Category: Composer

Sergei Prokofiev

Background

Sergei Prokofiev was a Russian composer. McDonald in An Interpretation of the Composer’s Relationship with the Soviet regime writes that he took private lessons in composition in 1902 has already produced a number of pieces. In 1904, he moved to St. Petersburg and applied to the academy of music. He started his composition studies the same year. He got praise for his original compositions which he also played on the piano. He went back to study organ at the same academy. Later, he moved to the USA.

In America, his first work was a success. It was a solo concert performed in New York. This performance got him other contracts and engagements. He for instance got a contract for his new opera, The Love for Three Oranges. In 1920, he moved on to Paris where his work was even more appreciated. A number of his works were performed here. Some of the works of Prokofiev include War and Peace, Fifth Symphony, Sixth Symphony, and Romeo and Juliet among others (McDonald).

Prokofiev’s works

Prokofiev was living at a time when his mother country, Russia, was in political turmoil. He exiled himself a number of times ad was even a political prisoner in his own country at one time. Prokofiev was aware of what was going on in Russia. This he made evident in his music as McDonald writes. The political situation was reflected in his compositions. They were somewhat flippant and yet satirical in their own way. They were innocent musical lyrics on the surface but if one dared to look deeper, the political inspiration was unmistakable. Prokofiev became critical of the Soviet regime and his music contained a hint to that criticism.

At one time, after going back to his country, Prokofiev thought he could appeal to the Soviets. Romeo and Juliet were designed to accomplish this motive by winning the hearts of people who went to concerts. However, not all of his works were that political. Prokofiev’s first violin sonata may have a less controversial interpretation. This was begun in 1938 and ironically received a Stalin Prize.

Besides finishing the First Sonata, Prokofiev dedicated his time for eighteen months solely to the Sixth Symphony. This was a work of tragedy and brooding that got him intensely involved. In October 1947, it was directed by Mravinsky in Leningrad and the response was thirty long minutes of applause from the enthusiastic audience. To the present crowd, this performance spoke volumes.

The Sixth Sonata was written in 1939 just before the war broke out (Gasparov, 2005). It is therefore a work that depicts an experience of the period of Stalin’s repression. This is captured devotedly in the bitter arrogant opening theme of the initial movement. The movement is a reflection of the leitmotif of Stalin and it is repeated in the end. In the second movement, Prokofiev draws on the paradoxical march of the military. He puts a lot of disguised humor, satire, and mischief.

The finale is a creation of sarcasm. Within it, Prokofiev evokes the Stalin image by twisting and making look utterly different while at the same time depicting an intuition of approaching doom. In the end like the case of Oedipus, Prokofiev defeats Stalin with the exact power of his own image.

In self-defense, Prokofiev states ambiguously that his Sixth Sonata was an appreciation of the human spirit that was apparent in the country and in this regime. This does not fool anybody though as the intention was far from that. Prokofiev used his imagination and drew on his longing for better times to describe a painful contrast between the world that was the old Russia and what it had ultimately been turned into. The old Russia is drawn with reflective compassion while the latter is portrayed as a catastrophe of coldhearted apathy.

Romeo and Juliet finally became a success that compensated for the failure of Semyon Kotko. It was produced by Kirov in 1940. Through this, Prokofiev returned to fame. To climax it all, the Seventh Piano Sonata was also a resounding success in 1942. The period after that was untroubled. In addition to these works, the Second Violin Sonata, Fifth Symphony, Cinderella, and Ivan the Terrible made him the most popular composer in Russia at that time. His ground in the country was finally stable.

When Vano Muradeli’s opera, The Great Friendship, failed to entertain the Zhdanov, music faced his wrath. This was in February 1948 and was also partly influenced by Politburo’s anger over the poor presentation of the leading composers in the nation when the revolution was marking its 40th anniversary. Among the performances that were sloppy were Flourish, Mighty Land by Prokofiev, The Kremlin at Night by Myaskovsky, and Poem of the Motherland by Shostakovich.

It follows that Prokofiev turned traditionalist in his final works or they showed a noncommittal approach. In his Symphony-Concerto, his words are written with a lot of apprehensions. It would be as though the composer feared to be accused of using music in crime to paint mud over the country. He was possibly afraid that he would be charged with being unhappy with the country’s bright future that was apparently plunging towards doom (Mc Donald).

Pyotr Ilyich Tchaikovsky

Background

Tchaikovsky was the leading composer of late-century Russia. His works included symphonic poems and symphonies among other compositions. He completed his course at St. Petersburg Conservatory in 1862 and began teaching at Moscow Conservatory. His compositions are related to his homosexuality. It is argued that Tchaikovsky’s The Fourth Symphony is an expression of his own life. It is said to be the reflection of the composer’s despair of his homosexuality and his ill-advised marriage (Kellerman).

Tchaikovsky left teaching in 1878 to concentrate on composition. His works include The 1812 Overture and Serenade for Strings written in 1880, The Manfred Symphony of 1885, and The Maid of Orleans (1878). He wrote Mazeppa between 1881 and 1883. His composition began being performed in the 1890s at home and abroad. He received recognition in 1881 from Tsar Alexander II. His final works include Fifth Symphony (1888), The Sleeping Beauty and The Queen of Spades (1890), The Nutcracker (1891), and The Sixth Symphony Pathetique (1893).

Tchaikovsky’s work in music and literature

Critics of the composer argue that his music is linked to his sexual orientation. They claim that some of the events of his life are reflected in the music. They also say that some elements he uses are characteristically gay elements. Tchaikovsky has in fact been very popular among gay and lesbian circles, in their culture and history (Kellerman and Cantrell, 2007).

Tchaikovsky’s compositions are basically his interpretation of Russian culture and personality especially in the reign of Alexander I (Greenleaf, 1997). The Russian element that characterizes drama and tragedy is unmistakable in his music. However, he has also borrowed from European composers even though he cannot be denied credit for brilliant innovativeness and creativity. His creativity is for instance reflected in The Fourth Symphony where he deflects from the harmonic expectations of the reader. This creates a lot of tension in the performance. Tchaikovsky evidently developed a newly crystal clear palette. He is responsible for introducing the complexity of European symphony into Russia as Carol Reynolds says. Carol adds that Tchaikovsky is the first person to successfully close the gap that existed between a chauvinist, prejudiced version of Russian music and the grand international version (Cantrell).

The popularity of Tchaikovsky’s music is great. Unfortunately, it has been judged harshly by musicians and composers. Tchaikovsky was of the belief that combining skill and his standards in his work would put him apart from his contemporaries. The composer shared in their principles. However, he had an aim to link these values to high standards that would suit the criteria of Western Europeans. His desire was to build a big audience and he eventually achieved this. He drew his influence from the patronage prevalent in the Russian community that was in turn influenced by a system of the aristocracy.

Debreczeny (1997) says that Tchaikovsky varies his melodies from Western-style to folksong styles and even folksongs. He utilizes repetition which is actually a characteristic of some Russian folksongs. These songs extend themselves by regular variations on a distinct pattern. According to Debreczeny, the repetitions also reflect on the practices of Western-style and can be extended to great lengths. They built on the emotions of the performer as well as the audience to heights that can at times be unbearably intense. His most popular tunes and practices are the waltzes among other dance tunes.

This composer wrote a majority of his music for orchestras as the Social Functions of Literature writer (Debreczeny, 1997) writes. The musical textures were therefore accustomed to the colors of the orchestra which he employed. His preference was bright and sharply distinguished coloring in a tradition that was set by Glinka and which was copied by other Russian composers since that time. He uses treble instruments mainly but also employs bass instruments occasionally. For authors, dramatists, and makers of films, Tchaikovsky is an interesting and persuasive source of inspiration and material.

Mazeppa, one of Tchaikovsky’s operas is set from ‘Poltava’ a poem by Alexander Pushkin that portrays the historical separatist of Ukraine whose name is Mazeppa in his political and romantic ventures (Greenleaf, 1997). The main character is a 70-year-old military leader who asks the Cossack judge, Kochubey, for his young daughter’s hand in marriage. His daughter’s name is Maria. When Maria runs off with Mazeppa, the judge condemns the latter’s separatist plans to Peter the Great. Peter doubts Kochubey and brings him before Mazeppa. Mazeppa tortures and executes the judge. Maria is driven mad by news of her father’s death.

