At 7:30 pm on February 28, 2018, the Loyola Symphony Orchestra, Jazz Ensemble, and Wind Ensemble all performed a diverse set of pieces for the Spring Instrumental Showcase. Each musical group performed a wide range of pieces from the 19th and 20th centuries with pieces written by Ralph Vaughan Williams, Benny Carter, and Léo Delibes. The concert was held at the Mundelein Auditorium which is a spacious concert hall with ornate stained-glass windows. In other words, the environment where the concert was held was impressive and designed to allow the music to reach the audience with a full, rich, natural sound. The first group to perform was the Loyola Symphony Orchestra under the direction of Dr. Colin Holman. The first piece of the concert …show more content…
The whole composition was composed by Ralph Vaughan Williams (1872-1958). The three movements were the March, Intermezzo, and the March. The first movement was titled “Seventeen Come Sunday”. The piece was very light and martial. In addition, the piece moved quickly yet utilized both percussion, brass, and woodwinds in a way that played well with each other. In other words, each timbre was able to be observed. In addition, the dynamics ranged throughout the piece which gave the piece an overall good contrast. The first movement also included different styles within it where there were fast moving notes and then more longer harmonic notes. The second movement was the Intermezzo called “My Bonny Boy”. This piece was noticeably less martial and the tempo seemed slower. In addition, there was more flowing notes rather than shorter notes from the previous movement. The long tones were a nice breather and provided a space for the listener to sit back and enjoy the beautiful music that was being crafted. Much like the first movement, dynamic contrast was present and added a unique perspective to the overall piece. In addition, I enjoyed how in the middle of the movement that there was a bouncier and dance-like
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 first movement is allegro (Schwartz, 2015). Began to explode in the timpani, introduced the main elements relating to the material. The tone color of began part is deep. After introduction, is a piano solo part, describes the whole movement found another melody. From here, contrasting grand and exquisite part of the music alternates. It will reach the climax Grandioso, where the band sounded original piano melody, accompanied by large triplet figure in the soloist. There is a fast triple ostinatos a cadenza which leads to the last one: speeding octaves and chords, eventually forming a triple F major chord ostinato 6 keyboard along a big run, so that the movement draws to a close.
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 first piece of the evening was “Veni Creator Spiritus” by Anthony Bernarducci. Throughout the entirety of the piece, the University Chorale: Evening choir, did a nice job at following their conductor when he gestured for various dynamics to be performed. When their conductor would motion for a diminuendo, they were quick to follow. The choir could have improved by controlling their breath, and by scattering their breathing so to not disturb the musicality of the piece itself.
14 in C-sharp minor, Op. 27, No. 2 by Ludwig van Beethoven. This piece sets a down mood that isn’t as bright as the other pieces Nel played due to its minor key. However, the sound of this piece is really intense and emotional. This piece has a very smooth melody and demonstrates syncopation. Also, the dynamics of this piece are low. As discussed throughout class, this piece has sonata-allegro form. This means that it has an exposition, development, and recapitulation. The first movement is slow since it is adagio sostenuto, the second movement is brisk since it is allegretto, and the third is quick since it is presto agitato. Beethoven uses a continuous soft dynamic and a smooth wave-like rhythmic pattern. The texture of this piece can be described as mixed between homophonic and polyphonic. Lastly, this piece required Nel to constantly use the fortepiano levers to create the piece’s distinct
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
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...
This section represents a tranquil interval. It is a summer evening in the country and he hears two shepherds piping. The tranquil moment of the quiet summer evening alone with the pastoral duet fills his heart with an unfamiliar calm. Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness. The 4th movement: March to the Scaffold.
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.
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
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.
In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffers introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience. The pianist and concert conductor, Christian Zacharias opened the Los Angeles Philharmonic Classical Music concert with a fascinating performance that left the audience in party mood and in happy feelings.
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.
The final concert I attended was located in Dekelboum Concert Hall at the University of Maryland, the performers included Dr.Hinkle and the UMD Percussion Ensemble. This was their spring concert that highlighted all the work the ensemble had been collaborating on throughout the semester. The variety of repertoire focused on percussion but included a wide array of instruments from a triangle sextet, to a recreation of a John Cages Third Construction that included instruments such as congas, cowbells, snare drums, and many more. The only difference in these performances from previous ones I had attended was that none of them included vocals. The whole concert explored many different styles of percussion music within each of the seven pieces played.