Category: Composer

Perhaps one of the most renowned Russian composers around the world is Pyotr Ilyich Tchaikovsky (18401893). His composing genius flourished in the late nineteenth century and seemed to comprise most of the romantic music genres that had developed by that time. Author of multiple operas, ballets, symphonies, symphonic poems, and numerous minor pieces, Tchaikovsky artfully combined the professionalism of classical writing, ingenious orchestration, and elements of truly Russian national melody in his works.

The present report comprises a review of three large-scale works by Tchaikovsky: 1812 Overture (1880) performed by the Leningrad Philharmonic and The Leningrad Military Orchestras under Yuri Temirkanov, Piano Concerto #1 (187475) with the solo part played by Martha Argerich, and Symphony #4 (187778) presented by Chicago Symphony Orchestra under Daniel Barenboim.

Among Tchaikovskys creative heritage, 1812 Overture stands out by its rich imagery deployed by musical means. Written to commemorate the seventieth anniversary of Napoleons retreat from Russia, it represents a typical example of program music that is based on a certain event or story (Kavanaugh 50).

1812 Overture opens with the warm sound of strings expressively reciting a Russian hymn Save, O God, Thy People that is symbolic of Russian Orthodox Christianity (Kavanaugh 50). The wood winds join in this prayer, and the emerging dialogue with the strings reminds of an Orthodox service. This peaceful fragment is suddenly interrupted by a strike of timpani and intrusion of an agitated theme against a background of strings reiterating harmonies in a tense rhythm.

Culminating in the sounds of brass, the agitation slowly fades, giving way to a counterpoint of a military theme in the wind woods and a broad lyrical melody of the strings. This in turn leads to a conflict fragment where the whole orchestra engages in syncopated motion and swirling passages, through the sounds of battle songs break. After this follows another peaceful episode with two themes reminding of Russian tradition: a lyrical and a lively one.

And again the peace is broken by collision of battle songs against dissonant harmonies and disquieting signals of the brass. After a recapitulation of the lyrical and the lively Russian melodies, Tchaikovsky brings together the latter one with the battle song as if illustrating a battle scene in the end of which the battle song is crushed and the initial hymn appears in a triumphant sound of brass winds and carillons, later joined by sounds of canons.

Since Tchaikovsky did not associate himself with piano playing, his Piano Concerto #1 was by large inspired by Tchaikovskys contemporary, a great Russian pianist Nicolay Rubinstein (Lindeman 114). The composers initial dedication to the prominent virtuoso can be traced from the very beginning of the concert: the first movement opens with a lush melody of the whole string group accompanied by massive chords of the soloist spanning the whole keyboard.

The second time the theme is conducted by the pianist, varying it in amazing octave passages and crushing it into smaller motives that lead to a recapitulation by the orchestra. After that follows a bit jumpy theme led by soloist and carried on in the imitations of the orchestra.

A dialogue of pianos martellato and the orchestras thoughtful phrases leads to a lyrical, as if conversing, theme in a slower motion. This theme is exalted by the orchestra into a section developing small parts of all previous themes in one dramatic motion. The second movement of the Concerto opens with solo sounds of flute that lays out the key melody carried on by the piano.

The theme is further varied in different orchestrations, with the piano and orchestra suddenly bursting out in a chase of each other rapidly stopped by a loud bang returning the initial theme. The final movement is supposedly based on a national Ukrainian dance theme captivating in its syncopated flow (Lindeman 115). But to balance the grandiose beginning of the concert, Tchaikovsky writes a none the less majestic theme for the final Code.

When conceiving his Fourth Symphony, Tchaikovsky was pondering over the dramatic role of Fate in human life, and his music seems to reflect the transition from a deep emotional crisis to the bright ray of optimism (Steinberg 627). The Fate motive opens the first movement in the menacing sound of brass winds.

The strings reply in a disturbed melody that signifies the human confusion in view of almighty Fate. Those two principle motives struggle throughout the whole movement. The oboe melody opening the second movement reminds of the meditative Russian songs, as if taking a break from the twists and turns of life. The following Scherzo as if plays with the audience, approaching and moving away in a series of crescendos and diminuendos performed throughout by pizzicato strings.

In the context of tragic events of the first movement, the final of the Symphony appears the resolution of the conflict between the natural human optimism and the severity of Fate. To emphasize the human sphere, Tchaikovsky employs a Russian folk song There Stood a Little Birch which he develops in images raging from lyrical to dramatic (Steinberg 629). The Fate theme reappears again but the conclusion is optimistic, with an unprecedented use of cymbals to emphasize the life-asserting idea of the symphony.

All in all, the three compositions by Tchaikovsky reveal his composing versatility. He embraces large-scale genres easily and develops them accordingly to unique semantic concepts ranging from patriotic glorification to proclamation of the prevalence of optimism over dramatic fatalism.

Works Cited

Kavanaugh, Patrick. Music of the Great Composers: A Listeners Guide to the Best of Classical Music. Great Rapids, MI: Zondervan Publishing House, 1996. Print.

Lindeman, Stephen D. The Nineteenth-Century Piano Concerto. In The Cambridge Companion to the Concerto. Ed. Simon P. Keefe. New York, NY: Cambridge University Press, 2005. 93117. Print.

Steinberg, Michael. The Symphony: A Listeners Guide. New York, NY: Oxford University Press, 1998. Print.

Who

Born in 1756, Mozart was one the greatest composers of the classical era. Mozart was involved in music from a very tender age of just five years. He became involved in music through learning how to play violin and keyboard as a young boy in his fathers house (Meki and Odyke 42). Before reaching his sixth birthday, Mozart was already a star who staged a series of performances for the European royalties. At the age of 17 years, Mozart was a fully fledged performer at the Salzburg court (Abert 29). He was introduced to music through his parents who made sure that the young man had access to a piano and violin. The father even hired a trainer to fine tune the skills of the young Mozart.

What

Mozart was able to creating many symphonies, operas, and concertos. During his lifetime as a musician, Mozart was able to compose many pinnacles of operatic, chamber, and symphonic music. At the time of his death, Mozart had created more than six hundred compositions (Meki and Odyke 38).

The compositions were created through solo performance or collaboration with other artists. Music really changed Mozarts life since it exposed him to the world and was one the most celebrated performers by the European royalties and other important families. Mozart made a fortune from music and could afford to travel across Europe (Abert 29). During his lifetime, Mozart became a brand name a celebrity who influenced other aspects of life such as literature, politics, and modern musical composition (Meki and Odyke 41).

Where

Mozart was renowned for solo performance across Europe. He was at center of the famous Viennese musical world (Meki and Odyke 29). Due to his talent, Mozart travelled across in many places performing operatic compositions to famous people such as Emperor Joseph and other aristocrats in the society (Eisen 12). In adulthood, Mozarts scatological music became a culture in his home town and across Eastern Europe.

When

Mozart lived in the late 18^th century as a celebrated artist. His strategy of adopting repetition in the composition was instrumental in balance the rhythm and melody that swept the musical scene in Eastern Europe (Meki and Odyke 19). Mozart used his influence in the musical scene to recruit many other artists (Freeman 22). Despite having died more than 100 years ago, Mozart remained a notable figure, especially within the solo performance platforms.

Why

The talented Mozart artistically fused the tempo and dynamics to create a deep composition that could be related to the events in the society at that time. For instance, the Magic Flute composition was a reflection of the free spirit and the need to stop the Austro-Turkish war (Meki and Odyke 23). Gradually, the tempo of the compositions increased and harmonized proficiency and controlled energy through the swings between moderate, allegro, and andante.

