![]() There are suggestions of Satie, Brahms, hopscotch ditties and Protestant anthems." Rorem says his, Musgrave's, and Dickinson's pieces all "quote literally from the past" and also describes asking "Chuck" if he ever disapproved of Samuel Barber's pieces as Rorem's partner did of Rorem's the evening it premiered. The composer describes the piece's similarities to its direct predecessor, his Scenes from Childhood, in that each of three movements is "suggested by musical works of yore. Rorem's The End of Summer (1985), which may be found on several recordings featuring his work, features hints of church music. ![]() Trios were commissioned by the Verdehr Trio from composers including Leslie Bassett, Alan Hovhaness, Michael Daugherty, Karel Husa, Thea Musgrave, Ned Rorem, Ida Gotkovsky, Gunther Schuller, Peter Schickele, Jennifer Higdon, Alexander Arutiunian, David Diamond, Scott McAllister, William Bolcom, Betsy Jolas, Bright Sheng, Roberto Sierra, Libby Larsen, Philippe Manoury, Gian Carlo Menotti, Peter Sculthorpe, Iván Erőd and Joan Tower. An article describing a program in which "the standard note on Bartók's Contrasts.was replaced by a sequential, diagrammatic sketch," concluded that, "in fact, Bartók looks as inscrutable as he sounds". ![]() Seiber considers it "a less weighty, less important work in Bartók's whole œuvre" though the "writing for both violin and clarinet" are "most effective throughout". In contrast, E.R., explains that the "contrasts are "of speed rather than of mood" but that despite this "lack of variety.Bartók's genius consists in gifts of rhetoric so rich that he can spread this one mood, and spread it interestingly, over a score or more of large-scale works". Kárpáti describes the piece as possessing "technical bravura and at the same time.poetic versatility". 157b), Khachaturian (Trio for clarinet, violin and piano), Berg, Krenek, and Ives.īéla Bartók's Contrasts was commissioned for violinist Joseph Szigeti and clarinetist Benny Goodman and is one of the best known pieces in the genre. There are examples of clarinet–violin–piano trios prior to 1970 by composers including Bartók ( Contrasts), Baußnern's Serenade, Stravinsky (an arrangement of his L'histoire du soldat), Milhaud (Suite for clarinet, violin, and piano, Op. Timbral contrast is provided between the woodwind (clarinet), bowed string (violin), and keyboard instrument (piano).Īside from its classical use, this combination of instruments is common in traditional Ashkenazi Jewish music. However, both a clarinet and a violin play relatively high-pitched parts, making for a less-balanced sound than a trio that contains a more possible range, such as a violin–cello–piano trio. Unlike a standard piano trio or a concerto, there is no standard form for a composition for a clarinet–violin–piano trio: a piece can have any number of movements.Īcoustically, the choice of a clarinet, violin, and piano is characteristic in that most chamber music (and most music in general) contains high ( soprano), mid-range ( alto/ tenor), and low ( bass/ baritone) parts. Many of these works can be (or already have been) transcribed for a clarinet–violin–piano trio. A clarinet–violin–piano trio is a standardized chamber musical ensemble made up of one clarinet, one violin, and one piano participating in relatively equal roles, or the name of a piece written for such a group.Īn example of a clarinet–viola–piano trio existed several hundred years before the clarinet–violin–piano trio Mozart composed the Kegelstatt Trio in the 18th century, and the Romantic composer Max Bruch composed a suite of eight pieces for this combination, as well as a double concerto for viola, clarinet, and orchestra.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |