Write a paper Comparing/Contrasting A Music Piece.

Music links: https://www.youtube.com/watch?v=nCHSdNzo8ek (Dropbox version) https://www.youtube.com/watch?v=gpnIrE7_1YAhttps://www.youtube.com/watch?v=PZ307sM0t-0OUTLINE:IntroPaganini’s Caprice 24 is my favorite piece of music we’ve listened to I got three versionsCaprice in A Minor, Op. 1, No. 24 – Midori (1989)Hilary Hahn – Paganini – Caprice 24 (2013)Paganini’s Caprice no.24 performed by Alexander Markov (2009)Midori’s version does not include the finale, so it will not be discussedVery different, but all bring out different aspects of the composition well. Chunk 1: OpeningMidori (0:00-0:14)Jumps right into itNotes very clear, not much slurringVery clean cut, definite pause after sectionPlayed around the same volume the whole timeHahn (0:00-0:24)First 8 seconds not musicPlayed just a bit slower than MidoriNots slightly more slurred Definite pause at the endMarkov (0:00-0:31)First 15 seconds not musicPlayed fasterEmphasis on the end of measuresNo pauseChunk 2: Fast jumpsMidori (0:15- 0:29)Plays around with dynamics a lot, dramatic shifts from very quiet to loudPause at the end againHahn (0:25- 0:41)Plays this section the slowest out of the three versionsDynamics stay relatively the same, some slight variationLong pause at the endMarkov (0:31- 0:43)FastestContinues placing emphasis on the end of measuresNot much change in dynamics No pauseChunk 3: Out of tuneMidori (0:29-0:47)First eight or so notes much slower than the rest of the sectionKind of hits the offputting notes, but things stay pretty on keyBrief pauses between sectionsHahn (0:41-0:58)Dynamics stay mostly the sameThose offputting notes are hit harder and louder, and dynamics taper off at the end of sections but otherwise the same volumeEven shorter pauses than Midori, but the piece is overall slowerMarkov (0:44-0:57) REALLY leans into the off-key sounding notes, almost sounds like someone else is playing the violin for the first time next to him while he preformsVery fastBrief pauseAll loud except for the endChunk 4: Two notes at onceMidori (0:48-1:18) 30Notes slurred, but not too muchDynamics mostly the same, rise a bit in some parts and lower in some parts but overall steadyPause at endHahn (0:58-1:29) 31Faster than the other two, closer to the pace of the rest of the pieceFinal note quieter, but the rest is the same volumePause at endMarkov (0:57-1:34) 37Dynamics played with the most, very smoothlyNotes most slurredSlowest of the threePause at endChunk 5: Spider legs/hacksawMidori (1:19-1:56)Starts very quiet, gradually growsDynamics played with more than other sectionsBig pause at the endHahn (1:30-1:58)Plays the fastestHer shift is dynamics is less gradualPause at endMarkov (1:35-2:04)Very sudden and severe shifts in dynamicsReally attacking those untunes notesNo pauseChunk 6: Two notes sadMidori (1:57-2:23)Staccato/legato played withSame volume whole timePause at endHahn (1:59-2:22)Starts the loudestReally overall has the least modulationPause at endMarkov (2:05-2:31)FastMostly legatoQuiet overallPause at endChunk 7: Naughty danceMidori (2:22-2:47)FastishSame volumeLots of pausesHahn (2:23-2:41)Faster than her other stuffThe same volume, a little quieter sometimesPause at endMarkov (2:31-2:47)FastLoudNo pauseChunk 8: Two notes argumentMidori (2:45-3:05)Slowest versionLeast slurred notespauseHahn (2:42-2:59)Slurred, all goes togetherFlowySlowishPauseMarkov (2:48-3:00)Intense legato/staccatoLoudFast PauseChunk 9: RaindropsMidori (3:06-3:24)SlowestPauses between sectionsBig pause at endHahn (3:00-3:15)Plays with dynamics, not too much thoughPauses between partsSlows at endPause at endMarkov (3:01-3:18)Has a huge range in tempo Starts the slowest, ends up going the fastestStaccato staccato staccatoChunk 10: Mouse who’s hungryMidori (3:05-3:53)Stays pretty middle of the road, as usualBig pause at endHahn (3:16-3:45)I think she does the best in this sectionHer gentle, conservative approach works well hereSmall pause at the endMarkov (3:19-4:09)Painfully slowVery legatoPlays gently, quietlyPause at end Chunk 11: Two notes, stormy rowboatMidori (3:54-4:46)Leans into the “bad” notes way moreMost variation in dynamics (not much) and general approachHahn (3:46-4:24)Also brings the most oomph to this sectionNot a huge shift in dynamics or tempoShifts between erratic and beautiful wellMarkov (4:10-4:53)Makes the erratic beautifulAll over the place with articulationStays mostly forte ConclusionI like Markov’s best. Pushes the music to its limits, it has dramatic energy to it I think Paganini would enjoy. Very theatrical- makes for the most enthralling watching/listening experience. Huge variation in tempo, dynamics, articulation, and color. He also likes to put these big differences right next to each other to make the changes feel even more extreme. Keeps the audience engaged until the end.Hahn’s was technically fine but didn’t have the same oomph as the others. Overall everything (tempo, dynamics, articulation, color, etc) had the least amount of variation.