The balance of a calm, graceful melody and bombastic runs of Chopin’s Ballade No. 1 makes it a riveting piece of music to experience. Considered to be one of the most prolific musical masterminds of the Romantic era, Chopin has produced a piece that is popular even today. Though with such a layered and intricate piece of interweaving themes, there is much that is left up to the performer to interpret. There lie two sides to all performances, the technical skill required to play the piece, and the emotional drive brought out of the pianist. Chopin has a laid out a general feel that should be evoked when this piece is played; performers must traverse this feeling yet add their own signature to it. Among the performances of Alfred Cortot, Teresa …show more content…
The technique displayed by both Cortot and Carreno are excellent, though Carreno suffered again from her timing. On the other hand, Lang Lang took the section and made it sound crazed and obnoxious. The critics believe that his flashy moves just mean loud playing that is distasteful to listen to. Even though this is the case, it should be noted that he does not have the rhythmic shortcomings as Carreno. Lang Lang’s interpretation is still valid and does not go over the line of acceptability. His emotional flare, and general flashiness is subjective and can be appealing to others. The feeling of grandeur still shines through, albeit in a crude fashion. This situation comes up again near the end of the piece, where a long run occurs. This run could be considered as the most technically difficult portion of the piece, and it truly tests the skill of the performers. It is the dramatic conclusion, and all performers have the technique to get through this section. Lang Lang, in particular, tried to show off his skill, as if going faster and faster to test his limit without falling apart. He is not so much trying to make a point about his interpretation but rather is extending his
...ition to costume, language and dialogue is what fixes the atmosphere and the action. In a manner very similar to Shakespeare, Calderón weaves description of the scene and of what is occurring into the main thrust of the play. In this sense, he is more than a poet, he is a dramatic craftsman who predominantly through his verse alone, creates a drama in its own right. All the clues to the plot and its themes lie in the text; the use of staging, costume, music and props can be used to enhance what lies in the script. What they give to the play is a fuller and more entertaining dramatic production. Thus, if used sensitively and intelligently by a director, these factors can increase the dramatic power of the work. The primary focus, however, remains the language, which relies on a high standard of acting in order to do justice to the subtleties of the play.
Cosi uses a wide range of Dramatic elements, all through-out the play. This play particularly highlights The Tension, the Role and the way the characters portray their selves on stage. The use of these techniques allows the audience to accept more readily the intent of the play. It draws everyone into a world, that in many ways is foreign to us, but the human interaction, with the characters, makes it seem more real.
Chopin’s Impromptu arouses "the very passions ... within [Edna’s] soul"(p.34). The harmony, fluidity, subtle rhythm and poetic beauty of the Romantic composer make Edna loose herself in the music that stirs her emotions. The art completes, for her, what nature cannot bring to a finish. The exquisite, looping, and often fiery melodies of the Impromptu make a cut in Edna’s mind through the conventional beliefs about people and society. Because she is not a musician, her listening is based on intuition, allowing for a direct apprehension of the music by the soul and leading to a confrontation with the reality itself — the reality of "solitude, of hope, of longing, ... of despair"(p.34). This is the beginning of Edna’s awakening, for such emotions, especially despair, are not an end but a beginning because they take away the excuses and guilts, those toward herself, from which she suffers. This revelation of previously hidden conflicts gives birth to dramatic emotions within Edna. It is so powerful that Edna wonders if she "shall ever be stirred again as...Reisz’s playing moved" her that night (p.38).
Seyersted, Per, and Emily Toth, eds. A Kate Chopin Miscellany. Natchitoches: Northwestern State University Press, 1979.
The short story “The Storm” by Kate Chopin, deals with the subject of adultery. The story takes place in the early 1900’s. There are two main characters, Calixta (the wife) and Alcee (the former lover). Alcee must take refuge from a passing storm in Calixta’s house, while he is there the two end up making love while Calixta’s husband and son have to wait out the storm at the local store. By doing this Chopin implies the theme that is, adultery is natural and does not necessarily have negative consequences. Through out the story the constant changing of imagery plays a great role in the development of characters and their ability to demonstrate the theme.
...Chopin's The Awakening." Journal For Cultural Research 12.4 (2008): 335-347. Academic Search Premier. Web. 25 Mar. 2014.
The Beethoven Symphony #9 in D minor is being announced during the 4th movement of the symphony. Typically, in symphonies, the 4th movements take part in the term of Allegro, which means it is played quickly or fast. However, in Beethoven Symphony, the 4th movement opens with a flurry sound and then is introduced by an instrumental recitative. A recitative is a style of music alternating between speaking and singing words on the same note. In a recitative, the music lines are not repeated even though formally composed songs do.
Koloski, Bernard, ed. Approaches to Teaching Chopin's The Awakening. New York: Modern Language Association of America, 1988. Print.
The climax of the story has a few layers of drama that really bring out the problems between the characters. We see Santiago and his half brother Cheche battle about the future of the factory; this affects Santiago's relationship with his wife who doesn't know about all the debt and risks he has taken. Then there's Conchita and her husband Paloma, who are experiencing marital issues which become heightened by the seductive lector Juan Julian. Both couples have personal conflicts with one another as well as external issues that affect their lives. The play had interesting parts to it such as infidelity and abuse of sexual nature. some very sensual parts; like infidelity and sexual abuse but were carried out by the cast with immense care and genuineness. Gomez does a really good job of bringing out emotional performances from the actors. This really took me on an emotional/visual roller coaster. The characters moved from happy to angry and from night to day with great ease. Scenes were so realistic and I found myself really engrossed in the story. Gomez interpreted the script really well and I think he related to the story. The story felt natural and cohesive,like it was his
Alice Petry Hall gives readers of Kate Chopin’s works an exceptional overview of this author’s life, sharing Chopin’s understanding of fundamental issues based on critical essays, interviews, criticisms, and Chopin’s personal notes.
Frederic Chopin, a Polish Nationalistic composer of the Romantic period, is a famous musician. Chopin’s compositions are individualistic to his talent and love of the piano. Chopin lived in Warsaw as a child and spent a great deal of his life living in Paris amongst other artists of the Romantic period. He was influenced by the people surrounding him and even more from his childhood in Poland. The Polonaise-Fantaisie in A-Flat major opus 61, is musically representative of Chopin and the Romantic period, nationalistic styles from Poland and unique innovations especially from Warsaw.
Chopin’s decision to focus on and emphasize the imbalances between the sexes is heavily influenced by her upbringing, her feelings towards society, and the era she subsisted in. How Chopin was raised and educated not only inspired her, but it also assisted her with her writing capabilities.... ... middle of paper ... ...
Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.
With exquisite mingling in sound of quiet and agitation, fluidity and interruption, with a gorgeous melody of cautious, tightly contracting circles and sudden leaps into space, Chopin, the subtle-souled psychologist, opens his waltz. How does Chopin speak through his waltz? How does the music play the listener? Minds think through forms. Form follows content. Music’s structure matters. In Chopin’s Opus 69 No.1, the AA’BA’BA’CCDCDA’ structure of reoccurring themes uncomfortably prolongs the inevitable return of the tragic first theme which the audience does not want to hear but expects to hear anyway.
Schumann remarked, “Chopin’s works are guns buried in flowers” (Walker, 1967, p. 258). He was a revolutionary composer. His works are delicate yet harmonically powerful. Chopin expressed the idea of nationalism in his music by creating new forms of harmonies and using distinctive and colorful rhythmical features.