The concert we are talking about included perfect themes created by different composers. First of all, it was a String quartet by Franz Shubert. It was very melodic and even solemn. This piece of music was followed by Sonata for Flute and Piano in D minor by Bach. Lyrical sounds were accompanied by traditional piano and created a perfect assonance which was very calm and relaxing. Bach was changed by Claude Debussy and his Sonata for Cello and Piano consisting of three parts: prolog, serenade, and finale.
It perfectly fitted the atmosphere created by previous two compositions. String quartet in F major by Antonin Dvorak was another theme presented during the concert. It was performed in temp allegro and amused listeners with pleasant sounds. Dvorak was replaced by Dmitri Shostakovich and Piano Trio in E minor. It combined calm motifs with fast and even energetic parts and had a specific impact on the audience. Therefore Mikalia Wilson-Miyoshi, Jonah Propp, Tiffany Goh, and Karim Sharif performed Explore, Curiosity, One Last bit of Fun, and Old Lore correspondingly.
These themes combined slow and even solemn motifs with light and amusing sounds that made the audience smile and listen to every note that was produced by performers. Altogether, the concert was fascinating, and the choice of compositions was appropriate. The combination of classic music and some more modern motifs contributed to the increased level of interest devoted to all themes and performers. Moreover, the unusual combination of pieces of music resulted in the creation of the unusual atmosphere during the performance. Besides, the masterpieces of Shubert, Bach, and Shostakovich impressed the audience most of all and elicited applause.
Therefore, it is not surprising that these three persons impressed the audience most of all. Shubert is appreciated as one of the greatest composers in the history of music (“Franz Schubert”). His creativity is unique. He managed to introduce a plenty of new arrangements and soundings. Moreover, Shubert is a known master of unique and lyrical pieces of music (“Franz Schubert”). The majority of his masterpieces impresses listeners from the first notes and fascinates them. He lived in the 19th century; however, his works are still appreciated by the public and people can listen to them to forget about their troubles.
As for Bach, his music is different. Being a son of a famous J.S. Bach, he also managed to contribute to the evolution of music greatly. He is considered the founder of a classical style (“Carl Philipp Emanuel Bach”) . His compositions are full of invention, narrow emotional range, and motifs that appeal to the deepest feelings (“Carl Philipp Emanuel Bach”). As for the theme that was performed in the course of the concert, it also preserved some peculiarities of his style. There were some lyrical motifs that had an overwhelming impact on the audience and made people listen to the charming sounds with their eyes closed.
Shostakovichs sounding is another unique phenomenon. He was born in the 20th century, and his music is more modern. He uses patterns that could be easily understood by people nowadays; however, at the same time, his creativity has already been classified as the classics because of its unique sounding and combination of different musical instruments (“Dmitry Shostakovich”).
Altogether, these three composers are outstanding individuals who contributed to the evolution of music and their masterpieces still impress people with unusual rhythms, combinations of instruments, usage of pauses, etc. It is obvious that they will remain popular for centuries.
The opera Nixon in China by John Adams is an example of classical opera adapted to the present. From the beginning of the composer’s path, he demonstrates the idea of simplicity in his works, finding the roots of his style in minimalism and being faithful to them. Dunpin states that “a key feature of the minimalist compositional technique is the musical material presented within the framework of patterns, which resemble a period” (2). The opera “Nixon in China” demonstrates the thirty-seventh US president Richard Nixon’s trip to China in 1972. This musical work consists of three acts, and each of them contains scenes. The first act has three scenes, the second one has two scenes, and the last act is just one scene. The end of the story does not imply the culmination and big amount of people as expected.
The composer uses different oratorio and ballet musical details, as well as elements of baroque opera. It also references composers like Wagner and Stravinsky and jazz elements. One of the main features of the vocal parts is the focus on melodic declamation. The parts of the characters have an angular melodic line, the repetition of individual sounds. In the third act, their parts become more complicated, which indicates a consistent deepening of the vocal characteristics. From the introduction, the melodic movement is made in the A minor scale, using sustained tonic organ points. Dunpin (2022) states that “a common feature of all patterns is the ostinato movement, which ensures the continuity of perception” (p. 6). There will be several models of patterns further, each of which has its own melodic and rhythmic organization.
On the Transmigration of Souls by Adams was written in memory of the eleventh September 2001 tragedy. Its recording received three Grammy Awards and the Pulitzer Prize. In an interview, Adams said that “he realized that the public did not need any more images or tasteless dramatization in music and text” (Huizenga, 2011). That is why he chose the opposite direction and focused on the grief and loss of their families and friends. He used words from posters by close ones mourning them instead of poets. This work consists of three parts that are all fused. The first part starts with taped sounds and human voices repeating the names of those who died, the word “missing,” and other phrases connected to victims. It ends with a massive and angry orchestral crescendo. The composer also uses crescendo in the second part when family members remember those who died. This moment is the loudest and the longest that Adams ever created. The musical critic John Shinners, in his review, tries to understand if “the listener is moved by the music or by the recollection of the event it commemorates?”. The ending is the beginning in reverse because the voices slowly begin to appear, then the sounds start until everything fades.
The music of Adams is often described as post-minimalist or minimalist. Even though he uses many minimalist techniques in his music, he is not following the movement precisely by using different elements of other eras and styles. In my opinion, his music is more complex and radical than his forebears, at the same time simple and conservative. When I listen to his music, I experience that his musical creations are deliberate and profound, with his own style that can be easily traced when listening to it.
To conclude, John Coolidge Adams has been one of the most prominent figures in American orchestral music for many years. He is a multifaceted composer with many different genres in his arsenal. He uses different instruments and orchestra line-ups to convey his ideas, from electronic compositions to chamber and orchestral music or operas. His contribution to American classical music cannot ever be overestimated.
Works Cited
Dunpin, Van. “Minimalism and Postmodernism in John Adams’ Nixon in China.” International Music Journal, no. 2, 2022, pp. 1-10. doi:10.7256/2453-613X.2022.2.37705.
This paper researches on late Amy Beach, a composer who ventured into the field of music. Fully known as Amy Marcy Cheney Beach, she was an American composer in large-scale art music, including her first symphony, which premiered towards the end of the 19th century. She was a competent pianist who left a legacy during her time by participating in many concerts in the US and Germany. Many feminists recognized her due to her tremendous work in music that inspired women to pursue careers in this field. Born in 1867, Beach’s works such as Gaelic Symphony, the Piano Concert in C-Sharp, and Bal Masque show she was an exemplary composer, who succeeded in conceptualization of music proving that talent conquers societal limits.
