Zoe Smith
HUM251
May1
Freeman
The performance I attended was on campus at Estrella Mountain Community College. The Phoenix Symphony's performance was held February 18th in the Estrella Conference Center. Performers were dressed in essentially matching, clean-cut, black outfits. Chairs for the listeners were placed in neat rows leaving an isle down the center of the room in which the conductor, Marc Dix, walked occasionally. The orchestra was arranged in a "U" shape so the instruments all turned in towards each other. From the audiences' point of view, violins were on the far left, violas, to their right, cellos to their right, and on the far right side stood the double basses. The 1st violinist sat in the second to last chair to the left, and among all this, the concert master stood in the center.
The opening piece was very brief and light. It resinated a cheerful tone while exhibiting wide dynamics. The first piece, along with others, was not lead by the conductor. Rather than stand in the center, Marc Dix sat and played with the rest of the orchestra; he played the viol...
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
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...
...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.
Eastern Washington University Department of Music presented a program of Opera works by Giacomo Puccini, Aron Copland, W.A. Mozart, John Dowland, Franz Shubert, Maurice Ravel, and Robert Schumann on Friday, March 7, 6:30 p.m., in the Music Building, Recital Hall. These Opera works were sung by Senior Recitalist, Alexandra Rannow.
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.
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 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
In the first part of this recital the vivaldi, contained a string Quartet. After the first intermission, I looked down at the podium and noticed that the precussions were added which included the timpani, bass drum, tylophone, and cymbals. In this recital Nancy Menk was the conductor, Judith Von Houser was the soprano which played a high note, and Mary Nessinger was the Mezzo-soprano which played a slight softer note. This part of the concert was divided into four pieces. First there was the Magnificant by M. Haydn (the orchestra accompaniment was edited from the composer's manuscript by Mark Nabholz). This piece consisted of strings without violas, two french horns, and an organ.
The second piece, Paratum Cor Meum, was a much shorter piece with very few lyrics. It was interesting to hear a piece by Haydn, since we had discussed this composer in class. I was impressed by the choir members’ ability to remember words in another language, and I enjoyed the sounds of the piano accompaniment.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
My composer is known as an influential minimalist and has written a variety of works such as opera, musical theater, symphonies, chamber music, and film scores and much more. This composer’s identity is none other than Philip Glass. The major focus in this paper are to give a moderately brief background on Philip Glass, examining his style of music along with how others view it and describe one of Philip Glass’s musical pieces. The background or bio about Philip Glass has information primary associated with events surrounding his career. When we reach examining Philip Glass’s style of music, people’s opinions on his music and who he sounds similar too is discussed. The final part of paper basically discuss one of Philip Glass’s works and how it serves as an example to his other music.
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.
He is considered by some people to be one of the most famous composers of the classical period. His career grew with the development of classical style and forms, with the symphony, sonata, string quartet, and other instrumental forms, in the moulding of which he played an important part. Joseph Haydn was born in Rohrau in 1732, the son of a wheelwright, he trained as a chorister at St. Stephen's Cathedral in Vienna, where he made an early living. He worked as a freelance musician, playing the violin and the keyboard instruments, accompanying for singing lessons given by the composer Porpora, who helped and encouraged him ( Boynick, 1). In this essay, I will discuss a brief overview of Joseph Haydn's life. I will also talk about some of the pieces he has composed and how they changed music forever.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.