The way of playing piano is more like an accompaniment, which supports the sound by Violin and Cello. These three sounds perfectly combined, which gave me the most incredible experiences in music. The concert consist six pieces, three shorter one and three longer one. I would like to talk about every piece individually. Generally speaking, these six pieces are toward peaceful and gentle except some special movements.
Throughout his prolific career, Franz Liszt fashioned many solo piano pieces from the works of other composers, perhaps most notably the symphonies of Ludwig van Beethoven and the lieder of Franz Schubert. Many of his own works he also arranged for piano solo, particularly his vocal music—for example, his settings of three Petrarch sonnets were included in the second volume of his Années de pèlerinage. The best examples are, however, his Liebesträume. Whereas Liszt’s vocal music is largely neglected, his piano arrangements on the other hand enjoy a far better reputation and presence on recital programs. Both the vocal and piano editions of the three Liebesträume (Dreams of Love) were published simultaneously in 1850.
There is a perfect cadence (chord V to I) at bar 4 followed by ornamentation over a dominant 7th chord in a septuplet figuration incorporating an acciaccatura (crushed note). Chopin also uses an ominous crotchet tread in this piece towards to end of the A section in order to create a feeling of dread or anticipation. Chopin’s piano music is a perfect example of the Romantic ideal for expressing the poetic feelings and emotions through the medium of sound. He uses long lyrical melodies (see the whole of the A section, most prominently in bars 12-16, and bars 79-80) to convey these emotions, as well as arpeggios in bars 14, 16 and 18. There are also broken chord accompaniments, and a falling motif in bar 1 which help convey the mood.
Lecuona was also a noted pianist and conductor. Ernesto Lecuona wrote more than 400 songs, 176 pieces for the piano, 50 theatrical pieces, 31 orchestral works, 11 soundtracks for the cinema, 5 ballets, one trio and an opera. But it is above all the hundreds of interpretations of pieces such as Siboney, Para Vigo Me Voy (Say Si Si), Canto Karabali (Jungle Drums), Maria my Own (Maria La O), La Comparsa and Malagueña that helped him achieve his international popularity. Musically, his work for the piano introduces elements of remarkable originality despite having dealt in a non-avant-garde ambient (which Lecuona did not like, despite actively having supported the initiatives of contemporary music played in Havana. To the influences of the “refi ned” music of the first half of the century, he adds a re-evaluation of the Spanish tradition, and additionally Cuban, in a classical key.
He demonstrated great fluency when improvising polonaises and showed a great interest when his sister Justyna played the violin. His
The third piece in my opinion was the most unique of all. This piece was very supple and had a relaxed feeling to it. A violin solo began the piece, then the piano joined in and they played together. The initial tempo was slow, but in the middle of the piece it sped up, almost seemed like chaos, but slowed again to its first tempo. This song
He wrote his first symphony at the age of eight, his first opera at twelve and conducted twenty performances of that opera at fourteen. Wolfgang Mozart, a musical inspiration, influenced many musicians through his passionate works of complex styles of classical music. Known as one of the most accomplished composers of the 18th century, Mozart began composing music at age five. He wrote his first opera at age twelve. Mozart’s father, “a violinist at the court of the prince of Salzburg,” taught him how to play the clavier and encouraged him in his art (“Wolfgang” World History).
He also uses a lot of melody dominated homophony in this piece, including at bars 12 to 15 where the violin has the melody and is accompanied by the woodwind. At this point the writing for the violin is very typically virtuosic. Another feature of this piece which is typical of the Classical style is the fact that it is in sonata form with a slow introduction (bars 1-17), an exposition (bars 18-111), a development section (bars 112-153), a recapitulation (bars 154-232) and a coda (bars 233-end). The introduction begins in the tonic key (E flat) but at bar 10 changes to the tonic minor (E flat minor). Within the exposition there are 2 subjects and a transition stage.
Concert Analysis 1 The Piano concert I went to see was of Yoonie Han at the Steinway Piano Gallery in Boca Raton. The first piece was “Chaconne (op 101)” by Bach-Busoni. This piece was extremely long. It starts out with a simple melody and a few ornaments are thrown in as the piece progresses. It then has a slightly different melody, but slightly similar and it seems to change keys and go back to the original key over and over.
In each of these variations Mozart had used themes, compositional devices and classical features to unite the piece. These classical features fit into three concepts of music. These are duration, texture and structure. It also affects the atmosphere. The finale consists of 5 variations and the allegretto con variationi.