It is from this poem that Tchaikovsky creates his opera. It was composed between 1881 and 1883 (Greenleaf, 1997). The narrative poem and later the opera draws from the historical events at Poltava. This is the battle where Peter the Great, a tsar, defeated Charles II, a Swedish king. Pushkin creates powerful characters through his imagination and striking zeal. Kochubey manages to keep Maria from Mazeppa. He turns Mazeppa four years after he elopes with the judge’s daughter. Tchaikovsky also sketches a duet founded on the fabric of his symphonic poem Romeo and Juliet. To Pushkin’s poem, he adds material of his own making other critical alterations along the way.

The idea of basing an opera on Poltava occurred to Tchaikovsky in 1881. His obsession with the story of Poltava of tragic love and political betrayal drove him to borrow from the poem to paint a picture of the real-life situation of Russia. Politically, a lot of people were dissatisfied with the present regime while the other side of the sword reflected apparent divisions in the social structure. Lisa and Hermann and the other characters involved in the love circle are the reflections of the social situation while the judge and tsar are the political images of Russia.

The libretto was improved over and over again even after the first performance of the opera. Tchaikovsky’s main focus was the love story that the opera revolved around. In his modifications, the composer added the character Andrei whose desperate love for Maria gives the story a twist and the tragedy that looms towards Maria an extraordinary poignancy.

Tchaikovsky also has another work in his name, Eugene Onegin. Mazeppa shares a number of personality traits with this character. The two centers on a young woman whose potent love pulls her towards a tragic fall. Eugene Onegin is a lyric opera that copies much of Pushkin’s original poem. Tchaikovsky adds dramatic music to the poem. The theme of the opera revolves around the destructive nature of the addiction to gambling. Hermann, an army officer loses his possession and his life over the desire to know the ‘secret of the three cards which the Queen of Spades knows. Hermann takes advantage of Lisa’s naivety and manipulates her. Her grandmother is the countess who is known as the Queen of Spades. The countess has let out the secret to the other two players but revealing it to a third will result in her death. However, Hermann is obsessed with the secret and has to know it by all means.

Queen of Spades is also a story by Pushkin (Greenleaf, 1997). This one was revised so that the drama would be appropriate for opera. In the opera, the love Hermann has for Lisa seems more genuine and less pretentious than in the work by Pushkin. The opera’s ultimatum is a double suicide. The opera portrays a more divisive society which the composer sketches from the Russian community. Tchaikovsky interprets the story in his own way so as to integrate it into the opera.

Conclusion

It would therefore seem like the two composers are inspired by what is happening around them in Russia in order to make their compositions. The more creative and original Prokofiev draws his inspiration from politics and portrays a picture of a depressed Russia whose future is plunging into doom (McDonald). On the other hand, Tchaikovsky mostly borrows from the works of Pushkin to make an interpretation of the culture and personality of Russia, leaning more on the social than the political aspect (Gasparov, 2005). Both their literature are based on music.

References

Cantrell, Scott, (2007). Tchaikovsky’s music rises above talk of his sex life. Dallas Morning News. 2009. Web.

Debreczeny, Paul, (1997). Social functions of literature: Alexander Pushkin and Russian culture. London: Stanford University Press.

Gasparov, Boris, (2005). Five operas and a symphony: Word and music in Russian culture. London: Yale University Press.

Greenleaf, Monika, (1997). Pushkin and romantic fashion: Fragment, elegy, orient, irony. Preston: Stanford University Press.

Kellerman, Robert. “Tchaikovsky, Pyotr Ilich (1840-1893). 2009. Web.

McDonald, Ian. “An interpretation of the composer’s relationship with the Soviet regime.” 2009. Web.

Relations between music and literature can be observed most vividly in the Romantic era. Romantic critics have argued over the relation of music with other arts but still agreed that that the strongest connection can be observed between music and poetry. Music and literature supplement each other and when it comes to songs or operas they contribute to the creation of a masterpiece only when successfully applied together. The famous Russian poet Alexander Pushkin was an extremely talented and highly respected person though his works were sufficiently praised only after his death. Almost all of Russian composers used Pushkin’s writings as the basis of their works with Glinka being the first who started Pushkin tradition in Russian opera. Without any doubt music and literature differ in form and content since literature becomes possible in letters, a specifically written art, while instrumental music becomes possible as an autonomous art form independent of its traditional link with words (Prieto, 2002). However, in songs the instrumental part is to a large extent dependent on the lyrical parts because a song without words can not be regarded as a worthy musical composition and “in this kind of relationship music acts as a model for a literary mode of creation” (Prieto, 2002). Over the years a number of composers tried to create a composition which would become eternal and which would perpetuate their talent and what they tried to express in their works. Writing music is a challenging task; writing music which would correspond to verses emphasizing what they express is even more challenging. A number of composers attempted to write music to the immortal works of Alexander Pushkin and William Shakespeare but Pyotr Ilyich Tchaikovsky and Sergey Prokofiev’s musical compositions deserve special attention since some of them were regarded as failure back then but are considered masterpieces these days. Pyotr Ilyich Tchaikovsky is the composer of ten operas, Romeo and Juliet, Mazeppa, The Queen of Spades and Eugene Onegin being among them but the latter remains one of his most successful works. He paid special attention to the depiction of human feelings aiming to impress the audience namely emotionally for, as he noted, “where the heart is not touched there can’t be any music” (Harewood, 1994). Sergey Prokofiev’s music was aimed at impressing the listener by its deepness and originality rather than firm and perceptible connection with literature. To reveal the extent of connection of Tchaikovsky’s and Prokofiev’s musical compositions with literature some of their works should be thoroughly considered and compared.

To begin with, Romeo and Juliet was written by Tchaikovsky in 1869 and it is based on Shakespeare’s play with the same name. For some reason Tchaikovsky’s connection with Shakespeare’s work was very vague and he either failed to understand the essence of the play or just was not inspired enough by it since the first two versions of the opera turned out to be a failure. Perhaps, the unhappy love story of two young people and their tragic death at the end of the story was not enough to fill the composer with enthusiasm for work. However, his Romeo and Juliet staged in 1886 was successful: “this is the best music ever to illustrate some of Shakespeare’s most luscious lines, far superior to Gounod’s trivial, long-winded lucubrations, and more relevant than, and at least as lovely as, Bellini’s forgotten opera. Already Tchaikovsky is writing music that bears his unmistakable sign manual” and now “it is the first composition Tchaikovsky wrote that is still played today (Wallace Brockeay, 2007) it is worth mentioning that the realization of the theme of love and human feelings is more vividly observed in Tchaikovsky’s operas based on Alexander Pushkin’s creative work.

It is necessary to mention that in 1877 Tchaikovsky’s friend Elizaveta Andreyevna Lavrovskaya who was also a singer, suggested him writing an opera based on Alexander Pushkin’s Eugene Onegin. Pushkin was a highly respected writer and, just like Shakespeare in England, Pushkin was held in reverence in Russia, which is why Tchaikovsky first absolutely rejected the idea of writing an opera being afraid to deal with a sacred Pushkin’s work. Nevertheless, the composer soon got down to writing being utterly captivated by Eugene Onegin and enchanted by the main heroine Tatiana: “Tchaikovsky was emotionally touched by the characters, particularly Tatiana, and he managed to find precisely the right music to define her youthful love, its unhappy outcome, and her growth into a mature woman of beautiful honesty, commitment, and even dignity” (McCants, 2003). He preserved the most of the story line, at the verses of the original poem were kept as well. Still, there are some evident differences between the opera and the novel. The aim of Pushkin’s Eugene Onegin is to show by means of satire the arrogance of people belonging to the upper class, focusing particularly at the character of Eugene Onegin who is depicted as a spoiled and rather bored socialite. Tchaikovsky presented the novel in the opera from a slightly different perspective. What he concentrates at is romance, the diversity and significance of the characters’ feelings. According to Arblaster (1997), Tchaikovsky noted that he did not want kings and queens, popular uprisings, battles, marches, in a word anything that belonged to grand opera. He was looking for an intimate but powerful drama on the conflict of circumstances which he had seen or experienced, and which could move him inwardly. What’s more, the opera shows very vividly the composer’s affection to his favorite, Tatiana, whose role in the original novel is not as prominent as it is in the opera by Tchaikovsky: “Her twelve minute “letter aria” is one of the great scenes in all of Russian opera, and in no other opera of any nation has the depth of feeling and impetuosity of youth been so clearly and so movingly portrayed” (McCants, 2003).

