The Music and everything else 

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Catch this now if you can, but don’t worry, as I think this is another sure fire hit for The Almeida. Like their play, The Years, currently, it will certainly transfer to the West End with many awards.
Playwright /main part Chris Bush, herself trans, is outstanding as Harry/ Harriet transitioning, as is the co lead Jo, who separates from Harry then meets Gabby and becomes pregnant , something she never expected to happen as Gabby is unable to be pregnant. The supporting female cast are excellent with great stage choreography.
The second half sees Harriet’s family, in Victorian type, try to come to terms with Harriet depicted as an alien fish. While pregnant Jo is seen as a futuristic robot, carrying a growing foetus. Live music is superb with a harp and cello.
This is very sensitively done and received great applause. Quite why only a single person gave a standing ovation I do not know.

Get a ticket if you can to the 5 star reviewed show The Years. 5 actors create an unapologetic portrait of a womans life, shaped by the rapidly-changing world around her. After the critically acclaimed launch at The Almeida theatre The Years transfers to The Harold Pinter theatre 24th January to Saturday 19th April 2025.( Warning graphic
depiction of rape and abortion. The run time is 1 hour 55 mins with no interval {but both times I saw the show there was a break (medical emergency?) after a dramatic scene. ( Allowing those disturbed to depart if they so wished)}

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Giselle (/dʒɪˈzɛl/ jiz-EL,[1] French: [ʒizɛl] ⓘ), originally titled Giselle, ou les Wilis (French: [ʒizɛl u le vili]; Giselle, or The Wilis), is a romantic ballet (ballet-pantomime)[2] in two acts with music by Adolphe Adam. Considered a masterwork in the classical ballet performance canon, it was first performed by the Ballet du Théâtre de l'Académie Royale de Musique at the Salle Le Peletier in Paris on 28 June 1841, with Italian ballerina Carlotta Grisi as Giselle. It was an unqualified triumph. It became hugely popular and was staged at once across Europe, Russia, and the United States.

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The concerto begins in A minor, with a bold and rhythmic opening theme that showcases the violin's agility. The first movement alternates between lyrical passages and energetic, syncopated rhythms. The second movement, Andante, introduces a hauntingly beautiful melody, while the final Vivo movement is characterized by its driving rhythms and folk-inspired motifs. The piece develops through contrasts in texture and dynamics, blending modernist techniques with traditional forms.

This Baroque masterpiece opens in D minor, with the first movement (Vivace) featuring a lively interplay between the two violins, weaving intricate counterpoint. The second movement (Largo ma non tanto) shifts to F major, presenting a lyrical and expressive theme that is often considered the emotional heart of the piece. The final movement (Allegro) returns to D minor, with a spirited and fugal texture. The concerto is best recognized for its seamless dialogue between the soloists.

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The concerto begins in A minor, with the first movement (Allegro moderato) structured in ritornello form, where the orchestra introduces a bold theme that the solo violin elaborates upon. The second movement (Andante) shifts to C major, featuring an ostinato bass line that underpins a lyrical and introspective melody. The final movement (Allegro assai) returns to A minor, with a lively gigue-like rhythm and virtuosic bariolage passages. The piece is celebrated for its balance of technical brilliance and emotional depth.

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This 20th-century concerto opens in G major, with the first movement (Allegro) introducing a lush, lyrical theme that is developed through sweeping orchestral textures. The second movement (Andante) shifts to E-flat major, featuring a poignant oboe solo that leads into the violin's soaring melody. The final movement (Presto in moto perpetuo) is a dazzling display of technical virtuosity, with rapid, perpetual motion figures. The concerto is best recognized for its blend of romantic lyricism and modernist energy.

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Written in E major, the concerto employs modal influences, contrapuntal textures, and a unique ternary structure.

The symphony is composed of four movements:

Allegro con brio: The first movement, in sonata form, opens with the famous four-note motif (short-short-short-long) in C minor, instantly establishing a sense of fate and tension. The main theme is terse and driving, contrasted by a more lyrical second theme in E-flat major. The development section intensifies the motif through fragmentation and key shifts, leading to a dramatic recapitulation and a forceful coda.
Andante con moto: The second movement, in A-flat major, is a double variation form. It alternates between two themes: a gentle, flowing melody in the strings and a brighter, more assertive response with brass flourishes. The variations build in richness and ornamentation, offering a calm yet noble contrast to the first movement.
Scherzo: Allegro: The third movement, a scherzo in C minor, revisits the ominous mood of the opening. Its main theme is shadowy and rhythmic, with a haunting quality, while the trio in C major bursts forth with a vigorous, scampering energy led by the strings. The movement transitions seamlessly into the finale via a suspenseful, quiet bridge.
Allegro: The fourth movement erupts in C major, a triumphant resolution in sonata form. The main theme is bold and celebratory, featuring brass and timpani prominently. The development weaves in echoes of the scherzo’s motif, culminating in a blazing recapitulation and an extended, exultant coda that hammers home the victory over struggle.
Beethoven’s use of the recurring four-note motif, stark dynamic contrasts, and the journey from C minor to C major create a symphony of unparalleled emotional power and structural unity, cementing its status as a cornerstone of Western music.

