Week 6 : Concerto

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Beethoven's Five Piano Concertos

Piano Concerto Op. 15 #1 C Major 1795

 

Piano Concerto Op. 19 #2 Bb Major 1788-1801

Allegro con brio

Beethoven inherited from Mozart's concerto a form so perfectly developed in every respect, that we can actually observe in the first three concertos his struggle to fashion his own identity with respect to the form.  On hearing a performance of Mozart's C minor Concerto in Vienna , Beethoven is said to have remarked to his pupil Cramer, "Ah, Cramer, we will never be able to do anything like that."  In his first two concertos Beethoven does not even attempt to match the profundity of that work, choosing consciously instead (for the most part) to imitate the jovial, brilliant, songful side of Mozart's concerto style, itself an outgrowth of the language of comic opera.  If the first two concertos do not achieve the absolute perfection or profundity of the great late Mozart concerti, they nonetheless contain a tremendous amount of sublime (and occasionally outrageous) music – not to mention that fact both were written a man in his early twenties!

 

Piano Concerto Op. 37 #3 c minor 1800-1803

In the third concerto, the young, ebullient and successful young virtuoso gives way to the troubled but increasingly masterful and mature composer.  (The first signs of Beethoven's deafness manifested themselves after the first two concertos were composed.)  The Third Concerto, Janus-faced, manages to pay overt tribute to Mozart and his C minor Concerto while creating something entirely new, a kind of proto-Romantic concerto, which, interestingly, would serve in turn as one of the models for Brahms in his D minor Concerto half a century later.  The Third Concerto is, in fact, one of the first of the composer's orchestral works that could never be mistaken for Mozart or Haydn. It is one of Beethoven's first steps on his inward journey of exploration

 

Piano Concerto Op. 58 #4 G Major 1804-1807

Fourth Concerto is not only among the most unusual, most radical works that had yet been created by anyone, it remains one of the eternally self-renewing miracles in all of composed music, indeed one of the ultimate examples of the transcendence of form

1. Harp figures 2. Opening- not pianistic 3. textures switched

II Movement e minor andante con moto

III Vivace C Maj.

 

Piano Concerto Op. 73 #5 “Emperor” Eb Major 1809

Exaggeration of material heard from the fourth.

II. Adagio un poco mosso B Major


Robert Schumann Piano Concertos

Concertos and other works for piano and orchestra:

•  Concerto in A minor for Piano Op. 54 1841, 1845

•  Introduction and Allegro Appassionato (Concertstück) in G major for Piano, Op. 92 1849

•  Introduction and Allegro in d minor for piano, Op. 134 1853

Romantic composer with the spirit of contrast of moods. Three imaginary figures embodied these different aspects of the Romantic spirit.

Eusebius à a dreamer

Florestan à passionate and impulsive

Raro à the wise leader

Chordal textures particularly in the piano music

Rhythmic repetition such as syncopation

Warm lyrical melodies

Larger works are unified usually thematically using thematic transformations for striking changes of mood.

The piano concerto is his greatest work in the concerto form.Clara gave the first public performance in Leipzig on New Years Day 1846.

Concerto in A minor for Piano Op. 54 1841, 1845

•  Unified thematic content romatic work.

•  Traditional three movement form à Fantasie, slow, rondo. The first movement originally labeled a fantasie but really in sonata allegro form.

•  The piano is dominant but the orchestra is given an more active role than previous virtuosic concertos.

•  The first movements opening theme is in every movement.

•  The theme is very characteristic of Schumann

•  Musical illustrations of Florestan and Eusebius à first phrase with emphasis on downbeat and clear stepwise motion, the second phrase with syncopations to blur downbeat and dramatic large leap prior to the first syncopation.

•  Thematic transformation is central to his compositional approach.

•  Nocturne like development section with 6/4 tempo and slow tempo then transformed into a faster passionato with leaping of a sixth and syncopations which closes the development section. Transformation in the coda with the march in 2/4 time.

•  The slow second movement was given the title Intermezzo by Schumann. It is smaller more intimate contrasting with the outer movements. Ternary form. Dialogue between piano and strings using the b motive. Middle section more expressive using the cellos and the piano tying in the sections together.

•  The horn call comes out of the second movement where the main theme dies away. The horn call recalls the opening motive of the concerto's main theme in the clarinets and bassoon in A major. The Horn à remoteness and intimacy with nature.

