The Trombone solo last for the better part of 17 measures accompanied by a continual reconstruction of triples weighted over doted rhythms. Scholars describe the work as having qualities evocative of death and renewal. Section B is in relation to a sense of renewal. Its timbre and balance is different from its adjacent section. More specifically, the trombone with its brass qualities is comparable to the bugle calls of war. The imagery delineated through this intuitive use of the trombone substantiates its call to war despite its more romantic and lush sounds that do not necessarily surmise the qualities of a military work. The end of the solo trombone section concludes on a half cadence that follows reiteration of the main theme of B portion
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The return of A utilizes a mesh of both the main melody and secondary materials of b and c of A. Its restatement does not deviate too much from its original conception, however, found within this last portion is a new section tilted Animato that places the cadential wheels in motion to conclude the work itself. The commencement of the Animato section is reflective of the transitional statements found in rehearsal D. The full force of ostinatos propels the work into its final measures as it cadences into a straightforward dominant-tonic fashion. The uncomplicated form of Marche Héroïque is not a trait shared with the questionable nature of influence and possible points of reference Saint-Saëns may have used to construct his …show more content…
In other words, do any of the qualities of their work appear in Saint-Saëns’s? Additionally, if not, did he look elsewhere? To surmise any evidence of possible influence by his fellow countrymen the first person that comes to mind is Charles Gounod and his composition To The Frontier (1870). Gounod composed the work in close proximity to that of Saint-Saëns. Gounod completed the work in August and Saint-Saëns in November of 1870. Gounod’s work and Saint-Saëns’s Chants de Guerre share some instrumental similarities such as the chorus, and orchestral utilizations. Given that Gounod’s work was performed on August 8th 1870 it is possible that Saint-Saëns was in attendance at the opera concert. In correlation to his whereabouts at the time, according to Le Ménestrel Saint-Saëns had recently returned from visiting Wagner in Munich where strangely enough the composer suffered some minor bruising after his home bound train derailed. Were he not in attendance, at the very least he may have read about it in the newspaper. Naturally, the occasion, which inspired the eventual Marche Héroïque, was, devised in part because of the opera concerts. Without a doubt, his motivations to convey a message to the public in dire times were an outlying motive to remedy the heavy use of German music as a source of inspiration. However,
The return of A utilizes a mesh of both the main melody and secondary materials of b and c of A. Its restatement does not deviate too much from its original conception, however, found within this last portion is a new section tilted Animato that places the cadential wheels in motion to conclude the work itself. The commencement of the Animato section is reflective of the transitional statements found in rehearsal D. The full force of ostinatos propels the work into its final measures as it cadences into a straightforward dominant-tonic fashion. The uncomplicated form of Marche Héroïque is not a trait shared with the questionable nature of influence and possible points of reference Saint-Saëns may have used to construct his …show more content…
In other words, do any of the qualities of their work appear in Saint-Saëns’s? Additionally, if not, did he look elsewhere? To surmise any evidence of possible influence by his fellow countrymen the first person that comes to mind is Charles Gounod and his composition To The Frontier (1870). Gounod composed the work in close proximity to that of Saint-Saëns. Gounod completed the work in August and Saint-Saëns in November of 1870. Gounod’s work and Saint-Saëns’s Chants de Guerre share some instrumental similarities such as the chorus, and orchestral utilizations. Given that Gounod’s work was performed on August 8th 1870 it is possible that Saint-Saëns was in attendance at the opera concert. In correlation to his whereabouts at the time, according to Le Ménestrel Saint-Saëns had recently returned from visiting Wagner in Munich where strangely enough the composer suffered some minor bruising after his home bound train derailed. Were he not in attendance, at the very least he may have read about it in the newspaper. Naturally, the occasion, which inspired the eventual Marche Héroïque, was, devised in part because of the opera concerts. Without a doubt, his motivations to convey a message to the public in dire times were an outlying motive to remedy the heavy use of German music as a source of inspiration. However,