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Les Preludes and Hamlet represent the pianist's symphonic poem. (Gmoser 72) Liszt also left his mark on operatic paraphrases for solo piano.
Compared to the other composers, who were writing flashy introductions, Liszt's paraphrases and fantasies on operas were a "bolt of lightening against the flicker of a candle. He threw themes together in a contrapuntal melange; he changed harmonies; he exploited to the utmost every technical resource of his pianistic genius" (Schonberg 204). It seemed that there was no aspect of music in which Liszt could conquer.
Liszt's influence in the musical community was far-reaching in that his style and techniques touched all types of people. Goulding believes that the pianist's "most significant involvement in the music of others was in the career of agner" (Goulding 244). However, his contributions cannot stop there. Liszt was responsible not only for involvement with music but the evolution of music. For instance,…
Gmoser, Lulu. Great Composers. New York: Smithmark Publishing. 1997.
Goulding, Phil. Classical Music. New York: Ballantine Books. 1992.
Schonberg, Harold. The Lives of the Great Composers W.W. Norton and Company 1997.
Walker, Alan. Franz Liszt. Grove Music Online. http://www.grovemusic.com Site Accessed April 06, 2008.
Liszt conducted his own work possible, and whenever possible and he made no exception of this concert. The popularity of the two pieces was already well established; the score to Les Preludes had been published earlier in the same year as this, though it is likely that the pieces had not been heard in St. Gallen before as this is the first recorded visit of Liszt to the town since writing the pieces (alker, sec. 6).
The final piece, Beethoven's Third "Heroic" Symphony, had been composed in 1803-4 in honor of Napoleon, which made the choice somewhat ironic given tat the confederacy of cnatons that makes up Switzerland chaffed heavily under the republic enforced by the conquering emperor ("Eroica"). Still, it provided a rousing finale to the program, and no doubt sentiments had cooled somewhat since the re-establishment of the confederacy and wider European neutrality.
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Brown, Bruce Alan and Julian Rushton. "Gluck, Christoph Willibald Ritter von." Grove Music Online. Oxford Music Online. 12 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/grove/music/11301pg4 .
Eroica' Symphony." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. 12 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e2312 .
Glasenapp, Carl Friedrich, and William Ashton Ellis. Life of Richard Wagner. London: Kegan Paul, Trench, Trubner & Co, 1908.
Millington, Barry, et al. "Wagner." The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. 11 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/grove/music/O905605pg1 .
Whether the particular piece was rough and rapid or soft and romantic, McDonald seemed to simply flow along with the music, letting it guide him as he guided it out of the piano and to our ears in with a full, natural and inspiring sound.
I was also impressed by McDonald's ease with the crowd. Though there were no other musicians or anyone else onstage with him, he was perfectly comfortable both when delivering his lecture and while playing. This is not too surprising; according to the program notes, he's been playing since he was for and made his orchestral debut at the age of eleven. Still, the way he talked to the crowd and connected to the piano made it clear that not only is Alex McDonald very good at what he does, he also really cares about music and our relationship to it. Attending this concert definitely strengthened…
"O Sylvan ye! thou wanderer thro' the woods, / How often has my spirit turned to thee!" (http://www.uoregon.edu/~rbear/ballads.html) Now, the poet wishes to "transfer" the healing powers of nature that he himself has experienced to his sister. By stating."..Nature never did betray / the heart that loved her" (http://www.uoregon.edu/~rbear/ballads.html) ordsworth assures his sister that she will also find peace in the middle of nature if she believes in the communion with nature. This prediction is an artifice of the poem and is not simple. "ordsworth's ability to look to the future to predict memories of events that are happening in the present is ingenious and complicated. But ordsworth beautifully clarifies this concept by using nature as the ideal link between recollection, foresight, and his relationship with another."(Eilenberg, Susan. Strange power of Speech: ordsworth, Coleridge, and Literary Possession. New York: Oxford University Press, 1992).
Moreover, by imagining the future of his…
Bronte, Charlotte. Jane Eyre. Ed. Beth Newman. Boston: St. Martin's, 1996.
