The plot of the first piece of Images, Reflets dans l’eau, suggests a pictorial rather than musical solution. The aesthetics of Impressionism considered it possible to blur clear lines between various types of art. The desire for sound recording, transmitting the murmur of water, requires an exquisite pedaling technique, the finest play of side tones, a lyrical touch, complex phonics of passages, and figurations. The composer deliberately avoids rough, “percussive” sonorities, suggesting that performers “forget that the piano has hammers.”
There is subtle poetry in Reflets dans l’eau: the music depicts quiet splashes, the charming murmur of water jets, and in the end, some distant bell echoes. With the usual skill, the composer juxtaposes and replaces harmonic and modal colors (diatonic, chromatic, whole tone, etc.). The general tone of the music is marked by transparent sadness. The music lulls, although moments of uplift are inherent in it (the highest emotional culmination – sonorous and joyful – is given on the sound of an E-flat major triad).
Soft chord tones define the character of this genuinely impressionistic soundscape. A feature of the composer’s musical language’s intonational nature is the frequent combination of pure diatonism with complex sounds of an increased scale. The variety of sound combinations is contained in the first eight bars of the piece. Immediately after this, complex chromatic alternations of discordant combinations appear so that after a few bars, they will be replaced by successions of pure quarts and fifths.
One of the most significant features of Debussy’s music is sonic variety. It should constantly be in the field of vision of the performer (Walsh, 2018). The path to sound diversity, to multicolor, should mostly go through the acquisition of motor freedom and lightness through finger work. Speaking about Debussy’s piano texture, one should highlight its multi-layered nature, the phonic “illusion” of impressionistic writing (Walsh, 2018). The specificity of the piano, its percussiveness must be overcome. Therefore, when playing the first part of the piece, it is essential to pay attention to the bass. On its overtones, the line of the sixteenths of the right hand, drawing the water surface (smooth surface), is performed legato as close to the keyboard as possible, horizontally.
The three-sounding motive, where a small dash at the top underlines these notes, is the first thematic grain. Some musicians believe that they should be played separately, while others are louder. The piece is marked with a note – Tempo rubato, which indicates a change in nuance and movement. The pedal in the work is textured and necessary. When pedaling, a performer needs to focus on the bass, which should be extended and at the same time sufficiently sonorous. Mixing of overtones creates a sharp color, and the resulting chromatic alternations create a different, more severe sound atmosphere.
Voiced descending sixteenths in the upper register of the right hand are played slowly, showing the sun’s glare reflected in the water. Therefore, it is necessary to compare registers and find the corresponding “colors.” At the beginning of the second page, pure quarts and fifths meet each other from the extreme registers’ depths. This phrase should have one line without gaps or stumbling. It is necessary to build a general dynamic wave, gradually accelerating, as indicated by the composer.
The transition to the new second theme is plastic, almost imperceptible. There are three sound planes in this construction: the orchestral “pedal” in the bass, figuration, and the middle voice. The texture should sound transparent, which depends primarily on the vertical distribution of sonority. It is necessary to continually work to ensure that the bass, despite the left hand’s constant transfers, is taken softly and calmly. The middle melody should have a slightly denser sound but with a completely soft and free hand.
In the first theme’s reprise, the pianist’s right hand moves circularly, hinting at circles on the water. In the next episode (enanimant), the evening haze seems to spread. Arpeggios in the upper register splash, sparkle, fall like a veil of water. The second theme now sounds loud and sharp in the high register. In the process of purposeful development, it leads to a bright culmination. For the first time in the play, a pure tonic triad appears. It creates the effect of a sudden flash of light. Plunging all the weight into the keyboard for fortissimo, a performer needs to build a general phrase, as if feeling the movement forward. The pedal does not change during one harmony, and starting with ritenuto, it lasts for 3 bars. Arpeggiated passages in the left hand convey water splashes, the murmur of water, and at the same time envelop the main contours of the melody.
The calm silence of nature reigns in the code. Here, it is required to listen carefully in harmony, overtones, with no rush. It is necessary to hold the left pedal throughout the entire code. With such a performance, the sound becomes more illusory. The ending is played on both pedals, without changing the right pedal – the sounds pass into one another, naturally resonating. The combination of these techniques and following the instructions of the composer allows performers to create an image of a living and mobile water.
Reference
Walsh, S. (2018). Debussy: A painter in sound. Faber & Faber.
The September 13, 2013 concert at 7:30 p.m., by Esther Park at Mathes Hall at Eastern Tennessee State University included pieces by Felix Mendelssohn, Bela Bartók, Franz Liszt and Frederic Chopin . Although all the pieces were by 19th century composers, the program was nonetheless filled with variety.
There was serenity in the Liszt, drama and fireworks in the first and third movements of the Mendelsohn, programmatic humor and evocation in the Bartok, and moody contemplation with very familiar phrases in the Chopin. The pianist was highly competent and gave her all to the performance. The audience seemed very appreciative, although many attendees may not have realized how accomplished their soloist was.
It was not clear whether the choice of pieces was meant to showcase some of the wide range of music created in the 19th century, but it certainly did so. It may also have been meant to showcase to Ms. Park’s strengths.
Perhaps the consistency of the program was Ms. Park’s personal choice because of her love of this era in classical solo piano music. Whatever the reason, it made for a very lovely effect overall. There was no jarring intrusion from another wildly different style or period. This created a pleasant atmosphere throughout the concert.
The first piece was the Fantasie in F Sharp Minor, Opus 28, also called the “Scottish”. This was by Felix Mendelsohn. The first movement involved an opening of descending arpeggios, and then a great deal of speed and drama.
