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Music quection on romantic period
Romantic era music
Romantic era music questions
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Introduction
In this essay I am going to be looking at Richard Wagner’s most Influential Opera’s “ Der Ring Des Nibelungen” also known as ‘The ring Cycle.' This cycle is made up of four operas.It begins with the beginning of the world and ends with the fall of the world. This piece begins as a mythic story and ends with modern humanity. This work in total is sixteen hours in length.I will be looking at the story behind the first opera or introduction entitled ‘Das Rheingold,' as well as his use of motifs and his use of development throughout the opera. The aim of this essay is to give a brief understanding of the complexity of western music in the 1800s.
Richard Wagner: Background
Richard Wagner was born in 1813 in Liepzig,Germany.Wagner, as a child had a great passion for writing poetry, but his musical interests were left aside until he was eighteen.At eighteen he began lessons with Theodor Weinlig in Leipzig Germany, for a year. His career began in 1833, when he became choral director in Wurzburg Germany. Around this time he began composing and was composing in imitation of German Romantic composers such as Ludwig Van Beethoven, who was his biggest influence at this time.
Wagner’s first opera was composed in 1833 called “Die Feen” (The fairies). This work however was not produced until after the composers death. During the years 1834 and 1836 he worked as the music director of the theatre in Madgeburg, where he composed his next work “Das Liebesverbot” (Forbidden Love).In 1837 he began working as the first musical director of the theatre in Riga, Russia, where he remained until 1839.
After this Wagner moved to Paris France, in hopes that this would be where he would make his fortune. However Wagner grew a hatred for the Fr...
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... hear the gold motif again.
There are various other new motifs that are introduced at this point, to signify the Tarnhelm etc.Each motif in this opera is used to signify the importance of certain characters,scenes,objects,feelings. No melodic phrase is without its importance or contribution to the storyline. They are used to set the scenes that are happening or that are yet to come. A number of the motifs heard in this particular opera, are also heard in the later operas with some variations.
Conclusion
The complexity of this opera is witnessed straight away with the first few leitmotifs that are introduced. The most notable thing about these leitmotifs is that they are very strong both melodically and rhythmically. Each motif serves a purpose, and there is almost no musical phrase used without context.He successfully portrays emotion through musical development.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
The object of the artist’s hopeless love is represented in the symphony by a charming theme Berlioz called the Idee Fixe, describing the phenomenon of fixation. The violins and flute float allusively and flirtatiously through the charming melody, stocked by the stealthy steps of the lower strings. Berlioz sets into play the idee fixe representing the artist’s beloved and all the other music and noises representing the artist’s frustration and despair as he tries to attract her attention at theaters, parties, and mostly inside his own head. The various sections of the orchestra play back variations on the Idee Fixe as the music intensifies. This leads to a moment of complete frenzy and collapse as one last murmur of the Idee Fixe is
It wasn't until the second time through that I watched closely to what was going on and attempted to grasp the message that was being conveyed. It begins with a man in a black robe singing to a group who appear to be his peers until a woman and another man appear. They sing to one another and appear to be declaring their love for one another while he watches. They eventually leave and he is left to alone and appears to be heart broken over their appearance. Then the couple make there way back into the act and are accompanied by many others who sing for the couple as a dancer in a red gown entertains them. The couple then drinks together until the man in the gold robe gets a letter that angers him and he rips it up. From them on the couple seems to converse back and forth until the entire group joins them and act I is finished. The piece seems very dramatic and the remaining acts I'm sure would not disappoint. The conductor does a very good job at keeping the opera lively and convey the overall tone of what is happening very
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.
This essay, as the title suggests, will be about the origins of jazz music. Starting from the roots when African slaves arrived in North America, they helped the development and the emergence of early jazz a great deal. It is also important to not forget the significance of the Congo Square which kept the music alive in New Orleans, never letting it die out. Then, continuing on with the slavery theme, the essay will talk about why and how jazz music appeared in its widely considered birth place, New Orleans. Also, as early jazz developed into different styles, the text will mainly be focusing on its two most prominent ancestors: ragtime and blues. Additionally, jazz would not exist as it is known today without the assistance of some of the
At the fiftieth anniversary of Strauss’ death in 1999, new research discussing his Lieder appeared. Suzanne Lodato’s dissertation entitled, “Richard Strauss and the Modernists: A Contextual Study of Strauss’s Fin-de-siècle Song Style” examines poets and their writings during the late nineteenth century and the effects they had upon Strauss’s Lieder writing between 1894-1906, an era of time referred to as his middle-Lieder compositional period (Jefferson, 29), The Richard Strauss Companion, edited by Mark-Daniel Schmid, appeared a few years later. It’s a compilation of essays with topics ranging from Strauss influences to his instrumental and vocal works. One particular essay entitled “The Lieder of Richard Strauss” by Christine Getz discusses his entire canon, giving insight to his text choices, the significance of keys used, text painting, form, and orchestration. Study of the historical background of his Lieder composition will benefit the student as well as the teacher during the preparation of the role. The studio teacher selects appropriate repertoire for her level of study giving the student a chance to develop her vocal technique in addition to her musicianship skills, including phrasing, melodic styles, text declamation, and dramatic interpretation within a small genre context. Interpretative skills, such as character development, structural analysis, text analysis, and a comprehension of various vocal styles are also essential elements in becoming a singer- actor. There are opera composers that compose arts songs, but few that construct their art songs in a similar style to their operatic compositions. Strauss is among a select few composers whose art songs work well to prepare the student for Strauss’s operatic writi...
