On Sunday November 5, 2017 I had the chance to attend an Elgin Symphony Orchestra performance. The whole classical show aspect was new to me everything from having to get dressed up and sit in a smaller theater located in the Hemmens Cultural Center was a very different experience for me. The entire show had two performers. A piano trio group based in Elgin played at the beginning of the show to get the crowd warmed up followed by the Elgin Symphony Orchestra. The piano trio only played three songs but each one was unique. After the brief performance by the piano trio the ripieno came out and the excitement began. The main orchestra performed Beethoven’s Symphony Number Seven along with a few other songs as well. The entire concert was …show more content…
The orchestra was conducted by Andrew Grams and featured a guest violinist named Jennifer Frautschi. A good portion of the audience was in attendance because of the chance to see Jennifer Frautschi play. While the orchestra was beginning to sit down the small television the theater had begun showing facts about Frautschi. The most impressive fact that appeared was that Jennifer is a multi-time Grammy nominated violinist and has performed in many world-renowned orchestras. A unique aspect was the warmup portion of the show. Seeing how Conductor Grams had the ripieno already in tune and ready to go showed separation between the Elgin Symphony compared to some other orchestras. The orchestra then played a few scales going from minor to major key most of the warm up with a few scales going vice versa. From that point the ripieno really never looked back and continued to put on a great show. The main piece the orchestra performed was Beethoven Symphony Seven. As with most symphony’s there was four movements of the concert each one being very …show more content…
The movement “Allegretto” was much more largo and mezzo piano which completely changed the characteristic the first movement provided. In the beginning of the movement every note was dragged out and the main sounds were provided by the deeper sounding instruments such as the base and cello. However, once the orchestra got to the core of the movement the notes became more staccato but the orchestra continued to play lower sounding notes. The unusual aspect to this was that normally when notes become staccato items such as the pitch and tone become higher but in this case the piece stayed deeper sounding with the cellos and bases continuing to give off most of the sound. I believe that the second movement was played in the key of A minor because the piece was a little “energetic” but mainly deep sounding and contained a lot of lower sounding notes. I am guessing the movement was in double variation form because I heard a main melody at first with the violins and violas but then the melody shifts to the deeper instruments. All in all, the movement was performed very well. The way the orchestra handled two melodies was pretty unique and it was the highlight of the
One of the pieces the UC Davis Symphony Orchestra performed was Carnival Overture, op. 92, composed by Antonin Dvorak. The conductor at this concert was Christian Baldini and the main violinist was Shawyon Malek-Salehi. This piece was made in the Romantic era with an orchestra instrumentation. The genre for this piece is concert overture and has a sonata form in a similar formate to other sonata forms from the Romantic era, making it sound dramatic compared to the Classical era’s sonata era. The live performance was true to Dvorak’s original score, which took the traditional sonata form of the classical era and changed it to incorporate a common Romantic era sonata form. Although the live performance focused on the first violinist, it still maintained the dramatic atmosphere from the original piece by keeping the sonata form, rhythm, texture, and instrumentation.
The concert is performed by the Lincoln Center Orchestra with Wynton Marsalis. The video of this concert is 90 minutes in length. The concert was an ensemble of various Dave Brubeck arrangements utilizing various jazz techniques and styles with mainly the following instruments: bass, piano, trumpet, trombone, tenor sax, soprano sax, clarinet, bass clarinet, alto sax, flute, piccolo, baritone sax, drum, and tambourine. The performance included these 15 pieces: “Unsquare Dance”, “Three to Get Ready”, “The Duke”, “Cassandra”, “Strange Meadowlark”, “Who Will Take Care of Me?”, “It’s a Raggy Waltz”, “Tokyo Traffic”, “Take Five”, “Lost Waltz”, “Upstage Rhumba”, “In Your Own Sweet Way”, “Fast Life”, “Bluette”, and “Blue Rondo a la Turk”. The performance highlights the versatile, influential and extraordinary life’s work of Dave Brubeck.
The concert I attended was the Liszt, Prokofiev, and Dvořák concert at the Chicago Symphony Center. Emmanuel Krivine is a French conductor who conducted the orchestra to play Liszt’s compositions Les Préludes, Symphonic Poem No. 3. Next was Prokofiev’s Piano Concerto No. 2 in G Minor, Op. 16 in the Andantino, Scherzo: Vivace, Moderato, Allegro tempestoso, the piano soloist was Russian pianist Denis Kozhukhin who was accompanied by The Chicago Symphony Orchestra. Lastly was Dvořák’s Symphony No. 8 in G Major, Op. 88 was performed by The Chicago Symphony Orchestra, the four movements played was, Allegro con Brio, Adagio, Allegretto grazioso, and Allegro MA non troppo.