The hypnotic quality of his music perfectly suited the compositions and instrumentation (Bergman 23). The musical instruments played by Mozart in most of his performances were keyboard and a violin. In a composition after another, Mozart demonstrated emerging and entertaining performance styles in balancing the tempo variances. Mozart used his music to communicate and entertain many people, especially in the Eastern Europe (Meki and Odyke 45). At present, his works have remained a centre of study in solo compositions.

Works Cited

Abert, Hermann. W. A. Mozart. New Haven: Yale University Press, 2009. Print.

Bergman, Mark. In the groove: Form and function in popular music, San Diego: Cognella University Press, 2013. Print.

Eisen, Cliff. Mozart, Wolfgang Amadeus: The New Grove Dictionary of Music and Musicians, New York, Oxford University Press, 2001. Print.

Freeman, Daniel. Mozart in Prague, Minneapolis: Bearclaw, 2001. Print.

Meki, Nzewi and Nzewi, Odyke. A Contemporary Study of Musical Arts, Cape Town: African Minds, 2007. Print.

The principle of unity and variety can be applied to various musical works. This paper is aimed at discussing the way in which this principle can used to discuss Frédéric Chopins Prelude in E minor. It is critical to focus on such aspects as dynamics, timbre, and musical ideas included in this piece because these examples can illustrate the diversity of techniques applied by Chopin and the way in which he integrates them into a single entity.

At first, it is necessary to discuss the structure of this prelude and the main musical ideas in this work. This composition includes several neighbor-note motifs. In particular, one can speak about such patterns as B-C-B notes (Rink & Samson, 2006, p. 169). Additionally, Chopin uses forte and fortissimo sounds to distinguish various musical ideas. Furthermore, the composer includes a cadence to distinguish the final part of this prelude.

One should also focus on the dynamics of this musical composition. There are accented forte sounds. To some degree, they contribute to the variety of this composition. Yet, more attention should be paid to the use of crescendo and diminuendo. These gradual changes in the loudness of music are the most characteristic attributes of this composition.

Furthermore, timbre is another important element of this work. The majority of notes are played in the mid and lower ranges. In turn, this approach is useful for creating warm sounds. Nevertheless, some of the sounds are in the upper register. This argument is particularly relevant to those parts when this piece moves to crescendo because at this stage, there are very strong chords that sound very piercing. These are some of the aspects that should be considered.

Additionally, much attention should be paid to the pitch of this prelude. This prelude has the characteristics of a chromatic musical piece which means that Chopin includes different semitones in this composition (Randel, 2003, p. 381). However, at the same time, this piece is mostly a non-modulating work. In most cases, it does not change from one key to another (Randel, 2003, p. 381). Overall, these examples indicate that there are certain patterns that shape this prelude.

In particular, one should consider such aspects as gradual changes in the loudness of music, the same modality, and the use of lower register. These elements intensify the unity of this piece; however, at the same time, there are some deviations from these patterns such as chromatic scales or accented notes. These components make this piece more engaging. These trends and deviations show how the principles of unity and variety can be reconciled.

This prelude represents the style known as the Romantic music, and this movement illustrates some of its main attributes. For instance, Romantic composers regarded preludes as independent pieces of music. In turn, previously they were mostly applied to introduce larger compositions. As a representative of this movement, Chopin created many standalone preludes. Additionally, Romantic music often evokes the feeling of sadness and longing. To some degree, Chopin uses this musical piece to give vent to his feelings.

Thus, this discussion shows how unity and variety are reflected in Chopins work. There are several techniques that he often uses; in particular, one should consider the use of diminuendo and crescendos, the same modality, and lower register notes. These elements are supposed to unify this musical price. However, at the same time, the composer includes several components that depart from the general patterns. Overall, this piece highlights Chopins ability to reflect the feelings of a person through music.

Reference List

Randel, M. (2003). The Harvard Dictionary of Music. Boston, MA: Harvard University Press.

Rink, J., & Samson, J. (2006). Chopin Studies. Cambridge: Cambridge University Press.

Abstract

A leading and most efficient composer of operatic music and plays, Mozart is a genius since his childhood. His mastery extended over a hundred plays and operas. He was assisted by his librettists in his success. One of the most noted librettist is Da Ponte. While Pontes work on poetry was alluring, so was the music of the genius, Mozart. It continues to enchant listeners even today. Loved and listened to by all the classes of people who have an ear for classical work of arts, each one of their creations has a distinct flavor. Symphonies and elegies of Mozart are the major marks of excellence that merged with the traditional poetical work of Da Ponte. Personally, they hardly shared the same frequency whenever they met one another.

The Greatest Composer/Finest Librettist Combination

Wolfgang Mozart, born in Jan 1756, is considered one of the best composers of classical music ever. He is an Austrian and a native of Salzburg. Mozarts parents were supportive to raise him through his career and his father gave up his job so as to make Mozart reach greater heights in his career. His father served in an orchestra in Salzburg. He, at a very young age of five created his own operas without any help. (Epand, 2008, Mar 12)

His father Leopold wanted Mozart and his sister Nanneri to nurture their talents. This eventually made him tour around Europe learning and observing music as he grew. This was a very clear breakthrough in the career of Mozart. He acquired a rich knowledge in composing and within a short span time he completely learnt how to handle and generate music in a piano and at a very small age, he composed his own music.

In the year 1773, Mozart served as a composer under the Archbishop of Salzburg. He gained a lot of knowledge and improved his intelligence in the opera composing. Though he had sharpened his composing abilities, he was not happy about the pay he was getting there. (Shinn, 2009, Feb 16). In the year 1791 he suffered very great loss both physically and economically. He was affected by plague and disorders related to it. He had been composing an elegy even when he was ill. All he wanted was to complete it with utmost fulfillment. His death was marked in the month of December and in the year 1791. (Walters, 2010, Oct 18)

On the other hand, Lorenzo da Ponte is considered one of the most important and a friendly librettist of the legend Mozart. He worked with Mozart to write and organize plays which turned out to be highly popular. The plays he wrote were welcomed by people. He wrote librettos which were comical. (Asiado, 2007, Sep 17). Born in Italy in 1749, Da Ponte was associated with the Catholic Church though he was a Jew.

Lorenzo Da Ponte, in the beginning of his career served in the church. He then decided to become a poet as he considered his creations effective. Lorenzo went to Venice and several other places like Dresden and Vienna to reveal his poetic skill. The memoirs that he penned were to put an end to the rumors and the gossips that came about him. He was not normal and had a strong desire on open minded affairs of state. He was attracted to elder women and these reasons made him suffer an exile from Venice for 15 years. Lorenzo left to Dresden and sought the help of his friend who was also a librettist. His friend Mazzola helped him in a getting a job in Vienna (Asiado, 2007, Sep17)

Da Ponte had a very close relationship with the King Joseph II but he did not stay in the good books of all the other parties of the government. They were all searching for the right reason to eliminate Da Ponte from his employed status and once the emperor died, he was fired.

So, Da Ponte decided to seek Mozart for help and asked him to work for the play he had been writing. Mozart on the other hand was not ready to work with Da Ponte as he was busy with his own project and it seemed more serious and meaningful to him. It was called THE MAGIC FLUTE. Having nobody to help, Da Ponte stayed in Italy and was not respected by his fellowmen in his own land.

He then went to Trieste and he fell in love with a young and beautiful daughter of a Businessman named Nancy Grahl. She neglected him because he was old and did not find anything enchanting in him. Slowly Da Ponte with his smartness made her love him and they became a couple soon. Da Ponte traveled to Paris to live a happy livelihood with his partner. But soon after they reached there, Da Ponte found that his favorite Kings family had faced ruins and they were not Royal, still. He lost his hope of worKing in Italy and he went to London. In London, Da Ponte had a good job with a decent pay.

