Concert Observation Essay

The first movement, Allegro ma non troppo, is very fiery and powerful. After an initial flourish of piano solo, the violin brings forth the main theme, a romantic, almost heroic melody. As the theme is developed fast passages create a sense of urgent drama. The middle movement is very unique because of its title Improvisation: Andante cantabile. The tranquil violin passages give the impression of improvisational material.

The final stretto consists of the treble, tenor and the bass echoing the subject at regular intervals. Though both the Prelude and the Fugue are typical of Bach’s style, its accessories overlap with the main motif, giving rise to a lighter, melodic tune. Sonata in A

The music flows well, especially in there the transitional sections when the tempo slows down. There is a resounding theme that is always referenced too. I love this piece by Haydn. The first time I heard it, it indeed gave me a surprise.

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A review of a recording of the finale (4th movement) of Haydn’s String Quartet Op. 33 No. 2 The recording of the finale (4th movement) of Haydn’s String Quartet Op.33 No.2 that I have decided to review for you today is performed by the ‘Ariel Quartet’. This performance has a strong sense of togetherness and the performers give a sense of enjoyment through the performance. From research I have learned a lot about the background of this piece and about Haydn himself.

The length of this movement itself (691 measures) is as long as a whole symphony in the previous generation and it is what made this movement ‘heroic’. Beethoven treated the main melody in this movement like a character in a drama. Beethoven started an unusual trend in the exposition by letting the cello play the pastoral theme which outlines an E-flat major triad. The triple meter is another bizarre trait, yet when it’s combined with the tempo of this movement; it reminds the listener of Deutsche peasant dance. The primary theme (see fig.

This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).

The Tchaikovsky violin concerto is extremely popular and devilishly difficult to play thus carry the label as the pinnacle of the performance career. Tchaikovsky began his violin concerto in March 1878 and completed it on April 11.Tchaikovsky’s violin concerto was greatly affected by violinist Yosif Kotek during the compositional process. Kotek works with Tchaikovsky in the earlier stages of composition and there is also evidence to suggest that Kotek was the inspiration for the conception of the piece. It sprung in desperation but burst in fame. It is packed with Tchaikovsky’s typically exciting Russian tunes and explosive violin stunts.

In the A section, the accompaniment is in pianissimo and is meant to played etwas bewegt or somewhat with movement. Most of the harmonies in this section are diatonic and functional. The piece begins with a E major arpeggio in its first inversion, or a V6 chord. Most of the accompaniment in the A section consists of arpeggios in the right hand, with a chord in the left hand played on the first beat. This continues throughout the A section.

The melodies in The Magic Flute always linger on hours after I have listened to them. What is more, the conductor of the version I listened to, Riccardo Muti and the Wiener Philharmoniker excellently executed performance of this beautiful,masterful work. Lastly, The Magic Flute contains one of my favourite arias ever written because of how dramatic it is but more importantly how technically demanding it is and it is none other than the famous Queen of the Night aria (translated to English), ‘Hell’s Vengeance Boils In My Heart’ and specifically the version sung by Edita

The performer was very skilled on the organ and played this piece beautifully, Marshall seemed confident in his performance and looked like he was enjoying playing it. Sonata VI was a fast to very fast tempo, throughout the entire piece. In the program the piece was said to be allegro molto meaning very fast. Again, the piece was very spiritual like the first and had a catholic harmonic feel as well. The audience enjoyed this piece, their eyes were closed letting the music flow through them.

During our concert we messed up, but played well. All together I think we did pretty good. We did really good at starting and ending notes together. In a section of the music the section repeat the same rhythm but at different times. The whole band sounded together.

With some aspects being more present than others yet not knowing that there are other parts of my cultural inheritance that have influenced me more than I may think. Complex parts for each voice that make up a seemingly simple melody. As a violinist, I have deep sentimental feelings about my instrument and what it has done for me over the years. Playing a concerto you are the soloist and the symphony is accompanying you. It does everything it can to help the soloist sound good yet the soloist also needs to stay with the symphony and help cue the other instruments.

This song is loud throughout the piece. It starts out instrumental. It is in a minor, almost scary tune. They use crescendos very often. Accents were often used as well.

but it was the performance I identified with the least because I didn’t know any of the songs they sang. However, I loved the instruments that accompanied them. The cello, violins, and bongo were new and exciting and it really got me excited and