Classical Vs Modern Essay Research Paper free essay sample

Classical Vs Modern Essay, Research Paper # 8220 ; Classical Concert # 8221 ; Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria. He was born to an overbearing and ambitious male parent, Leopold, who was more than dying to work his boy # 8217 ; s extraordinary musical gifts. Mozart began composing at an early age, and he began touring around the same clip. Throughout his life, Mozart made many enemies, many his ain mistake, through his naif haughtiness and rough review of his musical coevalss. He worked feverishly, composing symphonic musics and operas, every bit good as touring invariably. Mozart died of overwork and kidney failure on the 5th of December 1791 while still ironically at work on the # 8220 ; Requiem Mass # 8221 ; for an unknown frequenter. Though he lived for a comparatively short clip, Mozart # 8217 ; s fecund musical calling, in which he composed 100s of musical plants, gained him a topographic point among the all clip greatest composers. Henry Vieuxtemps was born in 1820 in Verviers, Belgium, a fertile land for fiddlers. He had his first lessons from his male parent, a weaver and recreational violin-maker and participant. Vieuxtemps made his first public visual aspect as a fiddler at the age of six, playing a concerto by Rode. In 1836, Vieuxtemps wrote his first fiddle concerto, the Concerto No. 2 in F crisp minor, published as Opus 19. In 1843 and 1844 he toured America and during that clip, he wrote his Concerto No. 3 in A major, Opus 25, a work now as a great verse form instead than a concerto, influenced by Beethoven # 8217 ; s Violin Concerto. In his ulterior old ages, Vieuxtemps devoted much of his clip to instruction, but suffered a shot in 1871, doing consummate playing impossible. Afterwards, in 1877 he resumed instruction and conducting in Paris. Illness led eventually to his surrender in 1879, but he continued to compose, finishing his Concerto No. 6 in G Major, Opus 47, and shortly thenceforth Concerto No. 7 in A minor, Opus 49. He died in 1881 and was buried in his hometown of Verviers . Largely Mozart Festival, Avery Fisher Hall, Lincoln Center. This musical public presentation included three plants from Wolfgang Amadeus Mozart # 8211 ; Symphony No.32 in G, K.318, Piano Concerto in D child, K.466 and Symphony No.35 in D, K.385 ( # 8221 ; Haffner # 8221 ; ) # 8211 ; and one from Henry Vieuxtemps # 8211 ; Violin Concerto No.5. Emmanuel Krivine conducted the public presentation, with featured soloists Joshua Bell ( Vieuxtemps violin concerto ) and Stewart Goodyear ( Mozart piano concerto ) . A full orchestra performed the symphonic musics. Overall, the Mostly Mozart Festival was a enormously gratifying experience. The qualities that define the plants of Mozart are frequently the same as those that are used to depict those of the # 8220 ; classical # 8221 ; period of music, from his smooth tunes and fluxing beat, to his delighting usage of kineticss to make an ambiance of complete satisfaction. One of the most defining rules of the manner of Mozart is the connexion to nature and God, and the seeming unity and harmoniousness that can be achieved merely by listening while the tunes take you to a higher plane of idea. The most gratifying piece from the public presentation was # 8220 ; Allegro, # 8221 ; from Mozart # 8217 ; s Concerto in Dm. There are merely non adequate words in the English vocabulary to depict how articulately crafted and rhythmically shaped this piece is. One of the most outstanding elements of this piece is the harmoniousness created between the piano and the strings as they accompany each other with looking perfection. The ensuing experience is tickle pinking to state the least. Stressing the piece even more was the public presentation by the consummate piano player, Stewart Goodyear. Although still in his early mid-twentiess, this musical mastermind has already far surpassed many of his coevalss and his solos are breathtaking, as he routinely improvises and takes even the most perfect piece to new highs. In add-on to Mozart, the public presentation besides included a Violin concerto by Henry Vieuxtemps, a romantic epoch fiddle ace, with Joshua Bell executing on the fiddle. Vieuxtemps uses many of the properties of the romantic epoch, such as an unbelievable freedom of motion and rubato clip, which leaves much up to reading by the performing artist. Possibly the most stimulating portion of this piece was the solo public presentation of the fiddle, as the unbelievable spee vitamin D along with dramatic