He was extravagant and found it very difficult to live in such a town. He was not able to meet the expenditure and finally left to New York. There he owned a store that sold general items and found an average profit in his business. At last his profit turned out to be losses and was not able to raise his kids in such an environment. During 1807, he enCountered Clement Clarke Moore. He assisted Da Ponte in transforming into a lecturer in Italian arts at the University of Columbia.

After that Da Ponte gained a lot of prestige in the city and was appreciated for all his lectures. He was well versed in taKing classes on play conversions from one language to the other. To show Don Giovanni in English he used his funds and made it a huge success. He rented a theatre in New York and the play was very famous amongst kids and teens.

The Year 1832 was when his wife died and he was not able to cope up with her loss. He thereby behaved frantically at times. He penned a list of poems for the remembrance of his wife Nancy. They were eighteen in number. His soul left this world in 1838. (Genevieve, 2010, Aug16)

The year of importance in his long life, is obviously 1783 because this is when Da Ponte got introduced to Mozart and there on they started worKing on plays that later became the opera hits. The plays which came out from the duo are Le Nozze di Figaro, Don Giovanni and Cosi fan tutte. Le Nozze di Figaro was screened in the year 1786 and Don Giovanni in 1787 and Cosi in 1790. (Asiado, 2007, Sep17)

Da ponte as a librettist of Mozart was not so interested in everything he did and always remarked that his much loved operatic creator was Martin. Y.Soler. Da Ponte and Mozart together had given three operatic hits and were not cordial enough while worKing. Mozart being the composer had arguments with Da Ponte when it came to creating operas. Da Ponte prioritized lyrics to be the most prominent element for the effectiveness of the opera. Mozart did not agree with him and wanted the lyrics of the play according to and under the power of the music. (Attea, 2006, Jul 25)

While Don Giovanni was being written, both Da Ponte and Mozart had a lot of hitches. Mozart did not want to give up his opinion on the musical importance of the operas and at the same time Da Ponte was adamant in the fact that words in the operas played the most important role and these had the power to emphasize anything. He also made his point strong by telling that words could make even the duller music more prominent. This made Mozart angry and as a result they took rooms to stay far from each other and had a lot of fights when they met each other. (Selby, 2007, feb28)

Even though the journey of this duo had enCountered a lot of bitter incidents, it brought out a list of winning operas. The combination produced three distinct pieces which were loved by the audience and the skills that both had are just remarkable. However, there was no love lost between them. In Amadeus, Da Pontes name was excluded from the operatic appearance. This was considered as a pure creation of Mozart but the words and the librettos were originally written by Da Ponte!

The Main characters in the play of Beaumarchis are Figaro, Rosine and Susanne, The Count or the King. Rosine hates her life because the Count cheats her and is not honest to her. Bartholo waits for an opportunity to show his vengeance on Figaro who had helped the Count in taKing away Rosine from him. Susanna is the girl to whom Figaro is to be married. Bazile is the composer with whom Bartholo joins and the additional characters are Marcellina to whom Figaro at a situation is compelled to get wooed. She is elder than him and seems like his mother. The truth is finally that Marcellina is Figaros mother. He appears to be Bartholo and Marcellinas son. A garden worker, his daughter and a guy are an additional weight to the play. They are hilarious and really entertain the audience.

The story of the opera is that Figaro and Susanna are to get wed soon. They eventually dream about their wedding and the place they were going to stay. The King named Almaviva had provided them accommodation in the room next to his and this was not liked by Susana. As she wanted to advise Figaro on this, she starts to sing and this is created as a musical melody by Mozart. She knew that the King was corrupt and wanted to be with her when Figaro was not with her. The King was evil minded and gave the room on a reason. The conversation is scored with music and it entertains with a lot of clarity in the transformation.

Figaro got a debt from Marcellina and if he failed to pay it back he had pledged to marry Marcellina and this was the right opportunity for Bartolo to settle his scores of Figaro who made him get rid of Rosine. When Susanna sees this she mistakes Figaro and Marcellina. This makes it comfortable for the Count to postpone the marriage of Susanna and Figaro. The Count suddenly enters her room and requests Susanna to be with him that night as he was leaving to London the next day on a hidden business trip as Figaro also accompanied him.

This ends when Figaro was all admiration for the Count as he had publicly made the rule of the Count to spend a night with all his workers partners. But this was not the Counts real desire. Though he gives Figaro and Susanna all things needed for their wedding he also tells Marcellina that he would make Figaro woo her. Figaro at this point while meeting Cherubino tells him that he cannot meet and have fun with women and fighting for the Country was where his heart lies.

The second act begins with hilarious commotions. This is when the serious plotting of Figaro and Susanna begin. Cherubino plays a girl in this. He is dressed as a girl so as to meet the Count. Figaro gets irritated about his secret plan with Marcellina and plans a plot. He orders Basilio and designs an imaginary love letter to divert the thoughts of the Count. Susanna as per her plan has to enCounter the Count in the garden. It was not going to be Susanna as it was going to be Cherubino who gets dressed like the girl.

The scene is all set when Susanna is going to make up Cherubino as a woman and he tells the Countess that the appointment did not have a signature on it. Susanna moves to the other room to get something for the makeup. The young man tries to tell the Countess that he was in love with her madly and does not succeed in explaining because the Count suddenly comes in and Cherubino had no other go than to get into the closet to make himself hidden.

The Count doubts the confusion and asks the Countess as to what happened. She says its Susanna who is wearing her wedding attire inside. He calls her name as to identify the voice but none responded. His doubts raise and Susanna unknowingly enters the room but manages to stay outside understanding the situation.

When the Count orders to break the door Cherubino jumps from the bathroom door. The Count and the Countess go out to check what the commotion was all about. Using this situation Susanna gets in and enters the bathroom. When they come in again, she opens the bathroom door to everyones. Countess manages to say some reason and the Count gets informed that someone had jumped from the window of the toilet and the flower vases had been broken and he shows a paper left by him as well. He finds that it was Cherubino and Figaro in order to save Cherubino cooks up a lie and finally the Count believes them.

Then Susanna comes to know about the wedding arranged with Marcellina and mistakes Figaro. She promises to pay back the money that Figaro had been loaned by the woman. The Count does not agree with her and asks her to sleep with him. Susanna was compelled to do this. She tells Figaro about this but the Count hears all the plans and decides to give them punishment.

At last Figaro shows a marKing on his body and tells without finding his parents he cannot marry Marcellina. He then happens to be Marcellinas and Bartholos son. This at last ends as a marriage for both the couples.

The Countess wants Susanna to work for a plot and she decides to write a letter of love to the Count and if he tells that he would come to see the lady who wrote the letter he would return the nail on the letter to the concerned person. Susanna calls the gardeners daughter Barbarina and tells her to offer the letter to the Count and get back the nail. Barbarina gets broken as she had lost the nail that the Count had given. Figaro is not aware of the plan by the Countess and Susanna and then is eager to know the woman who was going to meet the Count. To his astonishment it was Susanna and he loses all hope on her.

The scene in the garden occurs and Susanna and the Countess disguise each other by exchanging their costumes and the disguised Susanna comes to meet the Count. Marcellina tells her that Figaro doubts her and she instantly devices a plan and decides to teach both the men a lesson. The Count flirts with the Countess thinKing that she is Susanna. Once Figaro makes some noise the Count escapes and then the original Susanna comes dressed in the Countesss attire. Figaro finds it out that it is Susanna by her voice and then plays pranks on her. She gets furious and slaps him. Figaro tells her everything and Susanna confesses. This finally has a very happy ending. The Count realizes all his follies and feels sorry for what he had done to Susanna and arranges for the wedding of Cherubino and Barbarina. The Count and the Countess also get wed at last.

