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Tchaikovsky Symphony
The Tale of Swan Lake Barbie is One Many of Us are Familiar With
In this story a beautiful princess is transformed into a swan by day and princess by night. There is of course an evil magician and a handsome prince. These are the basic ingredients which are found in every re-telling of Swan Lake. Now in the Swan Lake Barbie version things are a little different but you get a happy ending, since this story is aimed at little girls.
The Swan Lake Barbie comes both as a doll and also as a video. In the doll you will find that Barbie is dressed in a costume that is similar to her movie costume. This very attractive outfit is pink, the traditional Barbie color that has a shimmery skirt. To mimic her wings the sleeves of the dress are split into sections that resemble wings.
Now as with all of the Barbie dolls the Swan Lake Barbie can be given as a birthday gift for a little girl that you know. Since this doll is also a character of a movie and a fairy tale it is possible to consider this Swan Lake Barbie as a collector’s item.
This would of course mean that adults would have no problems with collecting this doll to add to their collection. The doll’s box can be left intact as the scenes that are depicted on the box are a suitable background.
While the gift a Swan Lake Barbie doll is something that any little girl would love to have, seeing the movie version may make fairytales and ballet a more achievable dream. In the Swan Lake Barbie story the heroine must find the courage to defeat an evil wizard.
This wizard uses Swan Lake Barbie to bring a feud alive between two kingdoms. While this movie is not considered as being as magical as the previous Barbie movies there are many fantastic elements to look at.
The first one is the talented cast of real life actors and actresses. These individuals have given their best for the story to come alive. The element that brings the story to life is that of the music score. The London Symphony plays Tchaikovsky’s original musical score brilliantly. And finally the choreography of the ballet sequences has the New York City Ballet providing a sense of realism to the movie’s dance sequences.
While there may be people who are not too happy with this movie the Swan Lake Barbie is one that young girls will not mind watching. And while many fairytales need to be told over and over again to come alive in the minds of children, the movie version of Swan Lake Barbie will bring this magic straight into the lives of your family.
About the Author
Muna wa Wanjiru is a Web Administrator and Has Been Researching and Reporting on Barbie for Years. For More Information on Swan Lake Barbie, Visit His Site at Swan Lake Barbie
A question to think about when listening to Tchaikovsky's Fifth Symphony..?
Which elements were traditional and which do you think have been affected by modern influences??
For the first part of the first movement, I am going by this video:
http://uk.youtube.com/watch?v=sHCHUfvQPYQ
The first movement starts with a slow introduction. That is nothing new, since it was a custom of Mozart's. However, what is new here is that this introductory theme will reappear in every movement. Tchaikovsky might be borrowing the idea of an "idee fixe" from Berlioz' Symphonie Fantastique.
Following the Barlow & Morgenstern index, there are four themes which appear at 2:44, 4:27, 5:22, and 5:43. The Eroica Symphony was probably the first symphony to use a multiplicity of themes in the first movement.
Toward the end of the tape, at about 6:39, Tchaikovsky starts one of his chaotic development sections.
The first movement, continues on this tape:
http://uk.youtube.com/watch?v=fk2aGtcaWPw&NR=1
At 1:53, we are rescued by the restatement of the first theme. The other themes follow at 3:00, 3:50, and 4:16.
The sonata form has just one weakness, and that is that the first theme does not necessarily reappear at the end. Mozart and Beethoven often corrected this weakness by restating the first theme in the coda. Tchaikovsky does the same thing at 5:46.
The second movement begins on this tape:
http://uk.youtube.com/watch?v=W6HTrx_bBM0&feature=related
Valves for brass instruments had recently been invented, and Tchaikovsky takes advantage of this by writing a horn solo for the first theme.
At 2:24, the second theme starts. It is in an unrelated key, which is a liberty which Beethoven took in the Waldstein Sonata.
The first theme reappears at 3:04 with counterpoint added. It was Beethoven's pattern to present a theme simple the first time and contrapuntal the second time.