Surprisingly, however, but Tchaikovsky still wrote another opera Mazeppa regardless the fact that it depicted those “popular uprisings, battles, marches” he held such a detestation in. Although here he again concentrated more at the scenes devoted to love and what it involved. Mazeppa is written on the verses of Pushkin’s Poltava in which Pushkin combined stirring battle scenes with a merciless portrait of Mazeppa, whom, according to Jellinek (1994), he characterized as a man of ambition, steeped in perfidy and crime though hardly anything of Pushkin’s panoramic vision was retained in Tchaikovsky’s opera Mazeppa. In his opera Tchaikovsky focuses on the conflict which arose because of Kochubey’s younger daughter falling in love with Mazeppa who was much older than she: “Set against the turbulent eighteenth century struggle of Ukrainian and Swedish forces against Tsar Peter the Great, Tchaikovsky provided his most satisfying music for the ill-matched lovers, Mazeppa and Maria” (McCants, 2003). What Mazeppa was interested in most of all was not the historic events which took place in that period of time but feelings and sufferings of the characters: “It is obvious that Tchaikovsky’s concern was human emotions, not the national issues motivating the participants in the Great Northern War, not even the cause of Ukrainian independence championed by Mazeppa…” (Jellinek, 1994). Just like in case with Eugene Onegin he was expressing emotions conveyed by words with the help of music.

The idea to write an opera based on Pushkin’s The Queen of Spades was suggested by Tchaikovsky’s brother Modest and again the composer first rejected the idea stating that he was unmoved by the subject and replied that he was more concerned with his new symphony (Boyden-Kimberley-Staines, 2002). The matter was that Tchaikovsky wanted to write music on the basis of stories which to at least some extent touched human feelings and were connected with love whereas The Queen of Spades was a tersely told ironic ghost story, a tale of obsession (Brown, 2007). Nonetheless, after meeting the Director of the Imperial Theatres he reconsidered the suggestion and presented a finished score in June of 1890. This time Tchaikovsky put forward the conditions under which he agreed to write the opera with the main and the most drastic changes concerning the end of the tale. The original story ends with Lisa getting through the tragedy and getting married and Herman’s going mad which “was too open-ended for Tchaikovsky, who elected to kill them both, then add insult to injury by forgiving Herman after his suicide” (Boyden et al., 2002). In general, this opera is more sophisticated than the one written by Tchaikovsky before, namely Eugene Onegin, since The Queen of Spades is “a propulsive drama rather than a series of lyrical scenes” for which “juxtaposition of intense emotion and delicate, archaic music” (Boyden et al., 2002) is the dramatic principle. Still, what Tchaikovsky remained true to when writing the opera The Queen of the Spades was his depiction of something that only humans can possess. He did not have a possibility to show the deepness of emotions and love tragedy since this is not what the tale is all about but he still managed to illuminate human condition, namely, the obsession: “Although it [the opera] is often criticized for failing to convey the ironical tone of the short story by Pushkin upon which it is based, the opera transmutes the original narrative into an artistic experience of equal dignity, and it also enables the audience to be moved by the human frailty of its hero” (Zajaczkowski, 2005). The performance of the opera is impressive and really splendid with a rich but unobtrusive and clear-textured orchestra. The opera is expressive but it is not sentimental which can’t but evokes respect to the composer and admiration with his talent.

As far as Sergei Prokofiev is concerned, he was also a successful composer whose works are treated with due respect even these days. His Romeo and Juliet based on Shakespeare’s play was the realization of the lyrical aspects of his music which was difficult for him to express in some of his other works. Just like in case with Tchaikovsky’s Romeo and Juliet, Prokofiev’s ballet was not an immediate success and it took time and a number of revisions to make it attractive for the audience of those times. The fact that a number of other composers attempted to write music for this play made it even more challenging: “When approached to write the music for the ballet, Prokofiev was reluctant. Romeo and Juliet has already been adapted to operatic by fourteen composers, to say nothing of Berlioz’s dramatic symphony and Tchaikovsky’s overture” (Jacobson-Kline, 2002). What is notable for Prokofiev’s Romeo and Juliet is that he, like Tchaikovsky in case with The Queen of Spades, had to change the end of the play and it was rather a drastic change since in his version the story had a happy ending, though unlike Tchaikovsky who changed the ending because of personal reasons, Prokofiev introduced changes for the convenience of the dancers: “The causes which pushed us into such vandalism were purely choreographical: living people can dance, those who are dying would never do it lying down” (Zolotnitsky- Ganf-Egunova, 1999). This entailed a serious problem, namely whether the spectators would adequately appreciate such an ending, in other words whether they would consider it modern and entertaining or whether they would question its authenticity. The music is what made Shakespeare’s piece of writing alive but this is not what made it glorious. Sergey Prokofiev’s contribution into the world of music is without any doubt significant and his music to Romeo and Juliet is a result of fruitful and persevering work but it is the ballet which made the performance world-famous. The dancers are brilliant and it is amazing how they feel every beat of the rhythm and perceive the music. Prokofiev’s melodies intertwine with the actions on the scene producing an unforgettable expression.

When it comes to Eugene Onegin, Sergey Prokofiev first refuses to write the music. Tchaikovsky’s Eugene Onegin was very successful and it would have been difficult to surpass him: “No, after Tchaikovsky it would be rather awkward.” Prokofiev had replied at that time” (Nestyev- Jonas, 1961) But later the idea of writing the music to those parts which Tchaikovsky omitted in his opera came to the composer: “I think it will be unusually interesting to see Lensky arguing heatedly with Onegin over a bottle of Ay, Tatyana visiting his empty house, or Onegin on the banks of the Neva […] It is my intention to adhere as closely to the original as possible” (Nestyev- Jonas, 1961). To write the music for the missing scenes Prokofiev reread the novel and worked especially hard to produce a masterpiece: “he composed a series of characterizations of the principal characters and a number of poetic scenes depicting life on a country estate. He composed a few themes for Onegin and three lyrical themes for Tatyana, which were supposed to express the gradual development of her passion. He considered particularly successful the music depicting the rustic quietude of the Larin estate and a few dance fragments for the ball at the Larin’s” (Nestyev- Jonas, 1961). In other words, Prokofiev, to some extent, surpassed himself but this turned out to be of no result since it seemed impossible to eclipse Tchaikovsky’s opera. Incidental music for Eugene Onegin by Prokofiev remained unpublished though he managed to use some moments from it in his War and Peace; this never sufficiently praised musical composition is still included in the list of Prokofiev’s works (Nestyev- Jonas, 1961). Another failure expected Sergey Prokofiev with The Queen of Spades based on the work of Alexander Pushkin. He started working at the incidental music for this novel together with his restoring the missing parts of Eugene Onegin. Prokofiev’s The Queen of Spades faced the same tragic destiny and was never published. Nevertheless, this does not mean that Sergey Prokofiev never established himself as a composer. He wrote a great number of duly appreciated musical compositions and was acknowledged as a very talented composer: “Posterity will not be able to understand our difficult and glorious period of life without intently listening to the works of Sergey Prokofiev, and contemplating his extraordinary fate” (MacDonald, 1995).

Thus, the connection of Tchaikovsky’s music and pieces of literature lies in the ability of the music to render the characters’ feelings and emotions to their fullest possible extent which for some reason failed to be conveyed by verses alone. The influence of literature on the musical composition is immense as the composer is, first of all, inspired by what is written in the piece of literature, just like Tchaikovsky was inspired by Pushkin’s Eugene Onegin: “if ever music has been composed with true passion, with love of the plot and the characters, then it is music to Onegin. I was melting and vibrating from inexpressible delight when composing it. And if even a tiny part of what I experienced when composing this opera echoes in the listener, I would be gratified and I don’t need anything else” (Pacific Opera Victoria, 2005). Sergey Prokofiev’s connection with Alexander Pushkin’s works is less observable. In spite of the fact that Pushkin was one of the most favorite Prokofiev’s writers he never managed to properly connect his music with the works of this outstanding man of letters. Both the composers were extremely talented and their works are listened to and respected even these days but what can be stated regarding everything discussed above is that Pyotr Ilyich Tchaikovsky showed stronger connection with the works of Alexander Pushkin whereas Sergey Prokofiev was more successful in writing music to William Shakespeare’s Romeo and Juliet which though not from the first time but still brought him fame and acknowledgement.