•  Finale à Opens with the A major of the opening theme in a triple meter dance and uses strong dynamics. Theme then is transformed into a fugato (showing his study of Bach). Lengthy coda where the piano decorates the main theme while the violins outline the theme.

•  The Major second theme is a play with syncopation

 

Brahms Piano Concertos

Wrote four concertos, all which remain in the standard repertory. 2 piano concertos, violin concerto, the double concerto for violin and Cello.

Strong clear forms often of Classical design since he diligently studied earlier music. Therefore, he was a great contrapuntalist which gave his music vitality. He was fond of lower instrumental ranges and doubling lines in thirds or sixths which caused his music to have a density and richness. He favored the natural horn which was unusual during a time when the valved instrument was standard. Brahms was a master like Beethoven, in his motivic development, technique of variation, and his rhythmic development (ie. Hemiola) marked him as one of the most progressive composers of the nineteenth century. He uses the pedal point to provide an anchor to the upper contrasting harmonies.

 

Piano Concerto No. 1 D minor op. 15 1858

It began life as a sonata for two pianos, then it changed into a symphony, then into a piano concerto. During the period of its composition, Brahms performed Beethoven's Emperor concerto, and G major concerto, and Mozart's D minor piano concerto K.466 (the piano's introduction with a new idea) These pieces possibly served as his model along with Joachim's advice.

This D minor concerto and his C minor Symphony are among Brahms's most powerfully tragic.

Maestoso à unusual 6/4 time opens with the timpani and lower pitched instruments on the tonic while a pedal point underlines the forceful main theme. Lengthy orchestral introduction like the traditional orchestral ritornello form. Through the ritornello form, Brahms brought back the importance of the orchestra. The pedal point serves as a way to build up tension such as when the soloist enters at the beginning of the recap playing the main theme in E major against the orchestra D pedal only to heighten the tension. He also uses the pedal for unexpected harmonic shifts such as shifting down a semitone (C sharp when the harmony is pulling to E flat). Here he uses his Frei aber froh (F-A-F) motive (free but happy), modeled after Joachim's Frei aber einsam (Free but lonely) motto. The piano enters with chorale like theme in F major and plays virtuosic material in the development section. There is no cadenza in the first movement but the pieano increasing uses double octaves towards the end.

Adagio à D major, intimate with the inscription (Benedictus qui venit in nomine Domini à Blessed is he who comes in the name of the Lord). Also in 6/4 time, ternary form. First theme is conjunct structure melody in muted violins accompanied by the bassoons in double thirds in scale wise motions bringing contrast to the first movement. A new lyrical idea in thirds played by clarinets in F sharp minor is presented halfway through the movement. A short improvised cadenza is placed near the end.

Rondo: Allegro non Troppo à seven part rondo ABACABA. The main theme in d minor, polyphonic with syncopations echoing Bach's D minor harpsichord concerto. The second theme is in F major played first in the piano. The middle episode is in B flat and appears a fugue theme in minor later on. The fugal section may have had its inspiration from Beethoven's final movement of his third piano concerto. The concerto closes with a coda in faster tempo using a variation of the main theme. The closing section is in D major and the movement closes with another short cadenza.

 

Piano Concerto No. 2 B flat Major op. 83 1881

One of his warmest and heroic compositions.

Four movement concerto, one of the larges piano concertos ever written. The inclusion of a scherzo is a significant departure.

He did not get assistance for this competition.

Allegro non troppo

Traditional concerto-sonata format with a compact orchestral ritornello and expanded solo exposition.

Short, compact themes which are extended and developed.

Uses horn call opening of the first movement. The soloist enters as a response to this horn theme by playing it in a chordal fashion.

The piano cadenza of the first movement plays material which is to follow later on.

Massive chordal textures, wide separations and movement of the hands, octaves, doubling thirds and sixths and complex rhythms characterize Brahms' concertos. His interest in counterpoint causes both hands to be active and a more active left hand.

Allegro appassionatao

D minor scherzo à blends elements of the sonata allegro form and the scherzo-trio-scherzo structure. Motives A and C are transformed and combined to create a second theme. The largamente trio (in major key) serves as a kind of development and begins another transformation of the fragments. B is inverted in the upper voice and c in the lower voice and reversed in a passage of invertible counterpoint. The scherzo returns with some changes as a loose recapitulation.