dynamic seems to flux in such a manner that would non look possible. It would be logical to presume that the other members of the audience shared this sentiment, as response was really powerful, and lasted for some clip. # 8220 ; Contemporary Performance # 8221 ; Claude-Michel Schonberg was born in Paris in 1944 of Magyar parents ; he began his calling as a vocalist, author and manufacturer of popular vocals. He wrote the musical mark of La Revolution Fran? oise in 1973, Les Mis? rables in 1980 and Miss Saigon in1989. Since so he has besides supervised abroad productions of Les Mis? rables and Miss Saigon and co-produced several international dramatis personae albums of his shows. He is presently working on a new production of his last musical Martin Guerre. He lives in Paris with his married woman and two kids. Herbert Kretzmer was born in South Africa, where he began his journalistic calling composing the commentary for a hebdomadal film newsreel. In 1960 he joined the staff of the Daily Express and subsequently became its main play critic, a station he held for 18 old ages, covering about 3000 first darks. From 1979 to 1987 he wrote telecasting unfavorable judgment for the Daily Mail, winning two national imperativeness awards. Kretzmer wrote the book and wordss of the West End musical Our Man Crichton, which starred Kenneth More and Millicent Martin, and the wordss for The four Musketeers. For his Les Mis? rables # 8221 ; wordss he received Tony and Grammy awards. In 1996 he was elected an Honorary Doctor of Letters at Richmond College. # 8220 ; Les Mis? rables, # 8221 ; Imperial Theater, Broadway. Possibly the most popular and best loved musical on Broadway, Les Mis? rables contains some of the most defining elements of the modern musical. The composer is able to convey many tempers, from joyous to melancholy, every bit good as supply a perfect platform for the wordss, which comprise about all of the spoken linguistic communication of the musical. The tempers are possibly the most noticeable component of the musical, for illustration, the feeling conveyed though # 8220 ; Master of the House # 8221 ; is lightheartedness and amusing. On the other terminal of the spectrum, there is the dark emptiness felt in # 8220 ; On My Own, # 8221 ; a vocal about unknown and unanswered love. There is besides a really touchable flow to the full public presentation, one that seems to be traveling along and transporting the narrative. It is really splanchnic and subconscious at the same clip, supplying for a really pleasant exp erience wholly. Working manus in manus with the instrumental facet, the wordss of Les Mis? rables lend themselves entirely to the temper of the pieces. From # 8220 ; Can You Hear the People Sing, # 8221 ; a March beating up support for the approaching revolution, to # 8220 ; A Little Fall of Rain, # 8221 ; in which a deceasing Eponine professes her concealed love, the wordss portray absolutely the temper and complement the music entirely. The success of these portraitures is reflected by the response of the audience, which was ebullient and extremely appreciative. When comparing the two public presentations, it is of import to detect the influence that one may hold had on another. For illustration, the music of Wolfgang Amadeus Mozart had a terrific impact on the musical universe, and later, practically every instrumentalist is influenced in some manner by his input. Therefore, it would be logical to presume that Schonberg was influenced by the plants of Mozart. Though they vary in elements such as instruments every bit good as words, many have much in common, such as construction, which follows a basic expression of reiterating tunes and reprisals. They besides portion much in the sense of flow, key, and kineticss. The consequence of both public presentations on me as both a hearer and a instrumentalist was a good 1. Not merely hold both exposed me to assorted aspects of the musical universe, they have besides increased my cognition and apprehension of music, every bit good as its roots and the relationships between different genres. The latter facts are non merely relevant because I exhaustively enjoyed both public presentations, but besides because I was sing a diverseness of manners and composings. Through exposure to different signifiers of musical reading, it is possible to understand better how music evolves and how it becomes portion of our civilization and shapes the manner we live, every bit good as how it is used as a signifier of communicating, and helps us better understand ourselves.