The New York New Music Ensemble began with a bang, literally. This ensemble has been around for twenty-three years and it is considered to be “the raising standard” in contemporary chamber music. On Thursday afternoon, I saw the ensemble perform three pieces: Trio, Nutturno, and
Marxville Songbook. These three possess very similar tone color and composition.
The ensemble’s first piece, Trio, was composed by Donald
Martino. This musician pursued his interest in music at a very young age. By age fifteen, he did not only know how to play various instruments, but he also started composing.
Martino excelled as a member of American Academy of Arts and Letters and was rewarded scholarships. In 1974,
Martino’s classic sextet, Notturno, won him the Pulitzer
Prize in music.
In Notturno there are three large parts, which could be described as movements that maintain the music’s continuity. Within these three movements, there are nineteen smaller parts. The first and last movements have nine parts that make up the contrasting sounds in the music. The final movement concentrates more on the pitch transformation. Structurally, this format would be a recapitulation, but the use of pitch transforms it into something new. To emphasize the pitch fluctuation, three different kinds of flutes were played. Because of the pitch variation in this piece, there were many melodies to follow. In a way, the music sounded like sound effects to a horror flick. For example, the tone color of the piece would be nice and calm then all of a sudden the percussion would contribute a crashing sound and disturb the quiet.
Towards the end of the piece, the musicians tapped their instruments to add to the eerie atmosphere.
In comparison to Notturno, Martino’s Trio (the first piece played) still produced the same psychotic and dramatic sound. This instrumental consisted of small packets of sound played softly then fiercely. The ensemble began the piece slowly and worked its way to climactic units of music throughout the set. The violin’s sound danced along the piano’s ground. The piano set the rhythm, while the clarinet and violin built on top of it.
This piece was a good example of non-imitative polyphony because the clarinet and violin were playing melodies of their own. To complete the piece, the clarinet trailed off leaving the audience uneasy.
The second piece the ensemble performed was the
Marxville Songbook, which was composed by Jeffrey
Stadelman.
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”.
These pieces are extremely well written and are very idiomatic for each instrument. Montilla explores and takes advantage of the entire clarinet register and the sound of each instrument in each of his compositions and arrangements. In this essay, I will put emphasis on one of his most famous clarinet quartets, “Four for Four.” This is because the core of his knowledge, composition and performance skills can be seen in this work, especially in the movements “Joropo” and “Merengue,” and once we get to know the background of this piece, we will be able to apply it to most of his compositions and arrangements.
... began the piece, and the beat of the drum was frequent. After the introduction, the rest of the musicians joined. The pianist also had a solo part with the companion of the drum. The pace of the song was moderately fast, and the song ended with a climax.
The history of the Concert Band and Wind Ensemble will be reflected through a timeline of events, including an analysis of significant events, groups, composers, and advancements. When society envisions a Wind Ensemble, talented musicians, grand music halls, and difficult arrangements typically come to mind. However, a modern-day Wind Ensemble includes a variety of musicians, each with positive and negative aspects. In society today, music is greatly appreciated and accepted. It is considered an honor and a privilege to expose our ears to the music.
...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.
up of five saxophones, four trumpets, four trombones, and a four piece rhythm section (composed
The biggest compliment a band can get is to have another singer write a song about how much they like them, as Randy Newman did in 1979 about ELO with the release of “‘The Story of a Rock and Roll Band.” In the song he said, “I love their “Mr. Blue Sky” Almost my favorite is “Turn to Stone” And how ‘bout “Telephone Line”? I love that ELO’” (Wild 5)
“product of a musical tradition that has been evolved through the process of oral transmission. The factors that shape the transition are: (I) continuity which links the present with the past; (ii) variation which springs from the creative impulse of the individual or the group; and (iii) selection by the community...
When working with early music, modern performers face challenges regarding stylistic and historical accuracy, given limited information on past performances, as well as notable differences in instruments available, technique, and performance practice. Furthermore, they must decide between different approaches that may better reflect the historical sound or intention of past performers, or choose to blend such extremes, creating varied interpretations.
Practicing the song and motions for the Waseca Marching Indoor Concert is nerve-racking, especially since this will be the final opportunity to practice with the high school band. I walk into the dim gymnasium and line up with the woodwinds. When all of the other musicians are in line with their sections, a bass drummer signals for the music to begin. I completely forget about my uncertainty and focus entirely on the music and the motions. While I play I remind myself what the next move is and I verify that I am moving with the woodwinds. After the song is over I am confident that I will do well for the Indoor Concert. Being in the Waseca Marching Band is difficult considering that it is necessary to memorize the actions and the music, and
Philip Glass’s musical career has been lengthy and essentially truly successful. For most of Glass’s early life he worked in his father’s store where he stumbled about unorthodox Western classical music (Sadur “Biography”). After uncovering this music, Glass began to study music. Once graduated from college, he went on to study composition in New York. However, finding modern music of his time distasteful, he moved to Europe, at the age of 23, where he studied under Nadia Boulanger and worked with composer Ravi Shankar (“Philip Glass: Biography”). While in Europe, Glass also discovered a variety of non-Western music. The style in this newly discovered music began to appear within Glass’s own compositions. After being away from the States for an extended time, Glass made his return to New York in 1967. Once settled in New York, Glass began forming a collection of “new music” (Sadur). During this point in time of Glass’s career, he con...
...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.
Wolfgang Amadeus Mozart was a great and ingenious musician. He was ahead of his time with his complex structure and rhythms that has influenced music to evolve and change rapidly. Mozart’s work has emerged and allowed us to explore and develop new chord structure, rhythms and timing, and even allowed us to create our own melodies without being afraid of being seen as “different” from other artists. Before Mozart, Music had structure. Not that having structure is bad, but it was all repetitive, and you could expect the same general sound from different artists. The same instruments. The same sound. Infact it was during the Baroque Era that everyone expected music to be no more or less than just structure. Sure, chords and melodies seemed different but it was all too blended; and if anything it lacked the true texture that Mozart gave off in his music. He changed music so much, that it sounded too complex for everyone else's ears, and that’s what bothered some people. They all thought it was just too much. Mozart added different instruments to his orchestra to keep ...