Historical Period Amy Beach Lived
Amy Beach lived and composed her songs in the modern era historical period. In terms of music, she laid under the romantic period since she existed and ventured into music in the 19th and beyond, a romantic era. Beach was born into an artistic family with the power to compose and excel in music. She could sing more than forty songs while at age one and read and wrote while at age three (Stewart para. 6). She started composing songs when she was a child despite the absence of a piano. Beach had mastered the art of composing a song in her mind and singing it to her family. The parents saw her interest in music and helped her despite her not meeting the music standards then.
With piano lessons offered during her tender age, Beach opted to get private training from various music teachers who helped her navigate the music paraphernalia further. Beach made an important musical milestone with her Gaelic Symphony, published in 1896 (Stewart para. 6). She relocated to Europe after the deaths of her husband and her father in the early 20th century. She joined other singers to perform in concerts that made her name popular. Beach died in 1944, aged 67, in the US and will be remembered for her exemplary occupation in music (Clarke 27). Her rise to prominence gave her a name that will continue to be studied in musical settings.
Titles of Her Work
Beach is known for various compositions that became popular during and after her time. She composed the Gaelic Symphony in 1896, the Piano Concert in C-Sharp, and an orchestral piece named Bal Masque (Clarke 27). Gaelic Symphony had full harmonic structures and a glimpse of romantic horizons, which consisted of four movements. Composition by Beach revealed her legitimacy regarding music talent in a male-dominated industry. The works by Beach generally show she had enthusiasm in her work because of her excessively heavy orchestration. When listening to the pieces, I feel she had exceptional talent due to the rhythmic structures that can help one understand the contemporary world of life. Beach’s highly elegant music represents women’s victory in socialization and the desire to raise feminine aspect that deserves imitation.
Important Information About the Author
Beach began composing after she realized her acceptance of music, which became part of her tradition. She bought a leaf from North American cultures, such as Native American traditions (Clarke 27). Furthermore, she borrowed her musical knowledge from poets such as William Henly in her works such as Dark Is the Night! Which means she embraced other talents (Clarke 48). Beach was married, but they had no children until her husband’s death. She was once depressed by the demise of family members and felt it was time to leave music. However, she collaborated with other composers to form orchestras that rejuvenated her journey in music.
Having been born into a wealthy family, she had to pursue learning piano and participate in many concerts to show society that she needed to be independent as a person and woman. During those times, women were not allowed to venture into the arts due to societal discrimination against females (Clarke 29). She provided guidance and counseling about pursuing music to young artists, making them realize the essentiality of standing on one’s dream. Beach is known for her famous quote, “Build thee more stately mansions,” which inspires people to uphold universally accepted standards in whatever they do (Harkin para. 4). When she was married to Dr. Henry Harris, a surgeon based in Boston, they agreed that she would only be performing twice so that the couple would find time together. Beach’s income was offered as a charity since she was a humble and generous lady.
Conclusion
After the death of her husband, Beach found the freedom to pursue music fully and ventured into European countries, where she received praise from her fans and music pundits. She performed the Gaelic Symphony with diligence, and she made many friends in Germany and Britain (Harkin para. 14). The start of World War I forced her to return to the US and settle in New York. She continued with her tours and composed many songs. She composed more than 300 works comprising 128 poems (Harkin para. 15). The US recognized her as the country’s first female composer. Due to heart disease, Amy Beach died following an attack that weakened her. She was remembered for her exemplary composing skills and charity work, which was appreciated in the US and other countries.
Music and literature are among the aspects of the society that have had an invaluable contribution from educating to entertaining. Several works of art in literature and music have left behind an unforgettable memory due to their emotional aspects. Works like Romeo and Juliet, have withstood the test of time since the time of their composition centuries ago. Also, Christmas carols like silent night and others have sailed through years of new compositions and changes of lifestyles and song styles without being put into oblivion. This is because of the mastery that used during their composition. The composers used mature themes and writing skills. Among the most popular artists who have caused ripples in the field of art are William Shakespeare in literature, Alexander Pushkin in literature, Pyotr Ilyich Tchaikovsky in classical music and Sergei Prokofiev in music (Leighton, 1997).
A close analysis of their works reveals a close relationship. This is as a result of their themes. With both literature and music playing a role in the reflection of the state of the society morally, politically or socially, the two genres of art thus stand a high chance of relating to one another. To show this relationship, a comparative analysis of the works of several artists and writers can be done. This will show how two or more works majored on a common theme or how two or more artists had a similar approach to given situation of the society (Leighton, 1997).
For the lovers of classical music, the name Pyotr Ilyich Tchaikovsky can be termed as a house hold name. His contribution in the world of classical music cannot be valued. Born in Votkinsk to Ilya Petrovich and Alexandra, Tchaikovsky was brother to Ilyich Tchaikovsky who was a librettist, dramatist and translator. At age four, Tchaikovsky started music lessons wit h a certain woman. After a period of three years, he could read music as well as her teacher. Later, Tchaikovsky was moved to a lesser school in St. Petersburg called School of Jurisprudence to study and attain a career as a civil servant. Having great love for music, Tchaikovsky later continued with private music lessons which enabled him to become a music tutor. His works received criticism from Russian audiences as being too much Western. Despite this, he had large followership in the United States and Britain. Eventually, his works started being appreciated the world over with most musicians and composers accrediting him for his ingenious melody and surcharged emotions. This could only be attributed to a real craftsman. Tchaikovsky’s works were varied. Not only did he write and perform ballets, but he also completed 10 operas and several symphonies. In addition to this, Tchaikovsky has to his name four orchestral suites and a number of concerti and concert pieces. These are among the works that Tchaikovsky contributed in the world of music (Mazeppa 2009)..
