New York New Music Ensemble :: essays research papers

The New York New Music Ensemble began with a bang, literally. This ensemble has been around for twenty-three years and it is considered to be the raising standard in contemporary chamber music. On Thursday afternoon, I byword the ensemble perform three put ups Trio, Nutturno, and Marxville Songbook. These three possess very equivalent tone color and composition. The ensembles first piece, Trio, was composed by Donald Martino. This musician pursued his interest in music at a very young age. By age fifteen, he did not nevertheless know how to play various instruments, but he also started composing. Martino excelled as a member of American Academy of Arts and Letters and was rewarded scholarships. In 1974, Martinos classic sextet, Notturno, won him the Pulitzer Prize in music. In Notturno on that point are three large parts, which could be described as movements that contain the musics continuity. Within these three movements, there are 19 smaller parts. The first and last move ments have nine parts that piddle up the contrasting wakelesss in the music. The final movement concentrates more on the chuck out transformation. Structurally, this format would be a recapitulation, but the use of pitch transforms it into something new. To emphasize the pitch fluctuation, three different kinds of flutes were contend. Because of the pitch variation in this piece, there were many melodies to follow. In a way, the music sounded like sound effects to a horror flick. For example, the tone color of the piece would be nice and calm then all of a sudden the rhythm section would contribute a crashing sound and disturb the quiet. Towards the end of the piece, the musicians tapped their instruments to add to the supernatural atmosphere. In comparison to Notturno, Martinos Trio (the first piece played) as yet produced the same psychotic and dramatic sound. This instrumental consisted of small packets of sound played softly then fiercely. The ensemble began the piece slow ly and worked its way to climactic units of music throughout the set. The violins sound danced along the forte-pianos ground. The piano set the rhythm, while the clarinet and violin built on top of it. This piece was a good example of non-imitative polyphony because the clarinet and violin were playing melodies of their own. To complete the piece, the clarinet trailed off leaving the audience uneasy. The second piece the ensemble performed was the Marxville Songbook, which was composed by Jeffrey Stadelman.