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 live concert uses the sonata form to maintain the intense atmosphere through the contrasting themes. In the exposition the main theme is in a quick and loud upbeat tempo. The second theme is in a lower key and is at a slower pace, which helps create dramatic moments as the tempo changes from quick to slow. The bridge decrescendos into the development and creates a calmer atmosphere. The development then explores both themes in a slower and lower
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By watching the pieces live, the interaction between the instruments was easier compared to a video, which picked what performers to focus on. Carnival Overture, op. 92 composed by Antonin Dvorak was in sonata form and used crescendos, decrescendos, dissonance, and consonance to create an atmosphere that is very dramatic and passionate. The performers and the conductor followed Dvorak’s scores and placed emphasize on the first violinist, but still maintained the same atmosphere. The piece also maintained the passionate atmosphere by changing the rhythm and using polyphonic
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.
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...
Daniel Goode and the Flexible Orchestra was interesting and fun to listen to. Similar to Kenan , I noticed the piece was participatory. Hubcaps are not instruments, so I was interested in how people would approach to play these things that weren’t created to make music. I was pleasantly surprised to watch the audience members and the performers create sounds with the hubcaps. I liked that there was a flexibility to their show that allowed the performers to create different sounds with different people. I was standing next to TJ and I was able to see the musicians give the hubcaps to different audience members. There was enough room for the audience to add their own flair and their own musical abilities to these hubcaps. Because there was no
...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.
On Sunday afternoon November 21, 1999, at 2:00 p.m.at 419th Concert Worldwide, 330th in New York, 218th in Carnegie Hall I attended a MidAmerica production that presented the New England Symphonic Ensemble. This concert contained several different compositions by large groups of musicians, including an orchestra band, and chorus. This concert was divided into three different parts. First there was the Vivaldi which was divided into 12 sections. Virginia-Gene Rittenhouse was the music director, Raymond Sprague was the conductor, Judith Von Housers Voice was the soprano, Mary Nessinger voice was the Mezzo soprano, and Elizabeth Hastings was the portative. There was a reprise in the first section Gloria which opened up the symphony.
It gives a rhythmic kind of excitement and a “catchy hook” for the audience. "The Entertainer" is known as a “Ragtime classic.” It contains brief repetitions, and throughout the piece, the listener can almost recognize the same sounding sections. Also, syncopation help provide the lively “swing” feeling to it. The syncopated beats are clearly heard on the piano and can be felt by the listener.
Beethoven’s fifth Symphony was a piece that was not recognized as a masterpiece until long after its original composition. One is lead to believe it was at the figurative top of the charts with how often it is used today in commercials, film climaxes and its infamous “da-da-da-DA” used to convey a feeling of imminent doom. Symphony No. 5 is comprised of a large orchestra of strings, flutes, oboes, clarinets, bassoons, horns, trumpets and timpani. The rhythms differ by movement beginning with Allegro con brio, followed by Adante con moto, Scherzo Allegro and Allegro.
The “mystery piece” is a very unique musical piece that presenting the dialogue between the pianist and the orchestra. The music piece begins with the orchestra. It sounds energy and heavy. It takes attention to audience in order to present the strong and angry emotion. The tempo and melody are unstable. Until 0:18’’ the piano begins to play, everything is changing. The music becomes soft and light that makes audience feels relaxed. The melody is stable that makes audience more peaceful. In the dynamics, the motion of music is from chord’s loud to piano’s soft. Both of piano and chord are playing monophonic separately. It’s give audience a lot imagination about this music pieces from the high to low in order to form a special meaning.
On Wednesday, March 22nd, I watched a DVD performance, Gustavo Dudamel and the Los Angeles Philharmonic: The Inaugural Concert, which was performed on October 8th, 2009 at the Walt Disney Concert Hall. The performance consisted of instruments in the Woodwind family such as: flutes, oboes, clarinets, and bassoons. The Brass family: horns, trumpets, trombones, and tubas. The Percussion family: timpani, cymbals, triangle, tam-tam, and a bass drum. Finally, the String family consisted of: a harp, violins, violas, violoncellos, and double basses. Gustavo Dudamel conducted Gustav Mahler’s Symphony No. 1 in D Minor “Titan”, which composed of four movements which were: (I) Langsam, schleppend. Immer sehr gemächlich, (II) Kräftig bewegt, doch nicht zu schnell Recht gemächlich, (III)
The first piece on the program was Polonaise from Eugene Onegin (1878). This piece is from the Romantic period composed by Pyotr Ilyich Tchaikavosky (1840-1893). Very short piece probably around six minutes. The variations and the interesting theme made this piece the most interesting among the other compositions despite the length of this piece, but it was amusing. The piece started with trumpets playing short high notes as an introductory, with the accompaniment of violins playing quick short notes. It sounds like if it was played in a major key, very cheerful and very fast like if the tempo is Vivace. Moreover, trumpets throughout the piece reinforce the harmony. Throughout the piece varies styles were used such as legato (smooth connected style).The texture of this piece is homophonic ( one line of real interest with accompaniment). The rhythm of the piece is really catchy, pretty much predictable; most of the piece variations are centered on the main theme, but it is very pleasing to the ears (consonant).
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
The CSU Chamber Winds opened the concert with a piece entitled “Reflections on a 16th Century Tune” by Richard Rodney Bennett. The piece was commissioned by the European String Teachers Association for Strings 99, an international conference held in celebration of string playing and teaching. The piece was originally written for a large string ensemble, but has since been transcribed for other ensembles large or small.
The second movement begins after a short pause after the first movement, which showed some very interesting details about how a live performance works. There was no clapping or no noise. Just silence as the performers wiped their brows and took a drink as they needed. They quickly picked the second movement up with quick successful crescendos that lead up to the main theme of the second movement. However, there was something different about the second movement than the first, and that difference is that there were three trombones of varying types added. During the movement, the dynamics of this piece caught my ear as you could hear them building up to moments where the entire ensemble would play then one instrument at a time they would back off in a crescendo and decrescendo style. Around the middle of the movement the movement fell into a more cheery and light melody than the earlier first movement, allowing instead to imagine the first spring day after a long winter in the house. The harmony between the instruments in this section bring forth a more childlike tone, which reminds me of the work “Sumer Is Icumen In.” This movement was much nicer to listen to than the previous through its mixtures of melody and dynamics. The soft melody throughout the piece between the crescendos of the ensemble made this my second favorite movement in Beethoven’s
Concert Criticism (Essay, 500 words, typed). Attend one public concert of classical music during this course. Write a review or criticism based on your experience. Include your response as a listener to the "live" presentations of varied repertoires; to the circumstances and setting in which the performance occurred; and to the performers. Evaluate these in terms of your own personal growth, and the validity of the artistic experience itself. The performance must be "classical" music of any period, preferably those discussed in class.