The piece also switches from 3/2 back to the original time, 4/2. An oboe plays on top of the ostinato, followed by the main fugue from the scherzo from a flute. A solo clarinet plays the same fugue following the flute. Both continue to play, but this time, the two are in harmony, unlike in the scherzo in which both struggled for coexistence. The same melodies are passed from the woodwinds to the brass, all the while, the ostinato starts to become more and more fragmented, “sporadic, even” (Biles, Logan). A baritone enters, playing a somber melody, and the piece ends with the basses echoing a descending step from G to
Music is virtually everywhere we go, no matter if it is background noise in a coffee shop or singing along while shopping for groceries, we can find music somewhere. The event I attended was the Flint Symphony Orchestra on October 8, 2016. I have never attended a symphony before so I was excited to go, especially since I had invited my friend to attend with me. For this event, I was already informed by my teacher that the symphony will be formal so we needed to look the part since others will be dressed fancy. This made me curious how this event will turn out. Walking past the ticket area and through the doors to the lobby made me feel instantly memorized at how grand it was on the inside. I went downstairs and there were a vast
...xcited to have this experience. Part of the drama of the concert at first is felt when the musicians come in and sit down and begin tuning up their instruments. I would not be able to comment on the performance of the orchestra. During the performance, I seen the audience were moving with the music, but I felt like that everyone seems knows more music than what I learned throughout this semester. After I went home and did some of the research on these music I finally understand why these people like to attend the orchestra concerto, it was because that every piece of music has a history behind it. The Los Angeles audience seemed to me to be people who know music and who will listen to something new in a respectful way. All the same, when the more familiar sounds of the last piece were heard, I could feel a little sense of relaxation and fun coming into the room.
Symphony No. 5 in C minor, composed by the legendary Ludwig van Beethoven, is one of the most famous orchestral musical compositions done by the German-born composer. The symphony is broken down into four movements. The symphony has such a profound effect on so many people because of its use drama by introducing sudden and powerful chords which quickly grabs the audience’s attention as well as creating a variety of musical ideas through his use of excitement by way of fast and slow tempos. The first movement, Allegro con brio, which utilizes the Sonata form, contains an opening sequence or Exposition, which initially compels my attention during its first 6 seconds due to its powerful entry and introduction of the basic four-note motive (short-short-short-long) of the piece. The quick repetition in a lower step using strings in unison keeps me engaged due to its energy, as it sort of
On Friday, November 15, 2013, I attended a concert that I found very interesting. It took place at 7:30 pm at the First Presbyterian Church of the Covenant. The group performing was the Erie Chamber Orchestra, but as a special the Slippery Rock University Concert Choir was also there. During the performance I attended, two pieces were performed. The first was a Mozart piece by the name of Symphony No. 41.
Each individual player in this orchestra is a soloist of sorts, playing a completely different piece than the musician seated directly next to them or across the stage. Rather than being written as a concerto, this piece, written in three movements, allows for each of the accomplished musicians to display their skill individually though each solo is not brought to the forefront of the piece, creating a what sounds like a disgruntled compilation of individual pieces that come together. This piece both begins ends with the Funeral March of Beethoven’s Eroica Symphony directly tied into the basses, at first it is quiet and difficult to recognize but as the third movement is introduced it becomes more pronounced and evident. Those who were present for this pieces introduction to society were able to see its emotional effect on its composer who had obvious emotional ties to the music. Strauss never showed up to see his work debut instead he attended the dress rehearsal, asked Sacher if he could conduct this work. Strauss was said to have given a beautiful reading of the score that many view as his most...
The Symphony Orchestra concert was preformed by The OU School of Music with Jonathan Shames as a conductor and they presented Sutton Concert Series. In addition, the Orchestra concert performed at Paul F. Sharp Concert Hall in October 12, 2015.There were like forty-one performers on the stage including the conductor using different types of instruments and and all of them were wearing a nice black clothes. The stage was a quite large with wooden floor and there were two floors for the audience with a comfortable seating. However, all the performers were on round shape and against the conductor.
On December 7, I had the honor of attending a very popular Dallas Symphony Orchestra Concert. It was the first formal concert I have been to since I was in middle school (excluding the school concerts). Despite playing a woodwind instrument myself, I decided to see the DSO’s Organ and Brass Concert, curious to hear how instruments traditionally assigned bass or harmony parts would step up to play treble and melody parts. When I sat down close to the front stage, where all the brass players and percussionists sat (or stood), I expected mostly trumpet sounds and lots of sound from melody percussion instruments. But as the concert progressed, I observed that the melody was shared jointly by the trumpets, French horns, and tenor trombones. Overall,
While the harmonies throughout the concerto seem simplistic enough to be, within reason, of a classical caliber and each movement sound accordingly traditional to the average listener, the concerto itself presents an idea more musically complex
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
This piece was originally composed by the talented Italian composer, Nino Rota around the 20th century. Rota was a well-renowned music composer and an enthusiast of the viola. He dedicated most of his compositions to his fellow music composers. Notably, Rota composed the second Sonata to Piero Farulli. This particular piece contained three different movements under C major: Allegretto scorrevole, Andante quasi Adagio, and Allegro scorrevole. In the “A Little Bit of this, a Little Bit of that” concert, Julia Heinen and Francoise Regnet tried to bring out the calming effect of the different pieces. For instance, the Allegretto scorrevole had a tempo that varied in nature. It started out fast but slowed down during the performance
Musical concerts are undoubtedly an incredible opportunity to experience a great aesthetic pleasure by listening to the musicians perform in front of your eyes. The power of music can hardly be overestimated – it can transfer a number of messages, thoughts and feelings through the performed sounds. Therefore the one can comprehend the music in the best possible way only when it is heard live. Musical concerts are often revelatory and highly impressive experiences to me. This essay thereby aims to provide my reflections and impressions of the concert of Gregory Porter & the Metropole Orchestra which I had the opportunity to attend in Nashville, TN.