Muczynski Time Pieces analysis
The 'Time Pieces' for Clarinet and Piano were composed by Robert Muczynski, Professor of Composition and Composer-in-Residence at the University of Arizona, Tucson. He is firmly established as one of the major contributors to the solo piano repertory, and drew critical acclaim when the New York Times wrote ".... The most impressive piano music by an American since Barber." The 'Time Pieces' were written for a good friend of Muczynski's, for world famous clarinettist Mitchell Lurie. Together, they premiered this work at the Clarinet Congress of the International Clarinet Society in London.1st Movement: Marked Allegro Risoluto (Lively and Determined), this move
A lyrical section at bar 75 may be considered as a third melody, which is a simpler, calmer sounding section marked espressivo. ment starts of with the introduction of two rhythmic motifs, one involving a strongly accented first beat and an accented off beat on the second beat. At bar 52, marked subito piu mosso, the energy and drive of this piece starts to rebuild, which is heightened by the electrically placed differences in dynamics, changing immediately from piano to forte. This is followed by a short coda, ending with an energetic high-pitched trill in the clarinet and a vigorous forte sforzando in the piano. ------------------------------------------------------------------------**Bibliography**Grosvenor Dictionary,Previous Knowledge,Analysis. After the Caesura (tram-tracks) at the end of bar 23, a new theme, more lyrical and smooth than the first vigorous theme, is introduced. This is followed by another development of the first melody, until the re-entry exactly the same as the opening begins. This is left wide open for the performer's interpretation on whether or not to accent the 4th or 5th semiquavers, or both. The second motif is a series of 6 semiquavers in the clarinet part, the first of which is accented, and the last two slurred. It is difficult to determine which key this movement is in, because of the vastly changing amount of flat and sharps, although it is evident that the base note is mostly C, and the melodies generally revolve around this factor. This is developed throughout the whole piece, giving it a rhythmically exciting edge. After this passage, and immediately before it, a short development of first theme (the six semiquavers), passing them through different harmonies and including variations from both the clarinet and piano. It is developed somewhat, including an intelligently introduced fugue like figure in bar 39, which intertwines the clarinet and piano parts together. The dynamic of this opening section is generally marked forte, which reflects the marking of Risoluto.
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