The second theme reappears at 4:01, and if my pitch memory serves me right, it is in the tonic this time.
The second movement continues on this tape:
http://uk.youtube.com/watch?v=ygyAIbi5jI8&feature=related
Berlioz's brainchild reappears at 1:29. Pizzicato chords appear in the accompaniment, and they continue at 2:09, when the first theme is restated. Tchaikovsky seems to have a pattern of continuing an accompanying figure when a main theme is restated. He does the same thing in the slow movement to his Fourth Symphony and in the slow movement to his piano concerto. In the Pathetique Sonata, Beethoven introduces triplets in the accompaniment to the third theme, which he continues throughout the following restatement of the main theme.
This time, he adds counterpoint, just as he did the second time, but in my opinion, he somewhat overdoes it.
At 4:05, the second theme reappears, and at 5:09, our old friend is back.
The second theme reappears for one last time at 5:54, and the movement ends on fragmentation of theme. The practice of fragmenting a theme for a coda dates at least as far back as Mozart.
In summary, the movement is in the form ABABCABCB. This does not fit into any standard form, but there is a catch-all term, "episodic form," for this purpose. Some of the Chopin waltzes fit this miscellaneous category, but I don't know of anything from the Classical Era which does.
The third movement can be found at:
http://uk.youtube.com/watch?v=ouQwddgO8NQ&feature=related
Beethoven started the practice of substituting the third movement minuet with a scherzo, but a waltz? That would be impossible, since the waltz did not exist in Beethoven's time.
The waltz from the Serenade for Strings is another well-known third movement waltz by Tchaikovsky.
The second theme begins at 1:39. The sixteenth notes in the second theme continue while the first theme reappears at 3:13. Tchaikovsky thereby uses the same device as at 2:09 in the previous tape. The idee fixe appears as the coda at 5:23.
The ABA, or ternary form, dates back to Mozart.
The first part of the fourth movement is on:
http://uk.youtube.com/watch?v=wNLnB6tlD5k&NR=1
Immediately after appearing at the end of the third movement, the idee fixe appears again as the introduction to the fourth movement. It appears in the major mode this time. As far as I know, the first movement of Mozart's g minor symphony is earliest incident of the same theme appearing in both modes. In Swan Lake, Tchaikovsky does the same thing to the well-known theme. Could this be a pattern of his?
It is debatable which form this movement is in. Barlow & Morgenstern list four themes, which appear at 3:15, 3:37, 3:50, and 4:18. Counting the idee fixe at 4:57, that makes five.
But what starts at 5:26? This section is fragmentary and contrapuntal, and it sounds like one of Tchaikovsky's pandemonic development sections. But before we can confidently call it a development section, let us listen some to the following tape at:
http://uk.youtube.com/watch?v=wNLnB6tlD5k&NR=1
Here, the succeeding themes and the idee fixe are restated at 0:25, 0:38, 1:10, and 2:01. Perhaps Tchaikovsky wants this section to serve double duty, as both a development and a recapitulation. If we call it a recapitulation, we can say that the movement is in the sonatina form. (For other examples of sonatina movements appearing in an unlikely place, see the Chopin e minor nocturne and the prelude to Madama Butterfly.)
In place of a true recapitulation, we have a nice long coda. We meet our old friend for the last time at 2:51. The first theme from the first movement comes back at 4:47, and the entire symphony ends at 5:09.
In his Ninth Symphony, Beethoven reminds us of themes from previous movements at the beginning of the last movement. But the effect is somewhat different here, when Tchaikovsky restates an earlier theme at the end of the movement. Franck did the same thing in his Symphony in d minor, and both symphonies were completed in 1888. So we don't know WHO to award the prize to.
I didn't have access to a score, but I have noted two peculiarities of Tchaikovsky's orchestration. One is that he often has the entire string choir playing in unison. The other is that he often has the horn section playing four-note chords to fill in the harmony. In other words, he abuses the horns like many other composers abuse the second violins and violas.
Tchaikovsky Symphony No. 4, 4th mvmt
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