One opera, six symphonies, four solo concerti, five string quartets, seven piano sonatas, five sets of piano variations, four overtures, four trios, two sextets, and seventy-two songs were produced. This I believe is what people remember Beethoven for. This was his purpose! His deafness played an enormous role in his career, but was simply not determined by it. For any musician to lose their hearing must be the worst possible news to ever receive.
A rapid run up the keys of the piano and a final swell in the strings brought Allegretto grazioso to an abrupt end. Prior to attending this concert, I had never seen a performance involving piano and orchestra, and quite frankly, I wasn’t sure if it would work. I thought that the piano might overpower the orchestra, or vice versa, or that the combination would be too busy. I found that with a proper balance in the arrangement between piano and orchestra, and a skillful conductor such as D. Kern Holoman collaborating with a virtuoso such as Michael Boriskin, the genre can be most satisfying.
These include the last five piano sonatas, the Missa solemnis, and the last five string quartets, as well as the fifth and ninth symphony. It is fabricated that he was never completely deaf, but many believe otherwise. The Choral Symphony (Ninth) is one of Beethoven’s most powerful masterpiece. When Beethoven wrote this, he was completely deaf (many believed). The characteristics to the style of music Beethoven composed consists of what was known to be “romantic” but is basically recognized as classical.
I made a conclusion from this experience. My conclusion is that learning about music will increase the pleasure of listening to music, but that musical learning is not, perhaps, as easy as learning subjects like Math or History. I will begin my description of the music that I heard at the LACMA concert with the work that I liked best. This was the new discovery from Kinderszenen’s Ahnung, the composer of this piece was Robert Schumann, U.S. Premiere performed by the pianist Luiza Borac.
Beethoven’s 9th Symphony orchestra was performed in concert by both the magnificent Chandler Symphony and the lovely choir of Chandler-Gilbert Community College the 9th Symphony was played in D minor. All four movements were played beautifully by the numerous instruments that were involved with the concert. Of course, the string family played tremendously, along with the brass family and the percussion family. The performance took place in a beautiful concert hall. While performing, the lights were dimmed in the audience section and a warm yellow light hovered above the performers.
This spoke not only to his ability as a conductor but also to his ability as a composer. Musicologist Constantin Floros writes, “The best conductors are themselves composers.” The different musical roles Mahler filled serve to reinforce each other as a fantastic composer makes for a fantastic conductor. Mahler’s fame sat mostly in the musical community itself during his life and dropped slightly after his death. It wasn’t until half a century late when Leonard Bernstein revived Mahler’s works that it gained the status it holds today with composers like Bach, Beethoven, and Mozart. The fifth symphony Mahler wrote falls into the middle period of the composer’s professional life.
The movement is very short, soon fading into silence. In the third movement comes the fantastic ending of the seventh piano concerto, a cheerful presto. The opening piano/orchestral introduction of the theme is one of the most cheerful examples of concerto writing I have ever heard, and the entire movement alternates between this wonderful melody and some calming moments. The orchestra is often there to emphasize the piano, until together they introduce a climax of the sort that causes one to whistle and think on those few seconds for hours.
Despite my expectancy I was unprepared for the sudden eruption of applause like a bomb detonating in the hall as the four black figures strode onto the stage. Reminding me of Virginia Woolf’s description in The String Quartet, the performers “seated themselves facing the white squares under the downpour of light, rested the tips of their bows on the music stand, [and] with a simultaneous movement lifted them.” I leaned forward on my seat, straining to hear the first note even before it sounded. With an almost telepathic communication from the first violin, it began. From that moment I was lost. The audience, the musicians, even the music itself was forgotten, swept away by the surge of emotions that engulfed me.
They end the piece with a diminuendo and the clarinets finish the piece. The second piece was Nicolai Rimsky-Korsakov’s Scheherazade, opus 35. Little of his music is well known outside of Russia, which is surprising since it’s beautifully written. His operas are almost never performed in the West, and we seem to know him best through his students. He heavily influenced orchestral instrument coloration, and we can see that through other Russian composers’ music.
Unhappy with his compositions up to that time and stating that he would now be "making a fresh start," Beethoven began composing music such as had never before been heard. His Symphony no. 3 in E-flat major, subtitle the "Eroica", was completed in 1804, and was almost twice as long as any symphony written up to that time. Taking the classical symphony as a starting point, it introduces more themes, more contrasts, more instruments, more weight and more drama than previously heard in the symphonic form. His sixteen string quartets span his creative life and developed from the classical restraint of the six "Early" quartets to the sublime late quartets which contain music of such personal pain and suffering, that one wonders if an audience was intended to hear them at all.