References

1. Anthony Arblaster. (1997). Viva la Liberta!: Politics in Opera. Verso
2. Clyde T. McCants. (2003). Opera for Libraries: A Guide to Core Works, Audio and Video Recordings, Books and Serials. McFarland
3. David Brown. (2007). Tchaikovsky: The Man and His Music. Pegasus Books
4. David Zolotnitsky, Tatiana Ganf, Natalia Egunova. (1999). Sergei Radlov: The Shakespearian Fate of a Soviet Director. Routledge
5. Eric Prieto. (2002). Listening in: Music, Mind, and the Modernist Narrative. U of Nebraska Press
6. George Henry Hubert Lascelles Harewood. (1994). Opera. Rolls House Pub. Co.
7. George Jellinek.(1994). History Through the Opera Glass: From the Rise of Caesar to the Fall of Napoleon. Pro/Am Music Resources Opera. Rough Guides
8. Israel V. Nestyev, Florence Jonas. (1961). Prokofiev. Stanford University Press
9. Henry Zajaczkowski. (2005). An Introduction to Tchaikovsky’s Operas. Greenwood Publishing Group
10. Julius H. Jacobson, Kevin Kline. (2002). The Classical Music Experience: Discover the Music of the World’s Greatest Composers. Sourcebooks, Inc.
11. Matthew Boyden, Nick Kimberley, Joe Staines. (2002). The Rough Guide to
12. Wallace Brockeay (2007). Men of Music – Their Lives, Times, and Achievements. READ BOOKS
13. Ian MacDonald. (1995). Prokofiev, Prisoner of the State. Southern Illinois University at Edwardsville from World Wide Web Virtual Library: Classical Music. Web.
14. Eugene Onegin| Russia’s Musical Masterpiece. (2005).

Kind of Listener at the Concert

I was an active listener at the Vivaldi’s Ring of Mystery promo. The musical context and narration needed a listener to know the melody sequence alongside the background narration about the orphan girl that existed in the early 1700s. An active listener is contented with how a concert is presented for the experience to be worthwhile. It also enabled me to get the verbal content and the nonverbal subtexts. The only thing I did was to nod my head and indicate the sequential narration’s full understanding. This way, I made the performers regard my involvement as a mutual link between their mode of performance and my perception.

Pieces Performed (3 pieces)

Overture

An overture is used to introduce a musical work that is often dramatic. It uses various instruments, and it was used in the Vivaldi’s Ring of Mystery promo. As an early opera, the instrumentations such as the violin and the trumpet open the narration, then it juxtaposes the opening sentiments about the storyline. It creates an ambient atmosphere for the audience to note the sentiments of Vivaldi’s narration.

Middle Eight

The concert had sections that lasted between 8 and 13 bars. The choruses of the musical semantics are placed when the narrators start a new stanza in their adventurous stories. In starting a storyline, it involved instrumental solos and vocal parts with rising intonations. The musical phonetics connected the chorus to the adventurous verses, signifying a turning point for the narration. It excited the audience to get the next topic and outlook change with a musical context in the background.

Leitmotif

This is a recurring theme in a musical context, and it was used in Vivaldi’s Ring of Mystery promo. It reinforces a dramatic action to give the audience a psychological insight. Leitmotif forms a repetitive musical sense that transforms the cohesion of the narration. It also creates distinct dramatic functions that operate separately as an illusion and transformation. The allusive motto of the concert is to flashback the audience to the seventeenth century.

Style of Each Piece

Narration- the concert narrates the mystery of Vivaldi during the seventeenth century. The narration incorporates both the rising and falling intonation to stress the flow of the story.

Background music-the background music has phonological contexts that rhyme with the narrator’s intonation. The music is to excite the audience and ensure they get the basic facts of Vivaldi.

Dramatic orientation- the stage performance is scrutinized with theatrical performance between the narrators and the dramatic outlook of the storyline to show a vivid picture of what happened during Vivaldi’s adventure.

Unity and Variety

The symphony of the concert capitalizes on the balance between unity and variety through the creation of musical instruments. The element of unity is a major role in the constitution of the repetition that signifies a sense of novelty—the patterns and engagement with the seventeenth-century storyline form the variety. The concert maintained a balance that interests the audience with the patterns that conform to the continual interaction.

Structure of the Music

The structure of the music utilizes the information of the Vivaldi’s Ring of Mystery promo. The pitcher batters the mastery of the history, and it influences the state of mind within the audience. The speed and musical synchronization enable the listener to feel like the story is narrated on an actual basis. For instance, when Vivaldi reaches the ocean, the narrator uses seabirds to signify the ambience of an oceanic view.

Purpose of the Music

Music signifies the emotions and expressions that can control the mood of the concert. The music serves cultures and enables the audience within the concert to get basic points of the story. Music soothes the mind and adds functionality to store information in long-term memory. The context of musical orientation modulates emotions and entertain people. It removes the normality of storytelling and expresses the feelings.

Volume, Tempo and Rhythm

The volume of the concert starts with a high musical symphony, and then it is lowered once the narration starts. The background music enables the audience to hear the narrator and ensure their rhythm. The rhythm effectively indicates a change of ideology, and it is measured in beats per minute (BPM). The tempo of the concert is slow and later on advances to fast BPM to catch up with the rising intonation.

Melody and Harmony

The melody has sonically pleasing violins, guitars, and flutes. The collection of melodies enhances the musical set piece through unique repetitions to identify the fundamental parts of the story. It also brings the humor needed by the audience to make the narration interesting. The harmony of the concert stacks up notes to create a unique output. It also enables two or more sounds to be played simultaneously. Vivaldi’s Ring of Mystery promo harmonizes the musical instruments and the sound of the narrator.

Instrumentation of the Orchestra

The basic instrumentations were divided into four main parts:

1. Strings – Violin I (6 stands), violin II (6 stands), viola (5 stands), cello (4 strands), bass (4 strands), and the principal violin (1 stand).
2. Woodwinds – Flute I (1 stand), flute-piccolo (1 stand).
3. Brass – trumpet I (1 strand) and trumpet II (1 strand).
4. Percussion – guitar (1 strand) and harpsichord/ synth (1 strand).

Historical Period

The performance was based on the reflection of a young violinist that went to study music at Pieta orphanage in the seventeenth century. The whole storyline emanated from Venice, and the original director and composer called Antonio Vivaldi. Antonio aided for a thrilling, mysterious atmosphere and Island of the Dead searching for clues about the vanishing Stradivarius violin. While searching for the violin, she starts understanding the reason for remaining at the orphanage despite his international fame. The touching climactic scene links Katarina with her grandfather, and the two take Vivaldi’s music into the globe. The theatrical work in the concert is an imaginative way of introducing the families and young audiences into the musical life of Antonio Vivaldi’s live performances.

Frederic Chopin is often considered by many music critics as one of the most prominent representatives of Romanticism in music. Among his most famous works, we can single out the great number of etudes, sonatas, vocal pieces, mazurkas, and many others. However, this composer is mostly renowned for his ballads; they have always been a subject of thorough analysis because they represent the evolvement of his style and performance technique. In this paper, we are going to compare Ballades Op. 23 and Op 52, the first and the fourth ballades, these waves of peace have always attracted close attention from many performers and music theorists. While discussing these opuses, we should place special emphasis on such aspects as their meter, structure, scale, themes, variations, tempo, and some others characteristics that cannot be disregarded. At this moment, it is rather difficult to advance any arguments but in my opinion, these two ballades illustrate how Chopin structured his musical pieces and how his approach changed over seven years, it became more complicated mostly in terms of performance. However, we should not limit the analysis only to this narrow framework.

Before analyzing these musical pieces, it is of crucial importance for us to discuss such concepts as a musical ballad. Traditionally, it is a literary genre, which can be defined as narrative poetry. Chopin was arguably the first one to create a musical ballad. It should be taken into consideration that the composer was to some extent inspired by the poems of Adam Bernard Mickiewicz, one of the greatest Polish poets (Samson, p 88). Yet, it is impermissible for us to say that the composer only creates musical narration, such an approach does not reflect all the complexity of the authors works. In part, he describes the inner world of a person, his or her mood, and most intimate feelings.

As far as Ballade Op. 23 is concerned, we may say that one of its most distinctive features is dissonance, which means that Chopin gives preferences to unstable combinations of tone; this musical piece is full of rather unexpected notes that aim to disrupt the overall harmony. It would not be an exaggeration to state that dissonance has always been peculiar of the famous composer (Smialekl, p 64). Nevertheless, it should be taken into account that the author deliberately uses dissonance, it signifies the change in the mood and contributes to further development of the musical piece.

Moreover, some musical critics term Chopins work as recitative, which means that this peace emulates or probably it is better to say, recreates the rhythms of human speech. Such a hypothesis may not be rejected because this opus is partially based on Mickiewicz’s poem Conrad Wallenrod (Belotti, 44). Certainly, one may suggest that Chopin aims to reproduce certain conversations, yet, this ballad not only recreates the rhythms of speech, but it also shows the emotional evolvement and outbursts as well. Concerning this aspect, we should admit that the fourth opus also has such rupture or outbursts, but they occur in very few moments, and most musical critics concur that this feature immediately calls attention because it proves that the composers style has undergone some change. Nevertheless, it is still quite possible for us to call both ballades recitative.