There was no melody that could be immediately discerned, but the music was not atonal, so it gave the impression of melody. The middle movement was very meditative and quiet. The third movement returned to explosions of fast and exciting chords and runs up and down the keyboard.
The second piece was perhaps the most thrilling of all the concert, although it was fairly short. It was the Bela Bartok piece entitled Out of Doors. This was filled with the sounds of nature and of machines and people. At least, that was one interpretation of this wild music. It is interesting to wonder what the reaction of the audience must have been when they first heard this work back in the 1800s.
It was definitely programmatic, meaning that it makes sounds like the title suggests that it should. In this piece, one could hear so many different possible noises from the real world. It begins with pounding low chords and then rapid dissonances a bit higher. The dissonances are not displeasing.
For a modern listener, the programmatic nature of the work is actually more familiar than the smooth contemplative nature of the other older pieces in the concert program. It is reminiscent of the music from many movies and cartoons, evoking familiar sounds at times almost like a sound track.
The Paraphrase from Rigoletto by Franz Liszt is not immediately familiar as being from that opera’s most familiar themes. However, it is a lovely piece all on its own, even if one had no idea how Rigoletto sounds. It included enough fireworks of its own to make it interesting.
The 24 Preludes, by Frederic Chopin was a scary prospect at first. How to sit and listen to one piece for the entire second half of the concert was a bit off-putting. However, there was an immense disparity between each one of the pieces.
One of them at least was very familiar, having been used somewhere as a piece in a movie, or perhaps to introduce a program on radio or TV. The other ones were variously spiky and filled with glancing notes, or flowing and peaceful.
As a summary of the piano trends of the 19th century , this concert worked very well. It was a reminder to listeners that one century can contain vast differences in composition.
Works Cited
Powell Piano Series. Performed by Esther Park. Mathes Hall, Johnson City. September 13, 2013.
A solo concert by Lisa Moore as a pianist is an unforgettable event embedded in my memory for its vibrant lively sounds and transformational atmosphere. Her Mad Rush performance in 2016 in New York’s included Mad Rush, Piano Etudes no.5, 7 and 9, Metamorphosis 1-5, and Satyagraha Act III Conclusion by Philip Glass. That performance left a deep imprint on my memory. The piano sounded incredibly touching and melodic.
The atmosphere in the hall was so mysterious and enchanting that it seemed as if we all suddenly found ourselves in the medieval era. Before, I had only heard professional piano playing on record, but that day I was lucky enough to find out the true magic of this instrument, especially when such a talented woman played the instrument masterfully.
The piano music of Philip Glass is mesmerizing, immortal, clear and excellent. As an entertainer the opportunities for making tones in Philip’s music are endless since his tunes, resonant harmonies and formal designs permit space for singular translation and articulation. Great performance also requires a lot of deep thought, not just perfect mastery of the keyboard. Lisa Moore managed to make this piece a part of herself.
The first work, Mad Rush, of its main formative principle is the repetition of one or two motives which are usually some melodic figures against the background of regular rhythmic pulsation, which is close to the rhythm of rock music, hence the hypnotic, psychedelic effects on its perception. It forms some sound patterns and patterns that prompt us to make unconscious predictions about what will happen next. In case people are right, the brain gives itself a small reward in the form of the release of dopamine (Agres et al., 2017).
Thus, the constant maneuvering of the brain between musical expectation and the result enlivens it with a pleasant play of emotions (Agres et al., 2017). The strategies, for example, including rehashed, long arpeggios, rhythmical beat designs, utilizing distinctive mood designs together, utilizing various procedures while using limited examples or expressions are among the trademark highlights. One could feel the integrity, natural flow, strength, and grace of each note.
The succession of pieces is the solid point. Moore starts with the title track, from 1979, addressing the early, moderate Glass. The remainder of the collection, except for the Etudes which have connections to Glass’ dramatic or coincidental music and fills in as a decent focal point through which to mull over how the progressions in Glass’ melodic language as his vocation advanced were drastically propelled.
During the five-development Metamorphosis, Glass’ music got not more melodic but rather more gestural, a key to its later turn of events. The Satyagraha Conclusion, Act III, and particularly the Closing, increase the pressure to a more elevated level, and the whole program has a delightful circular segment. At first glance, the sound of notes seemed monotonous while it has many shades in reality.
Lisa Moore’s solo piano concert in New York was a memorable evening where she depicted and transformed the works of Philip Glass. Each note awakened in the performer a kind of musical awareness of the true artistic mission. Her mastery of the instrument made it possible to create very gentle music capable of touching the deepest strings of the soul. That is why, while listening to such compositions, tears appeared in my eyes.
The Sassmannshaus- De Silva Piano Trio Concert held on May, 29th at Bargemusic Hall, Brooklyn featured three famous classical music compositions. These included the Piano Trio in B-flat Major, Op.11 by Beethoven, Roses from the South (Waltz), Op.388, by J. Strauss, and Piano Trio in B Major, Op. 8, by Brahms. The first score by Beethoven has three movements. These are the Allegro con brio, Adagio, and Tema con variazioni. The waltz by Strauss has four major sections and Brahms’s composition also features four movements.
Pieces Performed and Relevant Biographical Information of the Composers
The first piece was written by Beethoven in 1797 (Lockwood 57). The German composer and pianist, Ludwig van Beethoven, is considered to be a key figure in the transition from Romantic age music to Western Classical music.
The composition was first dedicated to the Countess Maria von Thun (the mother-in-law to Beethoven’s patron) (Edwards 8). The piece was written at the request of the clarinetist Joseph Beer in Vienna. After he allegedly denounced the score, Beethoven wrote the altered piece replacing the clarinet with a violin (Lockwood 58).