THE MARRIAGE OF FIGARO had multiple idiosyncrasies outside the stage too! Italians considered ballets not to be watched and the King had banned the ballet scenes. This particular play had ballet scenes in it and the audience requested the King to stop it. This made Mozart feel bad and he almost ceased to play the operatic back grounds. Da Ponte did not stop and continued to exhibit the play and with no music the performance looked so hilarious. The King came to know the exact reason for inserting a ballet in the play and ordered it to be performed. (Linda, 2002)

The duo of Mozart and Da Ponte had never been cordial and supportive. They always fought with each other but still their pieces were simply remarkable. Their personal relationships were not really nice. Da Pontes personality was completely different from the other librettists of the century. He showed interest on certain matters which made him a man not liked by everyone. Da Ponte basically liked Mozarts creations and found him perfect as a composer. He was all praise for Mozart as he shaped Da Pontes poetic skills in a manner that Da Ponte was able to transform himself as a challenging librettist and a brave individual. Thus the two personalities though had problems at all times were able to work togetther and produce beautiful classical operatic pieces and plays. As a composer Mozart always loved innovating musical and reconstructing operatic pieces of ancestral composers (Holden, 2006, Jan 7).

Reference List

Asiado, T (2007) Da Ponte, Mozart Librettist. Suite101.com. Web.

Attea, T (2006) A Life of Lorenzo Da Ponte: Talent Flies; Practical Reason Walks.

Epand, V (2008) The-Life-and-Times-of-Wolfgang-Amadeus-Mozart.

Genevieve, H (2010) Lorenzo_da_ponte_priest_poet_and_playboy, Web.

Holden, A (2006) The phoenix.

Linda, C (2002) Figaro.

Selby, A (2007) Lorenzo Da Ponte  Mozarts Librettist. Web.

Shinn, D (2009) The Amazing Mr Wolfgang Amadeus Mozart. 

Walters, T (2010) The Life of Mozart.

Introduction

Requiem is the last uncompleted work of Wolfgang Amadeus Mozart, the prominent composer, and a funeral mass written in the canonical Latin text. The writing was finished by the disciple of Mozart, mainly by Franz Xaver Süssmayer. Requiem is one of Mozarts most famous works, the creation history of which is mysterious and tragic. This paper focuses on examining how and why the identified piece of music was composed.

The proposal, Conditions, and Completion

In July 1791, Mozart, an all-European renowned musician, a member of the Bologna Academy, and holder of the Order of the Golden Spur, worked on The Magic Flute opera. One evening, a stranger dressed in all black visited him and ordered a requiem mass. Later, it became clear that it was Count Franz von Walsegg, an amateur music lover who used to buy someone elses works and pass them off as his own. He needed Requiem to honor the memory of his wife, who deceased at the beginning of the XIX century (Melograni 242). The customer left the fee and deadline for the order at the decision of the composer and offered a good deposit yet did not disclose his name. Mozart agreed due to the constant lack of money and his impractical nature about everyday affairs.

Today, it is impossible to establish at what exact moment the work began. In the well-preserved letters of Mozart, he mentioned the work on all the compositions that were released at that time. For example, the coronation opera The Mercy of Titus, The Magic Flute singspiel, several small compositions, and even the Little Masonic Cantata were noted. Only Requiem has not identified anywhere with one exception: in a letter whose credibility is disputed. It should be stressed that the composer could not dispose of the idea that he was writing a memorial service for himself (Sollers 154). There was chaos in his head and trouble collecting the thoughts. The image of a stranger did not disappear from his eyes, and Mozart felt that his death would be soon.

The symptoms of an incomprehensible etiology began to bother Mozart in the summer  six months before his death. Doctors could not agree on the causes and diagnosis of the disease. The level of medicine of that time did not allow accurately diagnosing the patients condition based on the contradictory symptoms. For example, the image of the stranger who was constantly in the visions of Mozart harassed his already disturbed nervous system.

These were hallucinations, and if other symptoms could be attributed to kidney disease, edema, or meningitis, hallucinations did not fit into this picture. Some doctors suggested that unidentified symptoms were referred to arsenic poisoning (Melograni 245). In this case, it becomes clear why the doctors who had gathered for the consultation a week before the death of the composer could not agree on the disease, except for one issue  it was not long to wait.

The stranger appeared again to notice the results of the work. Mozart begged himself another month to complete the work, but the mysterious visits of this man in black seemed to him some ominous sign. If one adds to this the general emotional and physical state in which Mozart was at that time, it becomes clear why he sometimes began to tell his wife and friends that he was writing a farewell mass to himself.

Despite the inexplicable illness deteriorated every day, the composer worked extremely hard. The Magic Flute was over, and its premiere took place on September 30. After that, Mozart composed the Little Masonic Cantata, which he conducted in the middle of November. When the strength completely left the composer, he dictated the music to his disciple, Süssmayr, who lived in his house. In December, the part of Requiem called Lachrymosa was complete.

On the evening of December 5, friends gathered at the bedside of the patient and sang Lachrymose. Mozart played the viola part, but burst into tears and could not continue (Mozarts Requiem 58). The next day, he deceased, and the last piece he wrote was Hostias. The remaining pieces of Requiem, Sanctus (Holy, Holy is the Lord God of Hosts), Benedictus (Blessed is he who comes in the name of the Lord), and Agnus Dei (Lamb of God who carries all the sins of the world, grant You rest) were added by Süssmayr.

The end of Mozarts work was offered to be entrusted to several masters. Some of them, overloaded with affairs, could not surrender to this work (Melograni 245). Others were afraid to compromise their talent by comparison with Mozarts genius. However, it was known that during the life of Mozart, Süssmayr often sang together with him the composed numbers, they discussed the development of this work, and this disciple was informed about the whole course of Requiem and as well as the basics of instrumentation.

In his interpretation of the form of the mourning Mass, Mozart intentionally followed established traditions. In his Requiem, there are 4 sections with several numbers. The music of the last section largely belongs to Süssmayr, although here Mozarts themes are also used. In the final number, the material of the first chorus is repeated  the middle section and reprise. The basic tone of Requiem is d-moll  the tragic, fatal. The most dramatic numbers are 1, 2, 7, and 12, and all music is fastened by intonation connections. The second role is played by second turns and the chaffing of the tonic with introductory tones, which appear in the very first theme.

Even though the other composer also contributed to the creation of Requiem, Mozart produced the canonical edition of the work, although others were proposed after it. Two autographs of Requiem were preserved, one of which belongs to Mozart, and the second  more complete  to Mozart and Süssmayr. Musicologists are still discussing the extent to which Wolfgang Amadeuss student was involved in writing the given masterpiece.

Modern analysts try to reconstruct the original ideas of the master, considering them from the perspective of Süssmayrs musical decisions. For example, aesthetic resonance is evident in the orchestration of Introit through frequent segues as well as voice doublings (Keefe 25). More to the point, Sanctus and Benedictus also represent the active involvement of the mentioned composer in the work on the given musical piece. However, Mozarts Requiem is the great heritage left to humanity.

The question of the interaction of the musical styles of the mentioned composers remains unanswered. The contribution of Süssmayr is, however, criticized by Levin et al., who states that the positive judgments of the scholars might be not relevant (583). The key argument provided by the above author is that the assumptions provided by others are vague and unsubstituted. The rhetoric and sense of style are regarded as the issues to be evaluated instead of romantic notions.

