History proves that classical symphonic music is almost immortal, which speaks of its significant cultural component. For this essay, I watched and analyzed four video recordings of musical performances. They are united by the classical character of compositions and features. The purpose of this paper is to review the videos in terms of technical, contextual, and personal aspects. Another crucial objective is to answer a few specific questions.
Robert Schumann: Quartet in E Flat for Piano, Violin, Viola, and Cello. Op.47
Wu Han, Daniel Hope, Paul Neubauer, and David Finckel perform Robert Schumann’s Quartet in E Flat Op.47. The range of musical instruments used is modest, even ascetic, and includes the piano, violin, viola, and cello (Ibis Productions, 2015). The number of movements consists of sostenuto assai, allegro ma non troppo, molto vivace, andante cantabile, and vivace. All of them are performed in the basic 4/4 tempo type. The unifying feature of all movements is the constant rhythmic part of the piano. However, allegro ma non troppo, molto vivace have a slower and more melodic pace, in contrast to sostenuto assai and vivace.
The local stage is a standard theater setting, although it resembles a studio. The camera is focused on musicians, so it’s possible to note only significant applause in the final of the composition (Ibis Productions, 2015). It is essential to note the visual contrast between the clothing of male and female performers. The left violinist is expressive and emotional, even passionate, with his movements, which conveys his musical part, this brings him closer to Khatya Buniatishvili ‘s performance.
Astor Piazzolla: Libertango
Khatia and Gvantsa Buniatishvili perform an improvisation of Astor Piazzolla’s Libertango on piano. Gvantsa, as Secondo, plays the rhythm part, and, correspondingly, Khatia, the Primo, plays the melody (Steiger, 2014). The whole performance consists of three basic types of movements. Beginning and the completion of Libertango performed in allegro while the middle part is andante. Pianists adhere to a standard tempo of 4/4 in improvisation, which provides constant dynamics, playfulness, and emotionality of sound.
The most noticeable difference is that this piece of music is performed outdoors. It is noticeable that the whole set of both musical improvisation and the audience is informal (Steiger, 2014). The general ambiance of the recorded captured is of light and summer nature. The behavior and body language of each of the pianists also reflects their roles and the emotionality of their musical parts. Gvantsa playing constant and low rhythmic is calm and adheres to formal behavior, while Khatya is artistic and expressive, which corresponds to her role as Primo.
Maurice Ravel: Bolero
Maurice Ravel’s Wiener Philharmoniker, conducted by Gustavo Dudamel, returns viewers and listeners to the environment of musical theater. Musicians use instruments such as snare drums, violins, saxophones, flutes, piccolos, and harps in this performance (Accentusmusic, 2017). The structure of the music is a harmonious model of andante, andantino, allegro, and vivace. At each stage, the conductor and musicians maintain a tempo of 4/4, like all the pieces of the music discussed here. The composer made ostinato enjoyable by adding rhythmic sounds performed by tapping on stringed instruments.
As in the case of Quartet in E Flat and O Sole Mio, historical performance belongs to the official formal theater type. The operator pays little attention to the audience; however, they applaud respectfully upon completion of Wiener Philharmoniker (Accentusmusic, 2017). It is also worth noting the contrast between the significant tension and concentration of the musicians and the enthusiasm and positive attitude of the composer. It brings this performance closer to the video about Luciano Pavarotti and Brian Adams.
Lyrics by Giovanni Capurro. Music by Eduardo di Capua and Alfredo Mazzucchi: O Sole Mio
Famous opera singers and musicians Luciano Pavarotti and Brian Adams perform the classic O Sole Mio by Eduardo di Capua and Alfredo Mazzucchi. Viewers and listeners may notice the sound of such musical instruments as violins, double basses, and trumpets (Adams, 2009). Unlike other works under consideration, the structure of music is simple and represents two andante in 4/4.
The stage represents a standard theatrical setting, while the audience and musicians adhere to formal behavior. However, unlike the other discussed official musical performances, the soloists, Luciano Pavarotti and Brian Adams, act in a friendly, informal tone (Adams, 2009). Mutual respect can also be noted based on their body language of facial expressions. Both singers have a tenor voice range, but Adams sounds higher and more intense, while lower tones and inner harmony are heard in the manner of Pavarotti’s singing.
Conclusion
Each of the reviewed performances and musicians participating in them have their unique charm. Nevertheless, I prefer Khatia and Gvantsa Buniatishvili’s performance for their ambient of intimacy, summer, and township. In their style, I can feel some real sincerity and emotionality. This is just my personal opinion, and the audience and listeners will find their favorite performance, which may be the one that was reviewed in this essay. Vocal and musical artists participated in these compositions to convey their emotions and legacy of the era. It was this sincere passion that made them interesting from a technical and semantic perspective.
References
- Accentusmusic. (2017). Maurice Ravel: Bolero / Gustavo Dudamel conducts the Wiener Philharmoniker at Lucerne Festival 2010. [Video]. Youtube.
- Adams, B. (2009). Bryan Adams & Luciano Pavarotti – ‘O Sole Mio. [Video]. Youtube.
- Ibis Productions. (2015). Schumann: Quartet in e-flat major for piano, violin, viola, and cello, Op. 47. [Video]. Chamber Music Society of Lincoln Center. Web.
- Steiger, W. (2014). Khatia + Gvantsa Buniatishvili – Astor Piazzolla: Libertango [Video]. Youtube.