Johann Strauss wrote Roses from the South in 1880 in Vienna (Ganzl 357). Commonly known as Johann Strauss II, the celebrated composer was born in Austria. The waltz was initially performed at a Sunday concert in Vienna and has since been played on numerous occasions. The themes of the performance emanate from the operetta “The Queen’s Lace Handkerchief” (Ganzl 358). The first and second acts of the waltz are the greatest manifestations of this connection between it and the operetta.
Born in Hamburg, Germany, Brahms was a famous pianist and composer in the 19th Century. He wrote Piano Trio in B Major, Op. 8 in 1854. However, he further refined the work in 1889 (Swaford 135). The composition has scores for the piano, cello, and the violin.
It is considered the only work by the famed composer ending with a minor key and among the few existing compositions that commence with major keys and end up in a tonic minor. Brahms’s revised composition has four movements. These are Allegro con brio, Scherzo, Adagio, and Allegro (Swaford 138).
Discussing the Pieces
Piano Trio in B-flat Major, Op.11 by Beethoven
The Allegro con brio introduces the performance with an expansive unison. After a while in F-major, the music is swung through D major, and G minor before a gracious tune that is more related to the first is finally introduced (Lockwood 52).
The Adagio has a soulful theme that is in E-flat, performed by the cello. The performance also features poetic modulation at the middle of the movement from E# minor to E -major pianissimo. Towards the end, the E# major is restored as a keyboard figuration embellishes the overall theme.
Roses from the South, by Strauss
The overall mood of the piece is somehow pensive. However, towards the final section it is generally joyful since it features Strauss’s lighter and sparkling tunes. Both parts of section 1 of the waltz are in F-major. While the first part of section 2 is rather pensive, the second is considerably more uplifting in terms of the overall mood.
The entire third section is in G-major. The climax is in part four, played in E-flat major and is marked with cymbals. Towards the end, it changes to the home key, F-major, and continuous descending chords lead to the final part of the waltz.
Piano Trio in B Major, Op. 8, by Brahms
The first movement features a broad B major theme that starts by a build-up in the intensity of both the cello and the piano. A second theme in G# minor that is considerably more delicate replaces the first after a while. According to Conrad (25), the theme is, however, only found in the first version of the Trio. The second movement is a B-minor Scherzo featuring a combination of fortissimo outbursts and filigree passages. The mood changes as the theme changes from B minor to B major.
The third movement continues in B major. However, it opens with a piano theme that is intersected by a poignant melody from the cello in G# minor. The final movement marks a return to B minor with the initial piano theme being ambiguous in terms of the tone and rhythm. The cello’s original theme is considerably smooth and in F# major.
It is then overtaken by a rather vigorous piano theme that is in D major. Towards the end of the final movement, the B-major theme found in the first movement is revisited. The movement finally changes to a B-minor coming to a somehow turbulent ending.
The Concert
Who was performing
At the concert, the performers who graced the occasion were Kurt Sassmannshaus, Christoph Sassmannshaus, and Rohan De Silva. Kurt Sassmannshaus is an eminent violinist and conductor based at the University of Cincinnati in Ohio. Christoph Sassmannshaus is Kurt’s son, also based at the University of Cincinnati. He is a reputed cello specialist and a prominent figure in classical music.
Rohan De Silva is a Sri Lankan pianist based in New York. He has been awarded severally for his mastery of the piano with the most significant award incident being the 1990 Best Accompanist Award in the International Tchaikovsky Awards in Russia. Throughout his career, he has collaborated with numerous performers and graced many musical concerts all over the world.
Instruments used and coordination between the performers
The instruments used in the performance were the piano, cello, violin, and cymbals. Playing the piano was Rohan De Silva. Kurt Sassmannshaus handled the violin while Christoph played the cello. According to the specific movements in each of the pieces played, the three instruments were synchronized or played independently with the cymbals marking the climax in the waltz. The coordination of the performers was outstanding making the performance one of the best in recent history.
Through non-verbal cues, they were able to interact without necessarily altering the flow of the performance. The most common way in which they communicated throughout the performance was through eye-contact. However, to a lay person, this communication was not that obvious.
Audience Reaction
The audience received the performance well. Constant applauding punctuated the performance at several points. At times, the audience members stood while applauding the performers.
The waltz performance was the climax of the performance in that the audience was compelled by its charm to waltz to the superb tune. Even though, the space proved to be a bit restricting, and everyone had to devise a way to make full use of the unique chance provided by the performance.
Performer’s Interaction with the audience
The performance was one of the most interactive experiences I have ever witnessed. The performers clearly had the audience in their minds as they strived to make the concert one of the best. For instance, when the audience stood to applaud, the performers would respond by heightening the moment.
Besides, when the members of the audience decided to appreciate the second piece by waltzing to the tune, the performers also stood and enjoyed the moment by heightening the climax of the concert.
Textures, timbres, rhythms
Beethoven’s music is often associated with a certain amount of dramatic intensity. The first piece in the performance combined textural tension, timbre tension, and rhythmic tension. Rather than employing the homophonic texture (where the melody dominates), which is common in classical music, the performance features several melodic lines that loudly intertwine throughout the performance. This infusion of several melodies increases the energy of the performance creating some tension.
This unique quality of Beethoven’s piece made it the perfect choice to begin the concert at a high level. The waltz by Strauss was moderately fast (moderato) but had slow harmonic rhythm featuring about 60-70 bars per minute.
