Elgars Enigma Variations/Thomas Cole - Admission/Application Essay Example

Set Response – Elgar’s Enigma Variations/Thomas Cole Out of the initial fragments of melody, Elgar’s enigmatic variations are destined to proceed with violin and accompaniments onto a new dimension with keys, as if to encapsulate an identity, a particular shape through prolonged rhythm. The way each variation decides to dwell finds some measure in the degree to which the mood has been collected or formed so that its satisfactory recognition leads to the next variation with its own set of distinct patterns.

As an audience, I was made to experience splendid isolation when unifying movements are achieved somewhere yet it did not detach from me a sense of engagement with the rest which rather appeared to deserve typical appreciation. The attempt to randomly view Thomas Cole’s The Course of Empire, a five-canvas series of landscape paintings, while the sounds of variations play, culminated to a similarity with impressions and contrast in thematic terms (Hudson). Vividly, the audio-visual task yielded to a seemingly rhythmic narrative with moments of suspense along with quiet orchestration.

In ‘The Savage State’, T. Cole obviously knew where shades must be thick and rough from tender yet preserving an overall smooth texture to let the theme come off more dramatically upon which to impose enigma of an undulating and anxious tempo. Heavily hued are spaces which seem to indicate signs of doom with conspicuous effectual dustiness. Then with ‘The Arcadian or Pastoral State’, I was brought to draw intersection between fairness of weather in the scene and the mundane lowness of pitch in one of the variations.

Cole made it particularly interesting by locating a perspective which is likely to get a viewer’s attention to point at very fine details of the tree leaves and the grass. The theme’s emphasis even paid off well in Cole’s success to capture in thought a hazy afternoon setting to signify balanced lighting and an imaginary shed that further characterizes the subject. ‘The Destruction of Empire’, on the contrary, arrives at the context of discerning the intensity of the event as it presents a circling mix of about four or five colors of the same type varied, however, in tones.

Elgar’s consistent range of immediate crescendo during some of the variations suitably gather here or fade into the tiny, blurry strokes of people in chaos which purposely lacked boldness to depict weakness against the supreme allusion of the huge statue. Work Cited Hudson River School. http://www.artchive.com/artchive/hudsonriver.html. 2010. Web. 5 Sep 2010.