Romantic Era

Franz Liszt 1811-1886

Franz Liszt was a Hungarian Piano Virtuoso during the Late Romantic Era. I listened to Horowitz Plays Liszt. My favorite piece was “Piano Sonata in B minor”. The beginning is very dramatic as it starts out slow then jumps into music with loud piano keys crashing down. Not quite halfway through the first part in the Allegro energico, the drama ceases into what I view as a stroll across the pond. Very soft notes on the piano are played with much of the moving up down across the keys. The range begins to pick up around the halfway point, but the music is still calmer than the opening. At one point, it sounds like fairies are flying around. Then the drama picks back up in a dramatic fashion. The second part Andante sostenuto, starts out calm then gets dramatic for a few minutes but afterwards it stays relatively calm. It amazes me how a pianist can play those notes on a piano, the sound is so complex and fast. The complexity can be heard in throughout the third part, Allegro energico (fugato). The music is beautiful and amazing at the same time. I don’t know how Horowitz fingers did not fall off playing this piece! 

Baroque Era

Johann Sebastian Bach (1685–1750)

Johann Sebastian Bach was the most influential Baroque era composer. In a period that was overly ornate and frilly, Bach was not household name until well after his death. I listened to a playlist on Spotify of Bach’s music performed by various groups. Included in my most enjoyed songs that I listen to is “Orchestral Suite No 3. in D minor”. This music flows very sweetly. I feel like I am in the music hall of a great palace, watching servants go to in fro in the graceful manner befitting such a place. The music is proper and lovely at the same time. The song, Suite No 1 in G Major, reminds me of someone galloping on a horse to attend to urgent business, but elegantly. It seems like this to me because of the cello being the highlighted. When the notes are lower, it sounds like conflict. The end resolves itself nicely. 

Medieval Music

 

The Plainchant, also known as Gregorian chant, is the earliest forms of written music there were. It was religious in nature and used in religious services. However, there were some secular songs during this period. The earliest composers and chanters were Leonin and Perotin. I listened to the Notre-Dame Catheredal’s choir. The plainchant, Viderunt Omnes had no music. I found it very calming like the rest of the album. Throughout the entire album, I found the music normally has just main person and everyone else is in the background. Their voices are the only instruments making music. The entire album is lovely. I particularly enjoyed, Viderunt Omnes No2 salutare suum ante conspectum gentium relevati because it sounds so angelic with the high notes. I am pretty sure it sung by women

Miles Davis and John Coltrane

Miles Davis and John Coltrane are both legends in the world of Jazz. The former was the mentor of the latter. They both have a scattered sound and use dissonance in their composition. The music sounds jumbled together in nonsense, yet it all works and is actually enjoyable. A good example would be Miles Davis’s Spanish Key on Bitches Brew. A horn instrument is normally always the main instrument in both Davis and Coltrane’s music. Many of their songs are similar as well. For example, I think Coltrane’s “Equinox” is also very similar to Davis’s “Flamenco Sketches (Alternative Take)”. Also, John Coltrane’s performance of “Afro-Blue” in 1963 sounds very similar to Davis’s “Freddie Freeloader” on Kind of Blue. Both songs have a competing feel to it, almost as if all the instruments are competing against one another to have their voice heard. However, in Coltrane’s “The Father and The Son and The Holy Spirit”, the music is so disjointed it is annoying and I have to skip through it. At some points in the song, seven minutes in for instance, it sounds as though a donkey is dying. The end of the song is the death of the donkey. I prefer softer ballads, such as Coltrane’s collaboration with Duke Ellington in “In a Sentimental Mood”, just lovely.  Although Miles Davis accomplished more than John Coltrane did in volume and extent of his work, I believe Coltrane would have been just a big of musical force that Davis was, if he had not passes away so early. 