In the first movement of Brahms’s piece, both the cello, and the piano build the intensity and were counterpoised by the second theme. The second features were several passages that had fortissimo outbursts. The texture of the overall performance was, however, smooth throughout the piece. Towards the end, however, the rhythm was fast leading to the build-up towards the end.
Additional observations
The selection and the order of the pieces were deliberately aimed at according the concert a climax at the middle of the concert. Beethoven’s piece created the perfect entry point for the concert as it indeed set the mood for the entire performance. The waltz was the highest point of the performance since it was the liveliest judging from the reactions of the audience.
Brahms’s piece offered a unique exit point for the performance as the turbulent ending left the audience longing for more action. The performance ended with a cliff-hanger that appeared as a deliberate strategy. The selection and ordering of the performance reminded me of the common plot structure employed by most literary artists where they leave the audience anticipating more.
The first piece by Beethoven was outstanding. However, the waltz by Strauss was everyone’s favorite. This is because it totally overhauled the performance by providing everyone with a unique chance to participate actively in the fun. The performers also made the second piece an all time classic for everyone in attendance.
Conclusion
The performance would be successful in almost every place where the audience space is not squeezed, and active participation of the audience is not restrained. Despite that Bargemusic offered a relatively restricted movement space, this did not deter the members of the audience. Other bigger arenas would, however, be more suitable for this kind of a performance.
Given the opportunity, I would definitely attend another performance like this one. The experience was so intense that I enjoyed every moment. From the selection of the featured pieces to the actual performance, the concert was definitely a success. The ending of the performance also instigated a certain urge for more. Without any doubt, I would want to have more of the performance the next time I am able to attend a music concert.
Works Cited
Conrad, Wilson. Notes on Brahms: 20 Crucial Works. Edinburg: Saint Andrew Press, 2005, Print.
Edwards, Leigh. “Ludwig van Beethoven.” Grove Music Online 2012. Oxford Music Online. Web.
Ganzl, Kurt. The Encyclopedia of Musical Theatre. New York: Schirmer Books, 2001. Print.
Lockwood, Lewis. Beethoven: The Music and the Life. New York: WW Norton & Co, 2005. Print.
Swaford, Jan. Johannes Brahms: A Biography. New York: Knopf Doubleday, 2012. Print.
Messages are conveyed quickly and intelligently across the universe through music. This is because music is one of the most spread art compared to others such as drawings and paintings. Further, most populace across the globe have access to some music. Pitch (tune and harmony), rhythm (tempo, meter, and articulation), dynamics, sonic qualities of resonance and texture are the most common essentials of any music. Thus, this reflective treatise discusses the elements of rhythm and composition in the music of the Archduke Piano Trio during a live concert on June 2014 at the Laidlaw Performing Arts Centre. The paper will dwell on scope of their performance, songs that were played, strengths and weaknesses of the performance. The paper concludes by rating the Archduke Piano Trio on a scale of ten.
The Archduke Piano Trio Concert
The concert was held on 3th June 2014 at the Laidlaw Performing Arts Centre. The concert lasted for two hours from 7.30 pm to 9.30 pm. This being my first attendance to such a big concert, the spectacular recitals by the Archduke Piano Trio, consisting of cellist Guo-Sheng, pianist Robert Holm, and violinist Enen-Yu, really captured my attention just like it did to the jovial audience.
The first performance by the trio featured G Major (1880) and consisted of pieces such as Scherzo-Intermezzo, Andantio con molto, Appassianoato, and Andante espressivo which were created by Debussy Claude. The talented trio artistically fused piano sound to the violin and cello to create a deep soul music. Gradually, the tempo of their performance increased and harmonized proficiency and controlled energy as the audience cheered on through the swings between moderate, allegro and andante.
Based on my judgment, the number of fans in attendance of the two hour event was roughly about six thousand. The background of the performance stage was illuminated with a mixture of bright colors and decorations. The trio systematically and frequently changed their tempo as different records were performed. The main attires they wore were black dance suits, red costumes, white suits, and yellow stockings. Most importantly, the performers’ attires were matched with the background colors.
Archduke Piano Trio group is known for its unique performance style, which it clearly showcased at the concert. The hypnotic quality of the music perfectly suited the modern performance style of the group. The musical instruments played in the mix included drums, xylophones, guitar and piano among others. The concert started with the group’s debut-single Scherzo-Intermezzo, with dancers camouflaged in black suits entering the stage while wearing bright red colored hair-do. Throughout this time, the trio kept the beats to the maximum with slow to moderate tempo. Song after song, the trio demonstrated emerging and entertaining performance styles. The fans appeared charged, and would burst into singing and shouting whenever they felt thrilled by the alterations in the tempo.
The trio had good choreography with composition abilities that were nearly faultless. Although the trio had accidental vocal variances, that were a little off by fraction of beats, it was understandable given that the context of the performance was live, and such errors could be noticed easily. However, the fans seemed to have never noticed these negligible discordances in the trio’ choreographed instrumentation tempo. On the stage, the trio appeared ‘hot’ and striking, and I would judge them as successful performers. Generally, one of the failures of performers in live performance is their inability to communicate and engage audience.
For the Archduke Piano Trio’s live performance, the performers constantly engaged the fans through their actions and chanting of words that the fans were expected to repeat. The trio acknowledged the fact that they never had a concert facilitator who would psych-up fans, thus, they kept asking the fans for activities such as standing up and imitating their style of dance. To their advantage, the crowd followed like a flock of sheep, making the concert more entertaining.