In this regard, we should say that the recitative nature of this opus lies mostly in the tempo. It can be observed that there is virtually no gradual acceleration or deceleration of the tempo; on the contrary, there is a great number of sudden ritardando or speeding-ups. Perhaps, this is the main reason why this musical peace is often classified as recitative. On the whole, we can say that Chopin brilliantly combines prestissimo and vivacissimamente, with lento and moderate. This is one of the reasons why this piece is so difficult in terms of performance, these variations require prodigious skills from the musicians in order not to go off the tempo. In comparison, Op 52 is more contrapuntal, which means that Chopin makes smoother and more fluid, sudden rubatos no longer dominate the musical piece.

The meter of this opus is duple time; it is one of the characteristic features, which all four ballads have in common, but we cannot say that this is the only common denominator. The relation between these musical pieces is more complex, the comparison of these works shows that for a certain period Frederic Chopin invented the almost unique genre and proposed very different approaches to the organization of the musical ballade, at that moment it was unprecedented.

If we speak about the structure of Opus 22, we have to admit that it is rather difficult to mark out its major components. Certainly, according to traditional views, this peace can be subdivided into four parts: introduction, the first theme, transition, the second theme, and coda. But it appears that such division oversimplifies this work. Some scholars argue that such structural organization is typical of a sonata, yet, we may object to this statement because this ballad has some deviations from this particular genre (Dineen, p 31).

In its turn, each theme has its structure, and it is the most interesting detail in the ballad, itself. Probably, we need to elaborate this argument: each theme has exposition, transitional stage, and reprise or the return to the opening. As it has already been mentioned before, Chopins ballad abounds in dissonance, the thing is that each theme is introduced almost instantaneously, there is some kind of clash, which is often marked by dissonance. The transition is virtually omitted sometimes.

The most dominant tone of the piece is G minor, but Chopin occasionally combines it with A major and E major. At this moment, it is of the utmost significance for us to describe the cyclic nature of the first ballad. The thing is that the introductions, as well as coda, are marked by G minor. Such organization produces a very strong impression because the ending only intensifies the minor mode and creates rather a somber atmosphere. Naturally, it is just a matter of perception but it seems that Opt.22 is much more optimistic.

If we try to compare and contrast this musical piece with Op. 52, we must first point out that Frederic Chopin makes them both recitatives; the fourth ballad originates from Adam Mickiewicz’s poem Budri. Again, one should not regard them only as a narrative because they render not conversation or human speech but emotions. Frederic Chopin always attempted to recreate the inner world of a person; the drastic changes of tempo represent emotions and feelings. In part, this is the reason why both ballads are full of dissonances or sudden variations in the tempo.

Arguably, the main similarity between the ballads is their complexity. Chopins style is often characterized by the use of rubatos and ritardando. While performing the composers works, and these ballads, in particular, any musician must be careful not to linger, where it is unnecessary or not to over speed. The thing is this particular aspect, is the root cause of many mistakes, made by the performers of Chopins ballads.

The first and the fourth ballads have some similar features in the structural organization: they are strongly influenced by sonata, it is noticeable in the organization of the pieces, and we may mark out several constituent parts such for instance, introduction, two themes, and coda. However, this aspect shows also some distinctions, namely, in Op. 52, there is a reprise, which practically mirrors the introduction. Chopin does not want to reiterate the opening in the coda, and makes a considerable difference, especially if we are speaking about the tone.

In Op. 23, G minor is the predominant tone. Certainly, there are some alterations but the composer constantly attracts our attention to the fact that this opus is primarily minor. On the one hand, we may state that Op. 52 is also minor but there are more deviations. Nonetheless, there is one aspect that distinguishes the ballads. As it has been noted before, Op. 23 is somewhat encircled, which means that introduction and coda coincide in terms of tone, G minor, while in the fourth ballad Chopin does employ these techniques, the ending is marked by Major notes, whole the beginning is minor. Consequently, these states of peace produce different effects: Op. 52 is more optimistic.

Therefore, having analyzed the first and the fourth ballads by Frederic Chopin, we can arrive at the following conclusion. These two works illustrate the development of the composers style and demonstrate the changes in his performance technique. As regards the similarities between these two works, we should mention several aspects: first, both these works are in part inspired by the poems of Adam Mickiewicz. Secondly, they can be defined as recitative mostly due to the tempo variations. Additionally, we may speak about the influence of such genres as sonata; it is noticeable especially if we are speaking about the structure of these opuses.

The difference between the ballads can be observed in such aspects as tone. Op. 23 is most G minor, whereas Op. 52 is dominated by F minor. Nonetheless, one of the most interesting details is the tonal structure of the ballads the first one can be called encircled, which means that its introduction and coda are G minor. In sharp contrast, in Op. 52 we can observe that A major ending. This effect significantly changes our perception of this piece. Another issue, which we should mention is the contrapuntal features of the fourth ballad. Naturally, it contains some rather sudden transitions but they are relatively few, in comparison with the first one. On the whole, we may say that these works are rightly viewed as classic examples of such genre musical ballad.

Bibliography

David Dubal. “The art of the piano: its performers, literature, and recordings”. Amadeus Press, 2004.

Franz Liszt. “Life of Chopin”. Kessinger Publishing, 2004.

Frédéric Chopin, Willard Palmer. “Chopin — Ballades”. Alfred Publishing, 1985.

Gastone Belotti. “Chopin”. EDT srl, 1984.

Jacqueline Dineen. “Frédéric Chopin”. Carolrhoda Books, 1998.

James Huneker. “Chopin: The Man and His Music”. Echo Library, 2007.

James Parakilas. “The nineteenth-century piano ballade: an anthology”. A-R Editions, Inc., 1990.

Jim Samson. “Chopin, the four ballades”. Cambridge University Press, 1992.

R. Larry Todd. “Nineteenth-century piano music”. Taylor & Francis, 2004.

William Smialek. “Frédéric Chopin: A Guide to Research”. Routledge, 2000.

Introduction

Opera was first started in the western world as classical music. It is a skill form in which choral groups and performers act a stage show. Wordings known as libretto and melody gain are combined to form the opera. The drama comprises of speech and act such as panorama and set of clothes with some occasional dance. These acts are performed in an opera theater escorted by a band group or lesser musical collection. The origins of opera can be traced to 15th century Italy with early works being done on festive occasions. (Porgy & Bess, 1995)The later part of the 16th century saw the growth and expansion of opera music from Italy to other European countries.

This spread was seen in Germany, France and England, where local civilization was recognized in the 17th century. The conventional compositions constituted two styles of playing. One was the narrative where there is a scheme acted with no tune and aria where the actors articulate sensations with tune. Singers can play together in groups of two or three remarking on the drama. It creates a story that can be followed closely by the viewers. This distinction was later changed by a composer known as Richard Wagner. He used his novelty and merged the two styles of performance to produce what developed to be known as endless melody. Wagner’s style of opera came to be adored by opera lovers and other composers. (Lebrecht, 2009)

The word opera is derived from the Italian word opus which means to work. This in essence means that the actors need to work in different art forms. Wagner’s influence on many later day composers with his style gave opera a new image. However, not all opera took Wagner’s direction. In Italy, a producer by the name of Giuseppe Verdi composed an opera piece called Rigoletto on 11 March 1851.

This was his premiere which had a huge achievement with a good turnout at the Teatro La Fenice venue. Wagner, a German worked on a piece known as Tristan und Isolde performed at Bayreuth in 1876. This was done together with other compositions and they entertained audiences across Europe. Many other producers worked on pieces, namely Mozart, Weber, and many others. (Barnes, 2009)

Body

The two composers Wagner and Verdi were influenced differently in their compositions. They both had a bearing on their current social life situations, as it was shown in their works. Wagner had a love issue with his first wife and a woman he fell in love with later. This coupled with the story of Tristan und Isolde he composed an opera piece. Verdi, on the other hand composed Rigoletto, which is also based on a love story. In both dramas, the use of music is practiced but in a relatively diverse manner.

Wagner uses soprano on one character that is Isolde, while Verdi uses soprano in more than one actor. There is a major difference in the mixing of the voices by the two composers. In the opera, the soprano gives the audience a feeling of sympathy and attachment to the characters. Verdi uses bass on two characters, unlike Wagner, who uses it on one. The bass gives the character authority and in Rigoletto this authority is mixed. This distinction in the use of the voices shows how each composer appreciates the music they use. (ÄîMinneapolis Star Tribune, 2001)

Wagner’s opera has a harmony premise related with an individual, object, sensation, or notion in the stage show. This appearance is observed on the arena and the first instance the leitmotif is sung the terms point to its connotation. These crops up any time its character emerges or is referred to. The leitmotifs are smaller and more focused, revealing their entity at various planes of significance. They are the fundamental subject of the achievement of the opera drama.

