Edvard Grieg’s Piano Concerto in A Minor is a shining example of Edvard Grieg’s excellence and why he’s considered highly for his influence during the Romantic period. In the same breath, Arthur Rubinstein’s interpretation should be similarly lauded for a wonderful arrangement of said piece. It is performed in an active B theme, with a rhythm of 4/4. The harmony is in A minor and C major, proven homophonic and in sonata allegro form. The tempo remains fast and steady with elongated notes, and has a dramatic dynamic. The refrain also reuses the B theme. The timbre is mostly tense here, but it can vary on the theme of the concerto. Along with that, the instrumentation contains a combination of an emphasis on strings, woodwinds, and occasionally …show more content…
The serene aspect especially shows during the A theme, within its introductory and recap it remains as a calm before and after the storm. The orchestral performance here is excellent, and brings out a solemn prelude for the pianist Arthur Rubinstein to take center stage. Rubinstein’s arrangement is lush and masterfully performed, as he seamlessly posits emotion and fully displays his importance through reenacting the A theme. The orchestra begins to subtly harmonize alongside Rubinstein during an interlude between the A and B themes in a double exposition form, while still remaining in the A theme. Rubinstein exhibits tension during this as his performance briefly switches to an almost frantic and anxious pace. Rubinstein’s frantic playing is quickly overwhelmed afterwards as the string instrumentation soon swells and explodes into a vibrant resolution to the …show more content…
During the large climax of this development, Rubinstein’s seamlessly falls back into a similar chord progression from the A theme. Despite this similarity, his performance is even more anxious and fast-paced, and seems to duet alongside the booming and triumphant brass instrumentation. Afterwards, the string and woodwind instrumentation set an ambiance as the concerto moves towards recapping the A theme and piano interlude. However, the chords during the climax of said piano interlude are swapped from a C major to an A major, as it transitions to a more melancholic recap of the B
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
Each individual player in this orchestra is a soloist of sorts, playing a completely different piece than the musician seated directly next to them or across the stage. Rather than being written as a concerto, this piece, written in three movements, allows for each of the accomplished musicians to display their skill individually though each solo is not brought to the forefront of the piece, creating a what sounds like a disgruntled compilation of individual pieces that come together. This piece both begins ends with the Funeral March of Beethoven’s Eroica Symphony directly tied into the basses, at first it is quiet and difficult to recognize but as the third movement is introduced it becomes more pronounced and evident. Those who were present for this pieces introduction to society were able to see its emotional effect on its composer who had obvious emotional ties to the music. Strauss never showed up to see his work debut instead he attended the dress rehearsal, asked Sacher if he could conduct this work. Strauss was said to have given a beautiful reading of the score that many view as his most...
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
The pianist and concert conductor, Christian Zacharias opened the Los Angeles Philharmonic Classical Music concert with a fascinating performance that left the audience in party mood and in happy f...
- Norris, Jeremy Paul. The development of the Russian piano concerto in the nineteenth century. Indiana: Indiana University Press, 1988. Print.
Hurwitz, David, and Dmitriĭ Dmitrievich Shostakovich. Shostakovich symphonies and concertos: an owner's manual. Pompton Plains, N.J.: Amadeus ;, 2006. Print.
Here, Beethoven takes melodic expression to a new level: The appoggiatura in bars, 14 and 16 create a harmonic tension over a diminished 7th chord that creates “the highly expressive progression used by nineteenth-...
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.
Historical. This brilliant composition is considered as one of the two most important violin concertos of the German Romantic period, with Mendelssohn’s vi...
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
However, inthe B section, it appears as if the winds have picked up, and are more reminiscent of a tornado. Schubert further mirrors the text with the accompaniment and matches the wind-like triplets with harsh text that refers to cold winds, and the hat that flies away from one’s head. The A’ section begins much like the original A section, and closes the piece by returning that sense of tranquility, bringing back the idea of finding rest and
It captured all of the same elements that the original song was comprised of. The concerto reflected rhythm and blues and soul music found in the original song. This composition evoked special and specific feelings and thoughts. It evoked many. The feelings it evoked serenity, peacefulness, happiness, joy, and optimism.