Another musician of repute from Russia is Sergei sergeyevich Prokofiev. Born in Sontsovka in the former Republic of Soviet Union which is currently Ukraine on 23 April, 1891, Sergei was brought up by well-educated parents. His father was an engineer while his mother was also an educated woman who had a musical sense combined with commendable piano playing skills. With a music loving mother, Prokofiev grew up in musical environment with his mother teaching him how to play the piano. Including his piano lessons, he grew up to become one of the strongest names in the world of classical music. His works were highly accepted including those works he did during the bad times of the Soviet Union’s History. Even the new Government highly welcome his works after the revolution. In the 1917, the Bolshevik takeover brought many changes to the music industry of the Soviet Union. No musician was allowed to perform without having permission from the authority. This led to many of the musicians fleeing Russia and continue with their careers in Europe. This marked Prokofiev’s beginning of the journeys abroad (Prokofiev’s Page, 2005).
Romeo and Juliet is one of the most known works by William Shakespeare. It is vastly known for its tragic end. In the world of literature, the book has been noted as one of the greatest works of all times. Several literary reviews have been done on the same book. In addition, films have also been made based on the same book. From this book, we can get the connection between music and literature. Both Prokofiev and Tchaikovsky had works related to Romeo and Juliet (Nordlinger, 2006).
While a professor at Moscow conservatory in 1861, Tchaikovsky received an invitation from Balakirev to write a musical piece based on William Shakespeare’s Romeo and Juliet. Tchaikovsky then wrote a sonata to fit Balakirev’s specifications. He chose on a sonata due to its dramatic potential. In his work, Tchaikovsky brings out the theme of love and tragedy as expressed by William Shakespeare’s original work. In the first edition which is rejected by Balakirev, the main theme of love is so well brought out that it impresses Balakirev himself. The only problem is the unco-ordinating structure. This forces Tchaikovsky to redo his sonata in more brilliant way. In this new structure, Tchaikovsky dwells heavily on the conflict of Capulets and Montagues. This conflict is what builds the foundation for the love that builds later. In the end, it is the same conflict that leads to the tragic end of the story and of the sonata. Just like the book Romeo and Juliet by William Shakespeare, Tchaikovsky’s work reaches the climax by the tragic catastrophe. This work received great appreciation from other composers like Rubinstein. The structure of the symphonic poem is based on the introduction then the epilogue. The choice of keys and the cords in the first part are aimed at bringing out the conflicts that arise in the story Romeo and Juliet. Later, the violent rhythm then slows down to introduce the theme of love and eventually the tragedy that follows (Mazeppa, 2009).
Prokofiev also does a ballet based on Shakespeare’s Romeo and Juliet. On December 30, 1938, Prokofiev Romeo and Juliet premiered in Czechoslovakia. This was followed by several premiers for other cities like New York, and Leningrad. The ballet included three acts and the epilogue. In each act, the instrumentation and theme was made to go in accord to William Shakespeare’s Romeo and Juliet. It included scenes of the original work. The ballet was arranged as follows. The first act included the following scenes: introduction, Romeo, the street awakens, morning dance, the quarrel, the fight, the prince gives his order and finally the interlude. The second scene of the first act included the preparation for the ball, Juliet as a young girl, arrival of the guests, Masks, dance of the knights, Juliet’s variations, Mercutio, Madrigal, Tybal recognizes Romeo, the guests departure, the balcony scene, Romeo’s variation then the love dance. This leads to act II where the first scene contained scenes like the folk dance, Romeo and Mercutio, dance of the five couples, dance with the mandolins, the nurse, the nurse gives Romeo the note from Juliet. Scene two of the second act includes Romeo with Friar and then Juliet with Friar Laurence. This leads to the third scene in the same act. The scenes contained here include people continuing to make merry, Tybal meets Mercutio, Tybal and Mercutio fight, Mercutio dies, and Romeo decides to revenge mercutio’s death then the finale. This leads straight to act III. This scene starts with the introduction then goes through to Romeo and Juliet’s bedroom then Juliet’s refusal to marry Paris and ends wit h Juliet’s bedside. This leads to the final part which is the epilogue that brings out Romeo’s funeral and the death of Juliet (Prokofiev’s Pages 2005).
Alexander Pushkin is another poet whose work has been redone by Tchaikovsky. In his 18th century poem Poltava, Pushkin brings out an intriguing plot which combines both romance and a strong political desire. Based on a true historic figure, Poltava rotates around the life of Mazeppa who wanted to be the ruler of an independent Ukraine. Driven by his desires to rule, Mazeppa allies with a Swedish King and thus joins his battalion in one of his camps during the great Northern War. To his disdain, the Swedish army is defeated by the Russian army and are forced to flee. Mazeppa’s political adventure is intermingled with his romance with Maria a daughter of one of his friends. Trouble begins when their marriage is opposed by the church and the parents of Maria. As a result, the two decide to elope. This infuriates his friend Kochubey who is Maria’s father and he decides to reveal the secrets of Mazeppa to the Tsar. Unbelieving Kochubey, the Tsar turns him to Mazeppa who sentences him to death. This results to Maria’s going insane. The poem then ends with the narrator relating the story to the war of Poltava that occurred 100 years later (Debreczeny, 1997).
Between 1881 and 1883, Tchaikovsky composed an opera that was directly based on the story of Poltava. Obsessed by the tragic ending of the love story between Mazeppa and Maria, Tchaikovsky composed four numbers which he incorporated with some materials from the symphony Romeo and Juliet. They Bolshoy Theatre in Moscow was the first to premiere the opera. It was the 1884. Although it was marred by poor performance, it was received warmly and the criticism was somehow kind. The opera opens with Maria who is represented as a dove declining an invitation her friends to go out and have fun. This is solely because she has to be home as her parents are entertaining a mister Mazeppa whom she confesses to be deeply in love. The second scene is opens with the two men discussing and then Mazeppa asks Maria’s father for her hand in marriage. This infuriates him almost causing a war between them. Maria’s intervention cools down the impeding war. Later, Maria is forced to choose between the two and she goes for Mazeppa. They then elope. The second act brings out scenes where truth is overpowered by lies. When Kachubey reveals Mazeppa’s plan to betray Russia, the tsar does not believe him and thus condemns him to death and sends him to the chambers beneath the castle. Maria doubting his love for her demands to know why he acted differently towards her. He puts her into a tight position of choosing between her family and him and she says she would do any thing for him. Later, her mother comes in and reveals the truth of the situation. This sends her insane. The last scene portrays the Mazeppa as a failure who has been defeated by the Russian army in his collaboration with the Swedish King. He comes in Kachubey’s garden and has a terrible fight with Andrey whom he later wounds with a pistol. When Maria wonders into the garden, he tries to woe her back to him but fails as she is unable to recognize her. He is forced to run away from the approaching army, leaving Maria behind (Mazeppa, 2009).