Main Themes:

First Movement (Allegro con brio)
Main Theme: The iconic "da-da-da-dum" motif in C minor, a terse, rhythmic call that evokes fate knocking at the door.
Second Theme: A lyrical, horn-led melody in E-flat major, providing a brief softening amidst the storm.
Second Movement (Andante con moto)
Main Theme: A serene, flowing line in A-flat major, introduced by strings, exuding warmth and dignity.
Second Theme: A brighter, more assertive variation with brass accents, adding a heroic touch.
Third Movement (Scherzo: Allegro)
Scherzo Theme: A dark, rhythmic motif in C minor, shadowy and insistent, with a mysterious edge.
Trio Theme: A lively, galloping theme in C major, bursting with energy and forward motion.
Fourth Movement (Allegro)
Main Theme: A jubilant, soaring theme in C major, propelled by brass and strings, radiating triumph.
Development: Fragments of the scherzo motif resurface, tying the symphony together before the final victorious surge.
Beethoven’s Symphony No. 5 is a narrative of struggle and triumph, its themes driving an unforgettable arc from darkness to light.

Opens in D major with a famous timpani motif, leading into an expansive and lyrical first movement (Allegro ma non troppo). The second movement (Larghetto) offers a tender and serene melody, transitioning seamlessly into the jubilant third movement (Rondo: Allegro), featuring a dance-like theme. The concerto is known for its balance between virtuosic passages and orchestral dialogues.

In G major, the concerto features contrasting thematic material between the piano and orchestra, with a lyrical slow movement.

The symphony is composed of four movements:

Allegro con brio: The first movement, in sonata form, begins with two powerful E-flat major chords, followed by a heroic main theme in the cellos. Its broad, expansive character is marked by rhythmic vitality and dramatic contrasts. The second theme, more lyrical, emerges in a related key, while the development section unleashes intense thematic exploration, including a famous dissonant climax. The recapitulation and extended coda solidify its monumental scope.
Marcia funebre: Adagio assai: The second movement, a funeral march in C minor, is somber and profound. Built in a modified ternary form, its main theme is a mournful procession, enriched with dynamic swells and delicate interludes. The middle section shifts to C major for a fleeting moment of hope, before returning to the march’s weighty sorrow.
Scherzo: Allegro vivace: The third movement replaces the traditional minuet with a swift, playful scherzo in E-flat major. The main theme is a lively, syncopated dance, while the trio features bold horn calls, evoking a hunt-like energy. Its brisk pace contrasts sharply with the previous movement’s gravity.
Finale: Allegro molto: The fourth movement is a set of variations on a theme Beethoven used earlier (from his Creatures of Prometheus ballet). It opens with a flurry of strings, introducing a simple bass line that blossoms into a series of inventive variations—joyful, fugal, and triumphant. The movement concludes with a blazing Presto coda, affirming the symphony’s heroic spirit.
Beethoven’s bold use of expanded forms, emotional depth, and innovative orchestration marks Eroica as a revolutionary work, pushing the boundaries of the Classical symphony into the Romantic era.

Main Themes:

First Movement (Allegro con brio)
Main Theme: A commanding, heroic melody in E-flat major, introduced by cellos, radiates strength and determination with its rhythmic drive.
Second Theme: A lyrical, flowing contrast softens the mood, offering a brief respite amid the movement’s intensity.
Second Movement (Marcia funebre: Adagio assai)
Main Theme: A slow, mournful march in C minor, carried by strings, conveys deep tragedy and solemnity.
Development: The middle section in C major briefly lifts the mood, symbolizing resilience, before sinking back into grief.
Third Movement (Scherzo: Allegro vivace)
Scherzo Theme: A fast, playful motif in E-flat major, with syncopated rhythms that inject energy and wit.
Trio Theme: Robust horn calls dominate the trio, evoking a rustic, spirited chase.
Fourth Movement (Finale: Allegro molto)
Main Theme: A simple, jaunty bass line transforms through variations, growing from humble origins to a triumphant climax.
Development: Fugal passages and dynamic shifts showcase Beethoven’s ingenuity, leading to a blazing finish.
Beethoven’s Symphony No. 3 blends grandeur with emotional narrative, its themes reflecting struggle, loss, and ultimate triumph.