Andante

6/4 meter B flat major opens with a solo cello accompanied by counterpoint played by cellos and pizzicato double basses.

This theme was used later in his song Immer Leiser wird mein Schlummer op. 105 no. 2.

ABA structure, piano sonorities contrast strongly with the piano's material in the previous movements.

In the piu adagio of the middle section, carinets are highlighted against the piano à this may have been inspired by Liszt's E flat concerto.

Allegretto grazioso finale à Rondo. Hungarian folk music elements. Dancelike character, light scoring, rushing coda.

 

Carl Maria Von Weber (1786-1826)

He desired to express deep emotional feelings as well as virtuosity which is seen best in his slow movements where he uses the orchestra and solo in innovative ways in order to heighten the mood.

One of the greatest piano virtuosos of the early nineteenth century.

Died one year before Beethoven and two years before Schubert.

His full scale concertos were all written between 1810-1812 shortly after Beethoven's fifth piano concerto 1809.

He wrote two concertos for the clarinet and one for the bassoon. He also composed ten works for solo instrument and orchestra in non concerto forms. Concertino in E flat major for Clarinet 1811 and the Konzertstück in f minor for Piano and orchestra 1821. They work with concerto properties but lack the standard three movement concerto form showing Weber's dislike for the sonata allegro form.

He felt the sonata allegro form was too restraining and he wanted more spontaneity. He removed the first movement so many of these works begins with a slow movement that serves as an introduction to the final fast movement which is in rondo or variation form.

The first movement sonata allegro forms are often his weakest.

His primary interest was in writing virtuosic music along with creating striking instrumental effects. Therefore, dramatic and formal principles are sometimes secondary concerns.

Other early works: Siciliana for Flute in G minor 1805, Concertino for horn 1806, six variations on a folksong for viola 1806, the grand potpourri for Cello 1808 and one of his finest andante e Rondo Ungarese for viola 1809 but arranged for bassoon in 1813-16. These pieces were virtuosic in nature.

 

The Grand Piano Concerto no. 1 C major Op. 11 1810-11.

The largest piece for piano to this point in his career.

Wrote it for himself. Depended on his piano technique which was built on techniques of Cramer, Hummel, and Dussek.

Large leaps, widely spaced chords, rapid arpeggios over a wide range, doubled thirds, quickly repeated chords and rapid staccato passages to impress the ear and the give a grand visual effect. He had large hands, extra long thumb and was able to articulate difficult passages with ease.

First movement à march like quality possibly related to works from the French violin school.

The slow movement is the strongest with its delicate piano writing in chorale style in the style of Beethoven's Fourth piano concert.

The finale is a rondo based on a simple waltz theme played by the soloist in octaves moving from high to low.

 

The Grand concerto No. 2 E flat 1811-12

Similar to no.1. the slow movement is in B major which his the same key Beethoven used in his E flat concerto.

In both of these concertos, he wrote the first movement last.

 

Konzertstück for piano and orchestra in f minor 1821 à His greatest contribution to the Concerto. The program driven form. Combining drama and virtuosity within a new, flexible structure.

•  His last “concerto.”

•  Different from his previous concertos, this one is in a minor key.

•  Scored for a late classical orchestra with the addition of the bass trombone.

•  He uses flutes, clarinets,and bassoons to open the piece with a organ like sound in chorale like fashion. This chorale texture is similar to that of Beethoven's slow movement G Major Piano concerto. The rests between short phrases suggest loneliness of the woman. The very soft strings and bass trombone create a sense of yearning.

•  Power is created by the rising sequences, syncopations across the barline in the first violins' melody against a more metrically stable bass as well as chromatic harmony.

•  Active right hand and chordal left.

•  A new form inspired by an extramusical program. The program governs the work's design.

•  This is a good example of how the nineteenth century composer adapted and manipulated the concerto idea to fit his Romantic ideas.

•  It resembles Spohr's Gesangsszene but goes beyond with its innovational organization.

Larghetto Affetuoso à A lady sits on her balcony alone, gazing into the distance, wondering if her knight, who has gone to the holy Land, is alive and if she will see him again.

Allegro Passionato à A fearful vision of her knight dying on the battlefield overcomes her. She wishes she could fly to him and died by his side. She falls back unconscious.

