Grand Duo Concertante for Clarinet and Piano op. 48 J204 1st Movement in Allegro con fuoco German composer Carl Maria von Weber (1786-1826) was an influential icon in the Romantic Era, a period between the 18th and 19th century in which personal expression, literary ideas and emotions reached its apogee. Weber was a composer, conductor and an expert pianist and was renowned for his works in opera, compositions for piano and compositions for woodwind instruments. His clarinet compositions which include two concertos, a concertino, a quintet, variations on a theme and a duo concertante, are performed even today. The clarinet developed in Weber’s time to play more notes and to play scale passages more smoothly, and also developed from a band instrument into a
Romanticism led to looser and more extended musical forms, including the symphonic poem, the expressive miniature for piano, the art song in which great emphasis was placed on the music’s detailed expression of the verbal text and the symbolic meanings, the fates of national or religious groups or events in exotic, far-off settings.Another manifestation of Romanticism is found in the exaltation not only of the composer but of the virtuoso performer. A further aspect of Romanticism is found in the search for national identity, often through their history and folk music
Ballade No.2 in F major, Op.38,was composed from 1836 to 1839 in Nohant, France and on the Spanish island of Majorca.Robert Schumann was the dedicatee of this Ballade, in return of his Kreisleriana, Op. 16, for Chopin. The Ballade No.2 is written in compound duple metre.The opening section is bright, quiet and contented.In a stark contrast, the next section begins thrillingly, shattering the peace of the first section.After a short return to its original tempo and style, the melody is elaborated with a sense of misgiving, followed by an abrupt end.The theme echoed again and without returning to its tonic key,head towards a more rousing climax.The end, however, returns to the calmness from the beginning,with slight
Evocative of much of the work he composed during his younger years Wolfgang Amadeus Mozart’s Symphony No. 29 is a testament to his genius and mastery of classical musical forms. Written when he was just eighteen years old the composition is a concise and peculiar example of classical Sonata form. Instead of having an introduction before the exposition Mozart ops to present the primary theme of the piece’s Allegro movement at the start of the first downbeat. Exceptionally melodic the primary theme of the movement start with an authoritative leap of an octave in the violins.
From the first few lines of the poem, the inspirational and restorative powers of his music are eminent. i i i i i i i i i Orfeo mest of ani thing Lovede the gle of harping. (25-26) i i i i i Orfeo’s muscial ability is a result of his own “wittes-scharp” (30) and it is evident that his musical ability takes
0 Jean Gremillon, the composer Film critics and historians have long thought of Jean Gremillon as one of the most musical filmmakers. They have emphasized Gremillon 's distinctive use of music and the meticously constructed soundtrack of some of his films. They have also stressed the fact that Gremillon was a musician before becoming a film director. Born in 1901, Bayeux of Normandy, Gremillon came up to Paris in 1920 and studied composition at the Schola Cantorum. His first contact with films came when he played the violin in a small orchstra that accampanied silent pictures.
The Poem for Flute and Orchestra (1918) originally written for Georges Barrère demands high lyrical virtuosity from the performer. Technical aspects of performance all should serve to interpret the lyrical characteristic of the piece. Poem was first performed on November 16, 1919 by the New York Symphony Orchestra conducted by Walter Damrosch with Georges Barrère as the flute soloist. The atmospheric opening is heard as a refrain throughout the work, there are sections of dense chromatic language, polymetric dance, and enlivening technique. Henri Dutilleux, Sonatine for Flute and Piano Henri Dutilleux (1916–2013) French composer was appointed professor of composition at the École Normale de Musique in 1961, and at Paris conservatoire in 1970.
INTRODUCTION Debussy and his love for the mysterious realm of the antique are epitomized in his piano duets Six Épigraphes Antiques. The work evolved over an extended period to become a prime example of his style of composition. The poems Chansons de Bilitis written by his close friend Pierre Louÿs (1894) inspired Debussy to compose firstly Trois Chansons de Bilitis (1898) three songs for soprano and piano, then Chansons de Bilitis (1901) instrumental music to accompany the reading of a selection of Pierre Louÿs poems, and finally Six Épigraphes Antiques (1914) for piano four hands and eventually reduction for solo piano. These works contribute to a musical language that continues to influence and shape music today. Debussy was originally
Towards the end, Prokofiev presented the unbreakable melancholy mood of the pieces while presenting a series of brief themes in between. Lastly, “Romeo at the Grave of Juliet” part opened up with a long and slow theme of the violins with a brief accompaniment by the horns. Another light variants then entered by the other brass instruments in developing the theme which overpowered the minor mode of the music part. The suite closed with a delicate sound of both violins and clarinets in a restrained manner in a simple C-major key which depicted the two lovers united in
He is burdened by sadness and pain, thus leading to the word “weary” in the title. Many also assume that Hughes may have derived the title of the poem from “Weary Blues”, a song released in 1915 by African-American songwriter, pianist, and ragtime composer Artie Matthews (Shmoop). “The Weary Blues” is one of Hughes’ most recognized poems to date, and has drawn rapturous praise from innumerable critics and readers throughout the world. My thesis is that “The Weary Blues” is a noteworthy poem due to the establishment of a relaxed, yet depressing mood through the accurate portrayal of a certain blues
In Poland and the Balkans, romantic writers and artists helped nationalists create a common culture and a history of their nations. One romantic composer of Polish descent, Frederic Chopin, directed his audience towards Polish nationalists by writing on native polish dances for his works on the piano. Another Polish native and also a romantic poet wrote The Books of the Polish Nation, which no longer
By contrast, Strayhorn was classically trained and well-versed in classical harmony and repertoire by the time he met Ellington. For Strayhorn, melodic and harmonic development was most important. His famous song “Lush life” illustrated the composer’s early style. The whole song had a quite slow tempo, and vocal part was exaggerated. The chord progression of the piano accompanied the vocal which drifted smoothly up and down with the change of emotion, while the percussion and string sections were presented softly in the background.
In the A sections, it features strong components from the classical era whereas the B section has a much more relaxed bluesy feel to it. The A sections have equal four bar phrases which is a typical feature of classical music. The ternary form was also a popular because it allowed variation in a piece which was used a lot during the era. To mimic this style of music, I included sequences, imitation and subtle dynamic with crescendos and diminuendos. I also used Alberti Bass which is a popular Classical texture to use.