Form of The Piece
The orchestral suite is divided into eight sections. Copland describes each scene thus:
- Very slowly. Introduction of the characters, one by one, in a suffused light.
- Fast/Allegro. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
- Moderate/Moderato. Duo for the Bride and her Intended – scene of tenderness and passion.
- Quite fast. The Revivalist and his flock. Folksy feeling – suggestions of square dances and country fiddlers.
- Still faster/Subito Allegro. Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.
- Very slowly (as at first). Transition scene to music reminiscent of the introduction.
- Calm and flowing/Doppio Movimento. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title "The Gift to Be Simple." The melody borrowed and used almost literally is called "Simple Gifts."
- Moderate. Coda/Moderato - Coda. The Bride takes her place among her neighbors. At the end the couple are left "quiet and strong in their new house." Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music.
Read more about this topic: Appalachian Spring
Famous quotes containing the words form of the, form of, form and/or piece:
“The Virgin filled so enormous a space in the life and thought of the time that one stands now helpless before the mass of testimony to her direct action and constant presence in every moment and form of the illusion which men thought they thought their existence.”
—Henry Brooks Adams (1838–1918)
“Shopping seemed to take an entirely too important place in women’s lives. You never saw men milling around in men’s departments. They made quick work of it. I used to wonder if shopping was a form of escape for women who had no worthwhile interests.”
—Mary Barnett Gilson (1877–?)
“The glance is natural magic. The mysterious communication established across a house between two entire strangers, moves all the springs of wonder. The communication by the glance is in the greatest part not subject to the control of the will. It is the bodily symbol of identity with nature. We look into the eyes to know if this other form is another self, and the eyes will not lie, but make a faithful confession what inhabitant is there.”
—Ralph Waldo Emerson (1803–1882)
“The power to guess the unseen from the seen, to trace the implications of things, to judge the whole piece by the pattern, the condition of feeling life in general so completely that you are well on your way to knowing any particular corner of it—this cluster of gifts may almost be said to constitute experience.”
—Henry James (1843–1916)