Tempo di Marcia à Distant sounds from the forest signal the return of the knights.

Presto Giococso à Love is triumphant

The allegro passionate is in f minor, ternary form where the agitated outer parts frame a lyrical Chopineesque A flat major midsection.

The piano plays for most of the time. It plays either main thematic material or figurations.

The midsection is where the lady imagines herself going to meet her dying knight.

The March movement is in C major and an interlude for the orchestra. The piano plays only in the middle of the piece. The timpani links this movement to the final Presto.

Presto à in 6/8 time in rondo form and the most virtuosic (common for the final movement) with frequent octave passages with both hands to depict the knight's return.


Liszt Piano Concertos

Liszt's concertos are among the most unique of the nineteenth century.

Weber and Spohr paved the way for the use of one movement, nontraditional forms, and Paganini had provided the opening for construing virtuosity as a valid means of artistic communication. Liszt had adopted these innovations to mold his vehicle of what a concerto should be and display his technical abilities.

Grande Fantaisie symphonique 1834 à Based on themes from Berlioz's Lélio. . It is in two contrasting sections; the first, a meditation on “Chant du Pecheur” and second “Chanson des brigands.

Totentanz à free variations on the sequence in Dies irae from the Mass for the dead, which Berlioz had used in his Symphonie fantastique 1830. It's inspiration came from frescoes attributed to Francesco Traini depicting Death as a female figure wielding a scythe. He uses the piano in a percussive way and makes uses of the canon. The finale is usually another series of variations, here he uses his rapid chromatic scale glissandi à a Liszt innovation. Small orchestral role.

Piano concerto No. 1 E flat Major 1849

Peformed in Weimar 1857 with Berlioz conducting.

Unusual structures à In his Concerto No. 1 E flat Major 1849, he used a structure similar to Weber's konzertstück and Schubert's Wanderer Fantasy. Liszt played both of these pieces. He uses four movements with a combined second and third movement. The third movement concludes without a standard heavy double bar giving it momentum into the fourth movement which begins with rests. It is similar to his one movement tone poems but lacks the programmatic content. The E flat concerto is cyclically unified with inventive thematic transformations.

His most brilliant

Allegro maestoso

No sonata allegro form tonal design à only vague thematic outlines of this structure.

Rhapsodic structure with frequent tempo changes. Almost nonexistent tutti sections. Four measure orchestral opening is repeated later in a quasi recapitulation.

It is similar to Beethoven's emperor concerto with its powerful orchestral chords and early appearance of the piano's cadenza, and uses the same key.

Characteristic method of expanding material through sequential repetition.

Thematic transformation in bassoons which play the opening idea in diminished form.

Adagio

B major, same key as Beethoven's Fifth piano concerto, creating a pastoral mood.

Muted strings 12/8 meter and woodwinds become increasingly prominent.

The piano plays two recitative like passages

Allegretto vivace

Scherzo reminiscent of Mendelssohn's elfin music.

Short introduction including the triangle followed by the piano playing the main theme.

Triple meter but written in an ambiguous way that it could be mistaken for duple time.

Incorporates themes from prior two movements. The opening theme returns in the piano and later in the trombones and strings. Woodwinds animatedly recall the pastoral theme first heard in the flute at the end of the Quasi Adagio. It is played animato against the rhythm of the concerto's first idea, played marcato by the timpani.

Allegro marziale animato finale

Urgent recapitulation of earlier material. Thematic transformation revitalizes recalled thematic material. The second movement's gentle opening phrase is transformed into a vigorous march and its second phrase is played by the trombones, bassoons and lower strings against a tremolo in the upper strings. The pastoral second movement theme is transformed into a non legato triplet rhythm in the high register of the piano. The final thematic recall, the piano plays the diminished form of the opening motive adding a descending chromatic scale.

He introduces a new theme at the alla breve: piu mosso section.

Piano Concerto No. 2 A major

Less brilliant but more original in form à single movement contains six main sections alternating between gentle and forceful moods.

•  Adagio sostenuto assai, starting in A major

•  Allegro agitato assai, starting in B flat minor

•  Allegro moderato, starting in E major

•  Allegro deciso, starting in D flat major

•  Marciale un poco meno Allegro, starting in A major

•  Allegro animato, starting in A major.

