This paper creates an imaginary luncheon conversation between Aaron Copland, Johannes Brahms and Johann Sebastian Bach to explain and compare their music.
Abstract The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.
From the Paper "Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
Abstract This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper "The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
Abstract This paper examines the birth and development of Brahms' first and second piano concertos. The paper describes the poor reception to the first concerto and Brahms' subsequent reluctance to compose another concerto. Thus the writer explains the twenty year break between the first and second concerto. The paper provides a detailed musical description of these two concertos.
From the Paper "Various compositions that are now highly praised as masterpieces were not predominantly triumphant in their early years, but few were greeted by actual hisses from the audience. Those that were had typically committed the sin of being too progressive for their day. One such example, the most notorious one, the First Piano Concerto by Brahms a fact which must have been shocking to this composer, who so little identified with progressives. It was one of his first, and most tender, encounters with the determination of the musical establishment. "
Abstract This paper explains, by describing in detail each movement, that Brahms's "Violin Concerto" demonstrates how a composer can use aspects of music to move the listener emotionally. The author, for example, details that Brahms signals changes of mood by using dramatic retards followed by rhythmic passages, thereby, communicating an inevitable feeling of both despair and hope. The paper concludes that the overall feeling of the listener is that in the midst of despair there is always a glimmer of hope (first movement), that in the midst of turbulent emotions we can find peace (second movement), and that life should be full of enthusiasm and joy (third movement.)
From the Paper "Gradually, the orchestra fades out and the solo violin comes in more rapid and intense, followed by forceful rhythms of the orchestra that builds to an intense climax, but then backs off so a sweet violin melody accompanied by a flute can break through. This ebb and flow of intensity, gradual crescendos and decrescendos continues throughout the first movement, shifting the listener back and forth between hope and despair. In some places, the violin is only accompanied by light pizzicato in the strings. Finally, Brahms brings the movement to a dramatic conclusion with a sometimes fiery and sometimes gentle passage by the violin and a triumphal orchestral denouement. The entire movement gives a feeling of strong, conflicting emotions."
Abstract This paper discusses the Romantic era of music which refers, in its broadest sense, to the hundred years of music from 1820 to 1920. Romanticism was the direct outcome of the French Revolution and believed in ideas of freedom and equal rights for all. The paper shows that romantic music was a reflection of massive changes that were taking place in all spheres of life in that period and, consequently, the events of that era had profound impact on the Romantic music. The paper also discusses two musicians who influenced romantic era music - Ludwig van Beethoven whose independence in style made him a model for future generation of Romantic composers; and Johannes Brahms, the man responsible for bringing Romanticism in music to an end.
From the Paper "Beethoven moved away from such restrictions and conventions of Classicism and some of his symphonies were large, sometimes as big as the size of an epic. But the emotional depth that they contained was truly matchless. Beethoven 's Second Symphony has been described as "full of summer air and summer flowers." The third Symphony and probably his favorite were initially dedicated to Napoleon, the French ruler, as Beethoven left that he could free Europe from the monarchy marks the beginning of the middle-period work."
Abstract This paper discusses the period of romanticism in music, claiming that it reflected the general characteristics of the Romantic Movement. The paper explains that the composers believed in depth of emotion and romantic music reflected this in abundance. The paper contends that it was primarily a reflection of massive changes that were taking place in all spheres of life during that time. The works of Mozart, Schubert Brahms and Beethoven are discussed in the paper.
From the Paper "'ROMANTICISM' is a concept that can be easily recognized but is probably just as difficult to define. Like all other movements, Romanticism also emerged as a reaction to general idea, practices, social norms and political problems of the time. The general concept of romanticism sees music as an expression of intimate and sublime emotions. The period that can be categorized as romantic varies but generally covers the decades from early 18th century to early nineteenth centuries. Romantic influence on music was recognized as early as 1773 when Wyzewa and Saint-Foix thought they had seen 'grande crise romantique' in Mozart's symphonies. Abert felt he had also noticed 'ein romantischer Zug' in quartets K 136-8. Romantic influences were also evident in Haydn's minor-key symphonies of the 1770s and in Bach's compositions. Romanticism was present in almost all of Beethoven's compositions but it is generally believed that the period 1830-90 was the golden era of Romantic music."
Abstract The writer begins with the origins of this essential bass instrument, going into what instruments and inventions led to the creation of the tuba. It then talks about its use in both the band and orchestra settings. Finally, it shows the importance of the tuba through its uses and demands.
From the Paper "Polka, "Oompa", whole notes, blatty, and always behind the beat: the unfortunate, but common images of tubas have often been thus. Even the players have been pictured as nothing that would improve upon the idea of the tuba. These people are usually pictured as geeky, adolescent, fat pimple-faced boys in a high school band, which is full of pig tales, snotty noses, and pocket protectors. Although I am a tuba player, and I have heard and seen such references to these images I would like to show the world, or at least those who read this paper, that the tuba and its family are very important and independent instruments in music and music literature."
Abstract This paper reviews and discusses romanticism. The paper takes a look at the art, music and poetry that emerged during the romantic era. The paper describes its history, the main elements of romanticism and how it differed in different countries. The paper then goes on to discuss political romanticism.
From the Paper "The romantic musicians found their muse of inspiration in literary works, paintings, and other art sources. Therefore, they believed in the same art values, like freedom of form, peculiar vibration of feelings, impulsive reactions, uniqueness, etc. As literary works reveal solitary characters to bear the imprint of emotional experience, music reveals instruments that have exactly the same role as characters in literature. They create the emotional values. The French composer Hector Berlioz and the Hungarian musician Franz Liszt had the roots of their inspiration in literature. Plenty of music works were created in the 19th century. The most known and successful ones are written by Schubert, Johannes Brahms, Hugo Wolf, Robert Schumann, and Richard Strauss. Abstract music was expressed in chamber music and symphonies. In this respect, there are plenty of composers who may be given as example. Musicians like Schubert, Schumann, Brahms, Tchaikovsky were the most important as they tried new free form music, adapted for the piano, mostly."