The second performance was characterized by harmonic sound of the cello after which violin sound ushered in the piano. Among the pieces in the second performance included Andnte un poco mosso and Allegro vivase, which were composed by Franz Schubert. The pianist was the most outstanding especially in balancing moderato to andante tempo before progressing to a more vigorous allegro tempo. Reflectively, the violinist introduced the andante tempo of the second performance after which the pianist gradually ushered in the cello player to create a harmonized and entertaining piece. The trio employed artistic skills, acquired after long period of training, to thrill the audience with their unique balance of andante and moderato rhythms.
On the periphery of music as a tool for expression, communication models such as tripartite, including listener, performer, and composer were well presented in the concert. Over time, this concept has been expounded to include constituent parts which are elegantly arranged to embrace elucidation for every existing interrelationship. Specifically, to achieve this intention, the trio conveyed message of the composer to the audience or listeners with a lot of enthusiasm.
This process involves multiple interactions among the concepts of decoding and coding of the balanced moderato and andante rhythms. In the trio’s musical composition, they succeeded in arranging emotions and relieved tension in their speed of tunes and manipulation of words. Reflectively, music composition defines cultural perceptual artifact expected to be understood by ‘acculturated listeners’ who share almost similar explicit and implicit structures of knowledge. Therefore, the degree of success in use of music to communicate musical concept is congruent to magnitude of agreement and interpretation between expressive intent and emotional attachments which the message contains against the perception by the audience. The trio’s concert was very successful in displaying artistic prowess, outstanding performance, and stage command. From my evaluation, I can rate the group at 9 out of 10.
The traditions and social context of a community have a sturdy sway on the formation, performance, significance, and even definition of music. The Archduke Piano Trio’s music contained elements of syncopation in their characteristic flow that entertains. For instance, while performing the songs Andantio con molto and Appassianoato, the Archduke Piano Trio displayed prowess in a compound and straight forward tempo. The Archduke Piano Trio adopted repetition in stating rules of friendship. Across the two hour concert, the rhythm and melody of the Archduke Piano Trio’s compositions moved people to like the information being relayed. An emotion is a way of creating a strong connection between the target audience and the message, especially, if the beats and tempo of the music are arranged in an alluring style. The Archduke Piano Trio appealed to their audience who somehow live within the culture displayed in the music.
Based on my evaluations, the actual good moments of the concert came towards the end as the trio prepared to leave the fans. Even as I joined others to dance in these last entertaining minutes of the show, the group only did two compositions and stopped. Having realized that the crowed was charged, and given that the time for closing the Laidlaw Performing Arts Centre had not yet elapsed, the trio would have continued with five or so songs to exhaust the charged audience at that moment. Secondly, the concert was rather short, lasting for only two hours. However, this could be as a result of the limited number of hits the group has, or as a result of the trio’s physical nature and limitations.
Conclusion
Generally, the concert was very refreshing. For instance, the fast adventurous harmony tempo and enlightening mood made the two hours concert a standout event. The audience was moved by the energetic and experienced trio. This concert was the biggest ever organized by the local music and art organization. Across the concert, I learnt the importance of culture in music composition and mixture of sounds to create a perfect piece. The trio’s harmony of enlighten mood and tempo created a perfect musical notation. Coherently, the level of auditory components have different audience repertoire for sensory connection, commonly referred to as context modality which the trio showed with little struggle. I must admit that my expectations were surpassed by the trio. Although the concert only lasted for two hours, everyone in the audience was thrilled as evident by their excessive jubilation.
The given performance of August Wilson’s The Piano Lesson was a very successful production of the work for several reasons. Firstly, the actors’ staff was excellent, as they reflected the main ideas which Wilson aimed to show in his play. Secondly, the atmosphere was performed flawlessly, and decorations contributed to the overall perception of the work. It is important to discuss other features of this production, including acting, directing, design, and several other elements, to understand why the performance is excellently fulfilled.
Some aspects were significant, such as genuine acting and scenic design. I especially liked how the actor performed Boy Willie, a playful and ambitious male. Moreover, I appreciated the fact that the actors were natural in their emotions; the simple scenic design added to the perception of the play. Furthermore, it was necessary to note how actors delivered their speeches, as it influenced the perception of the whole play. People’s actions on the stage were outstanding and reflected what I thought about actors while reading the written play. For instance, I imagined Doaker Charles precisely as shown in the given production; he spoke straightforwardly and represented an ordinary working man in his middle years. The actor who played Doaker Charles managed to identify with the character and expressed similar emotions such as conservatism, directness, and honesty.
Moreover, I saw no false emotions in the actors during the performance. It was pleasing to watch the play, as the actors delivered their speeches timely and without confusion. Dancing and singing, which happened in the middle of the work when the family gathered, were appropriate and performed excellently. If dancing and singing looked natural, the production was successful because it contributed to the spectator’s obsession with the performance. The directing was good because it implemented the necessary emotions for each character. For instance, the actress playing Berniece was shown as a strong woman who could say her intense word if needed. The actress perfectly reflected her image, as sometimes she screamed and stated her position clearly.
Furthermore, the production was great, although actors wore ordinary costumes and the stage had no excessive decorations. However, it added to the whole performance, as when I read Wilson’s The Piano Lesson, I did not imagine any elevated conditions. For instance, the action was happening within one location during the production performance. The critical notion was the simplicity of clothes and decorations in the given production work and the absence of special scenic light. Several lamps created a homemade atmosphere, and the light changed according to the specific scene.