Tchaikovsky’s mixture of sweet and dull sounds is used in the bringing out the different theme in the story line. In addition, he uses choral singing to strengthen the opera’s performance. In addition, the use of Great Russian dancers is a great contribution to the opera Mazeppa, 2009).
In Eugene Onegin, Alexander Pushkin brings out the theme of the relationship between art and real life. He shows how art can influence and form a person’s life. To bring out this theme, Pushkin writes about one Eugene Onegin who after being bored with life retires to a mansion in the countryside which he inherits from his uncle. While there, he becomes a friend to Vladmir Lensky who later invites him to a party at his fiancée Olga’s. While there, Onegin meets Olga’s younger sister Tanya who happens to fall in love with Onegin. She later writes a later to express her love to him. He rejects the offer. When Lensky tricks him back to his fiancée’s place, Onegin deliberately infuriates him by dancing with Olga. When later Lensky organizes a duel between the two, Onegin kills him and is forced to flee. Time goes by and Tanya grows up into a mature beautiful lady. Onegin meets her in St. Petersburg and tries to win back her affection but he fails as Tanya is then married (Burton, 2008).
Tchaikovsky on his part brings out the story of Onegin in a creatively written opera which brings to real life the theme of Pushkin’s work. Majoring its performance on Tanya’s heart, Tchaikovsky creates an atmosphere of intimacy by using appropriate performances of sound and words. The opera which is set in three acts sustains the mood of romance created from the beginning. Tchaikovsky uses delicate and gentle melodies with a beautiful background melody to sustain the romantic atmosphere (Burton, 2008).
Prokofiev also staged a performance based on the same work by Pushkin. Under the directorship of Alexander Tirov the director of Kamerny theater of Moscow, the poem was to be narrated as the narration combined with Prokofiev’s compositions. The poem contained 44 musical numbers. The performance was later banned by the Committee of Arts citing that it violated Pushkin’s work. This was as a result of the alterations done in several sections. Several scenes had been restructured with other sentences being restructured (Prokofiev’s Pages, 2005).
Pushkin’s short story the Queen of Spades is another work of art which both Prokofiev and Tchaikovsky base on as they create their works. In the story, Herman who served in the army and doubled up as a card player is so impressed by the story he hears about an old countess winning the previous year using a secret three consecutive winning cards. He therefore uses all his means to gain entrance to the house of the old countess. He tries to persuade her to give him the secret but she claims the story was not true. His desire to get the secret burning in him, he decides to move from begging to threatening. Frightened by his threats, the old countess dies. During her funeral, Herman goes to view her body and in the process, the old lady in the coffin opens her eyes and looks at him. He is frightened and runs away. At night, the ghost of the old lady haunts Herman but eventually tells him the secret. It also instructs him to marry Liza, the old countess’ ward. During the card game, Herman takes all his wealth and puts it in the game. The first two cards are correct but a mistake in the final card makes him lose all he had (Lauren, 1997).
In 1889, Tchaikovsky accepted to prepare an opera that marched the plot of queen of spades. He prepared the opera and in 44 days in Florence. In his opera performance, he made a number of changes including composing lines for Lisa, Yeletsky, and also in the chorus. Herman’s part in the opera contained performance (singing) in all the scenes. The part was played by Nikolay Figner.
The works mentioned above are among the many instances where Tchaikovsky and Prokofiev have had contact with literature. Apart from preparing operas and ballets matching a given plot of literature, their compositions were also incorporated in the field of film and provided music sound tracks for certain movies. It is also evident that some of their works were received in a very cold way. This leads us to asking ourselves, what determines the audience’s response to a work of art? Paul Debreczeny gives us an insight on how to answer this question. In his analysis, he divides the process of response into three. First of all, he bases on the writer as the engineer of human souls. These means that from the works read, a reader stands a high chance of being influenced and forming a new personality. A good example is brought out by Pushkin in his short story Onegin. We find that when Tanya goes to Onegin’s house, he finds several literary works and notes and immediately understands that Onegin was not self. His nature had been shaped by literature (Mazeppa, 2009).
Debreczeny goes ahead to explain the determinants of an aesthetic response. He explains the importance of social environment in the formation of response. The elements of social environment include social groups and how they earn their living. The second element is how the people measure popularity. Thirdly, the general culture of the people influences their aesthetic response to a work of art and finally, the literary Elites. Through analysis from his research, Debreczeny is able to show that through the different perceptions of people (selective perception) the appreciation of Pushkin’s work varied diversely. Among the causes of the differences was the individual perception and the public perception. There are those who appreciated and loved his works. In his memoirs, there are those experiences that people confessed of the effect of Pushkin’s work in their lives. There are those who confessed that Pushkin’s poems helped them form a personality, others confessed that during times of stress, Pushkin’s work gave them cathartic relief. It was a form of outlet for emotions. Tsvetaeva is one of the writers who formed a personality through the influence of Pushkin’s work. Being a dual process, the individual part is purely psychological while the public part is the general or collective view. Pushkin’s works started to gain more readership after more and more of his poems were included in text books and in anthologies. This happened as Pushkin’s name started being edified in different journals. This created a desire for readership of his works. Consequently, several intellectuals were pulled into reading more and more of his work. This led to more and more mentions of Pushkin and thus appreciation (Debreczeny, 1997).
In conclusion, the edification of Pushkin by people like Gogol led to more and more readership. This is why several writers and composers were pulled to compose works based on his poems. Providing a bourgeoisie setting, the attraction to these poems was to be inevitable as the general culture of the people is one of the elements that determines an aesthetic response. Secondly, the way people measure popularity is another determinant of aesthetic response. In Pushkin’s case, the fact that journals and anthologies continued to edify Pushkin gave him an edge. Finally, the psychological state of an individual affected his aesthetic response to a work of art as demonstrated by Tchaikovsky’s compositions based on Romeo and Juliet and the story of Mazeppa which reflected his own troubled love life.
References
Fisher, Burton. Opera journeys. Eugene Onegin. Updated 2008. Web.
