I attended the Houston Symphony conducted by Andres Orozco-Estrada on Sunday, February 18th. It consisted of three pieces by the name of Three Dance Episodes from On the Town, Lago de Lagrimas Concert for Flutes, and Symphony no 7 in D minor, Opus 70. Overall, it was a great experience that I would definitely repeat because it was relaxing and peaceful watching the performance. The crowd was very respectful and the setting was professional and fancy. Everyone was nicely dressed and the workers were extremely helpful in directing the audience to the correct place. The doors were not allowed to be opened during performances which kept the distractions to a minimum.
Out of all the songs, my favorite piece was Lago de Lagrimas. As explained by
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The stringed instruments were the accompaniment; therefor, they began with harmonics, chromatics, and tremolo for various measures rather than having a moving part. The melody was given to the flutes and soloist, Sami Junnonen, who was also very talented. The song was about 22 minutes long and he had the whole piece memorized. It sounded very sad, but soothing simultaneously. There were visuals around the theater, which made it easier to understand and visualize what Lopez was trying to describe when writing the song. The sorrow of the princess was definitely felt by the audience and it was heard throughout the piece. Since the piece was intended to be sad, it remained in a minor key for the most part. I did notice that as the intensity of the song (when the princess’ father send soldiers to capture the two lovers) was shown by using louder dynamics such as fortissimo (ff) rather than piano (p) or pianissimo (pp). Lopez also included more use of the percussion and brass instruments such as the tuba, trombone, trumpet and horn making the suspense grow. The upper stringed instruments complimented the flute very nicely since they both have that soothing sound. This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful
I attended the concert in Punta Gorda on October 19th at The Charlotte Performing Arts Center. The concert presented the Port Charlotte High School Wind Orchestra followed by Florida Gulf Coast University Wind Orchestra. FGCU’s wind orchestra was conducted by Dr. Rod Chesnutt. The first piece they played was Danse Bacchanale (1877) by Camille Saint-Sales from “Samson and Deliliah”. The final piece performed was Jug Blues and Fat Pickin (1986) by Don Freund.
A slow timpani beat set the pulse, and the rest of the orchestra entered instrument by instrument to build the melody. La Valse lived up to its translated name of “The Waltz”, as the melody weaved a dance from the music. The upper registers swirled, with the melody rising and falling in volume with each measure. The lower voices pulsed the steady dance beat, keeping the other instruments in line. Just like a dancer passing from person to person, the melody was passed from instrument to instrument, each getting their turn to be the center of the ball.
The introduction part of the first movement started with a moderately slow tempo of Andante with accompaniment of violin sound. It then continued with a solemn music of brass chord which depicted the conflict between the two families. Then, there was one repetition of the sequence before it went to a heavy, angular march theme music accompanied by a dull trombone sound, which replaced the mood into a rapid tempo of Allegro with a shifting in the melody of around an octave higher, and a louder dynamic. The second part of “The Young Girl Juliet” began with the skittering play of flutes and cheerful sound of light percussion that portrayed Juliet as a young teenager, with a gentle clarinet sound perfectly represented the innocence of Juliet.
The music is slow, he is really taking in every word that she says, fascinated. Violins softly play when she discusses the way her family treats her, he can see their is pain but she is understanding of them. She reflects all the ideals he wishes to have when he becomes king. Their moment is broken suddenly by the trump call of the hunting party, Cinderella remembers why she is talking to this man and convinces him to leave the stag alone, the thumping of hooves add a urgency to her words and as he comes to agree with her the sound of a violin swells, pulling them together emotionally.
The orchestra maintained the musical score and provided ornamentation and emphasized the melodic contour of the singer’s vocal line. Without reading the subtitles, there is such emotion and energy in the male singer’s performance that it is easy to see, along with the physical positioning and facial expressions of the female performer, that there is an impassioned dialogue being given from him to
San Antonio Wind Symphony I attended the San Antonio Wind Symphony BRITANNIA. The performance was at UTSA’s recital hall. The Conductor was Dr. Robert Rustowicz. It was free, they are a nonprofit organization made up of volunteers.
During the first part when the chamber singers were singing carols it is understandable that they had to be static, the singing that they did was good but hard to understand at the same time, might have been caused since its British Carols. When it came to the second part of the concert where they had to move and do like movement that when they were more static. Even in one part they tried to get the audience involved into the dance but since the chorus was static during that part it was hard to get into the grove since the chorus wasn’t. The chamber and chorus singers were professional when they came to sing. The chamber especially since they all came in with matching clothes on, and the clothes that they were supposed to wear.
The feeling of the song was strong with a march-like beat, with strong woodwind presence giving it also a smooth sound. It makes sense that there was a heavy use of saxophone in particular, because Cardoso is a well-known saxophonist. The piece used imitative polyphony, but mostly stuck to homophony. Overall, the song was uplifting, especially due to the use of bells and crescendos. There was a main theme throughout which, according to the program, was representative
It had been utter silence for what felt like an eternity as the inhuman Santa Anna’s forces prepared for an all out attack. That was when the music started. It’s eeriness echoes through the land even now as it slowly gets more intense. One of the Tejanos looked extremely shaken and shared how it was known as El Deguello and it was played to let the enemy know they were about to be slaughtered. Everything is chaos now as my fellow defenders panic and pray to their gods.
Title: Adagio for Strings (1936) Composer: Samuel Barber (1910-1981) Summary: Short orchestral work taken from the second movement of his String Quartet, Opus. 11. Perhaps Barber’s greatest composition, leaving a significant impact on audiences around the world after its debut. Background information: This piece was composed in 1936 during Barber’s vacation in Europe.
This soundtrack became one of his more unique works, due to its emotional and developmental, yet simplistic structure. I found this entire score to be incredible and interesting, but I noticed the main theme, entitled “The Last of Us”, to be particularly stirring. This work is the first track on the record and truly sets the tone for the emotion, mood, and feeling of the game that the player will experience. The piece is divided into two main sections: the first part being the main theme, which is played in a slow, contemplative way, and the second part being the variation, which is faster and more intense.
There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.
This piece started off in major and it continued that way with the only relief of a minor key by the violin soloist. This piece sounded rather depressing all the way through. The third movement of the concerto was titled Allegro. This piece was the most enjoyable to me and I noticed that between the violin soloist and the rest of the orchestra, there was call and response taking place starting with the violin soloist. It was almost like a conversation between the two and you could visually see the soloist make different facial expressions, almost as if he was challenging them to do better than what he was doing.
First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.
The entire show lasted about two hours, there were two acts. Big stage, spoken theater acting ,scenery ,costumes ,and dance dipped into the Opera atmosphere. The style of this performance brought me to the Romantica Era and made aesthetically pleasing.