This can be contrasted to Verdi’s style where the music and the characters appear interchangeably throughout the drama. In Rigoletto, there is a prolonged series of boogie melodies by a behind the scenes band at the beginning. This takes place while there is a relaxed chat by the characters on the stage. The harmony created by Wagner in his composition was unique and blended well with his work especially in acts as Tristan und Isolde. He uses both narrative and harmony to pass the story to his audience in the play. Verdi prefers to use a differential style separating the two parts in an opera as in the Rigoletto opera. (Barnes, 2009)

The difference in approach by the composers can be attributed to their society’s influence. Wagner, who was a German, moved to Italy where he found the opera music and was impressed. Tristan und Isolde was dramatized by his friend, and he did more work on it, giving it more detail and harmony. Verdi was performing using an organ in the house of worship and headed a concert. He had a different persuasion using a fast paced assembly with a preference of polite standard tune.

Verdi is influenced by early composers who had differentiated the two parts in opera. Wagner has been known to have fascination in his words and character formation. He describes the part of the character and blends it with the voice that emphasizes the drama. Wagner uses humble native personalities with a native resembling tune for a patriotic taste. He uses harmony, group flush and emphasis on inner voices as opposed to the stress on melody. Verdi uses melody more to direct his opera. This has given his piece lesser influence in modern opera works. (Lebrecht, 2009)

Wagner had a feeling that melody was meant to serve theatrical expressions from the onset. This helped him to develop works that were meant for theater performances. This brings out two aspects to the act; the inner using the voice and the outer using characters. Verdi’s bias on melody alone causes his work to be restricted to the inner aspect with little on the outer. The panorama, verse, theater and melody work collectively to form an entire theater presentation.

In a concert Verdi uses the orchestra to convey the major theme of the play while the drama depicts the external facet of the play. Wagner has used both orchestra and drama producing flawless pieces in his works. This is however not observed in Verdi as he concentrates on separating and keeping the two aspects apart. He focuses more on the theater part leaving the music to be just as an additional without the zeal. (mfiles.co.uk, 2009)

Wagner comprehends the orchestra to the peak of resulting to a music apparatus being made-up on principle for him. It later came to be known as the Wagner tuba. Verdi, meanwhile, was plain though never unsophisticated. He could be valuable while restrained and original like the account of the turbulent climate conditions in Rigoletto. Wagner required strength from his vocalists in order to match the orchestra in sound level. He had tact in the individual tones extremely well and is apparent in his choral parts in the theater show. Individual show of genius was not allowed, and nobody was to take autonomy with his song. Verdi pursued the Italian habits of singing opera over time but seldom let it meddle with the theater or reason of the song. This had a retrogressive effect on his opera. (Porgy & Bess, 1995)

Drama is a major part in the opera stage show as the human brain receives information faster when images or people are used. Wagner is known as a one of the pioneers to have ever existed. His stories have meaning beyond plain human being excitement, successfully shifting the complete look of opera. He had an exceptional vision of the world-changing the skill form, unearthing avenues for upcoming professionals and setting expert trends.

Verdi was more apprehensive with what would electrify the community or permit the attention seeker to stand out. He would select his operating theme and what play came out of it. He stopped at nothing but drama filled scenes that attract the concentration of the viewers. Verdi liked drama and liked to focus on human life and the conditions. He was never idealistic or pious neither did he possess the novelty wishes as Wagner. Whenever he came up with a new concept, it was because he contemplated it as suitable. His works were a medium for human kind and not for romanticism or the appearance of something superior. He considered art to be impulsive, ordinary and uncomplicated hence something that was not to be interfered with. (Westervelt, 2007)

Evidently, both composers took much interest in the drama of their works. Wagner had more precision in the costumes to fit his set. The stories were staged in parts to facilitate the audience in following the script. Drama helped the composers to articulate their work and pass the message to their target audience. Verdi had little appeal on the costumes with his focus mostly on music. (mfiles.co.uk, 2009)

Music which is the other constituent in opera had contradictory meaning to Wagner and Verdi. Wagner received synchronization coaching from Liszt, his friend. These instructions made his music to become profoundly complex using concords to increase the idea of the leitmotif to new stature. He represented the peak of the naive practice and would steadily lead it to post-idealism. Verdi’s music continued to be trouble free and was his most cherished model. His music is considered as rude, which is at times true, but this does not mean it is of pitiable quality. He could still produce operas that were staged in theaters and accepted by many. Wagner required new appliances in order to perfectly illustrate his theatrical position. (Westervelt, 2007)

Verdi used earlier standards in fresh, exceptional ways that were not at all used by anybody else. The two composers used music differently with Wagner being more attached to the music and the way it fitted into the opera.

It can be said that due to his short scripts, the music covered the remaining effects of the drama. Wagner used music with the voices to tell the story more vividly than Verdi. It can be argued that Verdi was not inclined to music, but opera is a composition of music and recitation which brings out the drama. This has shown why most of the later day composers have been students of the Wagner style of opera. His early training helped him in accepting the various voices and how they could fit into drama. (Musicwithease.com, 2009)

There was more influence from society to both Wagner’s and Verdi’s composition of opera. Wagner had passion for the story of Tristan und Isolde and he got it while in exile in Switzerland in 1857. This was a typical romance story of the middle ages and the rebirth. He used the story to console himself from the happenings concerning his own life. Verdi however had to work with other composers before his break through in the 1840s.

He had to focus on the community ongoings as he had chosen the style. He was influenced by social situations like when he wrote about the Hebrews longing for freedom from Babylonians in the Old Testament. This was a parallel with Italians fighting for their independence and was received with awe in the country. This was an example of how Verdi thought opera should be, focusing on the society. This was attributed to acceptance by the audience as there was little exposure of theater and attracting viewers was challenging. (Alward, 2009)

The politics of the day controlled the composers to what they were to produce. The characters used in the stories were people around the palaces, and there was national struggle. In Tristan und Isolde, Tristan got injured while at war. In those days, battles were fought for freedom from colonialists. Isolde was a young lady who practiced medicine, and she used her medicine to treat Tristan after he had been injured. In Rigollet, the plot is around the palace of the Duke of Mantua. It is a story filled with love and curses. These scenes made the stories to blend well with the opera as they were daily happenings in the society. (FAQS.ORG, 2008)

Wagner needed a particular planned auditorium for the showing of his operas. The Bayreuth Festival Theater was put up and financed chiefly by King Ludwig II of Bavaria. The building abides by Wagner’s most vital hassle. Verdi contributed in the national assembly after he appreciated that the nation’s alliance could not be attained through trendy revolution. The revolution situation in Italy during the time of the composers had sway on his works. (Alward, 2009)

Conclusion

Opera music was staged to entertain the society. The composers used music and drama to tell stories that they thought the audience needed to hear. At the time of origin, opera was meant to entertain the royals and their households. In later developments, the opera was moved to larger spectators in an auditorium. Some composers like Verdi even thought of opera carnivals.

The German composer Richard Wagner worked differently from the early musicians. He used a blend of acting and music to produce opera pieces. An incline by lots of modern opera composers to this innovation has been observed. His works present contemporary assembly panels where the producers can outline their thoughts. An individual analysis of the musician’s work can benefit from the efforts of Wagner. With advanced technology, competition for audiences to concerts has increased. Contemporary opera productions have embraced the Wagnerian way of opera masterpiece as it appeals more to the viewers.

List of References

Alward, M. (2009). Giuseppe Verdi: The Swan from Busseto. Web.

FAQS.ORG. (2008) Wagner’s Influence. Web.

Musicwithease. (2009). Tristan und Isolde: Synopsis. Web.

mfiles. (2009). Richard Wagner. Web.

Westervelt, B. (2007). Rigoletto – Verdi Opera Plot. Verdi’s Famous Opera Court Jester Rigoletto. Web.

Porgy & Bess. (1995). Modern Opera 1900-Now. Developments in Opera. Web.

Lebrecht, N. (2009). The Lebrecht Weekly. The Face of Modern Opera. Web.

Barnes, G. (2009). Amira: A Modern Opera. Web.

ÄîMinneapolis Star Tribune. (2001). Sound Stage. A New Music Theater work about making Music. Web.

