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Introduction
Initially, violin entered the music industry as an instrument for entertainment used by the lower classes. It accompanied dances for ordinary people and was not played at special places. However, with time, violin play became a profession. It entered the orchestral world and started to lead other instruments (Hann 2).
Two Main Types of Venues in the 18th and 19th Centuries
Since the 18th century already, those venues that were created for music-related purposes divided into two types. Those spaces that were connected with the political life of the country were rather large and had good acoustic, which could not be said about small spaces focused on artistic considerations. Some related issues are observed even today, as large music halls also often have a bad influence on the sound of the performance. This problem becomes more critical when intimate repertory is played, for instance, unaccompanied violin pieces (Donington 211).
In the 19th century, music-making was divided into home and philharmonic one. The large-scale music-making took place in the concert halls. In its framework professionals often refer to Wagner’s innovation considering placement of forces. He was the first to put the orchestra underneath the stage.
Programs
Nowadays, professionals pay much attention to concert programs that were popular previously. Still, focusing on them, they do not consider the possibility of recreation, as a rule. For a piece to be played in the concert hall, it is to be innovative and extraordinary. A mixture of different types of music was developed in the 19th century and became popular in its second half. Professionals would gather orchestral and vocal music, for example. The mixture of instruments and vocals appeals to the audience most of all due to its entertaining characteristics.
Examples of Music Mixture in the Programs of the 18th And 19th Centuries
A range of examples can be used to describe this approach of music mixture. Starting with the end of the 18th century, long concert programs were developed. In the Leipzig Gewandhaus Orchestra, a symphony, a hymn, violin concerto, and an aria, etc. were combined. Together, they composed an inaugural concert (Jackson 367).
Similar to it, the first concert of London’s Royal Philharmonic Society that took place at the beginning of the 19th century consisted of “Cherubini’s overture Anacréon, a string quartet by Mozart, a vocal quartet and chorus by Sacchini, a wind serenade by Mozart, symphonies by Beethoven and Haydn, a chorus from Mozart’s Idomeneo, a Boccherini quintet, Jommelli’s celebrated chaconne and a march by Haydn” (Lawson and Stowell 93).
The concert of a violinist Franz Kneisel, who was the representative of the 19th century, also was rather extended. It and was performed in 1892, which proves that tendency. It consisted of three main parts: Haydn’s Symphony, Paganini’s Concerto for Violin, and Brahms’ Symphony (Nikisch 1).
Current Examples of Programs and Venues
Current violinists also tend to gather several pieces that have different natures. For example, Hilary Hahn presents “recital of Bach Sonata No. 6, Mozart Violin Sonata in E-flat Major, K. 481, García Abril Solo Partita for Violin, Türk “Träume”, Schubert Rondo in B Minor, D. 895″ (par. 7). Usually, Hahn holds concerts in concert halls. They are rather big but are not always good for violin play, considering their acoustics. Sometimes, performances are held in philharmonics and theaters. They can be found in more locations and can be used for a wider variety of events. Unfortunately, it also means that they are less adapted to such concerts. In addition to that, attention can be paid to additional artists who accompany violinists on their tours. Hahn, for example, alters her program several times during the tour (par. 1-3). Considering those pieces she is going to play, different professionals assist her during the concerts. As a result, the sound of the same piece can change greatly being affected by the peculiar features of the venue, such as the placement of orchestra and seats for the audience, wallcovering, etc. In addition to that, it is influenced by the human factor.
According to Brittany Peterson, Executive Director of Uptown Violins, the venue not only poses additional challenges for the performance but can influence the program of the concert (Rescot par. 4). For instance, more traditional and chambered settings, such as historic churches, symphony halls, and people’s homes, do not require powerful sound and therefore allow more dynamic contrasts via bow hair tilting and playing closer to the fingerboard (Rescot par. 4). In contrast, a large hall, especially coupled with the presence of the orchestra, requires stronger playing and is restrictive to dynamic techniques (Rescot par. 5). Peterson also states that some venues require tweaks in the program to impress the audience, such as her arrangement of Vivaldi’s Winter for eight violins (Rescot par. 3).
The versatility of modern musical settings expands the list of traditional venues to include several venues not initially meant for musical performance. For instance, Dave Matthews Band’s violinist Boyd Tinsley often performs in stadiums and open spaces. For such a setting, electric instruments are often used to overcome acoustical disadvantages. While electric violins are commonly associated with band collaborations and modern music pieces, Tinsley also uses them for his solo performances, such as his performance in Grand Central Terminal, New York (Tinsley).
Conclusion
All in all, it can be concluded that venues and programs of concerts related to violin changed greatly since the 18th century when this instrument became popular. They started as entertainment events and ended with formal affairs. Relatively short and focused on a particular type of music classic programs coexisted with the mixed programs that appealed to the audience of the 19th century. As instrumental music became independent from opera, it attracted more attention, and musicians turned into performers. They hold concerts in concert halls that were made for orchestras but also could be found in theaters or philharmonics, etc.
Works Cited
Donington, Robert. The Interpretation of Early Music. Norton & Company, 1992.
Hahn, Hilary. “On Tour.” hilaryhahn, 2016. Web.
Hann, Hanna. “The Influence of Historic Violin Treatises on Modern Teaching and Performance Practices.” Ursidae: The Undergraduate Research Journal at the University of Northern Colorado, vol. 4, no. 3, 2015, pp. 1-10.
Jackson, Roland. Performance Practice: A Dictionary-Guide for Musicians. Routledge, 2013.
Lawson, Colin, and Robin Stowell. The Historical Performance of Music: An Introduction. Cambridge University Press, 2004.
Nikisch, Arthur. “Concert program April 22nd and 23rd, 1892.”Taminoautographs, 2015. Web.
Rescot, Ashley. “From the Winspear Opera House to the Dallas Cowboys Stadium: How to Adjust Your Performance to Fit Your Venue.”UptownViolins. 2016. Web.
Tinsley, Boyd. “Dave Matthews Violinist Boyd Tinsley Serenades Grand Central Terminal.”YouTube. Web.
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