In the literature, different characters take different roles in a given performance. A character-piece is a type of creative literature work where each character in the creative work portrays a distinct behavior. In performance pieces, there is realism and romanticism in all works. The characters take the centre stage to express their views on a given character. Realism is a clear rejection of imagination of ideas in a piece of literally work (Michael 56). It moves literature to observable characteristics. The character-piece realism practices natural fidelity if it works. Different artistes confess realism in varying degrees. It matters to the extent to which it enters the life of people.
In clear terms, a character piece is a type of artistic work involving one individual composing classical work and presents it in the stage. It is simply one person to one character innovative work. This can range from music, literature, and innovations in education.
The individual work of consummate musicians in both the 19th and 20th century is in the class of character-piece music. A composer would have a few themes in his work. The earliest works conveyed weak links of emotions. There was a need to develop the medium through which one’s audience of these creative works would be appreciated. The deep understanding of the cultural needs of your audience is crucial in character-piece classics. Most people like a classic work with a strong sense of expressions in the society. In addition, the choice of venues to perform the creative works is of significant importance.
The following is a comparison of the character-piece classics of the 19th century composer (Chopin, Schumann, and Liszt) with the character-piece classics of the 20th century composer (Prokofiev).
The classical music of the 19th century began with Ludwig Van Beethoven and ended with Richard Weiner (1813-1883) (Michael 67). The two artists made remarkable contributions to the classical music in the 19th century. The classical music of those days was a classical manifestation of romance. It transcended between the 18th century music and the 20th century music. The 18th century music was characterized by neat classism with flavored descent rationality. On the other hand, the 20th century classic music, demonstrated theoretical composure of the artistic literally works. The classical music of those days in its distinct nature lacked the power to express inner feelings of the composers. It was a one-person presentation. The performers on the stage were compelled to follow the composer’s work. This was regardless of whether they would comprehend the inner message in the classic composition. There was no opportunity to bring out your innovations while on stage.
The musical works appeared as a mere occupation. Most people never believed that one could not earn a living from music. This is why classical musicians would only afford minimal recognition. From ancient times, people venture into music for personal satisfaction. It is rare to see in those days a popular, classical music artist. The popular incidence included participation in the voting of the top poet and the greatest American. The 19th century is remembered for gigantic events, famous actresses and actors, great philosophers, great composers, great poets, eminent writers and talented composers.
Beethoven initiated the period of romanticism in classical music. It expanded to other classical forms. Classical composers concentrated on comparative music. The art of romanticism in music is embedded in the creativity (Michael 79) of the composer and performers in the stage.
The second generation of composers was concerned with the blending romantics into the classical form of music. Romantics and classics are distinct genres. We should not confuse between the two. A romantic is only used to blend classics.
The 19th century composers often embraced cultural horizons. It raised the contemporary issues affecting the society. Music is the resolution of our daily endeavors. We tend to forget about our past misgivings by the use of music. This is the message, which the classics tried to pass across to the audience. Some of the composers went a step to demonstrate the link between with and tame animals. For example, owl is a wise animal, which stays in the wilderness. The sheep is a silly animal, which is tamed. This is a source of contrast in the behavior of human beings.
Charles Giraffes was a whopping USA musician. He was successive in transfiguring expressive characters in Germany to Orientals’ behavior in France. He argued that classical literature and music form a backbone component in embracing multi-cultural relativism. He was a diehard fun of symbiotic music.
Karkalla offered an oriental style to the literary works. He confesses that music should reflect similar mythical images. In Germany, music was a tool of nationalism. It was use to weed out primitive cultural behaviors. Some haters perceived music as an arrival to economic development in the country. It gives a touch of glimpse to exotic cultures. Music was performed in different places. Some would be done in bars, parties and even in national fairs.
There is a growing disdain about the spirit of nationalism in America. Music was used to bind this spirit of nationalism in most of the great nations. Some composers were biased to traditional folklore music. Nevertheless, the majority of the composers used previous collections to innovate new ideas in music. Native Americans opted for a traditional form of presentation that the black Americans were indifferent in the selection of classical music and literature.
In the same breath, composers agreed that modernity was not a style but just a tenet. Most musicians and artist preferred to be seen as modernists rather than agents of tenets. The art of composition of creative works was that of artisanship. There were continuous changes in the grammatical works of the artist to suit the material contest of the performance. Neutral composers emphasized African influences.
Greatness is measured in terms of the type of audience the renowned artists received. The influence the creative work had on the daily lives of the people was equally distinguished. Wagner and Beethoven influenced people’s lives through their dominant personalities.
We can concur that the 19th century music was classical music in isolation. To be precise, Haydn mentored Beethoven into the classical music. The two can be traced back in the classical works of the 18th century. In the 18th century, Johann Sebastian Bach was the leading composer of classical music. Other leading composers include Weber, Chopin, Beethoven, Berlioz, Schumann, and Liszt.
Wonderful songs were composed. There were many innovations in the time. Schubert composed terrific songs. Mendelssohn was instrumental in orchestral masterpieces. Meyerbeer was spongy lover of operas.
