Philip Sparkes - Research Paper Example

Section/# An Analysis and Discussion of Philip Sparke’s “Capriccio” Oftentimes, when one considers 20th and/or 21st century music, an understanding of abstraction and an expectation of multi polar themes combined with melody and harmony that continually contest one another and forms of dissonance is expected. Naturally, this represents something of a stereotype of 20th and 21st century music. However, the fact of the matter is that only a certain number of composers ascribe to these broadly understood norms. Moreover, the music composed by composers of the latter half of the 20th century has invariably incorporated a higher degree of traditional and neoclassic elements. For purposes of this brief analysis, Phillip Sparke’s work “Capriccio” will be analyzed. It is the understanding of this particular author that Sparke’s “Capriccio” represents many of the tell tale markers that music of the latter half of the 20th century engenders. Moreover, this short analysis will also integrate with an understanding of some of the primary influences that can be determined from a close listening and reflection upon Sparke’s “Capriccio”. Even though it might be convenient to assume that the most talented composers rely only upon their own ideas to create famous compositions, the fact of the matter is that many individuals, musicians, and former composers have a profound impact upon the way in which these composers integrate with the subject matter. Finally, from a technical and mechanical as well as theoretical understanding of music, the analysis will seek to draw inference upon the range of the instrumentation that is employed, the use of Marshall music, and the reintegration of neoclassicism and/or a greater emphasis and or focus upon harmony melody point and counterpoint. Firstly, with regards to the means by which the piece deviates from the traditional understanding of 20th and 21st century music, the listener quickly notes the complete and total absence of dissonance and/or abstraction within the music. Although the pioneers of early 20th-century music were keen on exhibiting the hopeless and often times and meaningless nature of the human condition through abstract means of musical expression, as with most friends and classical music, this approach has since become far less common. In the same means that baroque music is no longer composed, many of the themes and developments that abstraction and made so popular within the 20th century are now no longer realized within the current compositions (Ivry 13). More specifically within Sparke’s “Capriccio”, the listener is continually integrated with an understanding of a complex relationship between the melody played by the soprano cornet and the harmony which is played by the remainder of the brass instruments. Naturally, in order to keep the development and ideas presented fresh, trade-offs are made at various intervals with regards to the way that they soprano cornet assumes the role of playing harmony while the backup instrumentation within the other brass instruments briefly take on the melody (Altena 41). From a personal experience perspective, it must be noted that Phillip Sparke’s “Capriccio” integrated within this listener is strong level of remembrance and recognition with regards to the level of pollution and/or influence that the piece has with Aaron Copland’s “Appalachian Spring”. This cannot be said to cheapen or otherwise reduce the originality that is displayed within Sparke’s “Capriccio”; rather, it reinforces the previously mentioned understanding that a range of prior ideas, techniques, styles, and means are oftentimes illustrated within the works of later composers. Instead of taking away from the merits of such an original work, this can be seen as a means of paying tribute to some of the most influential members of the classical composing community. With regards to Copland, it comes as no surprise that Phillip Sparke chooses to mirror some of his themes within “Capriccio”. Due to the fact that Copland relied heavily upon brass within his compositions, as well as exhibited many modern yet distinctively tonal and non-dissonance the massive elements within his music, Sparke is able to channel many of these neoclassical approaches within “Capriccio” (Hughely 19). Although providing a detailed example of the means by which this is affected would require something of a dissertation length analysis, it can be understood that Sparke employs a method similar to Copeland’s in that the choral elements of quiet and thoughtful statement followed by the enthusiastic and loud response I the remainder of the brass instruments bears unique, specific, and undeniable hallmarks to the works of Aaron Copland. Yet another unique aspect of Phillip Sparke’s “Capriccio” is the means by which the marching/Marshall style of the brass instrumentation is utilized. One can of course argue that brass instrumentation necessarily lends itself to this type of exploitation, it is not something that the composer can effects without willful consideration of the means by which this style will be exhibited within the work. Naturally, the composer also has realized that relying too heavily on this natural dynamic would bore the reader; as such, the Marshall and marching style of the piece is emphasized in peaks throughout and as a way to bridge the gap between new ideas that are being presented. This careful consideration of when and where to utilize the Marshall/marching style within “Capriccio” helps to underscore the level and extent of prowess that Phillip Sparke exhibits in this work (Walker 70). Finally, with regards to the specific use of the instrumentation, Phillip Sparke’s “Capriccio”, as well as many of the other pieces composed by him, illustrate a unique utilization of the range and dynamics of specific instruments. For instance, with regards to the lead soprano cornet, the listener is made instantly aware of the fact the full and complete range of this instrument is utilized within the performance. This helps to give a depth and complexity that otherwise could not be realized to the piece as well as strengthen the melodic integration that takes place with the remainder of the instrumentation. Moreover, as a means of keeping the somatic elements exhibited within the piece fresh, instruments such as the euphonium are required to play the notes that one might expect the trombone would play. Conversely, the trombone is given the part that would most logically fit with the euphonium (Rinkins 47). This is more than merely switching parts; rather, it is a complex means to present different shades of understanding and musical appreciation by utilizing different voices to affect such ends. Finally, it can and should be understood that Phillip Sparke represents in “Capriccio” something of a combination approach. Although it would be incorrect to say that “Capriccio” is merely a throwback to an earlier era of classical music, it would also being correct to say that the piece is an entirely new development in an entirely new direction. Rather, like all composers and all music previously, Sparke’s unique interpretation of the styles and influences of prior composers as well is the means by which to effect the directional development of the different instrumentation employed, points to the fact that “Capriccio” represents a hallmark both with regards to the way the classical music is composed and understood. Although each of the mechanical and the medic elements that it does far been discussed are important in setting the piece apart from others, it is the belief of this author that the utilization of different and unexpected voices, within the instruments, to evoke a range of feeling and emotion is one of the most powerful and effective. As a function of this, Phillip Sparke’s piece represents something more than a combination of styles and or approaches. Rather, it represents yet another link in the development and understanding of the means by which classical music is appreciated, composed, and performed. Works Cited Altena, James A. "A Conversation With Conductor John Locke." Fanfare: The Magazine For Serious Record Collectors 34.1 (2010): 40-70. Academic Search Complete. Web. 12 Apr. 2013. Hughey, Taylor. "International Trombone Festival 2012 PARIS, FRANCE." ITA Journal 40.4 (2012): 16-25. Academic Search Complete. Web. 12 Apr. 2013. Ivry, Benjamin. "Fanfare for an uncommon man." Christian Science Monitor 10 Nov. 2000: 13. Academic Search Complete. Web. 12 Apr. 2013. Rinkins, Jeffrey. "Capriccio." Music News 75.10 (2011): 46-49. Academic Search Complete. Web. 12 Apr. 2013. Walker, Tom. "All My Friends Are Musicians." ITA Journal 41.1 (2013): 69-70. Academic Search Complete. Web. 12 Apr. 2013. Read More