Several unique design elements were successful and contributed to my positive opinion of the play. For instance, I liked how the actors reflected the prominent theme of acceptance during the play. Although The Piano Lesson is a performance about multiple topics, including racism and self-determination, the theme of acceptance was seen. For example, when the character Lymon digressed about his past in Mississippi, he spoke about his intentions to start a new life in Pittsburgh. He had no choice but to accept his current position and reasonably choose his future direction in life. Therefore, the given version was excellent for multiple reasons, including plausible actors’ playing, the absence of excessive decorations, and appropriate dancing and singing scenes. Moreover, the reflection of Wilson’s original text facilitated a positive impression and added to the excellence of the performance.
The orchestral E-concert contains the three works by the prominent Russian composer Peter Illyitch Tchaikovsky. A relatively short opening work is 1812 Overture, the following work is Piano Concerto No. 1 and a single multi-movement work is Symphony No. 4. The performers of the first piece are Yuri Temirkanov conducting the Leningrad Philarmonic and The Leningrad Militar Orchestras, Martha Argerich performs the second piece, playing the piano with Charles Dutoit and the Orchestre de la Suisse Rom, as to the third piece, Barenboim is the conductor of the Chicago Symphony Orchestra.
The opening work, 1812 Overture is relatively short and lasts not more than fifteen minutes. But within this quarter of an hour so many moods are changed that it may seem that the whole life passes before the listeners’ eyes, while millions of destinies are ruled. The uninformed listener would guess that the work reflects the moods of the war conflict, so quickly the tune changes, so solemn are the separate extracts. “A festival overture by Tchaikovsky, op. 49 (1880), for orchestra, carillon, and artillery, composed for the commemoration in 1882 of Napoleon’s retreat” (Randel 286). This fact clarifies the author’s original idea of including the Russian and French anthems into the work. The opening of the 1812 Overture is gentle, the Russian national hymn God Preserve Thy People introduces the listeners to the peaceful life of the Russian people.
Then there is an unexpected change of the mood, when the tempo quickens, the savage thrusts can be heard combined with the motifs of the French hymn Le Marseilles. This change reflects the opposition of the Russian folk, its struggle for one’s freedom and the instruments are aimed at imitating the sounds of the warfare – so loud are the thrusts and so many instruments playing their parties simultaneously produce the impression of the conflict of interests, while the solemn notes emphasize the importance of the historical moment.
The tune changes several times within the overture, this is historically accurate, as Napoleon’s interventions repeated several times, the same is with the musical piece – similar excerpts repeat one by one, the periods of peace are alternated with the periods of warfare, the excerpts of the national hymns alternate, representing the French invasion and the Russian opposition. The third episode leads to the victory of the Russian folk, as the French anthem is not heard anymore, the triumph of the Russians is expressed by the solemn melody, which was heard at the very beginning of the piece, and the sounds resembling the church bells can be heard, the elements of march can be found at the end of the overture.
Thus, all the elements of the 1812 Overture such as the alternation of the national anthems, changes of the tune, solemn melody, and the sounds of the church bells are aimed at revealing the feelings and moods of the participants of the warfare and the triumph of the Russian folk.
Tchaikovsky’s Piano Concerto No. 1 is divided into three movements, the first one lasting for twenty minutes, the second as well as the third last for about seven minutes. The concerto includes several pieces of Ukrainian and French folklore songs. The introduction of the concerto sounds majestic; the result is achieved by the united efforts of the orchestra and the piano. Later the piano and the orchestra seem to struggle for the leading role in the concerto, the piano starting the theme and followed by the orchestra developing the same theme from the very beginning. While the first movement is triumphant, the second movement is melancholy, the opposition of the orchestra and the piano seems to lose their strength and passion, the oboe enters the concerto.
It seems that this is the consequence of the composer’s romantic character. “The Russian-born Tchaikovsky was a Romantic in every sense, with his heart on his sleeve and, quite regularly, tears in his eyes” (Smith 123). But it is only a short pause, after which the piano begins its struggle for the leading role and the extract demands the pianist’s technical skills, which were demonstrated by Martha Argreich brilliantly. The melody of the third movement is interrupted, the piano seems to be prevented from developing the entire theme, the short extracts create the nervous mood, the melody growing in its intensity and reaching its climax in this movement. Tchaikovsky’s Piano Concerto No. 1 includes several Ukrainian and French folklore motifs, combining them into a complex original melody with unexpected transitions and changes of the mood.
Tchaikovsky’s Symphony No. 4 consists of four movements, interconnected by the common themes and intricate transitions. The first movement opens with the majestic introduction, introducing the first violins and cellos, this theme will be heard again, this fact increases its importance. The second movement is represented by a song accompanied by the oboe and pizzicato. This movement includes the climax of the symphony and the melody grows fuller and fuller before the highest point.
The two main themes of the third movement are given out by the violins mostly, alternating each other up to the end of the movement. The fourth movement is given out by the whole orchestra, developing three themes, the symphony is closed at the full of its development. This lively symphony arouses the diverse listeners’ feelings from the desire to catch every moment of life, being influenced by the energetic melody to the touching and romantic feelings.
The initial purpose of the composer is unknown. Tschaikovsky wrote in his letter to Nadezhda von Meck: “Oh, how difficult it is to make anyone see and feel in music what we see and feel ourselves” (Althouse 56). Tchaikovsky’s Symphony No. 4 encourages the listeners for expressing their feelings and represents the composer’s attempts to show the inner struggle of the person falling in love.
The three works by Tchaikovsky represent the composer’s attempts to share his mood and feelings with the listeners using the changes in the melody, alternations of the accompaniment, and the excerpts of the folklore songs.
Bibliography
Althouse, Jay, O’Reilly, Judy. Accent on Composers.Alfred, 2001: 120.