Baudelaire, Charles. Selected Writings on Art and Literature. London:
Spector, Jack the State of Psychoanalytic Research in Art History. The Art
" (Fabrikant, 2006) Through having transposed ach's originally melody to the lower and middle layers "usoni achieves a vertical layering of melodies from different genres..." (Fabrikant, 2006)
The top melodic layer is supplied by usoni through creation of "his own or using imitation techniques. These melodies have a broken line and are organized in short motifs usually derived from the inner voices of ach's score." This is utilized by usoni in highlighting the chaconne-sarabande rhythm..." which used together results in the creation of "an unusual combination of polyphonic intensity" and develops the upper line dramatically enable the listener to appreciate the color and range of the music. The chorale theme which is quite stern is placed in the lower layer by usoni and the melody which is fragile and placed atop the chorale results in an emphasis "on melodic disparity" which "opens ach's parentheses and depicts usoni's concept of the…
Fabrikant, Marina (2006) Bach-Busoni Chaconne: A Piano Transcription Analysis
Student Research, Creative Activity, and Performance - School of Music University of Nebraska - Lincoln Year 2006.
Leibowitz, Rene (nd) the Art of Musical Interpretation According to F.B. Busoni. Gallimard Editions. Les Fantomes de L'Opera. Online available at http://www.rodoni.ch/busoni/leibowitzEN.html
French omantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and oil. He was also skillful in lithography, a new graphic process popular with the omantics. His illustrations of a French edition of Goethe's "Faust" and Shakespeare's "Hamlet" still stand as the finest examples in that medium.
Delacroix' painting "Massacre at Chios" is precisely detailed, but the action is so violent and the composition so dynamic that the effect is very disturbing (Janson, 678). With great vividness of color and strong emotion he pictured an incident in which 20,000 Greeks were…
Art: A World History. New York: DK Publishing, 1997.
Eysteinsson, Astradur. The Concept of Modernism. Ithaca, NY: Cornell UP, 1992
Gardner, Helen. Art through the Ages. New York: Harcourt, Brace: 1959.
Hoving, Thomas. Art. Foster City, CA: IDG, 1999.
Popper resigned his post at Hopofer to tour with his wife for larger scale concerts throughout Europe. An old edition of the Grove Dictionary of Music and Musicians stated that he "His tone is large and full of sentiment; his execution highly finished, and his style classical."
He later died in Baden.
I found the most amazing part of the cello solo the mood changing with the fingers sliding effortlessly down the cello. Popper was a master at writing with ranges from low to extremely high. His fingering was perfection and brought a sadness to the audience. It was definitely the highlight of the concert. At the conclusion of the piece, Mr. Chang rose quietly bowing to the audience and praising with his gestures the fine work of the orchestra behind him.
The final piece of the evening, according to my program, is Antonin Dvorak's 7th Symphony in D Minor.…
Unlike so many other composers Dvorak was amiable and a happy family man. This came through his music and most of his symphonies. He was close to his beautiful, peasant Bohemia. His music was for the most part bright and sunny, sometimes lyrical, lively and robust.
Dvorak died May 1, 1904, in Prague.
I really enjoyed the entire program but I believe I enjoyed Dvorak's 7th Symphony the most. It was so uplifting and entertaining, I found myself whistling the "tune" on my way home.
Chopin: Shy Genius
Frederic Chopin, an eighteenth century composer, is remembered as one of the greatest of the romantic composers because of his style. He was a musical genius at an early age and he listened to what he felt about music rather than what the world tried to tell him about music. This might have been difficult but it made him stand out as a composer and, more importantly, it made his music stand out. Because he catered to no particular audience, his work appeals to many. The piano inspired Chopin and he took it upon himself to explore its diverse capabilities. The result is a distinct style that still speaks to diverse groups of listeners even now.
Chopin was a rugged individual. Alan alker notes that Chopin was mostly self-taught and it is his relationship with the piano that was incredible. He was playing at the age of…
Lopinski, Janet. "Chopin: the Reluctant Virtuoso." American Music Teacher. December 2009.
pp. 17-9. Print.
Palmer. Willard A., et al. Chopin: An Introduction to His Piano Works. Alfred Publishing
Company. 2004. Print.