Great works were composed during the Romantic Era, but who would consider looking deeper into the depths of composers and find one of many great masterminds of music for the Paris Conservatory? Louis Ganne made influences on the Paris Conservatory, and this would not have happened if it was not for influences from family, geographical location, and his background with opera and orchestral conducting; but most importantly Paul Taffanel himself. All of those, as well as why I plan to perform this piece and how I understand some of the contextual elements, are all features in this paper.
Louis Ganne was a French composer, who was heavily influenced during the Romantic Era in music. He was born in April of 1862 and spent most of his life in the main city for music in France: Paris. Ganne’s ties with the Paris Conservatory, however, are the greatest and reflect his influences in his piece for flute and piano, “Andante et
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Paul Taffanel, considered the founder of the French Flute School, was instrumental in the creation of this work. Lindayne Reyes, a researcher of Paul Taffanel and graduate student of Florida International University, states that as “a professor of flute at the Conservatoire de Paris, Paul Taffanel had the opportunity of commissioning new pieces not only for flute, but for all the wind and brass instruments on the occasion of the institution’s annual concours (competitions) “ (Reyes 2011). Louis Ganne was influenced greatly by Paul Taffanel, and Ganne was asked to commission a piece for the Paris Conservatory along with other well-known composers such as Cecile Chaminade, Philippe Gaubert, Gabriel Faure, and Georges Enesco. Yearly competitions are still held every year at the Paris Conservatory, and a compiled list of every piece commissioned is seemingly
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
The 17th annual Sphinx Orchestra Finals Competition Concert has changed my perspective on classical music. I fully enjoyed the performance and might even consider going to next year’s performance. The young musician upheld incredible talent and the orchestra was just as unbelievable. I applaud the Sphinx Orchestra for putting on such a miraculous performance that anyone would enjoy a classical concert.
In the following paper I will be exploring the beginning of Leonard Bernstein's career and his family background. I will also look into the influences he had in his life and look at two pieces that he composed, "Jeremiah Symphony No. 1", and "Candide". My reasons for choosing these two pieces is due to the fact that they are contrasting in genre, one being a symphony with orchestration and the other being an operetta, and that they were written at different stages in Bernstein's life. They both produced a number of responses and displayed his wide range of musical ability.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
There are two pieces in our Renaissance Era musical feature this evening, the first by Pierre Phalèse called Passamezzo d'Italye - Reprise – Gaillarde. Phalèse began as a bookseller in 1545 and not long after he set up a publishing house. By 1575 he had around 189 music books. Much of his work was devoted to sacred music but there was a small amount of Flemish songs and instrumental works. Phalèse borrowed work from many composers and did not hesitate to include other composer’s music in his works. The sec...
Jean Baptiste Lully made significant contributions to French music. His initial compositions “ballets de cour” didn’t deviate from the Italian forms. (Straughan (a)) They were merely collections of dances and burlesque scenes. (Gregory) “A step in Lully’s progression from ballet to opera was the increased role of music in his ballets.
Achille-Claude Debussy was one of the most renowned French composers who stimulated the music of the twentieth-century. Debussy’s life experiences have given an emotional and relatable truth in his work. Works such as Clair de Lune, Prélude à l’après-midi d’un faune, and La Mer are great achievements of Debussy that are the most familiar today. Debussy is worth reviewing because he uniquely structured his compositions that served as a base for musicians in the past, and will easily continue to motivate musical masterpieces for years to come.
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
These three successful composers changed the way that opera was to be written in Italy, but they set the standard for the entire world and therefore their works are classic and timeless and will be performed for an extremely long time to come. Works Cited Gossett, Philip, William Ashbrook, Julian Budden, Friedrich Lippmann, Andrew Porter, Mosco Carner. Master of Italian Opera. New York: Norton and Company, 1980. Grout, Donald Jay, and Williams, Hermine Weigel.
Sartorius, Michael. Baroque Music Perormance: "Authentic" or "Traditional": A discussion of the essential issues involved. Ed. Micahel Sartorius. n.dat. Baroque Music Pages. [17 October 2003] .
Lee, Douglas A. Masterworks of 20th-century Music: the Modern Repertory of the Symphony Orchestra. New York: Routledge, 2002. Google Books. Web. 10 Nov. 2011.
The main goal of the very talented English music composer and conductor Benjamin Zander was to convince his audience through his very interesting and inspirational video, “The Transformative Power of Classical Music” that ‘Classical Music is for every one’. He was not only able to keep the attention of his audience growing with his splendid performance but also was able to make them understand the depth of classical music. He chose the most beautiful piece of classical music in order to make sure that his audience love it.
Bie, Oscar. A History of the Pianoforte and Pianoforte Players. trans. by E. E. Kellett
Roughly from 1815 to 1910, this period of time is called the romantic period. At this period, all arts are transforming from classic arts by having greater emphasis on the qualities of remoteness and strangeness in essence. The influence of romanticism in music particularly, has shown that romantic composers value the freedom of expression, movement, passion, and endless pursuit of the unattainable fantasy and imagination. The composers of the romantic period are in search of new subject matters, more emotional and are more expressive of their feelings as they are not bounded by structural rules in classical music where order, equilibrium, control and perfection are deemed important (Dorak, 2000).