4 B Concert Analysis

Performing at the Laidlaw Performing Arts Center was pianist and faculty member Robert Holm. The concert was held on February 27th, 2018 at 7:30pm. This was Robert Holm’s 50th performance and as a tribute he did “The 4 B’s” theme. The 4 B’s represent the composers Johann Sebastian Bach (1685-1750), Béla Bartók (1881-1945), Johannes Brahms (1833-1897), and Ludwig van Beethoven (1770-1827). The first piece was Prelude and Fugue in A-flat major, WTC Book II by Johann Sebastian Bach. Prelude and Fugue in A-flat major started with a higher upbeat feel on the high end of the piano. To offset the high-end notes, lower trills were thrown in sparingly while maintaining around 90% high end melody. Tempo for the piece stayed a constant andante tempo
The first movement of the Sonata had the tempo of Allegro moderato. As the name states, the tempo is fast in comparison to the Preludes by Bach. The movement introduces the melody as darker and on the lower side of the piano. To offset the darker feeling, very few high not trills thrown into the mix. The dark melody is very brute and continues to crescendo and speed up. What comes to mind is a battle preparation scene in which the music increases to max volume for the battle itself. While the movement is increasing in tempo and volume, more notes are being added to create another melody. However, the piece starts becoming chaotic and incomprehensible till it abruptly ends. A single high note is repeated for a few beats, sounding like a bell chiming, which represents the start of the next movement Sostenuto e pesante. In comparison to Allegro moderato, Sostenuto e pesante is exceptionally slower and has a consistent melody and notes being played. Another melody is being added, but ever so often a chord is being played. The chord sounds purposely distorted to contradict the melody. Distorted chords become a prominent part of the piece but then recedes back to the constant melody. After a few measures, the movement ends and quickly goes to the next piece Allegro molto. Allegro molto is a higher and faster movement than Sostenuto e pesante. This movement is clearer than the ending of Sostenuto, with no
53, “Waldstein” by Ludwig van Beethoven. Allegro con brio is the first piece, which starts fast with a lower chord being repeated. High note trills are thrown in quickly, a few notes here and there, until a scale in the higher range is being ran. The piece slightly takes a break then jumps into another section with a faster tempo and more lower notes being added. This section is similar to the first where it quickly moves onto playing full scales with higher notes. A few sections of the piece begin to sound similar to birds chirping. The effect was created when the piece had no lower end notes with high notes being lightly played. However, the piece transitions back and forth between the lower chords being heavily played and then to the higher notes mimicking birds. Next piece is Rondo: Allegretto moderato – Prestissimo. This piece is similar to Allegro con brio with similar tempo and dynamics. Heavy lower chords would be played, but then transition to the soft melody of higher end. In contrast to Allegro, the higher melody would eventually speed up and gain intensity throughout the piece. This transition of a smooth lower end to a fast-higher end continued on for the rest of the