Beethoven stood out from the masses due his attributes of spirituality, expressiveness, and emotional noble form. This assisted in creating a lasting supremacy in the classical music. He aimed to perfect every aspect of his music. The main driver to his achievements was the evolutionary approach to music. He came from a family of musicians.
Although Beethoven and Wagner composed classical music, the influence of their pieces of music differed. Wagner performed in several occasions. His artistic work was either revolutionary of evolutionary. His early life played a role in the choice of music and words in his work. During his earlier ages, he experienced a sequence of financial crises. Sometimes he would take flits to run away from the creditors. The French Revolution transformed Wagner into clear-minded personality. He covered political sympathies in his work. The relationship with his wife affected him equally. This became evident in the choice of the operas.
The American music was concentrated on folklore. In the 19th century, folklore was a link between the past and present. The American musicals passed emotional messages using classic music. He argued that the future could only be projected with certainty by the evaluation of the present. Folklore in music connects traditions with modernity. The folklore is conservative to changes. The growth is steady. It takes time to change its aspects. This is culture centered literally device. Tradition is dynamic. Transformation from the past to the present is complex over a short period. This obliges the composers of this style of literature to employ dynamic tools with minimal inertia.
Sebastian Bach’s literally works linked the works of the Baroque and those of Mozart. He took the most time to compose solo writings. Most of the solo writings were continuous and reflected thematic citations. Mozart arranged for orchestra and harpsichord. These had three sonnets in one piece of presentation. This would present six themes. The literary work leaned towards folklore. He settled in rondo form of music.
In the 20th century, most concertos were of the roman school origin. Edward Elgar, Sergei, and other concertos created masterpieces. Artists used violins, cellophane, horns, and pianos in their classical works. In the earlier years of the 19th century, composers engaged in experimentation phases of classics. The ideas hatched from these experiments were developed into final work. This had an impact on the way music was formed and created. Some of the observed innovations in the music were frequent in the use of modalities. The composers explored music scales, which were not necessarily of the western origin. The automation of music was a new development. There was a widespread acceptance of dissonance in classical music.
The new century witnesses the composition of 20-tone technique in music (John 89). The polyrhythm and time signatures were paramount. The classic was affected by these new changes. The concerto was a classical music. The instrumental techniques were redefined. The concept of orderliness in vitality in music was interpreted. There was the focus on the sound aspects. The pitch, dynamics and timbre were defined. The issues of soloist and orchestra became the language of classical music.
Stravinsky and Schoenberg were keen innovators of violin concertos. The material idea in this music has 20-tone method. Bartok was a brilliant composer. David Diamond composed new classical music. It represented a melodic style in its composition.
The cello was tremendously popular. Rostropovich was an ardent cellist. He composed masterpieces. The piano concertos include Schoenberg and Stravinsky. In this era, composers wrote concertos for more than one soloist. The common instruments, which were used, include harps, flutes, and viola. The triple concerts were common. During the era of the Romans, Beethoven, Bruch, and Brahma used clarinets, violins, and cellules. General trends seem to take shape in the second half of the 20th century (names of the composers associated with each trend).
The list of composers of music who used this style includes
Malcolm Arnold: he frequently used the strings and the piano duet. His piano works reflect love for orchestra and violins in his classical works. He had a strong passion for instrumental music. This inspired him to continuous attempt to discover the correlation of pianos and other instruments. Music lovers argue that he made an immense contribution to the duet presentations.
Bella Bartok made large contributions towards the style of percussions. He often used two pianos in his performance. This earned him the identity.
Samuel Barber was another prominent pianist. He diversified passion for instruments to the flutes, trumpet, and oboe as his identical style. In classic music, diversity in the choice of tools and musical accompaniments is the way to go. The influence of his literally works is paramount.
Benjamin Britten had a passion for double concert. He was biased towards the viola and violin. These were his favorites in terms of tools.
Frederick Delius had a bias in double concertos. He used harpsichord and piano. Jean Francis loved to use two pianos and two harps. He embraced diversity in his performances. He sometimes changes to flute, oboe, bassoon, orchestra, and clarinet. Phillip Glass loved the saxophone in his quartet presentations. Harness Werner had a double for harp and oboe. Joy Lord performed concerts for the rock bands. Francis Poulenc performed concerts for pianos.
It is indispensable to realize that when you cut across the centuries, there are crucial aspects of literature, which are either dynamic or static in nature. The composition of music was across the periods influenced by the emotions of the composer. The classical piano attracted diverge compliment tactics. Some used one piano and others used two or three pianos.
There are common issues since classical music of piano do not operate in isolation. The leading composers mentored their predecessors. To be precise, mentors and their followers sometimes formed duets in their performance.
Ideological perspectives influenced the choice of classical music in the two centuries. Some of the classical artists were revolutionists in their music while others were evolutionists in their works. Another common factor which influences the language of the artist is their past life experience. The family, marriage institutions were influential language parameters. Beethoven came from a professional music family. The paternal parent was a pianist. He encouraged him to join Music College to develop his career in music. Bitter experiences and elements of financial insolvency influenced the choice of music by most people.