Groupie Phenomenon

On the whole, the groupie phenomenon is a form of idolization or worshipping another person. In itself, this behavior is rather dangerous because it leads to dependence or even bondage on someone else. This fanaticism is very widespread among adolescents because their personality is not fully shaped and they desperately need to follow some role models, for instance, celebrities (Wolman, 68). Sometimes this extreme dedication often invokes a sexual desire for the idol. It seems that this social aberration must be discouraged by parents and educators. The first reason is that a groupie (either female or male) becomes practically unable to think independently. He or she dismisses everything that contradicts his or her icon. Moreover, the inability to gain the love of popular stars can drive them to severe depression or even suicide. This is why family and teachers should do their utmost to stop this pointless pursuit of a chimerical dream. Secondly, in terms of law groupies intrude into the privacy of other people. Many musicians or movie stars try to avoid them because these fans only deprive them of the possibility to work or to stay close with family and friends.

It is rather difficult to say whether this behavior is peculiar to both sexes or not. In the vast majority of cases, teenage girls are most likely to act in this way. For many of them, it is a form of self-expression. In this way, they try to emphasize the fact that they have grown up. In their opinion, the attachment to an adult man is the symbol of womanhood, prestige, belonging to society, and so forth (Dicker & Piepmeier, 280). It is hardly possible to draw a distinct line between idolization of people and a pursuit of them. The problem is that they may be equally harmful. Naturally, there are individuals whom we may admire for their talent or beauty but they must never become the major drivers of our lives.

Frank Zappa: Composer & Social Critic

As a musician, composer, and critic Frank Zappa supported the creativity of the most marginalized people in American society (Miles, 105). He believed that art must never be divided into two groups: appropriate or impropriate (Miles, 309). According to him, underground culture has the potential to win peoples recognition. His firm conviction was that creative and artistic qualities could be found practically in every person but one had to discover and appreciate them. This argument can be substantiated by many examples: at the beginning of the twenty-first century such genre as jazz was also marginalized, and the community looked at it with disdain. But nowadays, it is an inseparable part of popular culture. Moreover, psychologists and educators say that virtually every person has a spark of genius in oneself. But people cannot find its expression and application. This is why Frank Zappa was always open to new experiences and never rejected alternative approaches to art.

In fact, practically every area of human activities requires creativity: it is not limited only to arts. For instance, teaching comprises both scientific and artistic aspects. Management also requires creative decisions and innovation. Every person, who wants to achieve success in his profession, must be inventive and imaginative.

Zappas contribution is now recognized throughout the world but we should also point out that many musicians are very grateful for him, because his ideas and compositions inspired them and helped them to move from underground to mainstream culture. They are mostly representatives of such musical styles as heavy metal, alternative rock, punk, rap, rhythm, and blues, etc (Miles, 121). This evidence proves that any form of art should not be discouraged or dismissed as primitive.

References

Dicker R. C. Piepmeier A. “Catching a wave: reclaiming feminism for the 21st century” UPNE, 2003.

Miles B. “Zappa: A Biography” Atlantic Books, 2004.

Wolman B. B. “Adolescence: biological and psychosocial perspectives” Greenwood Publishing Group, 1998.

Frank Vincent Zappa was an American composer, producer, film director, and guitarist over the past decade. During his career in the music industry, Frank recorded lots of rock, orchestral, and jazz tunes. He also developed music videos, movies, and album covers. As a single artist and in conjunction with varied bands, Frank produced most of the more than sixty albums he released. In 1962, Zappa released his first album dubbed The Worlds Greatest Sinner. This was composed of songs produced in rock and orchestral format. His most rewarding album was Freak It Out! Found in 1966 in collaboration with The Mothers of Invention band. Other examples of albums composed by Zappa are, Run Home Slow of 1965, Absolutely Free done in 1967, We’re Only In It For The Money of 1968, and Mothermania of 1969. In the early 1960s, he helped other upcoming local artists in writing and producing various songs (Watson 214).

Zappa made a great contribution in revolutionizing the rock music industry. Most of his songs are still taken with great regard in the rock industry. He is considered one of the most creative guitarists and songwriters who inspired most of the musicians. His exploration of various types of music brought about the establishment of different sound effects, the development of musical instruments, and electronically organized sounds. His contributions to the music industry lead to him being inducted into the Rock and Roll Hall of Fame after his death. He also inspired a great number of musicians from varied music genres (Lowe 67).

Throughout his life, Zappa was able to balance his art and commerce by ensuring that he signed contracts with people whom he trusted could ensure the sustainability of his endeavors even in his absence. He oversaw the restructuring of all his past albums to designs that best met the needs of most of his consumers. The inclusion of synclavier in composing and performing songs also made him achieve almost everything that his songs required thus making them more attractive to his fans. This also reduced the cost of having to look for other musicians to help him perform his songs. He had also established a studio in his house giving him the freedom to work and monitor his progress. His success in managing his art and commerce lead to him being contracted to serve as a trade consultant for the Czechoslovakia government (Slaven pp. 34-36).

To put across his opinions on the culture and beliefs of the American community, Zappa used his knowledge in music. He incorporated political and sociological spoof in his songs. For instance, his song titled The Blue Light criticized the willingness of the American citizens to trust anything. His thematic basics and appraisal of the hippie way of life are manifested in his songs called Free and Take Your Clothes Off When you Dance. However, the ironic nature of these songs eclipses the earnest message he intended to put across (Gray 27).

By criticizing the older generation through his songs, he tried to show how most of the conservative parents were hindering the progress of their parents. In a way, he was tried to bring out his way of life through his songs. He believed that his songs would still be listened to even after he is gone. The repulsive nature of some of his songs aimed at opening the minds of his listeners.

Works cited

Gray, Michael. Mother! is the Story of Frank Zappa. London: Proteus Books, 1984.

Lowe, Kelly Fisher. The Words and Music of Frank Zappa. Westport: Praeger Publishers, 2006.

Slaven, Neil. Electric Don Quixote: The Definitive Story of Frank Zappa. London: Omnibus Press listeners, 2003.

Watson, Ben. Frank Zappa. The Complete Guide to His Music. London: Omnibus Press, 2005.

George Gershwin was a famous composer of classical music from America. His music and songs were popular in concerts while his film songs were jazz and vocal standards. His music was a combination of European Jazz as well as black styles with beautiful melodies and rhythmic patterns. (Hyland)

Gershwin was the second born in a family of four kids. As a child, George had no music contact but was participating in street sports at his poor Manhattan neighborhood that he did very well in. He had his first music exposure when his mother bought a piano for Ira his brother Ira. At the age of twelve, Gershwin took an interest in the instrument and began playing a song he had committed to memory from a neighbor’s piano. This propelled his parents to take him for piano lessons at the age of thirteen. Gershwin studied with the likes of Rubin Goldmark, Henry Cowell, Wallingford Riegger as well as Joseph Schillinger from Russia. (Pollack)

Gershwin began his career in music at the very tender age of fifteen years. The job involved mixing music at a recording company owned by the Tin Pan Alley group. He would work on Saturdays to earn more money recording piano rolls with several pseudonyms. As a young boy, George had a role model by the name of Ed Wynn. The actor impressed the young boy so much to the point where he changed his second name to match that of his hero. He published his first song “When You Want ‘Em, You Can’t Get ‘Em”, in 1916 that clearly showed his innovative techniques. His success came when he met a lyricist called Irving Ceaser in 1918. Together, they composed various songs including “Swanee,” which gave him fame and was able to sell more than a million copies. This portrayed him as a composer and at this point in time, he stopped his study of music. (Pollack)

In the same year, Gershwin completed Broadway musical, “La, La Lucille” together with Arthur L. Jackson and Buddy De Sylva. In the next four years, he wrote forty-five songs including “Somebody Loves Me” and “Stairway to Paradise,” and the opera” Blue Monday”. Gershwin partnered with his elder brother Ira in his music. His partnership with his brother continued for the rest of Gershwin’s life as a composer. (Hyland) They did many musicals among them “Funny Face” and “Oh Kay!” that starred Astaire and his sister Adele. Gershwin continued to do popular music as well as compose.