While examining the creation of Requiem, it is essential to pay attention to Mozarts wife, Constanze. She clearly understood that the commissioner who ordered the mass wanted to receive it, but it was not finished. Therefore, Constanze distributed various rumors about the death of Mozart one of which is that he felt his death and strived to complete the piece (Melograni 284). It was rather important for her to keep in secret that Süssmayr was the person who completed the work. The myths about the poisoning of Mozart and the opinion that it was Antonio Salieri who finalized Requiem were also created by her efforts. One of the premises of the latter is the play written by Alexander Pushkin and called Mozart and Salieri.

Conclusion

Requiem completes the creative path of Mozart, being the last work of the composer. As an epilogue of a lifetime and artistic testament, Mozart wrote it to order, which he received in 1791, but he could not immediately start. Requiem evoked numerous myths and discussions: one of the main questions is what is written by Mozart, and what was added by Süssmayr? Authoritative musicologists are inclined to believe that the authentic Mozart text goes from the very beginning to the first 8 bars of Lacrimosa. After that, the disciple took up the business, relying on draft sketches and some oral instructions of Mozart.

Works Cited

Keefe, Simon P. Die Ochsen am Berge: Franz Xaver Süssmayr and the Orchestration of Mozarts Requiem, K. 626. Journal of the American Musicological Society, vol. 61, no. 1, 2008, pp. 1-65.

. Mozarts Requiem: Reception, Work, Completion. Cambridge University Press, 2012.

Levin, Robert D., et al. Finishing Mozarts Requiem. On Die Ochsen am Berge: Franz Xaver Süssmayr and the Orchestration of Mozarts Requiem, K. 626 by Simon P. Keefe, Spring 2008. Journal of the American Musicological Society, vol. 61, no. 3, 2008, pp. 583-608.

Melograni, Piero. Wolfgang Amadeus Mozart: A Biography. University of Chicago Press, 2007.

Sollers, Philippe. Mysterious Mozart. University of Illinois Press, 2010.

Classical music is one of the directions of music that originated in the middle of the 17th century and is developing to this day. One of the most exceptional stages of the formation of classical music was the 18th century, which gave people the most talented composers, such as Ludwig van Beethoven and Franz Schubert. Although many other composers demonstrated their talent at that time, Beethoven and Schubert were still among the most prominent representatives of the 18th century.

Ludwig van Beethoven was a great German composer, pianist, and conductor who represented the musical direction called Viennese classicism. After his mothers death in 1787, he took over the financial responsibilities of the family (Grace & Ronald, 2018). Ludwig Beethoven began playing in the orchestra and listening to university lectures. Rude and selfish in public, the composer was very open and friendly towards friends. Beethovens work of the following years is filled with new pieces: The First and Second Symphonies, The Creation of Prometheus, and Christ on the Mount of Olives. However, Beethovens later life and work were complicated by the development of ear disease  tinnitus.

The composer retreats to the city of Heiligenstadt, where he is working on the Third  Heroic Symphony. Complete deafness separates Ludwig from the outside world. However, even this event cannot make him stop composing. The whole series of works for piano, cello, the famous Ninth Symphony, and a Solemn Mass were created (Grace & Ronald, 2018). Each of Beethovens works creates its own memorable impression on the listener as they all differ in tone and mood. The first piano sonata, f-moll, begins a line of tragic and dramatic works by Beethoven, and it is sensual, emotionally intense, and miserable. The well-known Moonlight Sonata is lyrical and conveys profound emotional experiences and feelings.

Another representative of classical music of the 18th century was the composer Franz Schubert. At the age of six, Franz Peter entered the Lichtenthal Parish School (Yuldashev & Akbarov, 2022). An analysis of Schuberts work shows that he was a brave and original musician. He composed in his spare time and played a lot of music with a narrow circle of friends. And one day, I decided to leave my permanent job and devote myself to music.

Schubert lived poorly and did not have enough money for everyday life. All his music is an endless monologue with the finest reflection of a mature man beyond his years. In the composers music, there is no dialogue with the audience, attempting to please and impress. All of it is very intimate, even intimate in a sense, and filled with infinite sincerity of feelings. Profound experiences of his earthly loneliness, deprivation, and bitterness of defeats served his thoughts daily and, finding no other way out, poured out in creativity. In 1828, in the autumn, he fell ill with typhoid fever, from which he died on November 19 (Yuldashev & Akbarov, 2022). Recognition came to him posthumously, and much later  after several decades.

Schuberts works are filled with romance, lyrics, and unique energy. He created song melodies that remind people of something ordinary. Thus, in the song Trout, the melody resembles the sound of waves, and in Serenade,  the sound of a guitar. In many of Schuberts works, listeners can recognize the theme of loneliness, light tragedy, romance, and dramatic tension. He wrote song cycles in each of which it is possible to distinguish separate parts, which can denote the change of the season and a memorable melody peculiar to each of these parts.

In conclusion, classical music is one of those genres that originated long ago but are still popular today. Prominent representatives of classical music are Ludwig Van Beethoven and Franz Schubert. Each of them gave the world masterpieces that are still listened to by both adults and children, and which carry many personal experiences of composers. Listening to their music, you can imagine what each of the composers felt at the time of their writing and imbued with the depth of the written works.

References

Grace, H. & Ronald, L. (2018). Ludwig van Beethoven (1927). Routledge.

Yuldashev, A., & Akbarov, T. (2022). A Look at the Work of Composer Franz Schubert. Pindus Journal of Culture, 2(3), 2025. Web.

Frederic Chopin was one of the renowned musicians. His composing style was very effective in the music world (Samson, 1994). Initially, he did many experiments to compose techniques of piano playing which later on brought revolutionary changes in music and well esteemed by all. He had a good-looking and polite persona. He was very systematic and liked to live in a stylish way. He always wanted to be in touch with the latest trend around him.

These personality traits made him unique in society. He gifted to beginners the concertos and sonatas. Chopin composed all his music on the piano. His music is recognized not just for its brilliance, but also for being difficult to play. Chopin left a great impact on the public. People remember him today for his valuable music style and visualized as a poet of the piano for the stunning music he composed and played (Huneker, 1921). He was the player who had the managerial ability of the very highest order.

Frederic Chopin was basically a musician who was born in a village near Warsaw, in Poland, on the 22nd of February 1810. He was an only brother among three sisters. Since childhood, he showed great interest in music. At the age of nine, he made his first public appearance and played a concerto. It was characteristic of him that on this occasion he thought more of his personal look than concentrating on piano. Chopins favorite instrument was the piano from the beginning (Samson, 1994).

Observing such a keen interest in music, his parents realized that they must train him to choose music as a career and their decision was supported by Madame Catalani, the great vocalist, who gave the boy a watch with obsequious writing in eulogizes of his flair. Chopin was greatly influenced by his Polish mother and the culture of his country which inspired him in writing many Mazurkas and Polonaises based on Polish dances. The father of Chopin was French therefore he was also closely linked with France.

He lived in Paris and learned many things which were later reflected in his music. In France, he enjoyed his life in composing and playing. At an early age, he was fond of music and showed great interest in doing something creative in this field. He began to compose but he had received no training in composition therefore his father sent him to Joseph Elsner, the director of Warsaw Conservatoire, to get mastery over the theoretical side of his art. Elsner proved to be the best instructor in shaping Chopins talent. In Warsaw, he could not develop himself to be the best performer. So he visited Berlin.

