The use of different composers in it gave the listener the ability to hear the different style used. For example, Mozart’s piece was dramatic were as Debussy was flowing and dance like. Each piece also had excellent examples of how when the composers changed the texture and dynamics, it made the song very interesting. I was not a fan of classical music, but this solo recital helped me see the errors in my ways. Everyone should have to hear at least one classical concert in their life in order to appreciate the complex use of chords and melodies.
So much was happening that all you could do was go for the ride and enjoy it. The last major piece was by Copland, called Concerto for Clarinet and String Orchestra with Harp and Piano. The Copland piece was in two movements bridged by an unusually long cadenza (Soloist), that lasted over three minutes. The soloist seemed to dwell on the lyric sweetness of the first movement and then signaled the merriment of the second movement. The first part struck me as very slow but the second part was very rhythmic,very perky, and was passed around appreciatively by all, while the piano and clarinet were trading ideas with each other.
The soloist and the orchestra interaction presented the many tone colors Mozart composed into this piece. At (19:20), the piano chords accompanied the orchestra because it was homophonic. A lot of the majority works of the classical music was homophonic because that allowed the composer to make it sound with a “pleasing variety” (Kerman and Tomlinson 159). Variety was important for the features but also how the sound would come
It was probably my favorite piece played in this concert. The changing if tempos really made you pay more attention and it wasn't slow or boring. The sonata forms allowed the musicians to perform more difficult parts from the pieces and it was very entertaining to observe. This piece also ... ... middle of paper ... ...ext and final movement was the finale. This movement brought back themes from the first movement and the third movement and gave the piece a feeling of ending.
She moved with the music and it really brought out the emotion in her playing. At the end, she ended the piece with a very visual lift off and the crowd went wild. Overall, this concert was worth going to. The orchestra played very well and it displayed two amazing artists from different regions of the spectrum coming together to make this concert stupendous. I would definitely like to hear more of Gerard Schwarz’s conducting and Ms. Astanova’s piano playing.
During this time, Mozart continued to compose, completing his first symphony at age nine and publishing his first sonatas the same year. Leopold soon realized that he could make a substantial income by showcasing his son as a Wunderkind in the courts of Europe. Maria Anna was a talented pianist, and Mozart wrote a number of piano pieces, in particular duets and pieces for two pianos, to play with her. On one occasion when Mozart became ill, Leopold expressed more concern over the loss of income than over Mozart himself. The cold weather and constant travel may have contributed to his later illness.
Visually, the conductor was animated just enough and I felt his movements furthered the music in a sense, like you could see and hear the music and the elation that the movement carries. Before attending the concert, I looked up what made Beethoven’s 9th orchestra so incredible, and many sources told me to wait for the surprise ending, that included vocalists and a choral. The variations of “Ode to Joy” were magnificently played by the double basses and the cellos. When the bass solo began, I knew I was in for a treat, and once Ms. Nagy the soprano began to sing I felt such amazement, the notes she could hit were unbelievably high and she sung them effortlessly and beautifully. I believe the fourth and final movement was in sonata form.
The beginning to the final movement was as though Mozart knew his audience needed to change of mood, because it began with a bright and sunny theme the solo piano and its orchestra joined in Unisom in a joyous and invigorating dynamic sound. There was a long piano solo that Uchida again mastered beautifully. Then the coda began with the full orchestra that brought the movement to a triumph end. Works Cited Mozart - Piano Concerto No. 23 in A major, K. 488 (Mitsuko Uchida) http://eds.b.ebscohost.com.kbcc.ezproxy.cuny.edu:2048/ehost/detail?vid=17&sid=b741f7f8-cb98-43da-a0a9-f6fa73c2bfa2%40sessionmgr110&hid=107&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#
Premiere performed by the pianist Luiza Borac. This piece was first beginning with the repeating chords accompanied with the soft moderato me... ... middle of paper ... ...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.
Kanishk Chaurasia Mr. R. Kinnett Music 1306 S75 04 December 2014 INDIVIDUAL CONCERT REPORT I went to the Dallas Chamber Symphony concert. I got to experience three lovely composers Ralph Vaughan-Williams, Charles Ives and Wolfgang Amadeus Mozart. The instruments consisted in the Ralph V Williams’ The Lark Ascending were mainly solo violin, flute like instrument and piano for providing the background to the solo violin. The Charles Ives’ Symphony No. 3 “The Camp Meeting” included instruments such as mainly the violin, flute, strings, trombone and bells, whereas, the Wolfgang Amadeus Mozart’s Piano Concerto No.