Unified thematically, contrasting moods via thematic transformations. The concerto resembles the tone poem which Liszt created.

Five main themes:

•  Section I à A, B

•  Section II à C, D

•  Section III à E

•  Themes A and D appear throughout the entire work in various forms. A is initially presented in a dreamy, romantic mood, and theme D is initially presented as forceful with short staccato notes, forward moving rhythm, and clear tonal shape. Theme A returns as the major theme in III and the main march theme of V. Theme D appears in I and then III transformed in meter, key and mood (triple to duple). Theme D appears in IV as an ostinato pattern. The B march theme plays above the D ostinato.

 

Chopin's Piano Concertos

One of the most innovative musical geniuses of the century. Extreme expressiveness. Decorative style in his lyrical melodic approach with a highly original harmonic structure. Much uses of tempo rubato for flexibility into rhythmic flow.

Early works in popular variations or rondo form built around popular tunes and/or exotic dance rhythms.

Composed variations on Mozart's La ci darem la mano., Op. 2 which was characteristic of the non concerto virtuoso works for solo instrument and orchestra of the time. (slow intro, increasingly faster and more virtuosic). The penultimate variation is unusual in that it is in minor key and slow. Liszt played it without orchestra as it was easily extractable.

Ornamentation is not an addition to a melodic line but the way of his melodic thinking.

He often played his concertos unaccompanied.

 

Piano Concerto No. 1 E minor 1829

•  Wrote them under the influence of Moscheles, Kalkbrenner, and Field. It is doubtful Chopin had yet heard or seen a Beethoven concerto but was familiar with Hummel's Concerto in A minor and concerto in B minor, Moscheles's in G minor and at least one from John Field. He used their works as models. These composers were not concerned for dramatic contrast between the piano and orchestra inherent in the form. The orchestra provided a framework and unobtrusive background for the soloist who played highly decorative and figurative style.

•  Tonic key is maintained throughout the opening ritornello and the solo exposition providing no contrast.

   

Piano Concerto No. 2 F minor 1830

•  Was the first to be completed but the second published. Both concertos contain the nocturne style slow movements and lively finales using polish dance rhythms. This concerto's finale uses a mazurka like rhythm and incorporates and contrasting scherzando section in the style of an oberek à a faster form of the mazurka. This dance has rapid turns, changes of direction and lifting of the female partner. The accompanying violins and violas play col legno (with stick) to imitate drums or handclapping. The finale is based on the krakowiak.

•  The Larghetto section is a good example of how ornamentation is part of his melodic thinking rather than an enhancement. The A section of the ABA form is highly ornamented over a rocking eighth note in a nocturne manner. The theme returns after the midsection even more ornamented giving the feeling of improvisation.

•  Double exposition like in Beethoven's Third piano concerto, where the orchestra presents the second theme in the contrasting key of a flat major, the key in which it also appears in the solo exposition.

 

Tchaikovsky (1840-1893) Piano Concerto

Blended and united the approaches of the Russian nationalist and the Western, more Germanic tradition. He was known more in the west for his orchestral music and Eugene Onegin.

Style à soaring melodies, syncopated chords in the winds and percussion, bright sonorities, pitting the wind and strings on small motives and idiosyncratic use of the brass and percussion.

Like his Russian contemporaries, relied on repetition and sequence since he was not a master of the sonata allegro form. He was great on variation and melody and is what made his Piano Concerto and violin concerto the two of the most popular concertos ever composed.

B flat minor Concerto Op. 23 1874

•  Three movements

•  Intended for Nikolay Rubinstein who hated it. So he then dedicated it to Hans von Bülow.

•  Ukrainian folk songs are the sources of one melody in the first movement and the finale while the French song provides the theme in the middle movement.

•  Relies throughout on Russian style of decorative variation à thematic repetition with orchestral changes. The soloist adds decoration with each repetition.

•  Climaxes are through increased rhythmic activity and orchestral swell. and heard in the orchestra.

•  The piano and orchestra generally do not play together(eg. Development section of the first movement).

•  Sectional quality à typical Russian style.

•  1 st movement D flat introduction triple meter to B flat theme in common time. Four horns state a four note motive anticipating the theme. Piano version of theme in full chords, cadenza and repeat of the theme in the strings.

