On Wednesday, November 5th, 2014 at 7:30 p.m. the Charlotte Symphony performed seven compositions by various “maverick” composers. Halton Theatre at Central Piedmont Community College’s central campus was pack to near full capacity. The program included the Molto Allegro from Mozart’s Symphony No. 40 in G-Minor, Warehouse Medicine by Mason Bates, Apotheosis by Austin Wintory, Cielito Lindo a traditional Spanish copla, Oaken Sky by Chris Rogerson, Le Tombeau de Couperin by Maurice Ravel, and the 4th movement of Beethoven’s Symphony No. 5. Charlotte Symphony’s Assistant Conductor, Roger Kalia, conducted and Juan Cajero appeared as a soloist. Although there were several pieces that had a more lasting impression on me, each composition performed …show more content…
5 the 4th movement. Beethoven’s innovation of bigger orchestra’s was a game changer in the Classical Era and he definitely deserves to be ranked as a “Maverick of Sound.” This piece is rumored to be an autobiographical tale of Beethoven losing his hearing and was done in the period’s traditional sonata form. This piece beautifully evoked the mood of what I imagined as Beethoven’s dilemma of “fate knocking at the door.” Everything in this composition is built around the four opening notes. The tempo allegro was brisk and lively. The exposition set the tone with string instruments followed by the entire orchestra repeating in a march-like character. The bridge was similar in mood to the opening and was announced by horns. The recapitulation led to a long coda that punctuated the ending which built to an exciting climax accentuated by a dynamic fortissimo resolution to the frenzied tension. This joyful finale was great fun to listen to and a most excellent way to end the …show more content…
I was impressed by the range of the pieces that were performed as they were from 18th century classical symphony arrangements to contemporary techno pieces. However, the pieces that moved me most were Mozart’s Molto Allegro, Oaken Sky by Chris Rogerson and Beethoven’s Symphony No. 5. In hindsight, I am surprised that the two pieces from the Classical Era had such an impact on me. Perhaps, “classical” pieces were what I expected to hear at a Symphony. Oaken Sky evoked the most imagery for me and the conductor’s introduction of the piece was perhaps partly responsible for my ability to go from the earth to the sky in my mind’s eye. Oaken Sky was definitely a pleasant surprise and very pleasing to all of my senses. I was fully engaged in body, mind and soul with Rogerson’s composition. Cielito Lindo was interesting and the soloist really enhanced the piece with a stellar performance. Warehouse Medicine caused an incongruent stirring in me; perhaps I was not prepared for electronics to be added to the symphony. Ravel’s composition, Le Tombeau de Couperin, was a moving piece, but did not engage my senses, only my intellect. This work essentially left me feeling confused and although I appreciated the description of the dedication of the work by the composer, this was my least favorite piece. The “CPCC” soloist, Juan Caljero’s, rendition of Cileito Lindo was mesmerizing. Charlotte
On Sunday, December 07, 2003, I attended the Mozart and The Height of Classicism concert that was held in the Lincoln Theater of the New World Symphony orchestral academy. Conducted by Nicholas McGegan featuring pianist Robert Levin. There were two pieces of music during this concert, one of the movements was performed by the pianist alone as a solo, Mr. Robert Levin. The program’s title was Wolfgang Amadeus Mozart, Chaconne from Idomeneo. The first piece was Concerto No. 24 in C minor for Piano and Orchestra, K. 491, Allegro, Larghetto, and Allegretto. The second piece was Symphony No. 36 in C major, K.425, “Linz”, Adagio-Allegro spiritoso, Andante, Menuetto-Trio, and Presto. This concert was unique in that the focus seemed to be as much on the instruments as in the music itself. As the pianist and conductor expressed the form of improvisation as Mozart did, which I will explain further on my critique.
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 fourth and final movement of a symphony is like the first movement in its form. The form conventionally followed is sonata form, with an exposition, development and recapitulation, but of course with less new material than the first movement, more a combination of the material already heard.
The Beethoven Symphony #9 in D minor is being announced during the 4th movement of the symphony. Typically, in symphonies, the 4th movements take part in the term of Allegro, which means it is played quickly or fast. However, in Beethoven Symphony, the 4th movement opens with a flurry sound and then is introduced by an instrumental recitative. A recitative is a style of music alternating between speaking and singing words on the same note. In a recitative, the music lines are not repeated even though formally composed songs do.
Appalachian Symphony Orchestra performed, Morning,Noon, and Night in Boone. The Orchestra was arranged on stage in a normal set up, the concertmaster was on the left hand side of the Conductor, the strings in the front, woodwinds in the middle, and brass and percussions in the back. The instruments in the back were on an elevated platform, so there sound could project and be heard. Before the conductor came out, the concertmaster signaled each section to play a note. Once, the conductor came out the crowd went crazy, they clapped loudly and shouted. And Mrs. Orth was so happy and kind and thanked everyone.