Louis Armstrong

 

Louis Armstrong is known as one of the fathers of Jazz. His distinct voice is recognizable across generations. Heralded as one of the greatest trumpet players, Armstrong’s music is as much enjoyable today as it was during his lifetime in the early to mid 20^th Century. Most of his compilations have a heavy Dixieland Jazz feel to it, except some of his duets. The trumpet is obviously the main instrument in almost all the songs I listened to. In “Muggles”, the trumpet and clarinet trade off in the middle for carrying the melody, but it quickly returns to the trumpet. Some other songs are the same as that, but the trumpet is still the highlight overall. Some things I found interesting were in the song “Knocking on a Jug”, the baseline is actually kept by what seems like tapping on a jug! Also in “Sugar Foot Strut”, the song starts with glass jars being used as drums and picks back up before Louis sings (I could not understand all the lyrics). It sounds as though they are playing in the street, which gives it a cool St. Louis feel. I really enjoy when Louis scats in duets, such as in “They Can’t Take That Away From Me” with Ella Fitzgerald. The trumpet is kind of a backup in this song too. It is heard, but the person singing is the main focus. Overall, I love Louis Armstrong! 

Music of the 20th Century

Maurice Ravel

Le Tombeau de Couperin

1.The Prelude: opens with mainly woodwinds but there is a pentatonic scale on the piano being played as well right at the beginning. The feel starts out very light and airy and as the the strings play it feels like the opening of a soft dance.

2. Forlane: Begins with strings and woodwinds taking turns carrying the melody. The strings and the woodwinds almost seem like two dancers in a dance.

3.Menuet: The Harp plays a more front position in this movement. The harp gives and angelic input. The clarinet is the main instrument throughout though.

4. Rigaudon: The tempo is faster. Most notable are the different woodwind instruments taking different solos when the tempo slows down half way through. At the end, the tempo picks back up and all the instruments return.

Gustav Mahler

Symphony No 5.

Allegro Maestoso: About 2 min in the music transitions to a softer melody with strings, I think its beautiful, however it is quick followed by dissonance as though as struggle as begun. Horn follow the dissonance it is seems as though the struggle was gloriously won. The music becomes softer as though a conversation is occurring. Then a short break occurs with mainly strings coming in followed by horns. It stays soft and flowing for a while with an oboe solo. After the solo it gradually picks up with percussion coming in. The music repeatedly crescendos and decrescendo, leading to a breaking point, followed by a softer melody and horns taking some of the lead. Half way through is a break in the music followed by dramatic percussion and another pause in the music. The following music sounds as though some one is creeping up behind someone, almost spying on them. But the music into a glorious type of sound followed by struggle and almost battle marching music. At about 14:30 the music becomes VERY dramatic followed by a brief halt. The music picks back up and leads yet again to another tipping point. Strings begin to settle the music with the horns continuing the soft melody. The music pauses and the last minute seems to set up the next part with the end being a quick dramatic ending.

Ludwig van Beethoven

Beethoven’s 5^th Symphony

Movement I

2:15-2:30: it goes from the violins to the just the horns and the dynamics drop and it goes into a soft melody. The horns sound like a prince or a king is entering the room. Then the soft music and instruments seem to begin a dance begins.

Movement II

00:58- 1:18 The music is starts to crescendo. It sounds like an inspiring moment as though something great is about to happen. Then the drum rolls and the horns get louder and it is as if the grand moment is occurring, followed by some procession.

Movement III

2:15- 2:24 Just the strings begin to play starting with the cellos. The deep sound of the cello coupled feels like a break in the music. The violins and other strings begin to come in and add more contrast but they also seem to chase each other as well.

Movement IV

5:20-5:36: The music before this time has just ended in what sounds like a procession. But starting around here, the strings are played softly as though a whisper is being imitated and followed by a quick dissonant notes played louder almost to imitated a sharp response to the whisper.

Throughout Beethoven’s life I found the end particularly striking. The multitude of pain he suffered and the various illnesses he could have had is astounding to me. The ending of his life, which probably turned out to be just a “brain irritation” from his liver failure is quite astounding. Even more so than that, it was not until the last 10 years of his life in his deafness, that he composed his most famous and greatest works. The harder Beethoven’s life was the more brilliant he became. Then again, his life started out with quite a bit of difficulty considering the abuse from his father.