Leighton, Lauren. Canadian Slovanic Papers. The Social Functions of Literature: Alexander Pushkin and Russian Culture. 1997.
Nordlinger, Jay. New York Chronicle. The new criterion. 2006.
Paul Debreczeny. The Social Functions of Literature: Alexander Pushkin and Russian Culture. Stanford: Stanford University Press, 1997. 282 PP.
The free dictionary encyclopedia. Mazeppa (opera).updated 2009. Web.
Musical works can evoke a range of feelings and emotions, reflecting the multifaceted nature of music. One such piece is the violin concerto “Winter,” which is part of four works by Antonio Vivaldi from the Four Seasons cycle (Caramez, 2014). Such compositional techniques as dissonant notes create a unique effect of cold and emptiness inherent in winter. Cellos, violas, and violins reflect the howling of the wind, the crackling of the fire in the fireplace, and other sounds that are typical of the cold season. As a result, by changing the dynamics of the harmonic scale, jumps and drawing parts are combined, thereby creating continuous tension.
The first violin part, performed by Julia Fischer, reflects various emotions that the composer put into this work. Particular tension is achieved through breaks, dissonances, and staccato parts. Vivaldi mixes the severity of winter with the approaching thaw and softness of spring. The composer shows how fickle nature can be by alternating loud and sharp passages with smooth melodies. The energetic finale, symbolizing the cold strength of winter, ends the concerto and the whole cycle with symphonic power. The Bavarian Radio Symphony Chamber Orchestra effectively conveys the musicians’ mood to the audience that applauds several times (Caramez, 2014). A sense of completeness and spiritual balance remains after listening. All sound accents are arranged in such a sequence that the listener experiences numerous feelings. Thus, “Winter” can be described as one of the strongest pieces of music from an emotional perspective.
In the realm of violin concertos few pieces have reached the level of acclaim as well as the widespread popular culture proliferation as “The Four Seasons” by Antonio Vivaldi. In fact the first half of “The Four Seasons” entitled “La Primavera” or “Spring” is one of the most widely utilized pieces of Baroque music in the movie industry with various snippets of the piece finding its way into movies such as “The Three Musketeers”, “The Man in the Iron Mask”, “Elizabeth”, and “Pride and Prejudice”.
For this paper, I am fortunate enough to hear a rendition of “The Four Seasons” as performed by Nigel Kennedy and will attempt to convey, from my own point of view, its different aspects related to its tone, pitch and melody and how they combine to create a truly exquisite piece of music.
Four Seasons – Part 1 and Part 3 Examination
From the start of Part 1 of “Summer” listeners are treated to a tempo in the music that is distinctly allegro in quality due to the rather fast paced manner of playing. This initial phase of the song varies between two versions of high pitched tones so as to convey a sense of awakening or rather liveliness as I believe Vivaldi intended this initial part to have a bright timbre to embody the brightness of summer where the rays of the sun come forth and heat up the land and bring about the season of harvesting.
While there is a certain degree of repetition initially, the overall melody of the piece continues to impart a sense of joy and excitement. From my perspective I would have to say that the song alternates between Allegro, a slight Largo, a moderately slow Adagio that does not impart a sense of somberness but rather a way of implying a slow anticipation of events.
This particular viewpoint is proven to be accurate (from my point of view at least) since immediately after the Adagio comes a sudden Allegro that practically screams the joy of life and living. For me part 1 alternates between action and anticipation with the decibel level alternating between Pianissimo and Messoforte as an indication of the liveliness inherent in summer.
Similar to the part 1 part 3 starts off with a repetitive tempo however this time it is predominantly presto with the feeling of brightness and life gone with the timbre embodying a form of closure, rapidity even, in which the start of the song is attempting to embody a rush of sorts wherein the mental image of people busying about to complete some task before it is too late.
It must be noted though that in this section the tone of the music is lacking mirth, emphasizing the need for speed rather than enjoying the season. In fact there are slight hints of a form of dissonance throughout the rapid fast paced quality of playing which seems to imply a coming end.
It must also be noted that unlike part 1 which alternates from a distinctly Piano and Mezzoforte, part 3 seemingly alternated between Mezzoforte and Forte. There is a gradual crescendo towards the middle of the song with a slight decrescendo towards the end. Overall part 3 embodies the very spirit of the end of summer in which it implies the coming of winter and the need to be prepared.
Conclusion
For me the approach of Nigel Kennedy to the piece was superb! Part 3 was particularly riveting wherein it seemed like he was almost sawing his violin in half with the sheer rapidity of movement. From my perspective Kennedy’s approach to part 1 was smooth and joyful but in part 3 it was almost violent yet in this violence was a superb quality of sound that was definitely riveting to hear.
Many historians have agreed that the Romantic period revolutionized the world of music composition. Hanning argues that the era was characterized by innovative lyrical melodies, emotional expressions, and rich harmonies (52).
Most of the composers during the era were inspired by the desire to entertain people and achieve eternity though music. Many composers of the Romantic era are remembered today because of their timeless contributions to different genres. Most of these musicians transformed the nature of music. One of the outstanding figures of the Romantic era was Franz Liszt. This research paper gives a detailed analysis of the works and achievements of this distinguished composer.
Franz Liszt
Life
Liszt was born in 1811 in Hungary (Saffle 4). He was taught by his father, Adam, how to compose music. Liszt had already become a famous pianist by the age of 9. He appeared in different concerts at such a tender age. Antonio Salieri eventually admired the young boy’s ingenuity. He chose to train him without receiving any payment. Liszt traveled across Europe with his father. Adam later requested Ferdinando Paer to teach Liszt (Wojtczak 58).
Paer’s guidance made it easier for Liszt to compose his first opera. He gave it the name Don Sanche (Piotrowaska 129). At the age of fifteen, Liszt’s father died thus forcing him to quit music completely. He decided to focus on other forms of art and literature. However, Liszt read numerous books that reshaped his future career objectives.
Liszt as a Composer
During his early 20s, Liszt mastered the art of music composition. He was also a good pianist (Saffle 16). In 1833, the young man befriended Comtesse Marie d’Agoult who encouraged him to compose various romantic pieces. This period led to the composition of an album titled Years of Pilgrimage. By the year 1834, the composer had managed to produce three Apparitions (Wojtczak 59). Throughout the 1840s, the romantic composer was admired by music enthusiasts across Europe. He was also believed to be a successful pianist during the time.
