# Different facets of a composer's musical personality and works that epitomize them?



## 20centrfuge (Apr 13, 2007)

I hope this can lead to greater understanding of the music of different composers, and, as always, lead to musical exploration.

*What are the facets of the composer's musical personality?
Which excerpt, movement, or work epitomizes each facet?*

I'll use Prokofiev as an example:

I think of his musical personality as more or less having three facets:

Of course the music often blends them or alternates quickly between them, but for the sake of illustration, here are epitomizing examples:

1) *Ebullience:* It's all over the place in his music, but, to me none more so than in the first movement of Piano Concerto No. 1






2) *Mischief *(sometimes bordering on devilishness): I could name dozens of examples, but I would say the opening part of the first movement of Piano Sonata No.6 is a good example






3) *Lyricism/Tenderness:* The first movement of Violin Concerto No. 1 is the prime example.


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## Portamento (Dec 8, 2016)

*SCHNITTKE*

1. *Playfulness* 
(Rondo from 1st Concerto Grosso)





2. *Melancholy*
(Piano Quintet)





3. *Spirituality* 
(Choir Concerto)





4. *Bleakness*
(8th Symphony)


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## Strange Magic (Sep 14, 2015)

@20centrfuge: Your choice of/with Prokofiev was right on target. I can't find the reference right now, but Prokofiev somewhere talks about his love of what he called "scherzo-ness" and what I always identify as his 'hurry-scurry" music, which he managed to work into so many of his best-known compositions: Three Oranges, the scherzo and the finale of the Piano Concerto #2, etc., etc. So many examples!


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## Phil loves classical (Feb 8, 2017)

Interesting thread. Beats the "vs." polls. Why aren't there more contributions?

Ravel was referred to by Stravinsky as the "most perfect of Swiss clockmakers". Ravel thought of himself as Romantic, but not necessarily a straight forward, obvious one.

*Nostalgic* - music is not as depressing as the title suggests (according to Ravel)






*Light, Brilliant and "Easy"* - Ravel wanted to replicate Mozart with this concerto






*Erotic* - R-rated music (parental discretion advised)


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## hpowders (Dec 23, 2013)

20centrfuge said:


> I hope this can lead to greater understanding of the music of different composers, and, as always, lead to musical exploration.
> 
> *What are the facets of the composer's musical personality?
> Which excerpt, movement, or work epitomizes each facet?*
> ...


You left out *SARCASM*, one of Prokofiev's key musical traits!!!


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## 20centrfuge (Apr 13, 2007)

hpowders: to me sarcasm is closely associated with mischief.

I'm curious though, to you, which works exemplify sarcasm?


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## hpowders (Dec 23, 2013)

20centrfuge said:


> hpowders: to me sarcasm is closely associated with mischief.
> 
> I'm curious though, to you, which works exemplify sarcasm?


Prokofiev and sarcasm? Quite a lot of the Second Piano Concerto, Visions Fugitives, Sarcasms (!!), finale of the Fifth Symphony, etc;

I would also note (pun intended) that Shostakovich was certainly no slouch in the musical sarcasm department too. A lot of the Leningrad Symphony; the finale of the Fifth Symphony; the beginning of the Fourth Symphony, etc.


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## Woodduck (Mar 17, 2014)

Shostakovich: sarcasm, frivolity, and depression. Pick any works you wish; it can be hard to distiguish the three facets.


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## 20centrfuge (Apr 13, 2007)

Woodduck said:


> Shostakovich: sarcasm, frivolity, and depression. Pick any works you wish; it can be hard to distiguish the three facets.


It's that way with a lot of composers, I think. The facets of their musical personality are so intertwined.


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## Sol Invictus (Sep 17, 2016)

Woodduck said:


> Shostakovich: sarcasm, frivolity, and depression. Pick any works you wish; it can be hard to distiguish the three facets.


Shostakovich's frivolity seems sarcastic itself. Maybe I'm not reading it deeply enough but the two appear indistinguishable from one another.


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## ROBOT (Jul 17, 2017)

If you can't tell them apart， or agree on what the words refer to， maybe these are “word” differences， not “sound” differences。


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## Woodduck (Mar 17, 2014)

Sol Invictus said:


> Shostakovich's frivolity seems sarcastic itself. Maybe I'm not reading it deeply enough but the two appear indistinguishable from one another.


I think that's often the case, though I don't think all of his "light" music is meant sarcastically. But it's sometimes hard to be sure.


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## Woodduck (Mar 17, 2014)

ROBOT said:


> If you can't tell them apart， or agree on what the words refer to， maybe these are "word" differences， not "sound" differences。


All these concepts are a bit fuzzy around the edges when we try to apply them to music, don't you think? The same music may suggest different meanings in different contexts, or at different times.


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## ROBOT (Jul 17, 2017)

Woodduck said:


> All these concepts are a bit fuzzy around the edges when we try to apply them to music, don't you think? The same music may suggest different meanings in different contexts, or at different times.


Yes，so why dispute？


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## ROBOT (Jul 17, 2017)

Sorryï¼ I just mean that I don't think we should be so cynical when we class composers we likeï¼ we can use multiple words when no actual difference exists butï¼thenï¼we shouldn't dispute the difference if we disagree about itï¼ unless it's all friendlyã í ¾í´£


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## Woodduck (Mar 17, 2014)

ROBOT said:


> Yes，so why dispute？


Who's disputing? I was just amplifying your point. I think...


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## Eschbeg (Jul 25, 2012)

20centrfuge said:


> Woodduck said:
> 
> 
> > Shostakovich: sarcasm, frivolity, and depression. Pick any works you wish; it can be hard to distiguish the three facets.
> ...


But with Shostakovich it was likely deliberate, or at least enormously fortuitous since the difficulty of pinning down his precise intent played a large role in keeping him alive.


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## Tallisman (May 7, 2017)

Schoenberg - disagreeableness

https://en.wikipedia.org/wiki/List_of_compositions_by_Arnold_Schoenberg


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## Huilunsoittaja (Apr 6, 2010)

20centrfuge said:


> I hope this can lead to greater understanding of the music of different composers, and, as always, lead to musical exploration.
> 
> *What are the facets of the composer's musical personality?
> Which excerpt, movement, or work epitomizes each facet?*
> ...


Might I also add *Hubris?* Prokofiev's music comes across as quite proud sometimes, even in that work! And supposedly he was a very conceited individual so that makes sense. Can't help loving it though! :lol:

I'm thinking of what I would say for Glazunov. His core character traits were things like contentedness, peace, "good-natured-ness" and all that. His secondary traits would be more temporary emotional states, such as joy and melancholy, both of which are in his music at all times too. His "shadow" side might be cynicism at times, or a kind of nihilist lack of direction and purpose, found in just a handful of his works.

First movement: Deep, inner loneliness contrasted with hope and inner contentedness
Second movement: Being in love, the giddiness and sentimental feelings accompanying it
Third movement: Exuberant expression, joy of life and love, a joy that occurs when one gets a desired object...


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