Masterworks of 20th-Century Music - Special Academic Support

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The concert included musical masterpieces of the 20^th and 21^st century. The first piece was Symphony #1 The Lord of the Rings (1987) by the Dutch composer Johan de Meij. The composer was born in 1953, and he is an artist of our modernity. The work was created at the end of the twentieth century when new textures and sounds were tried (Hanning 618). The piece is a typical large-scale symphony characterized by the motif of the fairy-tail and epic adventure. The symphony is also characterized by the prevalence of wind instruments, which emphasizes the epic theme.

The next piece was the selections from Into the Woods (2011) by the American composer Stephen Sondheim who was born in 1930. The musical work pertains to the 21^st century, but it bears the features of a conventional musical of the second part of the 20^th century. The piece is characterized by syncopation. This tool makes the musical piece very tense and relaxing at the same time. It also creates the atmosphere of the fairy tale and adventure. The performers stances are often emphasized by drums, and the major motif of the piece seems to be the word I. The sonata form is also a characteristic feature of the piece (Schenker 31).

Another musical piece was from How to Train Your Dragon (2010) by John Powell. The artist was born in London in 1963. Powells work is an illustration of the music of the 21^st century when the Western motifs are intermingled with non-Western themes (Hanning 637). In this case, Celtic motifs were used. Wind instruments also prevail. These features make the piece an epic masterpiece that makes people think of the distant past, heroes and supernatural things. It is necessary to add that the sonata form is also utilized.

The next piece was Captain America March (2011) by Alan Silvestri. The composer was born in New York in 1950. The piece is created in the sonata form and can be described as a piece of a large-scale symphony. The major theme is the epic adventure of a hero whose labors save the world (many times).

The major motif is created through the focus on percussion and wind instruments. It is necessary to note that the piece bears some features of musical masterpieces of the second part of the 20th century. These musical works are characterized by slightly melodramatic themes combined with the strong epic sound (Scheurer 54).

Another piece to be discussed was the selection from West Side Story (1958) by Leonard Bernstein. Leonard Bernstein was born in Lawrence (Massachusetts) in 1930. The work can be regarded as a conventional example of musical patterns of the 20th century. The major theme of the piece is the use of the triton, which is also an illustration of Lydian mode (Simeone 85). The primary motif of the song is the main characters love for a girl he meets. The piece is full of anticipation, love and magic.

Furthermore, Symphonic Suite from Band of Brothers (2002) by Michael Kamen. The composer was born in New York in 1948. The piece created in the early 2000s can be regarded as a mixture of the elements of the 20th and 21st centuries. At the same time, the motifs of the 20th century prevail. Thus, the epic and quite melodramatic theme is central to the piece. The use of wind and percussion instruments creates the necessary atmosphere of the epic past and glory of the people who were ready to sacrifice their lives. Importantly, the use of percussion instruments contributes to the creation of the theme of the war.

The final piece to be discussed is Catch Me if You Can for Alto Saxophone and Band (2003) by John Williams. John Williams was born in New York in 1932. This is another work created in the early 2000s, but it pertains to the 20^th century. The piece can be regarded as an illustration of jazz music. The use of instruments is especially remarkable in this piece. Thus, string and percussion instruments are central. While wind instrument and xylophone create a very specific atmosphere of suspense, adventure, and entertainment. The improvisation is a characteristic feature of jazz music, and the piece in question seems to have portions of improvisation (Anderson 49).

I would like to choose two composers pertaining to the 20^th century. These are Bernstein and Williams. Such works as Maria by Bernstein and Catch Me if You Can soundtrack composed by Williams will be the focus of this short comparison. Bernstein was born 20 years earlier, but the two composers can still be regarded as people of the 20^th century. The works I have listened are best illustrations of the music of the middle of the 20^th century.

This feature makes the works quite similar. It is also clear that the two composers often use triton as the main theme. Both composers use string instruments to create the major theme. They use percussion instruments to add the necessary emphases. The theme is often interrupted by a new motif, which keeps the listener always attentive and ready for new shifts. Notably, the new motifs are introduced in a very smooth manner, which makes the listener feel comfortable but intrigued. Of course, the two composers try different patterns to make the piece richer.

As far as the differences are concerned, the motifs and themes are quite different. Bernstein adds certain grand features that stress such grand feelings as love (Lee 72). Williams is more concerned with conveying the idea of a play and improvisation. It is also necessary to add that Williams uses jazz patterns. It is also possible to note that Williams brings wind instruments (saxophone) and xylophone to the fore while these instruments are not vividly presented in Bernsteins piece.

The use of jazz conventions may be the factor that shaped my decision. Of course, Bernsteins musical work is very beautiful and quite sophisticated. The melody is perfectly crafted, and the new motifs enhance the major theme. At the same time, Williams work (which sounds in the film Catch Me if You Can) appeals to me more than a more melodic and rather melodramatic Bernsteins piece from West Side Story. I enjoy the suspense and playful atmosphere created by Williams.

I also love the feeling of an improvisation. It is very engaging as it seems that the listener can also participate in the creation of the musical masterpiece. The combination of string instruments, percussion instruments, and xylophone tells the story even better than the entire film does. I find Williams more interesting and less predictable, which is important for a musical piece. I loved the new turns and novel motifs in Williams piece.

Works Cited

Anderson, Iain. This Is Our Music: Free Jazz, the Sixties, and American Culture, Philadelphia: University of Pennsylvania Press, 2012. Print.

Hanning, Barbara Russano. Concise History of Western Music, New York: W.W. Norton & Company, 2014. Print.

Lee, Douglas. Masterworks of 20^th-Century Music: The Modern Repertory of the Symphony Orchestra, New York: Routledge, 2013. Print.

Schenker, Heinrich. The Masterwork in Music, Mineola: Courier Corporation, 2014. Print.

Scheurer, Timothy E. Music and Mythmaking in Film: Genre and the Role of the Composer, Jefferson: McFarland, 2007. Print.

Simeone, Nigel. Leonard Bernstein, West Side Story, Burlington: Ashgate Publishing, 2009. Print.

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