Music historians have argued that Liszt was a natural performer. His compositions and presentations were guided by feelings. However, Liszt’s style became more personal after the death of his father. The composer “attended many events and performed music across Europe during his years as a travelling virtuoso” (Saffle 33). Saffle indicates that “Liszt’s repertoire revolved around his transcriptions, paraphrases, and compositions” (42). The pianist also reworked several musical compositions such as the Hexameron (Saffle 49). He also gave numerous piano recitals thus transforming the nature of music composition.
Music Compositions and Achievements
Franz Liszt wrote numerous works and composed many pieces throughout his career. The world remembers this legendary musician because of his compositions. One of his major achievements was the symphonic poem (Saffle 12). This is an orchestral genre characterized by a single movement. The musician was fascinated by the concept of unity. Consequently, most of his virtuosic compositions made him one of the most famous composers during the era (Piotrowaska 131). He managed to pioneer new techniques in music such as the thematic transformation. The technique was characterized by variation and the leitmotif (Piotrowaska 131).
Liszt’s Years of Pilgrimage is a master piece that presents some of his provocative pieces (Wojtczak 59). Most of his works were sub-divided into two major categories. The first category was characterized by original works. Such works focused on his experiences, feelings, and anticipations. Some of his original compositions include the Piano Sonata in B Minor which was produced in 1853. He also came up with the famous Harmonies poétiques et religieuses in the year 1833 (Saffle 84).
The second category was comprised of different transcriptions. These transcriptions revolved around fantasies and paraphrases of works by different pianists (Saffle 72). His fantastic compositions focused on operatic ideas and melodies. He rearranged the piano arrangements and symphonies of works by celebrated pianists such as Beethoven and Berlioz (Piotrowaska 136). The composer also managed to make new arrangements of his vocal works, pieces, and instrumentals (Piotrowaska 137). The second movement of Liszt’s Faust Symphony is a good example of this kind of re-arrangement.
Many historians also indicate that the music composer came up with different piano transcriptions. Over 50 percent of the transcriptions composed by Liszt were re-arrangements of other composers’ works. The composer played such compositions every single day. He also performed and entertained many people using such transcriptions. Wojtczak observes that the composer’s transcriptions popularized different music works (59). He popularized most of Beethoven’s symphonies by presenting them in different celebrated performances (Saffle 102).
One of the biggest achievements was his ability to ameliorate the works of different composers. As a result, many people and composers believed strongly that most of Liszt’s transcriptions were superior and admirable. He became a celebrated figure because of such ameliorations and works. He achieved this goal “by modifying specific aspects such as the melody, harmony, and bass” (Piotrowaska 134).
Franz Liszt also came up with powerful organic music compositions. Such compositions were influenced by many artists in Weimar, Germany. Some of the major “organic works by the composer included the Prelude and Fague on B-A-C-H” (Saffle 38). From 1848 to 1858, the composer produced twelve symphonic poems. The artist embraced various concepts associated with Romantic literature, imagination, history, and mythology (Piotrowaska 134). Such concepts made it easier for Liszt to achieve most of his goals in music.
Towards the end of his career, Liszt chose to take “the augmented triad instead of the minor or major triads whereby musicians could add dissonances” (Wojtczak 62). The self-inspired composer also experimented with new concepts such as atonality and the use of forbidden approaches (Wojtczak 63).
Such attributes were evident in some of his compositions such as the Bagastelle sans tonalite. Historians argue that most of Liszt’s unconventional compositions were revolutionary. The works and compositions continued to inspire many artists throughout the Romantic period. This fact explains why many upcoming musicians and pianists were keen to study the works of this renowned composer.
Conclusion
The success and legacy of the Romantic period is usually attributed to the grand works of different composers such as Franz Liszt. Historians and scholars have argued that Franz Liszt ware a hero who produced powerful masterpieces during the Romantic era. The Hungarian artist, composer, teacher, and pianist also influenced the nature of romantic music. Liszt’s works were characterized by originality and ability to influence (Wojtczak 64).
His achievements and transcriptions explain why he was renown across the continent throughout the Romantic period. In conclusion, future generations will always remember Franz Liszt for his compositions, works, influences, and inspirations.
Works Cited
Hanning, Barbara. Concise History of Western Music. New York, NY: W.W. Norton Press, 2014. Print.
Piotrowaska, Anna. “Liszt and the issue of so called Gypsy music.” Interdisciplinary Studies in Musicology 13.1 (2013): 127-140. Print.
Saffle, Michael. Franz Liszt: A Research and Information Guide. New York, NY: Routledge, 2013. Print.
Wojtczak, Ziemowit. “Between opera and the Lied: Tre sonetti di Petrarca by Franz Liszt.” Interdisciplinary Studies in Musicology 13.1 (2013): 57-66. Print.
Frederic Chopin (1810-1849) was a Romantic Period composer from Poland who created music primarily using the keyboard (Chopin et al. 43). As a pianist, Chopin possessed unmatched abilities and talent that had great impact on the careers of numerous musicians. In regard to the piano’s repertoire, Chopin was a teacher and is historically honored as a musical genius (Karasowski 34). He wrote primarily for the solo piano and is globally renowned as one of the greatest musicians of the Romantic Period.
His poetic style of composition was characteristic of the styles of composers who lived before him. During his lifetime, Chopin only made 30 public performances and the largest potion of his compositions involved the piano (Karasowski 37). Chopin was a musical genius who contributed greatly to the growth of music during the Romantic Period.
Early life
Chopin was born on 1 March 1810 of a polish mother and a French dad (Karasowski 36). He started learning piano at a young age and benefited from the tutorship of Wojciech Zywny between 1816 and 1821 (Chopin et al. 43). His mother also contributed to his learning because she gave him some piano lessons. Chopin learned harmony and counterpoint under the guidance of Jozef Elsner (Wheeler 27). His musical genius led to his first public performance at the tender age of 8. His earliest works were composed in 1817 and he began performing by the age of 7 (Karasowski 40). He composed two polonaises at the age of 7 (Wheeler 28). Both pieces were created in G minor and B-flat major keys.