At the age of twenty five, his jazz musical “Rhapsody in Blue” premiered in New York. The audience was composed of Jascha Heifitz, Fritz Kreisler, Leopold Stokowski, Serge Rachmaninov, as well as Igor Stravinsky. Gershwin music was very popular with the public and the music critics did not know where to place his music in the standard repertoire. In 1930, George and his brother Ira decided to use satire in their classical music and “Strike up the Band” became popular with the public that year. Others that they did included “Let ‘Em Eat Cake”, and “Of Thee I Sing”. These were songs that were describing the social issues during that time. “Of Thee I Sing” was the first musical to win Pulitzer Prize and was made by his brothers George S. Kaufman, and Morrie Ryskind. (Pollack)

Still in 1930, “Girl crazy” was another popular song that Ethel Merman included in “I Got Rhythm”. Gershwin went to Hollywood to write the film “Delicious” and his interest in music was at its peek and he started to write long operas that he had always wanted to do. In 1935, his opera “Porgy and Bess” were performed in Boston with average success. This led to the production of songs such as “It Ain’t Necessary So”, “I Loves You Porgy” and “Summertime”. Then he moved to California and teamed up with Fred Astaire and Ginger Rogers and they made “Shall We Dance” which had hits such as “Let Call the Whole Thing Off” and “They Can’t Take Away That Away From Me” where Astaire appeared with Joan Fontaine and Gracie Allen. (Hyland)

In 1937, he started to experience headaches, dizzy spells as well as blackouts with the examinations that were taken not revealing any cause. Later on, the cause of the blackouts was found to be a tumor that had lodged in the brain. At one time, he collapsed while on stage and went in to a coma. The local surgeons operated on him but found out the case was hopeless and George Gershwin did not wake from the coma. He died on July eleven, 1937 at the age of thirty eight taking away America’s most fresh and talented voice. (Pollack)

George Gershwin’s music has been incorporated in many films and has been credited for its great success in the musicals “My One and Only” in 1983 and “Crazy for You” in 1982. George was very energetic writing the successful “Swanee” at the age of 19 and helped to up lift the careers of those that were around him. He was a great musician and his music will live forever.

Works Cited

Hyland, William G. George Gershwin: A New Biography. 2003.Web.

Pollack, Howard. George Gershwin His Life and Work (1898 – 1937). 2006. Web.

Vivaldi’s “Spring”

It is difficult to find a person who did not hear Vivaldi’s “Spring” from “The Four Seasons” at least once without knowing the author and the work’s title. I heard it many times in various commercials, movies, and musical backgrounds in public places. It consists of three parts performed in different tempos and is united by a common theme. The instruments in this composition are typical for Baroque music, including strings and a harpsichord. The solo part is completed on violin in all three parts of the discussed musical piece.

This composition describes the change of seasons and the beginning of spring, and I think it creates a vivid picture using the means of musical expression. For example, the violin plays mildly at the beginning of the piece and creates the image of the first leaves that appear after the long winter. Then, the tempo and the dynamics of the piece increase, creating the vision of the active flourishing of nature in spring. The accompaniment also becomes louder and tenser, emphasizing the growth of new leaves and the awakening of all plants and animals. In other words, it is possible to connect the imagery of spring awakening of the environment with the change in dynamics, meter, texture, and instrumentation of the discussed musical piece.

The piece is balanced, and the central musical themes develop and repeat throughout the concert. It unites all three parts of “Spring” and creates the illusion of the cycle according to the musical composition and the nature develop. The melody is conjunct throughout the piece, and it emphasizes the implied connection between the months of the year. Therefore, there are parallels between musical development and the natural course of events in the season change.

“This Land is Your Land” and “Bring Me Little Water Silvy”

“This Land is Your Land” and “Bring Me Little Water Silvy” have similar harmony and structure, making them sound alike. Both songs have the spirit of the folk composition reflected in the typical rhythmic pattern and overall way of performing them. At the same time, “This Land is Your Land” is written for the guitar, banjo, harmonica, and voice, while “Bring Me Little Water Silvy” is performed acapella, while the singers clap in hands to emphasize the meter. Therefore, these songs create a similar impression on the audience despite their distinctions.

It is possible to assume that the standard meter and four beats in 1 measure create the feeling that these compositions are alike. Moreover, the melodies are comparatively monotonous and do not develop throughout the musical pieces. The meter does not also change from the beginning of the songs until their end. The choruses and the refrains have a typical structure for folk songs, which makes the melodic line expected in both musical pieces. Thus, the phrasing of both compositions is also similar, which creates the feeling that one song is the logical continuation of another.

At the same time, the song “This Land is Your Land” has a more solemn and patriotic message compared to “Bring Me Little Water Silvy.” It is reflected in the lyrics of the compositions, and the musical background enhances these messages. It is possible to assume that the text determines the significant differences between these two musical pieces and contrasts how the audience perceives these melodies. Both songs have the familiar folk spirit evident in their harmony, structure, instrumentation, and meter.

Johann Sebastian Bach was a renowned musician. He was born in the year 1685 in Germany. He was raised in a family of musicians and this served to enable him to develop an interest in music. Even if Bash was singing, carried out music composition, and played various instruments, he is better remembered for his work of art on the organ. Among the current population, there is a portion that has a belief that his compositions are the best organ music in history.

His parents died in the same year at the time he was nine years old. This caused him to go and live with his elder brother who was an organ player. There is a belief that Bach probably learned the organ during his stay with this brother of his (Anonymous, Johann Sebastian Bach Biography, not dated). Bach turned out to be an organ player for the Kneue Kirch.

While in school, the cantor at his school was impressed with his voice in singing and decided to sponsor him to join the elite singers of the renowned Michaelis monastery choir at Luneburg. In the course of his stay in Luneburg, he had the opportunity to learn about idioms and musical forms like the Hamburg organ style of playing at the Celle court.

In the year 1702, he left Luneburg to make an application for the job of an organist in his home country, Thuringia in the church of Arnstadt. However, at that time the church had been destroyed by fire. So, while the church was still under reconstruction, Bach was offered employment by Duke Johann, the younger brother of the Duke of Weimar. He was offered employment as a violinist in the chamber orchestra. On top of his job as a violinist, he was as well-appointed as an assistant to the court organist in the year 1703, in July. After the reconstruction of the church being completed, Bach was accepted as the church organist after a remarkable interview.

In the year 1705 in October, he took a leave from his duties at Arnstadt to engage in studying the techniques of the famous composer and organist, Buxtehude in the northern town of Lubeck. He introduced in his playing at Arnstadt, these musical techniques. But the community of Lutheran, which was conservative, was not comfortable with these techniques and requested Bach to commit time towards offering training to the choir boys instead of committing his time carrying out the composition of his new music.

However, Bach had a feeling that his preferences were being twisted towards the other direction and went on carrying out his compositions. There was the compounding of the controversy that surrounded Bach at the time the church council discovered that he had been allowing Maria Barbara, his cousin, into the choir loft as he practiced on the organ. Possibly having a feeling that he is restrained in his current job, he shifted his interest to Mulhausen. Here there was a vacant position of the organist in the St. Blasius church. In the year 1706, towards its end, Bach was once again accepted for his unique talent and commenced his studies at Mulhausen. In October the same year, he married his cousin by the name Barbara Maria Bach with whom they were able to get seven children.

A short time after his marriage, he became an organist for the “Duke of Saxe-Weimar” and he was as well a chamber musician. In the course of the nine years that followed he turned out to be a very famous organ player. Later he changed jobs and his new employer was a person who loved his music so much and he was called Prince Leopold. This new employer, Prince Leopold, was a Calvinist and a musician who was capable. The prince toured Europe over and over again. Following his preference for secular music, as a result of his traveling, the Prince was made proficient in all the secular music fads in Europe that were the latest. It was, thus, at Cothen from where Bach engaged in writing most of his concertos and the music for the harpsichord.

In the year 1720, his wife died. One year thereafter he married another wife by the name of Anna Magdalena and they were able to get thirteen children. Prince Leopold also took a wife but the wife, the new princess, had no interest in music and neither appreciated nor encouraged music. Bach having much concern about taking care of his large family and forecasting that at some point this new princess would turn out to be an obstacle in his career at Cothen, once more Bach sought another place that could be more favorable to his ambitions.

Bach presented an application for a rather prestigious position of music director in the year 1722 of the Thomasschule. He was able to get this job one year later after other two people turned down the job. In the years that followed, he became in great demand to serve as a teacher due to the knowledge as well as skills he had with the organ. He as well commenced on carrying out the publication of his own work. He wrote more than two hundred pieces of music. However, he took much joy in engaging in carrying out studies in music and playing musical instruments rather than in writing music.

In the last year of Bach’s life, he started losing his eyesight. This resulted in two operations being carried out on him to enable him to recover his sight. It is believed that the operations carried out on his eyes could have played a major part in making his life even shorter. Three months after the time the last operation was carried out on him, he died. This was on the twenty-fifth day of July 1749 and at this time he was aged 65 years. His wife died ten years later. She died in abject poverty (Anonymous, Johann Sebastian Bach Biography, not dated).

Reference

Anonymous. Not dated. “Johann Sebastian Bach Biography.” Kidzworld.com, Inc., 2009. Web.