•  Long orchestral opening of the development section à typical of the composer. Quick interchanges of musical material between instrument families. Accelerated tempo, shortened notes and increased dynamics.

•  Second movement / Andantino à D flat major with slow movement elements combined with scherzo in its ternary form. Pastoral melody in the flute. Drone fifths in the bassoon as a contrasting idea occurs is played by oboes and clarinets.

•  The finale is based on alternating two themes. The first is a Ukrainian rustic dance and the second is lyrical which is also used in the climax.

 


Edvard Grieg 1843-1907

Norway 's first notable composer of Romantic music. He studied at the Leipzig conservatory. His teachers included E.F> Wenzel who was a friend and supporter of Schumann and Moscheles. Schumann's piano concerto made an impression on him as he heard the performance played by Clara.

He never stressed virtuosic elelments in his compositions and excelled in the creation of the lyric miniature such as songs and short lyric piano pieces. He avoided larger forms.

Piano concerto in A minor op. 16 1868

•  His most successful large scale composition.

•  Unlike his other compositions this one does employ much virtuosity such as the cadenza in the first movement.

•  Liszt approved and performed the piece and gave suggestions such as the second theme's first appearance in the trumpet rather than the cellos.

•  Greig revised the work several times and his last revision he restore the cello second theme.

•  One of the first works after being exposed to Norwegian folk music by Rikard Nordraak. The rhythms of Norwegian dances such as the halling (duple meter) and the springdans (triple meter)occur in the finale.

•  Melodic cliché of Grieg's folk music is the melodic gesture of the descending second followed by descending third (used in the opening of the first movement).

•  The concerto is modeled upon Schumann's in the same key, similar piano openings followed by a lyrical idea in the orchestra and then repeated by the piano. The virtuosic writing is in the style of Liszt with the rapid octave and arpeggio passages in the cadenza of the first movement. The nocturne like second theme in the first movement sounds of Chopin. Chopin was his favorite composer. He was called the “Chopin of the North.”

•  Three movements with short slow second movement introducing the third movement. The first movement in sonata allegro form both themes presented in the orchestra then varied by the soloist with the bassoon at times playing counterpoint.

•  The adagio is in triple meter in D flat major and is connected to the finale movement without pause. The clarinet and bassoon introduce a lively dance rhythm à Beethoven's G major Piano concerto. Sonata allegro form with a new pastoral theme for the development section and reappear in the coda along with the first theme.

 


Piano concertos of Saint Saens 1835-1921

•  Epitomized the French approach of clarity and order.

•  Restrained approach. Student and editor of earlier French music.

•  Ars Gallica (slogan) à He founded the Société nationale de musique. Its intention was to establish French music as an alternative to the dominant Germanic musical tradition. Promoted French absolute instrumental music (which was dominated by German and Italian composers). Still it was under the influence of Beethoven, Schumann, Mendelssohn and Liszt. Liszt was influential as he lived in Paris . The two of the earliest participants were of foreign origin à Cesar Franck ( Belgium ), Eduard Lalo ( Spain ). They as well as Faurè served as members and premiered their work and others.

•  Best known solo violin work is the third violin concerto in B minor op. 61 1880. three movement with a barcarole styled second movement. The final movement has a chorale style passage which sounds like Wagner for whom he admired.

•  Exotic strains characterize some of his works for solo instrument and orchestra. Habanera in his Havanaise, op. 83, piano concerto no. 5 in F major includes a theme he heard on the Nile causing it to be named, “The Egyptian Concerto.” “ Africa ” op. 89 is a short work for piano and orchestra.

G minor No. 2 Op. 22 1868

•  Three movements but of unorthodox nature. The first being the slow movement, Andante sostenuto opening wit ha toccata style piano cadenza with a G pedal point (J.S. Bach). Short orchestra fanfare leads to the piano's presentation of the first theme in a declamatory style. The piano introduces the second theme in B flat major with its syncopations.

•  The solo role is very virtuosic and flashy and the orchestra is subordinate. The cadenza at the end is based on the first theme is followed by a reprise of the opening cadenza.

•  Second movement is a scherzo in E flat major in the style of Mendelssohn's light, playful scherzos. Timpani start off with the dance rhythm which is also heard in the piano.

•  The final Presto is solo focused. A tarantella, with its fast dance style with fast triplets.

 

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