Travels
Travelling was an important aspect of Chopin’s musical success because he learned a lot from visiting cities such as Berlin and Paris, as well as countries in Western Europe (Wheeler 31). In 1828, Chopin travelled to Berlin and while there, attended concerts and operas by other musicians of the Romantic Period. His encounter with Niccolo Paganini in Poland motivated him to commence work on his Etudes (Chopin et al. 45). His prowess in composing music set the stage for him to explore and perform in several countries in Western Europe such as Italy and Austria. Chopin felt that his career was not growing exponentially, and as a result, he moved to Vienna where he lived and performed for a few months before leaving for France.
He never returned to Poland. He moved to Paris from Vienna where he interacted with other artists who helped to grow his music career. They included Franz Liszt, Alfred de Vigny, Heinrich, Heine, Hector Berlioz, and Eugene Delacroix among others (Karasowski 46). His career grew rapidly because at the time he relocated to Paris, the country had become one of the most important destinations for European culture. For example, great talents had emerged in letters and arts. Moreover, it was a center for Romanticism in music because several musicians lived there.
Chopin and the piano
Chopin went down in musical history as the most talented composer to devote his time and efforts to the mastery of playing the piano. All his musical pieces were composed with the aid of the keyboard. Majority of Chopin’s compositions are in shorter forms and are evidence of his great prowess. His musical pieces include 20 nocturnes, 17 waltzes, 27 etudes, 25 preludes, 15 polonaises, and 58 mazurkas most of which are culminations of great emotional expression (Karasowski 49). He also composed long pieces that were uncharacteristic of his musical style. One of his most prominent accomplishments in the romantic era music is the reinvention of scherzo and the invention of the ballade (Wheeler 38).
After inventing the ballade, he went ahead to compose several historical pieces. In that regard, his four ballades are considered some of the best compositions of the Romantic Period. His music was laden with emotions owing to advanced incorporation of harmony and rhythm into his composition (Hanning and Palisca 67). The incorporation of emotions and sensitivity into his music is one of the reasons why his pieces are still widely listened to and revered today (Wheeler 33). His music was unique and special because he used luminous melodies to express his emotions.
Chopin’s music
In contemporary society, more than 230 works of Chopin tell about his musical genius. Several pieces that he composed during his childhood cannot be traced and even though the ones that exist suffice to put him in the history books. As mentioned earlier, all his compositions involves the piano and were either performed with the piano or together with other instruments (Wheeler 44). Pieces that he composed without the piano were either piano concertos or chamber music. His music style was greatly influenced by several classical composers including Beethoven, Mozart, Haydn, and Clementi (Burkholder and Palisca 124).
For example, he taught his students to play the piano using Clementi’s method. He was influenced primarily by Mozart’s technique of playing the keyboard (Wheeler 48). In his own words, Chopin stated that Bach and Mozart were the most influential composers in his musical journey. He embraced John Field’s nocturne genre and improved its sophistication with regard to music composition. Chopin was the first musician to write ballades as music pieces to be performed publicly during concerts (Wheeler 53). His free-standing preludes pioneered as a new genre of music that reflected his great musical abilities.
Chopin’s long pieces occupy a special place in the realm of piano music composed during his era. They include sonatas, the four ballades, the Fantaisie, the Barcarolle, Op. 49, Op. 60, and the four scherzos (Karasowski 66). Shorter compositions comprise majority of his pieces and include nocturnes, mazurkas, polonaises, impromptus, and waltzes (Karasowski 66). The Etudes and the preludes are among his most famous musical collections that form part of his immense contribution to classical music during the Romantic Period. His involvement in music stagnated in the18830s due to his involvement with a writer known as Aurore Dudevant.
During the period of their friendship, Chopin suffered a bout of Tuberculosis that did not deter him from composing music. His long period of illness compelled him to leave Paris for holiday in England and Scotland. After his return, he was feeble and weak, and did not create new compositions until his demise.
Conclusion
Chopin was one of the most accomplished music composers who lived during the Romantic Period. He is historically renowned as the greatest composer to create music primarily for the solo piano. He was a virtuoso pianist whose genius influenced many other musicians and contributed to the growth of Romantic music as well as its spread to other parts of the world. His compositions were created with the piano even though he composed two piano concertos and several chamber pieces. His big break came when he left his native country (Poland) for Paris. He is a leading symbol of the Romantic Period because of his focus on the piano and the numerous pieces he composed that were unrivaled by any other musicians of that era.
Works Cited
Burkholder, James Peter, and Claude Palisca. Norton Anthology of Western Music: Ancient to Baroque. 6th ed. New York: W. W. Norton, 2010. Print.
Chopin, Frederic, Palmer Willard, and Valery Lloyd-Watts. Chopin: An Introduction to His works. New York: Alfred Music Publishing, 2004. Print.
Hanning, Barbara Russano, and Claude Palisca. Concise History of Western Music. New York: W. W. Norton, 2014. Print.
Karasowski, Maurycy. Frederic Chopin: His Life, Letters, and Works. New York: BiblioLife, 2015. Print.
Wheeler, Opal. Frederic Chopin, Son of Poland, Early Years. New York: Zeezok Publishing, 2007. Print.
In Frederic Chopin’s Nocturne, the tempo can be discussed as moderate and slow with certain rubato parts used to accentuate significant fluctuations in the tempo. This approach allows for emphasizing the mood of the piece. In addition, dynamics in Nocturne add color to the pattern of the work as they vary and change from being moderate and soft to loud and intense in some parts of the piece. It is also important to pay attention to the tone color typical of Chopin’s Nocturne.
The composer chose to focus on mixing different shades of one tone color in the piece in order to highlight the mood. Thus, there are no significant changes in the tone color, but slight differences in shades of the tone allow for creating a certain effect on a listener.
The use of rubato is one of the main characteristic features of Chopin’s Nocturne that adds to making the melody and tempo more diverse and pathetic. It seems that the accentuated parts with rubato contribute to providing the notes in the music piece with more expressive values. However, the emphasis put on the melody to produce a certain mood allows for using rubato only in the context of a specific tonal pattern. As a result, the overall mood of Chopin’s Nocturne is perceived as being melancholic and intimate while accentuating loneliness with the help of using gentle and lyric melodies. That is why listeners feel some melancholy and nostalgia when listening to this music piece.
