I was attending the San Jose State University: The Listening Hour on February 16, 2016 that took place in San Jose State University Concert Hall. The program was part of the San Jose State University School of Music and Dances: The Listening Hour. I had been attending a few Listening Hour in the past few weeks, but this concert, which performed by one of the best violinist, Dr. Alejandro Drago, was the best by far. I rarely attended a concert in the past, not to mention a classical music concert. At the beginning, the concert hall was not packed and most people, who were attended, were students that either out of interest, or had a paper that need to be done. I was belong to the latter part of the audience, and I came in with a note book to take note for my report. At the beginning of the concert, the coordinator introduce us the program and the performer, Dr. …show more content…
Drago began his third piece Second Sonata for Violin and Piano Op.100 by J.Brahms, he did a little adjustment for the strings on his violin and started the piece with a very strong note. If “Melodie” gave us the feeling of calmness then this piece gave the audience a strong tone and semi-fast tempo that awake the audience from their previous impression. Again with the sound of a story telling, if “Melodie” gave the feeling of the calm and melancholy of autumn then this piece gave us the liveliness of spring itself. Dr. Drago never stop his impressiveness as he perform confidently on the stage. The fourth piece was Sonata Op. 27 No.5 in G major by Eugene Ysaye. This piece was performed solo by Dr.Drago and he stared slowly like an introduction to his idea on this piece. Usually, the violin sound was created by the violin bow, but during the performance he also used his fingers to stroke on the string created a drop, impact sound. This combination gave us a very strong sound that make a perfect transition from a calm and liveliness to a more serious, formal feeling of the last remaining 2
On November 16th, 2013, I attended a concert choir, fall choral concert. This event took place on the Wheaton College Campus, in the Edman Chapel at 7:30 pm. The chapel was well-lit, with long pews for the audience to be seated. The concert began with the audience looking up into a balcony, where the ensemble stood in neat rows. They watched the conductor, who stood on a stage in front of the audience, waiting for their cue.
The first movement the orchestra was smooth and graceful.The violinist were playing gently,and soft. The second movement is quite faster than the first, and the performers were smiling and enjoying themselves. By the third movement the orchestra was playing faster and louder, and having much fun. The orchestra began feeding off of the crowd, who was enjoying the piece. The fourth movement, the orchestra slowed down and were playing beautifully. The performance was graceful, the conductor just let her hand flow, and barley had to the guide the orchestra, because they had it down pack. The performers did not just play Beethoven Symphony No. 7, but they told a story. one could hear when character went from happy to
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...
...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.
In the 18th century, the concerto was transformed into a viable instrumental genre to both demonstrate virtuosity as well as a cohesive character that embodied the natural. Though the series of changes from the Baroque concerto grosso to the Classical concerto were gradual and cannot be attributed to a single composer, the Piano Concerto No. 20 in D minor K. 466 by Wolfgang Amadeus Mozart is a skillful representation of the genre in that era. Of particular interest in this concerto is the treatment of sonata form in the first movement. When compared to other instrumental genres of that era, there is a tangible divide between the sonata form of the concerto and that of other instrumental genres such as the symphony. To understand this categorization, one must look past the boundaries of genre and form, and focus upon the function of each individual work. As Charles Rosen suggests, “Treating the sonata not as a form but as a style – a feeling for a new kind of dramatic expression and proportions – we may see how the functions of a concerto are adapted to a new style.” It is with this interpretation hat I intend to explore how the functions of a concerto, including the exhibition of virtuosity and contrast of two types of sound, render the first movement of K. 466 with the potential to eclipse any attempt of categorization with other genres of the Classical Period that use sonata form.
On Tuesday, October 17, 2017, I attended a musical concert. This was the first time I had ever been to a concert and did not play. The concert was not what I expected. I assumed I was going to a symphony that featured a soloist clarinet; however, upon arrival I quickly realized that my previous assumptions were false. My experience was sort of a rollercoaster. One minute I was down and almost asleep; next I was laughing; then I was up and intrigued.
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.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.
In conclusion, the concert was really interesting and I enjoyed myself. In my opinion the two pieces that I really like in this concert, are Sounden Horn and Polonaise from Engine Onegin, the shift between the melodic lines and the element of beauty is what made me like it. In the future I would recommend it to my friends and I will not mind to go with them at all. This kind of music is the best to me by far.
His body language moved fluently and alternately with the movement of the pieces he conducted, while maintaining control of the ensemble. This leads me to mention, the orchestra was very relaxed, yet very formal in their performance. Now, the program consisted of eight works, ranging from the early 1800’s to the mid-1900’s, covering the Classical era to the Golden Era. Of the eight pieces, I wish to highlight some of my observations during the performance. First, I found each work to be written in a four-four count. Secondly, in the second work of the program, Aria Cantabile, I found it to be wonderfully full of emotion and very passionate. Although the notes played were relatively easy, the music was hard. The crescendo throughout the piece transitioned gradually from piano to mezzo most elegantly and brought a peacefulness to the audience. Thirdly, in the third work of the evening, Second Suite in F movement IV Fantasia on “Darganson,” clearly brought the imagery of the blacksmithing trade to mind as one could imagine the forging of iron being hammered into design. Ironically, at the conclusion of the final melody, a baby cried out in the immediate silence, in perfect pitch and
The Violin Concerto No. 1 in G minor, Opus 26 is one of the most famous violin concertos over the musical history. It is also considered to be the most renowned work by the German composer Max Bruch. I will begin with a short explanation of why I choose to analyse this piece followed by what makes this piece so remarkable. I will then present the musical context – German Romantic period – in which this piece was composed and discuss how it is representative of this period. Also, I will present briefly the biography of the composer and relate his life and style with this particular piece of music. After, I will explain the basic structure of a concerto, associate it with this violin concerto, and analyse how each movement is related. Then, I will analyse some psychoacoustic parameters of this piece (pitch, dynamics, rhythm, and texture). Finally, I will give my appreciation of this piece in term of beauty, musical expression, and mood.
I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias who was the conductor and Martin Chalifour who was the LA Phil commanding Principal Concertmaster and Bach violin player. In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffer 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 third piece was a duet for the flute and the oboe by Julia Grace Brown. The piece contained two movements, but I could not tell when one stopped and the second began because there was no pause. While they played the flute was quicker, playing in short, fast, high pitched notes. On the other hand, the oboe was steadier and carried the notes slightly longer, and it lead the flute through the song. Sometimes the two instruments played simultaneously, and sometimes the flute would mimic the oboe and follow it through the movement. Overall, the piece started out fast and eventually slowed with the two instruments ending together, but the flute always played in a higher range with a more piercing ...
The night started with Joseph Haydn’s Symphony No.90 in C Major, a piece in sonata form composed for one flute, timpani, viola, cello, bass and two oboes, bassoons, horns, trumpets and violins. The first movement –the Adagio- introduces, the listener to the piece by a sharp contrast between forte and an eight descending notes in piano. We are then presented –in a piano violin- the essential element of the first theme. Then, the music picks up a faster pace and energy until it reaches a dialogue between the oboes and the ba...