Concert Observation Essay

9 in D minor opus 125, represents the height of Beethoven’s creativity and intelligence and in a sense can be regarded as a culmination of the trauma he endured because of his loss of hearing. Furthermore, the work is a very powerful force and especially if it is experienced live. One understands and appreciates the sheer genius that was Ludwig van Beethoven and this work, even though it is over 190 years old, is still able to resonate with audiences all over the world. The last movement is one of my favourite pieces of music to listen to and analyse because of the emotional, creative and intellectual thinking it entails. The recording I listened to was the Folsom Symphony and Sacramento Master Singers "Glorious Beethoven" March 25, 2012. Beethoven Symphony No.9 "Choral" Movement IV. Michael Neumann, Folsom Symphony Music Director & Conductor. Soloists: Robin Fisher, Soprano; Buffy Baggott, Mezzo soprano; Jaeho Lee, tenor; Burr Phillips, Bass. Chorus: Sacramento Master Singers with American River College Chamber Choir. Dr. Ralph Hughes, Music Director. Folsom, California. I chose this one to write on because not many orchestras achieve the meaning of the music but this orchestra came very close to interpreting this beautiful and powerful piece of

One event from American history that I wish to have experienced would be the opening night of Carnegie Hall in 1891. Carnegie Hall has been important in the development of American History; it is one of the most significant venues for classical as well as popular music in America. Musicians from all around the world come to Carnegie Hall to perform for its renowned acoustics and beauty. This exquisite concert hall, drawing the world’s greatest artists, has set the guidelines for excellence in music since it opened in 1891. It was Andrew Carnegie, himself, who said, “It is built to stand for ages, and during these ages it is probable that this Hall will intertwine itself with the history of our country.” This moment has great significance to

Dr. Sheri Neill introduces herself and explains that she has different degrees in music and education from Texas Tech University, Stephan F. Austin University, and University of Missouri. Then she introduces Cheryl Lemmons, which is the pianist that was sitting at the piano located right front of the stage. There was a choir that was located center stage with the conductor directly in front of them. The choir consist of only women, which seemed to be alto and soprano singers. They began with their first piece “Wir Eilen Mit Schwachen, Doch Emsigen Schritten” written by S.J Bach. The song starts with the piano playing a nice melody as an introduction, which has a steady beat as well as steady tempo. Then the sopranos began singing softly with the altos following behind imitating and singing the words with a lower pitch. The piece seemed mostly polyphonic, yet there are many times when it is homophonic and

Hello friends, and welcome to my blog! Today, I will be sharing with you guys a really nice art song by romantic composer, Franz Schubert.

It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the

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 piece comprise of many musical instrument particularly string, brass, and woodwinds. The composer also use repetition in composing as the first part is repeated at the end of the piece, but with more sophisticated dynamics and timbre. In my opinion, the piece by Richard Wagner is a very good example for the topic of Basic Musical Concept that introduce many essential parts like referential listeners and structure of

Richard Strauss (1864-1949), was a leading German composer and conductor. His orchestral compositions and operas have made him one of the best known composers of the late Romantic and early modern eras. While Strauss did not pay much attention to his chamber music in his later life, in earlier years he tried to compose several different types of chamber works such as a string quartet, two piano trios, a piano quartet and several instrumental sonatas. Now I will introduce his last work of chamber music, the violin sonata.

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. The first movement of the Swan Lake Suite, Scene, which began with the violins playing with an oboe solo on top. The oboe was playing various crescendos and decrescendos at a mezzo piano dynamic and the tempo was moderate. This ends with the high woodwinds playing a string of the melody, passing it to the low brass with the strings very quietly in the background and then what seemed to be a diminuendo. The second movement of the Swan Lake

In the year 2012, the National Symphony Orchestra of Cuba made a historic visit to the United States. I opted to witness the orchestra in the town of Aiken, South Carolina. I was extremely excited to experience the reaction to the orchestra in the South America. The performance of the band was scheduled by 9 pm on Tuesday, 2ND November, at the Etherredge Center, Aiken. As I reached the center, I saw that a studio theater was prearranged as the green room for the band. Some snacks including sandwiches and cookies were laid on tables in the passageway connecting the hallway and the lounge. The auditorium was packed with the Cuban- American spectators. The visual magnificence of the orchestra and the attention of the listeners heightened my excitement.

