During the menuetto and trio I,II movement, Frederick Lifsitz and Zakarias Grafilo were nearly bouncing out of their chairs as they played bright ascending lines. When they pass around the theme of the allegro mo... ... middle of paper ... ...t that is what made it truly beautiful because it conveyed a picture. All of the pieces I heard made me think about the music itself, and wonder what the composer was picturing as he wrote. All of the concerts I went to were good. The concerts allowed me to broaden my knowledge of music and learn more about how chamber music sounds.
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.
Included in the program were works by the German twentieth-century composer Paul Hindemith and the German romantic composer Johannes Brahms. Although both pieces were quite long, the audience, comprised mainly of students (the concert was free), seemed dazzled by Holoman’s masterful command and Boriskin’s virtuosic display on the keyboard. The first piece performed, Hindemith’s Symphony: Mathis der Maler, called for the entire orchestra featuring an enormous string and brass section as well as a percussion section complete with glockenspiel and triangle. After a brief intermission, Michael Boriskin appeared on stage with the orchestra for a splendid performance of Brahms’s Concerto No. 2 in B-flat Major for Piano and Orchestra, opus 83.
I thoroughly enjoyed this concert from beginning to end. The opening piece, “String Quartet in F Major, K 590”, was both soothing and moving with an engaging theme that followed through the piece. The sudden stops and starts with changes in theme built the suspense and pulled the listener in to a jaunty gallop through the second section. Also the bass tones in the back ground seem to be slightly off kilter with the violins, providing a complex texture and harmony that provides depth and poignancy to the music. Section 3 is more merry and cheerful with the violins leading what feels like a race to be won.
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 different chords and the dissonancein the chords of these pieces really created an interesting and jazzy feel to the music. The last piece that was played in the recital was Pachelbel’s ‘Loose’ Canon composed by the Los Angeles Guitar Quartet. From listening to this piece of music made me really think of a loose cannon going every which way from all the theme changes in the song. Originally I always loved Pachelbel’s Can... ... middle of paper ... ...at this music could be heard during the baroque style: the church, the court, or the opera house. Obviously this piece has been modified in more ways than one by the LAGQ and is now played more in a public concert style.
Overall I truly enjoyed myself at the opera. It gave me a new perception on plays and operas, before I went I thought it would be cut and dry and I would be ready to leave as soon as I got there, but it was the complete opposite of that. I laughed, I wanted to cry (but I didn’t), and I felt the energy from the stage. I did recommend this opera to some of my friends and I will recommend it to more people because it was really, really good. All of the music was well executed and performed beautifully.
The first part of this piece was in sonata form, the second was in ABA ternary form, and the third was another part in sonata form. The piece changed tempo throughout it which really felt like it kept people involved. You could also hear the repeat of the intro and certain themes throughout the piece. This piece was very enjoyable. It was probably my favorite piece played in this concert.
Throughout the concert I would have considered myself as a referential listener, as I am for most things. Certain pieces and sounds played throughout the concert reminded me of certain things in my environment like the music played in eerie movies or even the music my teachers play during exams and silent reading. The concert began with Harold Warman presenting the Choir and Orchestra. Following that Mr. Warman stated that the Choir would be performing first because people need to learn ... ... middle of paper ... ...ting to see the orchestras. The musicians were very talented, as they performed a variety of songs.
The performance of “Verses” was a great live experience in which the timbre of the instuments and actions of the performers was mesmerizing. The first section of the program featured Hindemith's Trio, for Viola, Heckelphone or Tenor Saxophone and Piano, op. 47. This is a dramatic two movement, modern piece that was played with elegance and passion. The next work performed was Sharafyan's “Verses” for Soprano Saxophone and Vibraphone.