Towards the end of the eighteenth century, Romanticism was mostly used to portray novel thoughts in literature and painting. However, musicians adopted the word to define their musical style and composition. Romantic musicians evoked emotions in their music. The emotions had a substantial impact on the perceived listeners. Romantic music was not entirely about love and passion; it was also characterized with negative connotation such as hate feelings.
Nationalism, emotionalism, subjectivity and pragmatic composition defined romantic music. Distinguished composers of the romantic period included Gioacchino Rossini, Gaetano Donizetti, Robert Schumann and Felix Mendelssohn, among others. Robert Schumann stands out as a unique writer during this time. He was the first composer to venture into the souls and minds of young children, although others had tried and failed.
In this paper, the writer focuses on Robert Schumann in exploring Romantic era. The author observes that Schumann redefined Romantic era music in various ways. He crafted his compositions with originality, incorporated literary devices in his music and widely embraced themes and vocals to differentiate his songs from other composers. To date, most of the Romantic songs are being studied by scholars in institutions of higher learning. Besides, their songs attract many listeners across the globe to date.
Robert Schumann
Schumann was a Romantic music composer of German origin. He began the musical career at a tender age of seven when he felt love for music. This love made him compose his songs. Under the influence of his father, a novelist, publisher and a bookseller, Schumann’s interest in literature increased. He, therefore, juggled between music and literature (Burkholder and Claude 70). Undoubtedly, this was a demonstration of his mastery in embracing literary ambition in his future music career.
According to Burkholder and Claude (77), Schumann innovatively crafted his composition with originality using canons of Viennese classicism and emulating exceptional legends of classical romanticism. Composing music only for piano, he began composing on other genres in preceding years. His compositions imitated and modeled the works of Beethoven. These approaches enabled him to craft multifarious piano sounds. In some occasions, he creatively expanded sonata form by rearranging character pieces in cycles. In his songs, the piano characteristically and independently stands out in depicting his poetic inspirations.
His composition widely encompassed narrative techniques which previously belonged exclusively to literature. These aspects of composition made him unique from the rest of the composers who embraced the traditional methods of music composition. Schumann incorporated scenes from plays, novels, and poems in his composition (Burkholder and Claude 110). In some cases, scenes depicting musical crossword puzzles with major musical scenes referring to places and people reflected in his composition.
In one of his collections, popularly known as the “Carnaval”, Schumann widely used characters to invoke different moods in a person. In fact, Bonds (113) explains that this form of creativity was a characteristic of the romantic period and differentiated Schumann’s compositions with classical music. Moreover, he composed his music with coded meaning which required an intellectual mind to understanding what he was singing about. The notes present in most of his music were symbolic (Bonds 142).
Schumann’s compositions were unique and exciting. This aspect differentiated his work from other composers during the Romantic period. The intellectual use of symbolism as well as combining the works of other composers prompts me to assert that Schumann was innovative (Hanning 162).
Schumann experimented with novel genres either by using descriptive titles, developing distinctive narratives or by embracing conventional genre titles while dismantling musical expectations of those titles (Bonds 124). Schumann’s piano music for young children defined his romanticism music era. He skillfully used generic hybrids like the piano sonatas to fix generic relations that promoted change and communicating unknown through his compositions (Bonds 164).
Burkholder and Claude (89) illustrate that Schumann’s compositions were defined through themes and harmony. Thematic and balance elements were the essential features of Schumann’s songs. Schumann used this style to embrace a sense of unreciprocated love, longing, and suffering. This aspect is demonstrated in the song Dichterliebe (Daverio 123). Also, tonal instability is also evident in Schumann’s songs. There is a remarkable swing from anguish to acquiescence and from flat keys to sharp keys in some of his songs; an obvious example is the Dichterliebe. Schumann addressed dissension with amplified liberty.
Schumann creatively used rhythm to endear to his audience. He extensively used polyrhythm between melody, accompaniment and text fixing coexistence of opposing ideas. Also, Daverio (141) mention that Schumann’s has masterly embraced recurrent themes in his songs to connect musical thoughts. An obvious example is the Dichterliebe where he uses narration. The theme he uses embodies symbolic significance besides inspiring narrative connection in his works. Transformation and repetitions of themes present in the songs link the ideas together, which is a major constituent of a song sequence.
Schumann uses the piano and voice to improve his composition. He has carefully used voice to borrow themes from the piano. The piano and voice complement each other and help in expressing the text as well as the song’s atmosphere. Piano and vocals echo a link between the piano music and the vocal, and thus Daverio (167) indicate that songs are an annex of Schumann’s music and thus express his world of emotions and feelings.
Schumann’s songs are embedded in poetry. In his words, Schumann demonstrated that a poem needs to be crushed, and its juice expressed; the poem must dress in the music as a “circlet” (Daverio 172). This assertion by Schumann reflects his intimate attachment with text in most of his songs. Conversely, the songs reflect Schumann’s personal life trajectory from birth, growth to maturity and eventually decline. According to Rosen (26), Schumann’s songs transcended three significant periods in history, thus reflecting on his life and musical development.
In conclusion, the romantic music composers redefined the music industry. It reflected the pre-conceived moods of both the composers and the audience. Music at this period was characterized by subjectivity, programmatic composition, emotionalism as well as nationalism. Besides, music composition was anchored on the composer’s emotions and feelings. Robert Schumann was the significant contributor to romantic music.
Beginning as a solo pianist, Schumann rose to become one of the greatest songwriter and composers of all time. He was innovative and was among the pioneers of romantic era composers to embrace literary devices such as poem in music writing. His music was characterized by symbolism, poetry, themes, harmony and vocals among other stylistic devices. Schumann’s immense contribution to the music industry still lives to date where his works are being studied by scholars, romantic music enthusiasts and institutions of higher learning among others.
Works Cited
Bonds, Mark Evans. A History of Music in Western Culture. 4th ed. Upper Saddle River, NJ: Pearson Prentice-Hall, 2013. Print.
Burkholder, J. Peter and Claude V. Palisca. Norton Anthology of Western Music. 6th ed. New York: W.W. Norton, 2010. Print.
Daverio, John. Robert Schumann: Herald of a New Poetic Age. Oxford: Oxford University Press, 1997. Print.
Hanning, Barbara Russana. Concise History of Western Music. 5th ed. New York: W.W. Norton, 2014. Print.
Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press, 1995. Print.