He as a young artist heard many forms of music including Handels Ode on St. Cecilias Day, which he said awe-inspiring ideas for composing music. At a public meeting, he sat close to Mendelssohn, but he hesitated to share his inner feeling. Later, when Mendelssohn made his relationship, he bestowed on him the significant name of Chopinetto. After Berlin, he visited several places but his music interest was not fully satisfied. In his tour, Chopin landed one day at an inn to find a piano there. Chopin was eager to get at an instrument. He touched the keyboard with enthusiasm and played. His talent attracted all the travelers and all the people of the inn. During that time Chopin met Hummel, one of the older classics of the piano. He had naturally much interest in Chopin, whose style was influenced by him in a mild way.

The exceptional characteristic of Chopin was that he did not only write compositions but also assembled many of the scales and chords which are still used in music today. Chopin was phrased with the title A Genius in music when he produced his first work Polonaise in G Minor. Frederic Chopin developed his composing talent only with the backing of his familys support and musical background, his compositions, and his passion for music. Chopin referred to music on three levels: intellectual, sentimental, and emotional. His works are clearly epitomized his own delicacy and sensitiveness, his inner sentiment for romance.

His composition reflected his modest, retiring nature; something of his zealous nationalism and his disrespect for the plaudits of the public. He was stuck to the teaching profession which he could not easily avoid, in his capacity as an artist and with his social attachments in Paris. Chopin devoted all his potency for several hours a day with real satisfaction. Admittedly he placed great demands on the talent and industry of the student. There were often lecons orageuses, as they were called in school parlance, and many a lovely eye left the high altar of the Cite d Orleans, rue St. Lazare, in tears, yet without bearing the least resentment against the greatly beloved master. He shined through his sacred imaginative enthusiasm. Whatever he spoke, it stimulated and inspired the people (Carl Mikuli, 1879).

Technique and Style Chopin acquired a highly developed skill, had a command of the instrument. In all types of touch, the evenness of his scales and passagework was unmatched, indeed wonderful. He had the talent to blend the tones amazingly in any love song. The ability of a true pianist facilitated him to realize the most widely disposed harmonies and to perform extensive passagework which he pioneered into the idiom of the piano as something never before challenged and all without the slightest effort being apparent, just as overall pleasurable freedom and ease particularly characterized his playing.

He always made effort to draw a huge tone from the instrument especially in the cantabiles. Noble energy provided an overpowering effect to the proper passages, just as elsewhere he could captivate the listener through the tenderness without affectation of his poignant renditions. Such powerful personal affection in his playing was always moderate, pure, refined, and rarely even austerely reserved (Carl Mikuli, 1879).

Chopins piano-playing style has two important traits: rubato and classical basis. In rubato, Chopin played the main melody, usually the right-hand part, in a hesitant but very free manner. As a result, the melody tends to be slowed down a bit or accelerated. Rubato means a feature of performance in which strict time is robbed from some notes in order to give others the time to be played slowly. This style has improved the expression of the particular melody.

Chopin focused on classical technique despite his supreme rubato and romantic style. In this style, he played in strict time with a monochrome on his piano and smoothly (legato). Physically, he played the melody singing and touching with very flexible wrists. He also used sustaining pedal competently to improve the singing tone as well as appeal to the dramatic sense (geocities.com). He even adopted Clementis piano method with his own students.

He was also impressed by Hummels development of virtuoso, yet Mozartian, piano technique. His taste in music was not too extensive. He respected Bach and spent many hours performing and teaching the great composers preludes and fugues (Lauber, 2000). Generally, Chopin enhanced his music talent through his favorite composers, J.S.Bach and Mozart. This shows that his works sound in a tonal way. From his performance, it can be analyzed that Chopins music is very high creative and pianistic. His piano works are composed exclusively for the piano unlike the piano works by Beethoven that could be recorded into other forms like orchestral work, chamber work, etc.

Chopin brought a revolution in piano music by taking stimulation from the singing human voice and transferred it into most of his works. Except for the singing and poetic music, it sometimes contained dissonances and thick harmonic structure that produced a rich, powerful sonority. Chopin made the piano popular in terms of a singing instrument; an instrument of endless color and poetry; a heroic instrument; an intimate instrument. Chopin composed absolute music to indicate that he only gave abstract titles to his music. In this sense, he was dissimilar from other composers like Schumann who always gave traditional titles to his music.

Chopin was not a fast composer like Mozart. But when he composed, his melodic ideas came fast and he played and managed continuously until he completed it as a piece. He always took great care in composing music such as thinking back on the original ideas that had been played recently, fitting them into proper form, keeping on altering and refining the phrases until he was satisfied with it (www.geocities.com).

When interpreting Chopins works, it can be realized that he was a skilled pianist and his works were concentrated on solo piano. Many of these works are fairly short in duration, such as the Preludes, Etudes, Waltzes, Impromptus, Nocturnes, and Scherzos. He also wrote a number of multi-movement works including of course several Piano Sonatas. He was competent in composing for other instruments and did so at times, for example, his two Piano Concertos for solo Piano and Orchestra.

There is an abstract approach in many of his works (e.g. Preludes and Etudes) which bear a relationship with some of the forms (e.g. Preludes, Inventions, and Fugues) that Bach used. These are abstract in the sense that they are heavily structured, but they did not reflect any emotion. On the other hand, Chopin played his works with a strong rubato and this was heavily required in his music. This gives the musician another dimension of expression which makes Chopins music very much of the Romantic era (mfiles.co.uk).

The main example of musical work- In 1839 Chopin published the 24 preludes, Op.28, which were the most important works of the Romantic collection. Each prelude is written in one of the 24 keys, in a characteristic tribute to Bach. Within each of these musical miniatures, the entire spectrum of the composers emotions is symbolized. It ranged from joy and light-heartedness to melancholy, even rage and anger. This is considered to be the greatest variety of moods ever assembled in a single set of pieces. The Etudes, Op.10 and 25, are the best example of piano technique, which was the most difficult sets for the instrument, especially when performed in their entirety.

He took the typical figurations (scales, broken chords, trills, double notes) which were found in the studies of Hummel and Clementi but vividly making them even more pianistically challenging. Canto style (as represented by Bellini) was the main string of his artistic vision. This made his idea of the piano above all vocal rather than orchestral (Lauber, 2001). Chopin composed the base of music for the piano which combined a unique rhythmic sense and frequent use of chromaticism, and counterpoint.

Using his technique, we can guide further generations to show outstanding performance. This mixture produces a particularly delicate sound in the melody and the harmony, which are however supported by solid and interesting harmonic techniques. If anything was perceptive or modern in Chopins approach to the sound, it was certainly making interchangeable the physical aspect of playing from a thought concentration and hearing control. In composing music, he utilized the artistic views of Ernst Theodor Amadeus Hoffman and George Sand, who stated that the language of music is the most indeterminable one against all the languages of the arts. It means music is a truly poetic language, free of words and written verse in its entirety.

To sum up, Chopin is the poet of the piano par brilliance and he was neither a copycat nor competitor. His music techniques were exclusive as Chopin always improvised new pieces on the piano before he composed them. He as a pianist had left such an impression in the music field that no one can stand with him. Chopin most firmly recommended ensemble playing, the cultivation of the best chamber music but only in the company of highly accomplished musicians (Carl Mikuli, 1879).

His great trade names were pearly scales, subtle voicing, and an unsurpassed legato. The hidden secret of his qualities and success in composing such breathtaking music is that he listened personally to the great singers of the day in order to recognize the true art of singing at the piano. His main characteristics such as dreamy, tender, womanish, elusive made him a successful musician. Today, after many generations, the birthright of Frederic Chopin lives on as one of the greatest pianists on record. His creations are as wise today as it was then.