Randel, Don. The Harvard Dictionary of Music. The President and Fellows of Harvard College. 2003: 978.
Smith, Tim. The NPR Curious Listener’s Guide to Classical Music. The Berkley Publishing Group, 2002: 249.
The following research paper on Schubert’s lied ‘The Erlkoing’. The paper specifically examines the role of the piano in the Erlkoing.However, it is important to give a short summary of Schubert’s life and major composition style before examining the role of the piano in the erlkoing.
Discussion
A short summary of Schubert’s life and major composition style
Schubert wrote songs which were referred to as lied. The term lied is a German word that was founded by Franz Schubert and is associated with a folk song.Usually, the composers of lied select an appropriate poem first before composing music that best projects the thoughts and mood of the text.
Franz Schubert was born in 1979 at Vienna location and was the youngest son in his family. He passed his early childhood years at home. He also developed love for music at a very young age.
His fondness of music was also stimulated by a close relative who took him often to visit a pianoforte warehouse where he would exercise without any guidance from a master.
Schubert joined a piano class at the age of seven where it became apparent that he had master the skills that he was bound to be taught by his masters. His father accounts that he prepared him for elementary lessons at the age of five. At the age of six, he sent him to a piano class where he emerged as one of the best student.
According to his father, Schubert happy moments were when he was at his play-hours together with his fellow schoolmates. His father continues to account that he taught his son the basic skills of playing violin while Schubert was eight years old.
He made sure that he played duets easily and very tolerably and it is afterwards when he sent him to Lichtenthal for singing. His choir-master Micheal Holzer,was very proud of him as he had never seen such a pupil who had the capability of mastering skills fast.
Actually,his master did not give him much lessons and instead, he amused himself as he found that Schubert already knew more than him. The school however played an important role in Schubert’s career as his pianoforte and organ playing skills were greatly enhanced.
Schubert also acquired some skills from his eldest brother Ignaz who taught him basic skills of playing pianoforte.Ignaz was however amazed by the fact that after a few months of practicing with him, he had already mastered the skills and thus, there was no need of further instructions(Fischer-Dieskau 56-59).
In 1810, Schubert wrote his first pianoforte composition made him famous as it was fabulous. During the following year, he wrote his first song ‘Klagegesang der Hagar’ and his composition skills were also amazing.
Gifted with a soprano voice, he was hired as a violin player and a solo singer at a local parish church while at a tender age of eleven years. Fischer-Dieskau(1976) in his study argued that his performances attracted huge numbers of listeners from all parts of the land.
Later, he was promoted to the Chapel Royal as a chorister and having mastered violin playing skills, he became a member of school band. His duty was to study on a daily basis and to execute symphonies of Mozart and Haydn as well as Beethoven’s works.
Schubert used the words of locally and internationally poets to write songs, he was most inspired by Goethe as he enabled him to write songs that had originality as well as startling power.
Schubert together with other composers such as Duparc and Faure strove to maintain a balance between the piano and the solo vocal line accompaniment.
The composers portrayed their specific concrete images by using the word painting. Word painting also favored the accompaniment of piano and other musical instruments (Fischer-Dieskau 56-59).
The role of the piano in the Erlkoing
The Erlkoing was composed by Schubert in 1815. The song describes about the death of a boy after being beset by a ghost. The song’s text originated from Goethe’s poem and it has been used as a traditional German song.
The song remains as one of the most famous song of Franz Schubert. In the Erlkoing, there are four characters who are involved i.e. the Erlkoing himself, the father, the son and the narrator (Fischer-Dieskau and Dietrich 56-59).The following are the main roles of piano in the Schubert’s Erlkoing;
The piano in the Erlkoing made the poem to be quite interesting. It made the lyrics to be interpreted in various ways and this makes it to be an interesting piece of art.
Firtsly, the performer used a different approach in resolving the Neapolitan. Instead of resolving the chord with a v to i, the performer uses iv chord which makes the piece to look odd. It makes the resolution to produce a different sound from which is expected by the audience.
Also,the piano makes the Erlkoing to be truly fascinating in that, it cerates a sense of urgency as a result of the scale wise motives that are produced using the weaker hand. In the Erlkoing, a sense of abruptness is created by the use of such dynamics as the subito forte (sf).
The subito forte dynamic in the Erlkoing remains valid until it is countermanded by an indication. The use of subito forte in the Erlkoing had an effect on the successive pitches. It enabled the audible intensity of sound to continue after an initial attack (Open University 207 Course Team 176-184).
The piano was used in the Erlkoing as it was associated with a rhapsodic style which enabled it to act as a partner as far as the depiction of emotion was concerned. In the Erlkoing, piano’s with six and a half octaves were invented.Also,the use of iron bars allowed piano’s with great dynamic ranges to be developed.
The piano enabled the poet to associate emotion, character and mood with each peace and this helped to achieve a musical performance. The Beethoven’s piano for instance played an important role in helping the poets to express their emotions in the Erlkoing.
By using the piano, a poet could connect to a wide range of emotions without seeming to be ungratefully unhappy. There; a poet could listen to himself too, think thoughts, feel feelings and feel thoughts.
The feeling that the poet have towards others guides them through seemingly endless variations (Open University 207 Course Team 176-184).
Piano in the erlkoing saw the emergence of virtuoso composres, audiences and conductor which was beneficial to all. While playing the Erlkoing music, the performers played the piano with ease by the left hand.
This provides the performer with an opportunity to speak promptly and clearly and to execute a flute-like tone. The performer while playing the Erlkoing does not execute too much effort (Open University 207 Course Team 176-184).