...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.
Alan Hovhannes's “Symphony No. 50” is a glorious example of a more modern piece of musical art. It depicts the amazing and yet tragic story of Mount Saint Helens and the eruption that forever changed her. There are 3 movements to this piece each depicting a different frame of time in the build up to the eruption. While they are all profound in their own way, I would have to say my favorite of the three would have to be the first movement. It starts out slightly melancholy, in a minor key, a time of innocence and playfulness that preludes to the coming destruction. Through the piece I found myself thinking of the wonders that were offered to the many families and friends who would venture there. Almost like the start of a day, a day that has
Dmitri Shostakovich was one the greatest Russian composers of all time during the twentieth century. During the end of World War I, the Russian Revolution initiated to topple the Russian Czar, Nicholas II, from power by the Bolshevik Party. The Russian Revolution led the establishment of Communism in the Soviet Union led with an “iron fist” by the dictatorship of Joseph Stalin. In the Soviet Union, the number of civilian deaths caused from victims of war, famine, and government purges, is estimated between thirty and forty million (Wright, 350). The Communist Party are responsible for these terrors, which affected all segments of society, including intellectuals, artists, and musicians (350). Furthermore, the Soviet regime used musical propaganda
On Sunday, April 19 2015 at 2:00 pm in Carnegie hall, the American Symphony Orchestra performed five pieces by various composers. The pieces performed at the American Symphony Orchestra include Alleluia, Dream-king and his love, Symphony NO.2, Music for Cello and Orchestra, and Cantares. Various well-known composers such as Randall Thompson, Horatio Parker, George Rochberg, Leon Kirchner, and Roberto Sierra composed the pieces included. All of which have an amazing skill and talent in composing music, which has been demonstrated by the American Symphony Orchestra.
On Thursday, 1 December 2016 at 7:30 p.m. in David Geffen Hall the New York Philharmonic performed four pieces. Bernard Langevin conducted the New York Philharmonic. Ying Fang was the special debut at the concert. On Saturday, 3 December 2016 at 7:00 p.m. in Carnegie Hall the Orpheus Chamber Orchestra performed four pieces. The Orpheus Chamber Orchestra did not have an official conductor, but they had special pianist Fazil Say (b. 1970) sometimes conduct them. Both concerts were based off the classical era because of its stylistic features. Many composers emerged during the eighteenth century.
The Rite of Spring is breath taking. Personally, I felt it more of a Rite of Passage. The high energy and erratic combinations made me feel an unusual restlessness in my body. When first listening to the bassoon play I expected the composition to be like Spring itself. Spring is soft, flowing, gently to a smooth performance. I wasn't expecting such raw emotion and aggressive tones. I believe this is hwy the audience of the first performance became so erratic and aggressive themselves. The audience who was used to the theater being upper class, Stravinsky took the upper class in high society and brought them back to a more primitive, a more vulgar, and more open time in life which I believe made them feel vulnerable thus having at lashed out on the performance
5 has the largest impact on me. What stands out to me the most in Beethoven’s symphony is the dramatic tone it creates from the very beginning of the piece. I feel as if I can connect better to Beethoven’s Symphony No. 5 rather than Mozart’s Symphony No, 41 because the loud, dramatic tone represents my everyday life. Mozart’s Symphony No. 41 is more boring and quiet, which makes the piece not seem as interesting. Not only does it impact me by the tone, but I also find it amazing how many instruments can be playing at one time to make a piece of music sound so
The Berlin Philharmonic Orchestra preformed Hector Berlioz’s Symphonie Fantasique, in 2001 at the St. Irene church in Turkey. Saint Irene’s interior is made up of bricks and stones that gives the church a rustic appearance. Behind the Orchestra were immense windows with horizontal and vertical lines that created dainty squares. The windows played a considerable role in the concert because the natural lighting highlighted each performer. Also, the classic beige columns stood tall and created arches within the stone texture of the wall. On the second floor is artificial lighting and a soloist that played the clarinet. When the conductor Marris Janson stepped onto the stage the audience started clapping. Janson then raises his hands and the orchestra
40 is an effective composition that allows one’s mind to imagine vivid pictures. While listening to the piece by Mozart, I felt a sense of urgency throughout the piece while eliciting strong emotions of passion and grief. Composers like Richard Wagner and Peter Tchaikovsky were greatly influenced by Mozart’s musical capabilities of conveying intense feelings. The listener is affected by the different measures of commonalties between the musical periods, the composers of those periods and the pieces they compose. Mozart’s music pulled away from the norms and constraints of period style music. This composition enhances my knowledge because he has created compositions that employ the sonata, rondo, aria as well as other forms to exude strength, beauty, and grace with every
The last Piece of the program was Symphony No1. In g minor, op7 (1891-1892), features the work of the composer Carl Nielsen (18...