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Short Assignment 2

Chakrit Khanonvej presented his research on balancing the piano with other instruments in Brahms' piano quartet, particularly focusing on Schoenberg's orchestration. He explored how Schoenberg managed orchestral texture to prevent overpowering sections, suggesting that balance can be influenced by performers' interpretative choices. However, the conclusion of his argument lacked clarity on how to apply Schoenberg's techniques to address balance issues in chamber music.

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24 views1 page

Short Assignment 2

Chakrit Khanonvej presented his research on balancing the piano with other instruments in Brahms' piano quartet, particularly focusing on Schoenberg's orchestration. He explored how Schoenberg managed orchestral texture to prevent overpowering sections, suggesting that balance can be influenced by performers' interpretative choices. However, the conclusion of his argument lacked clarity on how to apply Schoenberg's techniques to address balance issues in chamber music.

Uploaded by

alicekuo1204
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Short assignment 2

Schoenberg - Brahms piano quartet No.1 presented by Chakrit Khanonvej

Chakrit was sharing the piano quartet piece that he played before, and he wanted to know
how to fix the balance for the excerpt in that piece, in which the piano has a complex rhythm
and octave harmonic accompaniment on the left hand. To do the research, he found that
Schoenberg had arranged Brahms piano quartet into an orchestra version, so he is trying to
find out how Schoenberg uses the different instruments to compose to fix the balance and
also compare the original version with the orchestration version.

The main point that Chakrit was trying to make is the balance between the piano and the
other instruments at the same time when the left hand is playing complex chords. He studied
how Schoenberg, during his orchestration of Brahms’ piano quartet, managed the
harmonically and rhythmically active parts of the orchestra. In doing so, Schoenberg made
certain that the orchestral texture was not so thick that one section completely overshadowed
the others, so that all the instruments could be heard. From Chakrit’s perspective,
Schoenberg’s orchestration provided a model of how to integrate dense passages for the piano
with plans for other instruments’ voices.
Chakrit's approach to balancing the piano with other instruments was akin to the obstacles
most people face in chamber music that the piano overpowers the rest of the parts, especially
in sections with heavy left-hand support. This made me think about how, instead of just
following the score's markings, the pianist's part can be personalized by using subtle
dynamics.
Chakrit asserted, among other things, that the score's script is the only factor that determines
balance in chamber music. Balance can be shaped by the performers interpretative decisions.

In this presentation, especially, I like the context and what he is trying to find out, but I didn’t
get his claim at the end. I liked the explanation and the exploration of how the piano is
integrated with other instruments in the Brahms piece, particularly in regards to Schoenberg’s
orchestration. At the same time, I did not comprehend his argument fully towards the close of
the discussion. In as much as he offered useful analyses, it was uncertain how he planned to
apply Schoenberg’s techniques to try and solve the balance problems in chamber music or the
performance of the piano quartet. His findings would have been clearer had there been more
concrete suggestions or conclusions.

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