The piano is used in order to distinguish between the boy, the father and the Erlkoing. For instance, the Erlkoing’s melody’s are continuous and they stays in major keys. The boy and the father on the other hand have disjointed and short melodies withy minor keys.
The melodies of the Erlkoing sounds agreeable and sweet and this makes them to be sinister with regards to the song.Erlkoing adopts an easy approach and this enables the audience to know that he is indeed in charge of the whole situation.
The piano further distinguishes the melodies of the three in that, Erlkoing lines are the only parts in the entire song where the piano hammering relents and switches to an easier rhythm. The piano in the Erlkoing is also used to give a sense of tension.
A good example is that the hammering of the right hand of the piano stops when Erlkoing enters and plays an easy going melody while at the same time, giving a cradle-song lulling effect.
When the Erlkoing sings for the third time, the piano’s bass does not change but plays long notes and at the same time, the hammering continues with the right hand. The piano made Erlkoing’s line to be more appealing to the listeners than the lines of father and the boy (Open University 207 Course Team 176-184).
The piano in the Erlkoing plays an important role of helping the performers to express their words. The setting of words was an important aspect as far as the Erlkoing was concerned. The composers were however not concerned with drafting a lovely melody.
The composers required to have a good melody and also to express their words. Piano helped to evoke a mood, paint a picture and also enrich ideas more than a singer could do.
For instance, the piano is capable of suggesting wind that is blowing through the buildings or trees by the help of its rapidly moving notes as well as changes of dynamic levels (Hoffer 176).
Piano played an important role of helping reduce stress among conductors, performers and composers during the Erlkoing. The relaxing sounds of piano enabled people to relax in the Erlkoing.Piano usually set a soothing mood and also help in delineating characters in a song.
The art of playing piano enables people to relax their brains. It enabled such individuals as Schubert to maintain their mental health. Also, it is fun to play the erlkoing using a piano (Open University 207 Course Team 176-184).
According to Goethe (Byrne 76), Piano enhances the tonal quality of each voice i.e. The father’s hoarse sound, the child’s panic voice, and the erlkoing soothing luring sound. Just like galloping horses, piano has opening introductions and this makes the quality of musical themes to be impressive and expressive.
Usually, people’s voice can be beautiful and expressive musical instrument and when coupled with the tonal power of a piano moving result can be obtained.
Piano was used in the Erlkoing to enhance the voice progressions i.e. minor vs. major. During the Schubert’s days, the middle class purchased the Erlkoing song for family entertainment.Piano enabled the Erlkoing and other compositions to go beyond the music capabilities a good number of amateurs.
The piano allowed everyone to express their feelings regardless of their talent. The soprano voice of the piano helped to manage the song quite nicely. It helped to maintain a simple musical style and this made the performer to express the yearnings of his or her heart (Reed 42).
The role of the piano in the Erlkoing was to limit the physical distance between the audience and the poet. The introduction of the Erlkoing was associated with a strikingly chromatic progression that begins on a chord distance. The introduction of the voice allows the tonic chord to be reached.
Also, the harmony becomes diatonic and this makes the chord standards to be quite standard (Open University 207 Course Team 176-184).
The piano ‘s power enables it to act as a superego in the erlkoing i.e. the piano has much power in that it can stand voiceless with regards to textual voice.Also,the piano has power to authorize and to de-authorize its utterances. Piano has power to produce noises of different lengths.
Some notes that are produced by piano has sound long while others are quite short. Other sound notes are of medium length. The piano in the Erlkoing thus helps in defining the melody of the poem through its combination of short, medium and long notes.
Piano music is characterized by use of various symbols and characters. The symbols play a crucial role in telling the length of each sound note. The unique pattern and order of note lengths helped to form the melodic rhythm of the Erlkoing (Open University 207 Course Team 176-184).
The piano enabled the performers of the Erlkoing to play many notes and also to play complex chords easily. With the piano performer can voice his or her chords with a lot of versatility. The piano is capable of playing its own baseline i.e. it is not limited to play any number of octaves.
The performers thus found the piano to be more convenient as they could play any kind of base notes and rhythm (Byrne 42).
The fact that learning to play the piano is a complex task implies that it is an impotent musical instrument.The performers used the knowledge that they picked while learning the piano to enhance the Erlkoing (Byrne 76).
Playing the piano in a song plays an important role in improving the muscle tones of the poets. The piano in the Erlkoing helped to strengthen the muscles of poets’ hands and arms.
When playing the piano in the Erlkoing, the performers were completely focused. The training gave them a new confidence and also enhanced their self esteem (Capell 166-169).
The piano accompaniment in the Erlkoing provided other performers with an opportunity to play the music. The performers of the Erlkoing can thus group themselves into two groups that contrasts and complements one another.
This in turn helps to attract the attention of the listeners. The piano’s accompaniment also helps in according some sense support (Capell 167).
Conclusion
Schubert was a genius composer due to his peculiarly sensitivity to rhythmical features and expression. Schubert’s songs have been widely performed and published. The composers of the late 18 th and early 19 th century in Germany such as Klein and Bachmann have encompassed the Erlkoing in their works.
However, much of Schubert’s songs remained unknown during his lifetime. Goethe played an important role in promoting the work of Schubert as acted as his music advisor. The Erlkoing by Schubert is his most exciting and dramatic collection.
The mood of the Erlkoing is one of suspense and fear due to the mythical king which stated that whoever is touched by the king, and then he or she is bound to die.
The piano in the Erlkoing plays an important role in setting the mood. It also helps in delineating the four characters in the song.Also; the piano in the Erlkoing was intended to create drama and excitement by playing the role of the horse.