Having enjoyed and investigated both operas it can be stated that between the time of Monteverdi and Glück, the innovations of Opera is obvious. The growth and development of opera in the timespan of 150 years between the earlier Baroque era to the time of the opera reform gives way to the characteristics of each different time. The two operas are model examples of how one facet in the development of music throughout the ages can change, highlighting the continuous evolution of music. The myth of Orfeo has a strong correlation with the concept of opera in general – making a lasting impression on a wide range of audiences, and ultimately displaying the power of music.
3 is the second movement of the piece. It lasts around five minutes of the total 22 minutes of the whole Orchestral Suite. Air is written for Trumpet, timpani, oboe, violin, viola and continuo. It is written in major key. The meter is duple, and I would dare to say that it is quadruple. The texture is polyphonic. It has a slow tempo and there is no presence of accelerando nor ritardando. The harmony is consonant. Melody is conjunct and peaceful. Has a lot of repetition. The melody is consistent. The string instruments are prodminant whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del
Countless dozens of Ph.D. theses must be written about Mozart's The Magic Flute, and yet it is so lively with elements of fantasy and free-flying imagination that it is often the first opera to which children are taken. It has a plot of such complexity that it takes several viewings for all but the most studious opera buffs to sort out the characters and follow the ins and outs of the multilevel story. At the same time, it has so much easily accessible charm and so many glorious Mozart tunes that even the novice will be captivated. There is a large cast of characters including the priest Sarastro (a very serious, proselytizing basso), the Queen of the Night (a mean, angry, scheming coloratura), and her daughter, the beautiful and courageous Pamina. There is the handsome hero, Tamino, on the quintessential road trip, and his cohort in misadventure, the bird seller, Papageno.
Mendelssohn was born in Hamburg in 1809. His father Abraham Mendelssohn was a banker, while his mum Lea Mendelssohn was a highly educated artist and musician. Mendelssohn first had his piano lesson from his mum, but soon he was sent to study with the best teachers at that time such as Marie Bigot and Ludwig Burger. He also took composition lessons with Karl Zelter, who was the professor of the University of Berlin. Under their proper guidance, he completely showed his music talent- he first appeared as pianist at nine and as a composer at ten. At his age of twelve, he already composed nine fugues, five symphonies for strings, two operas and a huge number of smaller pieces. When he was sixteen, the publication of his Octet in E-flat Major for strings and Overture to A Mid Summer Night’s Dream marked his full maturity.
In order to understand a composer’s popularity one not only needs to analyse the circumstances and the composer’s works, but those pieces that provided the basis of the operas as well. Dent’s (1926) idea is that the melody of the music should follow the rhythm and pace of spoken English language. He also has a language requirement: an opera cannot become genuinely English if it is composed to foreign language. He emphasises that Purcell’s work needs to be studied; his works are in connection with the proper musical adaptation, since in Dent’s view Purcell was a master in following the rhythm of the language with the music. He even adds that the original story does not need to be written by an English author. In this chapter I am examining
...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.
Even today, many directors think about how to give up the concept of the original staging. There is an enormous number of researches about this opera, but few of literature about modern productions. … This paper analyzes three
Most of the early music that we have today still in print is primarily sacred music. This music, for the most part, is in the form of sections of the Mass, such as the Gloria, Kyrie and Agnus Dei. Most people of the Middle Ages were poor peasants who worked all day for meager wages and had no idle time lounging the way the upper classes did. Therefore, there are few extant secular compositions of music from this era. The rise of a new middle class, however, gave financial freedom for some people to spend time and money on entertainment in the form of music and dance. Thus, the rise of the middle classes also gave way to the rise in composition and performance of secular music, which became the music of choice for composers of that day.
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...