Music Concert Report

Music Concert Report

Student’s Name

University Affiliation

Piano Ensemble and Piano Accompanying

As viewed experienced in the music pieces, piano ensemble gives pianist the privilege of making music with another pianist. Normally, it can be a duet or a duo performance. A duet is where two pianists make music using one piano while a duo, as seen in the pieces; two pianists use two pianos to make music. Collaboration and synchronization are skills that are portrayed in both Overture to ‘Candide’ and Brazileir from Scararamouche for 2 pianos. As for piano accompanying, music instruments such as the saxophone and clarinet have been incorporated which grabs the attention of the audience.

The genre of music performed in the pieces is classical with a touch of modern contemporary. The music pieces travel an audience back to the classical era where reason and enlightenment had began. An era when public concerts had become prominent, when musicals had been further developed and when opera was the best form of vocal entertainment.

Performing forces that are needed to perform the work is a piano, strings, and woodwinds. For example, the piano uses strings that are struck by hammers and then sound is produced. Without these forces, the music pieces wouldn’t be a success or wouldn’t happen at all.

I did my research about the works both before and after the performance. My sources included online libraries which have records on pieces that date back to the classical era. The Pasadena City College Piano Website is a great source of information especially on piano ensemble and accompanying. An introduction to music appreciation that can be retrieved here is another great source that gave insight to how music evolved over the centuries. Listening accompanied with these great sources enabled me to acquire information which was basic in terms of reach.

Sonata No.1 in F minor, Op. 120 No.1------Johannes Brahms

Andante un poco Adagio: In Brahms’ clarinet Sonatas, sonata No.1 has several moments. The movement under analysis is the second which is in ternary form. Decorated with turns, the clarinet introduces a descending theme. In the first theme are, the writing is sparse with the A section being repeated twice. It ends with a half cadence while the other is a perfect authentic cadence. The B section is defined by harmonic motion which is faster and rhythmic. As the piano plays 16th notes, the clarinet plays a slurred melody. The harmony then descends while imitating the A section through C♭ major, D♭ major, as well as A major. With this, the clarinet is able to play the notes that the piano had (sixteenth) that’s before changing to the E major. In this movement, the A melody directs the piano in what can be termed as the wrong key (E major), it returns to C major and then to the A♭ major. With a more active piano accompaniment, the A section starts again. A small break of sixteenth notes draws back to the B section and the movement is finally ended by an iteration of the melody.

Clarinet Concerto in A major, K. 622------W.A. Mozart.

Adagio: On the other hand, in Mozart’s Clarinet Concert, the second movement is marked Adagio. It is a rounded two fold form. For example: ABA'. In Adagio, characterized by the slowness, the composer is seen to express his inner loneliness. It is one of the most well known pieces by Mozart as it has deep and touchy currents of melancholy as well as the touching solo melodies that stream through it. The movement starts with the soloist engaging the audience in the movement’s primary theme accompanied by orchestral repetition. The B section in Mozart’s adagio has the solo part being prominent. It takes advantage of the clarion and chalumeau registers. In the entire work, the only true cadenza is experience when the B section ends; just before the A section returns. However, the movement has the B section with some passages that make use of the lowest notes of the basset clarinet.

Therefore in comparison to Johannes Brahms sonata No.1 in F minor, Mozart’s Clarinet Concerto in A major appeals to the emotions of the audience as experienced though the melody, change in keys and rhythm among other factors.

References

Bach, J. (1998). Classic Mozart. Place of publication not identified: Hal Leonard.

Bernstein, L. & Gottlieb, J. (2005). Leonard Bernstein's young people's concerts. Pompton Plains, N.J: Amadeus Press.

Irving, J. (2016). Understanding Mozart's piano sonatas. London: Routledge.