Concerto No 4 In D Minor For Pianoforte

Author : Christine E. Belt
Publisher :
ISBN 13 :
Total Pages : 0 pages
Book Rating : 4.:/5 (135 download)

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Download or read book Piano Concerto No. 4 in D Minor ; Op.23 written by Christine E. Belt and published by . This book was released on 2010 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: While my experiment was always meant to stand as an independent work of art, as opposed to a word-for-word "mapping" of a pre-existent musical structure, I cannot emphasize the influence of concerto form enough. I revisited Rachmaninoff's Third Piano Concerto repeatedly throughout the writing of this manuscript, John Adams's and Beethoven's Violin Concerti as well. I made a study of the form through these and other works, noting the "rules" and the rule-breakers alike. The final product follows the three-part structure of the concerto, paying close attention to elements such as mood, rhythm, tempo, harmony, polyphony, orchestral organization (derived from an examination of orchestral scores), the cyclical appearance of and variations upon theme, etc. For example, the themes in my Concerto appear and re-appear in much the same way as they do in Rachmaninoff's Concerto; material and subject matter from the piece is repeated, branching out into appropriate variations, often set in a similar "key" as the variations found in the Rach 3rd. As the writing progressed, I found the cyclical quality of the main themes (Ex. from Mvt. I.: the orchestra tuning, solitude, manners) to be quite interesting, and they never ceased to yield new interpretations or variations. It was as though repetition within a slightly different context gave these phrases and tags deeper meaning. I believe that the three-part structure of concerto form has served the emotional arc of my manuscript well, including the fast-slow-fast rate and the elevated-thoughtful-euphoric mood transitions from the first to the third movements: traditional elements for the form. It was my intention to reveal ever more complex aspects of truth and vulnerability as the Concerto progressed, a process of discovery facilitated by this three-part structure. The first movement lays down the rules of the piece, if you will, and it brings the audience into Loeffler's rather circumscribed world. Conrad admits the reader/listener as a guest; he is gentlemanly, well-mannered, but he is also quite guarded in what he reveals at this point. He tries to divert the reader with lighter conversation, but is impelled by the unexpected entrance of memory and voices to more and more intimate confession. That he admits, in the end, that his son has been dead for some time is difficult for him, and Conrad makes his emotional "escape" to the simpler, more concrete second movement. " ... from Introduction.