"Classical Music Battle"
Debate Rounds (3)
1: Is definitely labeled as "classical music" and isn't from the century we live in.
2: Has an average duration that isn't any more than 10 minutes.
This round is only meant for acceptance. The discussion will begin at round 2, where each side will present the piece they've chosen (thus submit a link to a performance/recording of the music) and outline the great qualities of the piece (historical importance of the piece may not be used as an argument, and no one may compare the pieces in that round). At round 3, both sides may finally compare the pieces, each one arguing for their own piece.
The max space for each "argument" is 6000 characters
Each side, when publishing their arguments, may not tell the audience to vote for them. The main point of this discussion is to exchange ideas. No one should accept this challenge just because they want to win.
Good luck for Con.
The piece that I have chosen is "Les jeux d'aux a la villa d'este", composed by Franz Liszt. This is a link to this piece being performed by Claudio Arrau, who received piano lessons from of a pupil of Liszt https://www.youtube.com...
Liszt was a Hungarian pianist that lived in the 20th century, and he was mainly renowned for his virtuosic skill. At present, his compositions are rising in popularity, and therefore, appearing more often in concerts.
Liszt also had some qualities aside from his playing and his innovative compositions. To name a few, he, as a teacher, formed a great number of international pianists. As a musical transcriber, he wrote reproduction of works of other composers to the piano in a very pianistic way (The finest example this is his transcriptions of the Beethoven symphonies). Not to forget, as a person, he visited presidiums, watched people in misery and did many concerts for people who could not afford to pay a ticket. Liszt was one of the first musicians to believe that a genius had the obligation to give back to nature what nature has given to him.
Before looking further into the piece that I presented, I find it of some relevance to outline the fact that it is part of the album "Troisieme Anee de Pelerinage"' and that most of the pieces in this album have are considerable economy of means and are not very lively compared to what Liszt wrote in his youth.
Of, course, that is not the case of Les Jeux. It is in the middle of the album and it provides a dreamy feeling that isn't present in the other pieces. Such a flight from the atmosphere of a mature album like this is extremely unique and passes a whole new insight into the album.
The name of my piece translates into "Fountains of villa d'este". Liszt was a frequent guest of this villa situated near Rome, and he loved to walk through the big gardens of it, which, as one may notice, were full of water fountains.
At some point in the score of the music, Liszt added a quotation from the gospel of John "But the water that I shall give him shall become in him a well of water springing up into eternal life", a very interesting embellishment to the poetry of the music.
The writing of this music is also exquisite. While other romantics like Chopin, Mendelssohn, Schumann and Brahms barely used tremolandos in their music, this piece relies heavily on them and uses them in an incredible fashion. Just as surprising is the impressionistic style of the piece; after all, this piece had no predecessors and was written years before the start of the french impressionism in music.
For these reasons I've chosen this music.
This piece was composed by Edvard Grieg in 1876. This is actually a section of Act 2 to the play "Peer Grynt." The music is amazing with in a way "base drops" and a slow build up towards the "climax." I was first introduced to this song by my friend when he told me about it so at home I looked at it and fell in love with it. You almost feel at the beginning that all is well but than it all goes bonkers with loud but not to loud music, symbol clashes, and a symphony of violins. This piece is also Norwegian by origin. The further its gets along, the faster the tempo and the clash of the orchestra begins at the perfect moment of times. The lyrics for it are here:
Slay him! The Christian's son has bewitched
The Mountain King's fairest daughter!
May I hack him on the fingers?
May I tug him by the hair?
Hu, hey, let me bite him in the haunches!
Shall he be boiled into broth and bree to me
Shall he roast on a spit or be browned in a stewpan?
Ice to your blood, friends!
This is mostly why I have chosen this piece of splendor music.
There isn't much that makes "In The Hall of the Mountain King" a special piece in Grieg's literature if you let aside the fact that it is extremely popular. This piece may be funny and easy to understand, but it's quality is about the same compared to the other pieces in the Peer Gynt.
To be clear, I have nothing against Peer Gynt, it can be very good point of entry into the world of classical music. But the piece that con presented is not as good as it could be.
There are pieces that are short just as con's piece and bring more exhilaration. For example, Tchaikovsky "Trepak" from the Nutcracker, and Offenbach's "Can Can". They are also better at displaying the capabilities of an orchestra.
As I said previously, the piece that I presented has a major role in the album it is from (Troisieme Anee de Pelerinage), since it flees from the solitude and elegy of the pieces around it and provides a moment of dreams and abundant beauty, as if Liszt had become young again. It is the soul of the album.
The same cannot be said about con's piece, as there is nothing that really points to it's importance in the Peer Gynt aside from the fact that it's just another cool piece there.
Other points of interest in my piece are: the very interesting implementation of a quote from John's gospel, the intensive use of tremolandos, something that Liszt contemporaries rarely used in their music, impressionistic style of the piece and, to put it now as a close, an amazing display of what a piano can do.
The only points of interest in con's piece is it's popularity and the fact that the tempo of the piece is constantly rising, from start to end.
Also, I can't say I am very happy with the fact that con has chosen a piece that is very far from the time limit that I've selected as a rule (which is 10 minutes). Time isn't everything, of course, but choosing a piece with a very short time against one that is almost in the limit is like fighting a heavyweight as a lightweight.
When con commented in this debate that his piece was going to obliterate mine, I though he was going to choose "Scarbo" from Ravel or something like that.
Nevertheless, I have liked this experience and I thank con for the debate.
RetroToast forfeited this round.
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