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
The three pieces are all written in ABA form, the typical form for songs, and feature lyrical, heartfelt melodies that evoke storytelling and vivid imagery. Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion. The second Romance, Einfach, innig (simply, heartfelt) features the violin and piano playing some of the most inward, vulnerable music in the parallel key of A major.
At some point in their early lives, girls – and even some boys – dream of being performing ballet on stage. Animated movies depict ballet-dancing princesses, which is arguably one of the reasons why kids are so engrossed with this elegant form of dance. As a parent, your days are probably highlighted by mad dashes to get to the classes on time, seeing a sea of pink tutus and black leotards, as well as your daughter’s smile. Undeniably, they love it, and you should too. No, I’m not saying you should take classes, but you would want to learn and appreciate what this graceful art form does to your child’s overall development in the long run.
“Words, so beautiful and sad, like music”: James Joyce’s Dubliners as a Symphony “The Boarding House,” James Joyce’s 1914 short story, is about the misfortunes of a poor mother and her children who run a boarding house in Dublin. In one scene, her teenage daughter, Polly, sings a music-hall song to attract the attention of well-off male boarders. She recites, “I’m a...naughty girl. You needn’t sham: You know I am” (Joyce 57). The song Polly sings during the reunion in the house’s front drawing-room is called “I’m a Naughty Girl” and it tells the story of an “imp on mischief bent.” The song describes moments where the imp plays ticks of her mistress and brags about her ability to confuse and agitate others.
The serenade of Mozart is beautifully played in the film as much as Salieri describes it as the “music that I have never heard” and “the voice of God.” (Amadeus) The delight and peaceful melody of Mozart’s serenade seem to effectively display the appearance of young Mozart who was admired as a new great composer with a promising future. Besides the serenade, a cheerful tune of the Mozart’s operas “the Abduction from the Seraglio” and “the Marriage of Figaro” echoing from the background of the film also helps to demonstrate the Mozart’s early smooth and blithe life. After all, however, as the plot of the film enters a new phase of Mozart’s life with the death of
All of this being said, her performance was spectacular and showed why she belonged to hold a spot in our memories. Diahann Carroll was able to bring her rich, gentle voice to a well known piece of music and make it her own, through subtle acting and a powerful emotional connection to the words she was singing. In the beginning of the song, Carroll has a low volume with a gentle voice. She may not need to project due to the range of the microphone (this is unknown to the viewer), but her voice carries regardless and holds a great resonation in not only her chest, but also in the room in which she is being recorded in. If her projection staggered any in the quieter beginning of the song she made up for it with superb and unique diction.
As mentioned previously, Chopin composed several Nocturnes in his time, his romantic style of writing earning him the title: “poet of the piano”. An example of one of these is his ‘Nocturne No. 5 in F# minor’. The other genres he explored include the polonaise, for example ‘Polonaise in A♭Major’ (Opus 53) which has a powerful melody and is one of his most admired compositions; the waltz, such as his famous ‘Minute Waltz’; and the etude, for example ‘The Revolutionary
"Fase: Four Movements to the Music of Steve Reich" by Anna Teresa De Keersmaeker and “Dance” by Lucinda Chills are some of the examples of Minimalism movement effects on dance. Minimalist music is a plain music with stagnant harmony, diatonic and a still instrumentation style. Minimalism makes the most of minimal music resources. The work is stripped down to fundamental features. Minimalist music is enhanced in both art and music like in expressionism.
As another dissimilarity, Caissus does not reiteration the same word twice if he can help it, whilst ‘La Belle Zoraïde’ has a sense of spoken repetition that tends to popup in everyday conversation. Likewise, it is only fitting for one of Caissus’ profession to be depicted as speaking in a most formal matter. On the other hand, telling a night-time story is much more informal, even considering how the mistress is most likely both of age and education to have been able to understand complex
F#min- G#min-A-G#min are the chords you will play to your right and for these, there is a four note bassline for your right hand. There is a second bassline when the chords change to Bbmin, then there is a second bassline. Use the two chord sections and two basslines to play verses and the chorus. Coldplay- clocks This is a fun and easy pop song to play on the piano. Your right hand will play the pattern of the signature arpeggio and your left hand will play the chords hence rhythmically lining up with the arpeggios.