Work Cited

1. Carl Mikuli. Chopin as Pianist and Teacher. 1979. Web.
2. Tristan Lauber. Chopin: As Seen by a Pianist. 2000. Web.
3. Jim Samson.The Music of Chopin. Publisher: Clarendon Press. Place of Publication: Oxford. 1994. Pp: 10.
4. Huneker James. Chopin: The Man and His Music. Publisher: Charles Scribners Sons. Place of Publication: New York. 1921. Pp: 5-12, 86-91.

Biography

Sir Arthur Bliss was until the time of his death a well respected and prominent English composer of the queens music. He was born as the eldest son on 2 August, 1891 in England. His mother was British but his father was of American origin that was by then working for the Anglo American oil company. (Poets and composers 1July 2007). For more than fifty years he composed and performed his music on the world stage. He later died March 27 1975 in London where he was buried.

Bliss started his Educational journey at Bilton Grange preparatory school 1905-1910); He studied at both Rugby school and Pembroke College. Later on he went to study at Cambridge and Royal College of music, in the latter he studied there for a very short period. He was a bright student as he achieved a First class honors degree in History.

His education life was interrupted after the break out of the First World War where he was forced to serve as an officer in the British army. In this war he fought alongside his brother Kennard Bliss who was killed at the battle of Somme. During the Second World War in 1939 Bliss was living in America where he taught at the University of Berkeley for two years. (Chester Novello 2008). Bliss was highly influenced by Elger. Early on in his music career in 1922 Bliss was invited by Henry Wood to conduct Melee Fantasque at a concert. Fortunately Elger was present at the event and provided Bliss with a chance to perform his colour symphony at the Three choirs festival.

Later on Bliss moved to California America with his family where he had plans of writing music for the movies which were never fruitful. It is here where he eventually got married to Gertrude Hoffmann in 1925. (Eminent Blisses 2008). After getting married Bliss moved back to his native country where his reputation as a composer flourished. In 1928, Bliss wrote a successful pastoral for a small choir and orchestra that was a dedication to Elgar. In 1929 Bliss decided to rekindle his early experiences in the world war one. He composed Morning Heroes a long symphony in five movements that was meant for orator, chorus and orchestra. This symphony illustrated anguish, pain and suffering of the war. It integrated texts from Homer, ancient Chinese poem, Walt Whitman and poetry from Wilfred Owen and Robert Nichols. This symphony dedicated to the fallen heroes of war first premiered at the Norwich Festival in 1930. Due to its (Morning Heroes) huge success Bliss gained popularity all over Europe and his compositions were widely demanded.

In 1942 an important propaganda film in Russia used fanfare for Heroes by Bliss. His dream to create music for movies now came true as he later composed music for The shape of Things to come by H.G Wells and an aborted film version of Anthony and Cleopatra by Bernard Shaw. In addition, he wrote music for the Checkmate a ballad that was well acknowledged in France, choreographed Ninette de Valois.

At the beginning of the 2^nd world war bliss moved back to America in 1939. After his stay abroad he moved back to Britain on June 1941. Soon after settling down he was appointed director of music at the BBC. In 1949 he collaborated with J.B. Priestley to write a ballad that was titled The Olympians. 1953, Bliss was again invited to compose music for the film A Beggars Opera produced by Laurence Oliver and directed by Peter Brook. At his workplace he created music for the 2 act opera, Tobias and the angel for BBC TV in 1960. Although he created good music he considered Mediations (1955) as the best composition that he has ever created.

In his sunset years Bliss actively continued with his career of music and still created captivating music. He produced a cello concerto and the Tryptych. In 1969 he composed music for the Investiture of the Prince of Wales at Caernavon castle. As an octogenarian he created large and metamorphic variations performed in 1973. Shield of Faith for the Windsor Festival Committee was another late work that was done by Bliss just before his death.

Arthur Bliss achieved many honors for instance; in 1954 he was made Master of the Queens Music. He was given an opportunity to serve as the president of Performing Rights Society and President of the International Confederation of Societies of Authors and Composers in 1958 and 1960 respectively. In 1965 he was honored as the president of the Cheltenman International Festival of Music. (Eminent Blisses 2008).

More often than not it is usually left for the composer himself to give a review of his own composition and analyze his style. Style in Blisss work we can view it as the essence that motivated his compositions.(Andrew Burn 2008). Bliss believed that the base for all his compositions was emotions. This can be illustrated by the symphony that he composed for the fallen heroes in the First World War. He was of the opinion that without emotion music cannot be beautiful or captivating. This emotion to Bliss should come about as a result of sudden realization of beauty.

Bliss was famous for composing amazing pieces of music together for example; he composed concerto for wordless tenor voice, piano and strings and rout for soprano and chamber orchestra, in which the voice sung phonetic sounds rather than words. (Rings World.com, 2008). Influence by Stravinsky and Debussy is illustrated in his 1922 colour symphony. This symphony explores the idea of musical associations of different colours. Some of the Stravinskys works that highly influenced Bliss are Japanese Lyrics. Apart from the influence by Debussy and Stravinsky Bliss was also influenced highly by Elgar who Bliss had met in 1912. He was accredited for influencing the style of Blisss Music. Most of the Blisss music has Elgarian characteristics. It can be concluded that Elgar was the major influence on Blisss compositions.

Arthur Bliss was a highly influential figure in the British music and he still remains to be a respected musician. The younger British generation that did Queens music continued to be influenced by Blisss famous performances Some of these younger generation included Birtwistle, and Maxwell Davies. Even Though Bliss was influential in his sunset years his works became unpopular because of the new music that was performed by such composers as Maxwell and Davies. With the emergence of music composed by younger generation Blisss music together with that of his fellow composers who performed during the interwar period was viewed as static although some of his best performances continued to be performed. Although Blisss status diminished soon after his death as a well renowned composer his reputation is being revived by playing some of his best performances.

Renaissance music is a kind of European music that was played during that the renaissance period (1400_1600) Renaissance music was attributed with several characteristics. The music was based on modes except creeps were accidentally associated with the music. The music of this time was also characterized by four parts loaded with texture. Tenor was always above the bass. The renaissance music was more concerned with flow and progression of chords to achieve harmony. In this music focus was on blending rather than contrasting strands in the musical texture. Church music that was composed during this time was meant for a cappella performance. Music in the church was always accompanied by instruments. The music that was meant for church that is secular music contained instrumental pieces accompanied by vocal pieces and dances. Between the two, sacred and secular music the latter was considered to be more important.

Considering these characteristics Arthur Blisss compositions exhibited some characteristics of the renaissance music. For example, in the renaissance there was use of instruments like Elizabethan instruments in comparison Blisss music was sometimes accompanied with instruments like the piano. Just like the renaissance music Arthur blisss symphony morning Heroes was composed in five movements and was rich in texture. Arthur Bliss music was secular that is it was not religious, this is an extension of the renaissance music since Bliss did not consider religious music important. Many of the renaissance composers dealt with the secular music. Vocal pieces together with dances and instrumental pieces were considered to be very important components of the renaissance compositions.Blisss compositions sometimes were accompanied by dances. A lot of the music of the renaissance was programmatic in that it was supposed to tell a story. The music was descriptive. To a small extent Arthur Blisss music was descriptive for instance the Morning Heroes described the story of war.

Sir Arthur Bliss was a composer whose compositions were almost like the renaissance compositions. He was a student to Charles Stanford, Ralph Vaughan Williams and Gustav Holst. Some of his compositions are Pieces for wordless voices that were considered avant garde. His other works include ballets, cantatas, operas such as thecolour symphony(1932), Olympians(1949), a piano concerto (1938), Tobias and the Angel (1958), a piano concerto (1938), quintets for oboe (1927) clarinet (1931) with strings and a concertina for cello and orchestra (1969).