I chose to attend the ISU Jazz Combos concert on Thursday, February 18th in the Martha-Ellen Tye Recital Hall. I chose to attend this particular concert because from fifth to tenth grade I played the alto saxophone, and was a part of a jazz band in middle school. Jazz band was my favorite thing about playing the saxophone, and I loved the occasional improvisation solo I would get to perform. Although I like jazz music, I never have attended a jazz concert other than my high school jazz band concerts. Attending a concert at Iowa State was new to me, but I was excited to get back into the “jazz” of things, and was overly pleased with the two different jazz bands that performed.

Mimi Dye performed Harold in Italy, Symphony in Four Parts with Viola Obbligato, Op.16 by Hector Berlioz. A famous violinist wants Berlioz to write a concerto to enable him to show off his new instrument, and then Berlioz began writing “a solo for viola, but one which involved the orchestra in such way as not to reduce the effectiveness of the orchestral composition.” There are four movements in this symphony. The first one is titled “Harold in the mountains”. With low-pitch sound and short duration provided by horns, cellos, and trombones, the music creates a deep melody, from which I can image that someone is trying to escape in nature. After that, there is a peaceful and gentle viola solo performance.The music makes me image that the one who escapes in nature see some beautiful senses, which makes him stop running. The second movement is entitled “Procession of pilgrims singing the evening prayer.” In this movement, all the instrument played in a perfectly harmony. The melody of violin is elegant and smooth; at the meanwhile, the sound of cello integrates in to the music, which makes the music not too dry and light. Since there is viola solo part included, it drives all attendants’ attention because it creates a delightful and relaxing vibe that everyone can calm down and deeply appreciate the music. This music in the second movement makes me image that the man is determined to start

The Burton Parish Church located in Colonial Williamsburg, Virginia hosted a Candlelight Concert held every Saturday all year long and every Tuesday and Thursday’s only in the month of March.

The piece that were played next was Praeludium in G Major performed by Stephan Distad on the organ. The piece began with short rapid notes. As it progressed, the texture became polyphonic as unwinding and expansion of each melody line overlapped the original, resulting in three interchangeable melodies. The rhythm were energetic. Short, melodic and rhythmic phrases were commonplace, including the basso ostinato, a melody set over a repeated bass pattern. Tempos were fast at the beginning of the piece and slow towards the end of a piece. Major scales were used as the basis for the tonal centers of pieces. Cadences at the end of sections were strong, and harmonic movement included repetition of a series of chords at a higher pitch. The unity of mood in this particular piece expressed one basic mood of joy as it remained the same throughout due to the polyphonic short and rapid notes repeatedly played as a rhythmic pattern.

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.

Beginning in the somber key of D minor, the overture begins slowly with the melody alternating between the low strings and low brass sections (Fiedler, Arthur). Although the overture has a relatively long introduction, the suspense built up is abruptly shattered by a sudden modulation to D major and an eruption into the first statement of the motif by the violins. Characterized by a descending sixteenth note pattern, the motif has a tremendous energy that eventually gives way to a calm, relaxing atmosphere led by the woodwind section (“Overture, Prince Igor”). After a lengthy interplay between the woodwinds, brass, and the strings, the overture then gains momentum again, reintroducing the motif. Although somewhat broken up this time, the motif is apparent, being embellished in short spurts again by the violin section. After the energy again dies down, the entire orchestra begins a quiet yet energetic return to the initial introduction theme. After repeating the motif again in its original form, the orchestra energetically advances the finale, a whirlwind of excitement that includes virtuosic sections in each section of the orchestra. The overture concludes with several stately chords, finally ending on a low, grand chord (“Overture, Prince Igor”). This overture is a wonderful representation of Borodin’s nationalistic style, as it sounds predominantly Russian. Furthermore,