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Classical Music Review

BBC Howard Goodall’s Story of Music—The Age of Tragedy 

Franz Liszt—Liszt was a Hungarian composer, pianist, organist and arranger who used the stage to dazzle many with his talent and unorthodox music style. His brought into the fore devilish, theatre of the macabre compositions and styles that influenced many in the 19^th century and beyond. His death dance was creepy, and he is credited with introducing iron frames to replace wooden frames from all the hammering that he gave them on stage.

The genre described here is that of tragedy. In the piece, there are interwoven sounds of horns, trumpets and battle sounds that Liszt also introduced by making the music conjure up the drama of a scene has been a revolutionary aspect used in many movies to date (Double.Vanille, Mar 7, 2013). This innovation is symphonic poetry.

In the opening of the composition, Liszt attempts to incorporate aspects of the battle into the orchestra. It is not a percussive piece, but Liszt brings in sounds of trumpets, and goes ahead to incorporate a pipe organ to illustrate the confusion of the scene of war at a time of the Roman Empire.

This element of Liszt’s performance is appealing because it not only allows us to understand the incorporation of the symphonic music into modern movies but also in understanding that the orchestra music could be a representation of something else. It incorporates more emotion through this.

The Genius of Beethoven—The Rebel          

Ludwig van Beethoven was a German composer and pianist whose works stand at the transition from the classical repertoire to the romantic times. His music was a reflection of the deterioration of his own family where he was neither shielded by his mother or the drinking habits of his father. He was known for his boldness, both in the way he approached his family problems and music.

The Cantata on the Death of Joseph II was tragic in its composition and execution. It was sublime and effortlessly beautiful. In it melodic contour, it rises in shape, almost like the path that humanity takes towards the light (Comedy is Over, Mar 10, 2018).

The instrumentation is effortless and beautiful, yet it is characterized by a sad mood. The voice of the female performer is eerily sad, and the ideal that it represents for the composer himself and the age of aristocratic magnificence in Europe is an important point of departure for Beethoven and his subsequent music in Vienna.

The story in this piece is a celebration of the life of an important figure of the enlightenment era. What is outstanding about this piece is that it expressed its intended emotion effortlessly into the composition and performance. The sadness comes out, not in any flat way, but in a concrete, sublime way. The contrast between the high and low tones sticks out to the listener.

Franz Schubert: Erlkonig

Franz Schubert was an Austrian composer who lived in the period between the late classical and early romantic eras. His oeuvre included secular works, symphonies, sacred music and other works. His life was relatively short compared to other composers of not, having died at the tender age of 31.

Erlkonig is a lied ballad. A lied ballad is a miniature composition whereby a narrative piece which in many instances is a poem (in this case a poem by Goethe) is the basic subject matter for a particular song.

The instrumentation in this piece is characteristically flat in many instances, but it rises and falls with the telling of the miniature ballad (OxfordLieder, Nov 15, 2013). The voice that accompanies the composition is strongest when he is mentioning “my father”, a clear indication that his greatest emphasis is right on him. The blending of the instrumentation and the voice is also worth noting.

The piece is about the story of a boy riding home on horseback and in his father’s arms. He is courted by Erl-king, a creepy supernatural being. The Erl-king seizes the boy in the end, and when the father gets home, the boy is dead.

Even while this piece is an eerie representation of Schubert’s creative prowess, it leaves a lot to be desired in the way that the instrumentation is infused with the voice. There are incongruent instances where the artists could do better.

Andrea Bocelli: La donna e’ mobile

Andrea Bocelli is an Italian composer and multi-instrumentalist. He is an opera tenor singer who became totally blind at the age of 12. With the instruments of the piano and vocals, Bocelli has continued to revolutionise operatic pop, classical crossover among other genres. He was born in 1958.

La donna e mobile is a classical composition. Classical music is one that is characterised by a clearer texture and less complexity than say, baroque. It uses a variety of keys, melodies and rhythms to get its message across.

The instrumentation in this piece is that of the mixed variety. There is the classical piano, the sound of flutes and others that make this melody more harmonious (Bocelli, Oct 23, 2015).  The voice is only the one by Andrea Bocelli himself. It is characterized by its unique range and variety. The way the tone is varied makes the mood easily achievable and gets right in with the melody produced through the use of the many instruments.

The piece is admirable for the harmony and variety in instrumentation that it clearly exposes. It brings to the fore the talent and reach of Bocelli both in voice and instruments. Even while it is inherently misogynist in content, it has a bright tune and dynamic rhythmic figures that easily make one lose track of the perceived misogyny.

Paganini Caprice

Nicolo Paganini was an Italian violinist, pianist, guitarist ad composer. Born in Genoa, Paganini was known for works such as 24 Caprices for Solo Violin and The Devil’s Violinist. The most celebrated violinist virtuoso of his generation, Paganini made a mark in solo violin, establishing some of the most remarkable violin techniques to date.

Caprice Number 24 marks the final caprice in Paganini’s 24 Caprices which is in the key of A minor has a theme, 11 variations and a finale. It is in the classical genre.

Played by the Russian American solo violinist Alexander  Markov, Caprice No 24 has a number of variations in themes that culminate in the finale towards the end. There are parallel octaves rapid shifts on intervals, a technique that has a fluid feel in this performance, but that is difficult in execution (Crackadackas, Aug 11, 2009). The scales are extremely fast, it is incredible that Markov keeps pace. The quick string crossings also make this piece outstanding.

Caprice Number 24 is appealing because of the difficulty it has on solo violin playing and the execution of this piece on Markov’s instrument. He navigates the octaves, the shifts and scales expertly. This reinforces the mood in this performance making it expertly sublime.

Hungarian Rhapsody No. 2

Franz Liszt—Liszt was a Hungarian composer, pianist, organist and arranger who used the stage to dazzle many with his talent and unorthodox music style. His brought into the fore devilish, theatre of the macabre compositions and styles that influenced many in the 19^th century and beyond. His death dance was creepy, and he is credited with introducing iron frames to replace wooden frames from all the hammering that he gave them on stage.

The piano solo form of this composition by Valentina Lisitsa opens in a dark, dramatic mood, but the chords are strong and low (Von Aichberger & Roenneke, Feb 14, 2011).. In between, one can sense long and short notes (probably borrowed from Hungarian folk dances). With time, the slow opening give way to energetic notes, sometimes light and sometimes flash.

With all the brilliance and technical complexity of this piece, the last page gives one the most satisfaction. The music almost takes the form of the geography of Hungary, rising and falling like the hills that dot Eastern Europe. The incorporation of Hungarian folk culture gives this piece authenticity and originality.