References

Arthur Bliss. News on Arthur Bliss. 2005. Web.

Chester Novello. Arthur Bliss. 2006. Web.

Eminent Blisses. The Bliss Family History. 2008. Web.

High Beam Encyclopedia. Sir Arthur Bliss. 2008. Web.

Renaissance Music (1450-1600). 2007. Web.

The Arthur Bliss Society. 2008. Web.

Renaissance music. 2008. Web.

This e-concert is amazing. There are three different orchestras playing some of Pyotr Ilyich Tchaikovskys best pieces:

• The Tchaikovsky concert program began with the 1812 Overture with full cannon and bells as done to celebrate the 150th birthday of the composer in a gala with Yuri Temirkanov conducting the Leningrad Philharmonic and the Leningrad Military orchestras together.
• This was followed by Martha Argerich playing Tchaikovskys Piano Concerto No. 1, with Charles Dutoit and the Orchestre de la Suisse Romande (Genève)
• After the intermission, the programs ends with Tchaikovskys Symphony #4 in F minor conducted by Barenboim for the opening concert of Carnegie Halls 1997 season.

The Russian composer is one of the most popular of all time and he left a legacy of the most complex and beautiful music for many different instruments, though his piano concertos, symphonies and ballets are the most famous. His understanding of harmony and full use of all the instruments enriches the sound of anything he composed and his famous beginning have made him one of the most recognizable composers of all time.

I have never valued Utube so much as now, and I will have to purchase the VDV recordings of these concerts, especially the Concerto #1, as it was nothing short of a miracle of sound, which actually brought tears to my eyes, since I was blessed to have a really great noise-cancelling Bose headset and a clear Internet signal. There is no other way I could have enjoyed such a wonderful concert. In this case, the recording is every bit as wonderful as a live performance, and the Concerto is better than live, unless one becomes a great concert pianist and can create such an experience.

The 1812 Overture, which tells the story of the defeat of the invading Napoleonic army is possibly the best piece the composer ever wrote. It is not long, but it includes shorter version of typically longer symphonic works ending in a marvelous cacophony of church bells, real cannon and full orchestra. This version is done without chorus, as originally written, and the performance is rich and expressive.

Of course the defeat of the Napoleonic forces was not done in a day, since the invaders were more or less starved out until they were trapped by winter and died. However, if one can suspend the notion of time then it is easy to imagine a beginning spring sunrise followed by the invading scouts, a summery interlude followed by attacks in earnest with notes from the beginning of the Marshallese and marching drums. The piece is a wonderful conversation between the brass, strings and woodwinds telling of battles, the burning of all the fields, the coming of winter and finally once again spring and final victory.

The Piano Concerto #1 was the highlight of this program. Martha Argerichs lovely hands simply fly across the keyboard and the accompaniment of the orchestra is masterfully guided by Charles Dutoit. The famous beginning notes on full brass with the final accent on strings sent chills up my spine. The woodwinds were superb, especially the solos on oboe and bassoon, while the gentleman on the kettle drum is a master of nuance, touching the surface of the drums ever so lightly yet providing a resonant echo.

The most marvelous thing about this recording is that the listener/ viewer is literally sitting at the piano, much of the time seeing someone elses hands playing with un paralleled beauty and grace, yet all the power of any male pianist. The pizzicato sections were so well played that they sounded as if all the hands were joined by invisible wires and the bowed sections were unbelievably powerful and smooth.

The last piece on the program is Tchaikovskys Symphony #4 in F minor. Barenboim is exciting to watch. It is simply incredible that he does this entire symphony without a score in front of him, but watching him one realizes that the music is actually part of him, and he brings the orchestra along to share it with the audience. He actually breaks into a huge smile at one point, because the orchestra executed his ideas so well. The brass section in this concert creates a clear pure sound without a single flaw. The interplay between the oboe and bassoon in the second half of the first movement is so perfect that one imagines the players are singing with the voices of their instruments.

The second movement begins with a sad haunting solo on oboe punctuated by soft pizzicato strings which then take up the melody on bow. The movement ends on the same melody played masterfully on the bassoon and echoed by the string softly punctuated by French horns and returning to reprise the melody once more on bassoon and oboe..The third movement begins with a wonderfully complex pizzicato section on strings executed in so many different ways that I did not even know could be used, creating a sound of dancing fairies on the strings. In fact a lot of pizzicato strings are used in this movement, even ending it quite nicely. Then it flows into woodwinds, flutes and piccolos bright and lyrical like birdsong.

The last movement is rich with blending melodies on strings and horns almost having a conversation. It is fast and nimble, yet somehow almost royal in the richness of sound. In the last few minutes it slows as the brass take over and it becomes almost somber, then builds to a final fast repeat of the theme underscored by kettle drums building to a rapid climax with full orchestra. What made this symphony quite specials was the camera work giving the viewer a chance to see the instruments played live up close.

This concert, being made up of three different performances by some of the best orchestras in the world would have been impossible for the attendees at the original performances. However, this is one way in which technology has really enhanced the experience of art. I will ever be grateful to have been guided to these recordings, and I will look for more. Watching these is, in many ways, better than being there.

Historical Background

Chopin was born in the Grand Duchy of Warsaw in 1810, and this territory became a part of the Kingdom of Poland five years after his birth (Bellman & Goldberg, 2017). A son of an immigrant and a Polish aristocrat, Chopin attended the University of Warsaw (Bellman & Goldberg, 2017). As a boy, he demonstrated incredible talents in music composition, which allowed him to attend classes at the Warsaw Conservatory where he wrote some of his first works (Bellman & Goldberg, 2017). After becoming famous, he traveled a lot and created more than a hundred compositions for piano and other musical instruments before his death at the age of thirty-nine.

Chopins Minute Waltz: Background and Analysis

The composers Valse du Petit Chien also known as the Minute Waltz is a waltz for piano created two years before his death. In 1847, he wrote the work and dedicated it to Delfina Potocka, a countess getting personal lessons from him  Chopin and Potocka had special relationships, and he considered her to be his muse (Palmer, 2018). When creating the work, Chopin was inspired by a little and restless dog Marquis who was running near his work-room  this is why a very lively tempo was utilized (Palmer, 2018). The waltzs popular nickname is not reflective of its key features since the work typically takes from 1.5 to 2 minutes to play; at the same time, it resembles other Chopins works due to frequent changes in loudness making the composition more dynamic (Palmer, 2018).

Historical/Cultural Impact

Frederic Chopin can be justly listed among the most well-known and productive composers whose impact changed the world of music. His historical and cultural influence includes the popularization of mazurkas, Polish folk music, and folk-inspired classical works (Wojtkiewicz, n.d.). Chopins musical genius inspired many of his contemporaries and even modern composers to imitate his unique and romantic style (Wojtkiewicz, n.d.). In the 1830s, his works heavily impacted the repertoire used by private teachers giving lessons to the bourgeoisie. They also gave inspiration to many composers in Imperial Russia and Hungary such as Liszt and writers, including George Sand (Wojtkiewicz, n.d.).

References

Bellman, J. D., & Goldberg, H. (Eds.). (2017). Chopin and his world. Princeton, NJ: Princeton University Press.

Palmer, E. (2018). Heres what you may not have known about Chopins Minute Waltz. 

Wojtkiewicz, M. (n.d.). The impact of Chopins music on the work of 19th and 20th century composers (J. Ossowski, Trans.).