On Thursday November 5, I had the opportunity to see the Toronto Symphony Orchestra perform a student concert called Big Bold Brass. The concert was set to teach students the various techniques and skills of the many brass players in the orchestra. They, along with guest tubist Øystein Baadsvik played several pieces showing the virtuosity in the styles brass instruments can play. The first piece they perform was Festive Overture by Dmitri Shostakovich. They then played the fanfare from La Peri. At the end of the piece the tuba player was introduced and he then demonstrated many unique playing techniques on the tuba. He combined those techniques to play a piece of his composition called Fnugg. Afterwards the orchestra played Promenade form …show more content…
The piece opened with a bright fanfare, with the trumpet playing a very crisply articulated melody, giving the fanfare lighter feel. The horns supported this trumpet melody by building the chords. The phrase is repeated and the upper voices come in as an accompaniment, which adds a shimmer-like effect over the melody. The melodic phrase is repeated numerous times and the harmonies are growing thicker. The section is building up and there is a slight sense of tension in anticipation for the next section. It then begins to gradually slow down, transitioning to the next section, which suddenly gets faster. The clarinet comes in with the melody, with very fast and scalic runs. The accompaniment is played by the violins, in a very rhythmic pattern, which pushes the movement of the section even more so than the clarinet would. The flute and piccolo respond to the melody, and then the stings take over and the accompaniment is passed onto the horns. The trumpets then play a series of staccato notes; some which are repeating, or have smaller intervals. The section decrescendos, and then the stings play a line, which is then responded to by the trumpets. This call and response continues for some time, slowly crescendoing from each repeat and the woodwinds end this call and response section and play the main theme of this section. The strings respond to this, instruments are being added, dynamics are increasing, and there is a slight buildup. The middle voices now have the melody, who are playing a variation on the main theme of the section, where they hold a single note in place of a run. The upper voices provide ornaments to the section. It then builds up to the next section, which seems to have slowed down, although it is actually an augmentation. The melody from the middle voice has notes of longer durations that are rather legato and smooth, but the upper voice accompaniment is still as rushed as the previous
I chose to do my concert critique on Eric Clapton-MTV unplugged full concert-HQ January 16, 1992 at Bray Film Studios in Windsor, England. Eric Clapton is my favorite rock n roll singer which has a mixture of genres. The concert was inside and on stage. The audience was seated up close to the stage which made the atmosphere comfortable; Eric and the band showed much warmth and connected with the crowd it wasn’t like the band was untouchable.
I have been to many different concerts throughout my life but this year I experienced two exceptionally unique ___ that I had never seen before. The first one was a spectacular chamber recital that took place at the Chicago Symphony Orchestra performed by pianist Yefim Bronfman and violist-violinist Pinchas Zukerman. The program included Schubert's Violin Sonatina No. 2 in A Minor, Beethoven's Violin Sonata No. 7 in C Minor, and Brahms’ Viola Sonata No. 1 in F Minor. The second was a performance by the notable quartet “Anonymous 4” presented by the Universality of Chicago at the Rockefeller Memorial Chapel. The program included a series of medieval French motets from the 13th Century French polyphony, taken from the Montpellier Codex. The two performances were extremely different in nature and but at the same time very similar in what they were trying to achieve. For instance, while the first concert consisted entirely of an instrumental performance, the other was exclusively vocal. However, both were able to bring to life great examples of iconic artists from our past. I left both c...
The same line is repeated ecstatically by the quartet, which soars upward to it’s peak. The orchestra and chorus re-enter at a rapid tempo to bring the movement to its conclusion.
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had been already playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation befor...
The first instruments heard in the piece are the French horns. The piece then moves onto being played by the cellos and double basses. These instruments introduce the first theme by plucking the strings of their instrument which is also known as pizzicato. The bassoons then play octaves of alternating notes. The bass drum is then introduced establishing the tempo of alla marcia, meaning that the tempo is played in a march-style manner. The theme is then played in molto marcato. Following this comes the piano playing the key of B minor. Soon after, the theme is repeated with the cellos, double basses and bassoons alternating. With the repetition, the melodic pattern is also repeated. The next section is introduced when the cellos and double
On Tuesday, October 17, 2017, I attended a musical concert. This was the first time I had ever been to a concert and did not play. The concert was not what I expected. I assumed I was going to a symphony that featured a soloist clarinet; however, upon arrival I quickly realized that my previous assumptions were false. My experience was sort of a rollercoaster. One minute I was down and almost asleep; next I was laughing; then I was up and intrigued.
The Philadelphia Orchestra is an American symphony orchestra in Philadelphia, Pennsylvania. Their concert hall is at the Kimmel Center for Performing Arts, where they perform for their patrons during their main season, September to May, in Verizon Hall. This has become the orchestra’s performance hall since 2001, since they also own the Academy of Music, which is the oldest operating opera house in the nation since 1957. The orchestra also performs for its Philadelphia audiences during the summer at the Mann Center for the Performing Arts. The orchestra was founded in 1900 by Fritz Scheel, who also acted as the first conductor. The current and eighth music director is Yannick Nezet-Seguin, who was appointed in 2012 (The Philadelphia Orchestra, 2016).
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
The Los Angeles Philharmonic Classical Music Concert Report. I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias, who was the conductor, and Martin Chalifour, who was the LA Phil commanding Principal Concertmaster and Bach violin player.
On Wednesday, June 14, 2017, I had the pleasure of watching the Chicago Symphony Orchestra perform Symphony No. 9 in D minor, Opus 125 by Ludwig Van Beethoven. The original performance was recorded and put on YouTube, May 7, 2015, in honor of its first premier 191 years before when Beethoven decided to share his 9th Symphony with the world even though he couldn’t hear it himself. The symphonic masterpiece was recorded at the beautiful Symphony Center Orchestra Hall in Chicago and conducted by Riccardo Muti. The performance was completely deserving of selling out every single seat for one hour and twenty-two minutes. In fact, the musicians did not disappoint, Stephen Williamson was in the first clarinet chair, alongside colleagues Mathieu
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
This was more like what I was use to in music class. All members of the orchestra were already on stage then came the concertmaster everyone applauded her. She played a couple music notes with the orchestra before the conductor joins them. The Conductor conducted a symphony by Feldman. The music starts out with a slow tempo. The melody was soft and mellow. The Trombone had a ball instrument place inside the opening. This is to make the music sound softer. In the middle of the music the violin and the cello player stop playing with arco and started to play pizzicato with their fingers.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.