it F#, and then slides up to G. But there are added touches, like the A natural that conflicts with the Ab chord and is reinforced in the voice, the similar presence of the C in conflict with the F# chord, and the random movement of the bass at the end that defies harmonic analysis with relation to the rest of the orchestra. To watch the The Nice Guys trailer just click play below and the movie trailer will start playing. You'll need to use some video download software which you can find online which will let you download the The Nice Guys theme song video in HD. You can download any of these images to your computer by right-clicking on the picture you want and choosing "save image as".
IS once explained to a Baritone who was to sing Creon that Creon is obviously representative of the gods because he enters at just the right moment to bring the important news from the oracle.
Oedipus, the tenor, mocks Tiresias, brags a bit, and then accuses Tiresias of conspiring with Creon (the baritone) for his throne, ending with a variant of the minor thirds that dominated the Act.
In his Dialogues (with Robert Craft), IS says that the triple repetition is symbolic of the Holy Trinity, and that "the character of the 'Gloria' music itself is ecclesiastical." In his Harvard Norton Lectures, Leonard Bernstein said the music sounded like Mussorgsky’s Boris Godunov.
Then Jocasta starts to sing what definitely does sound (again, Bernstein) like a sexy Carmen tune (Example 13), scolding, "Are you not ashamed, princes, to bicker and howl in a stricken city?" An agitated clarinet triplet figure suddenly~ appears (Example 14) as Jocasta warns all to not trust oracles ("oracula"). Oedipus and Jocasta then launch into a fiery duet, dominated by an agitated triplet figure, Jocasta shouting that oracles are liars and Oedipus demanding to find out the truth. The "shudder" alternates between D minor and B minor as Oedipus outlines a B minor chord, with a C sharp passing tone.
Another device that premieres in Oedipus before the Symphony of Psa1ms is a slowed—down version of polyrhythm, where a bass pattern is established and repeats unchanged while the voice varies its stress independent of the bass. In the first seven measures most of the sliding is done by the minor thirds as shown below, while the Bb-F bass sustains throughout (like the sustain at the end of The Firebird).
Upon journey to discovering a very prominent suicide story of Misty Mountains, March the hired PI comes in contact with another private investigator who is also investigating the same case. Once you've downloaded one of these The Nice Guys images you can use it as your wallpaper etc. It is a very simple, and very memorable, figure, and dominates Act One, returning throughout.


This time the notes are C and Eb, giving Oedipus the chance to hammer away the Eb for one last time, and sounding like a teasing child ("nyaah, nyaah") as he does it.
Jocasta’s part is very difficult, a fast succession of sliding minor seconds, and Oedipus’s part is largely based on his "I am suddenly afraid" introduction (which will be analyzed in—depth later in this Chapter) with the "kekidi" figure interspersed. The declaration is made simply, and the music is twice as simple: an Alberti-bass trumpet solo on a C Major chord, a descending C Major scale for trombone and descending G Major scales for the voice (Example 17). The major difference between the two chords is the F, which, when sharp, offsets the D minor to D Major. The Messenger is accompanied by octaves and runs (Example 24), reminiscent of the runs in the opening measures (Example 1).
On the whole, however, it would be true to say that the string section and the mistreated brass are primarily used as sound effects in the score.
Though one may draw stylistic parallels to the structure and rhythms of various musical periods, the actual melodies are strictly twentieth—century. Once Gb is reached, the bass becomes unfrozen and starts to wander; meanwhile, F# (Gb) is changed to F# minor, which naturally resolves to the G chord. Here, using such simple elements as a chordal progression with a bass line, IS has created new harmonic sounds. And then there are the broken chords in measures 8 and 9, a sad illustration of the limit of IS’s melodic abilities.
It is the famous Beethoven rhythm that no one is allowed to use unless they are specifically paying homage to Beethoven. The B section is sixteen measures worth of Example 19 --- no harmonic motion, and in typical simple—peasant style (Schubert?). Though the elements are scattered, what happens next is the G moves down through F# to F natural and right back up again.
The music implies a dialogue between Oedipus and the Chorus; Oedipus bragging, the Chorus begging.
What follows is a marvelous build: Tiresias's "melody" fits into an over-all wave pattern, ending with a climax on high D's (high for a bass). Then it is a combination of Example 20 and the clarinet figure, with violins and flutes added to the figure, bringing it into predominance.
The E sharp trill prolongs the ambiguity for one more second and then, pianissimo, we come to rest in D Major. IS has been roundly criticized for this section, many finding it to be inappropriately joyous music.
Peculiarly, the words that Oedipus sings in the second aria tell of Creon's mission --- it isn't vain at all. The pizzicato string chords give it a very Baroque feel, and when the Chorus repeats the chords as the woodwinds play the melody the impression is reinforced.
Since it's Latin, though, it doesn't matter --- an example of IS exercising his freedom to treat the text as "purely phonetic material" (See Chapter II).
Finally, Tiresias proclaims, "Rex peremptor regis est": The murderer of the king is a king.



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