I attended the Montgomery Symphony Orchestra’s opening concert on October twelfth with my twelve-year-old brother in law. Before the opening piece, the orchestra was tuning and no one was quiet for their tuning. It was very rude to the performers that were trying to tune. People came in during the first piece as well. The person to my left kept hitting me in my shoulder. Most of the people that showed up were dressed very nice. The performers wore all black tuxedos and dresses to keep the attention on the music instead of the performers. The first piece was Symphony: Mathis deer Mahler Engelkonzert by Paul Hindemith. It started beautifully with no breaks in the whole piece. It swapped between dupe meter and triple meter quite often. There was a beautiful flute solo in the middle of the piece. One of the solos had the flute playing the melody and a prominent bassoon playing underneath the melody line. It was an unusually nice combination. The whole piece was magnificent. …show more content…
85 by Edward Elgar. The stage was mot appropriately set up for the cellist, so the maestro had to move the stand and set it up for her. The maestro is the conductor. Once the soloist, Natalie Helm, was on the stage, everyone clapped for her. She wore a beautiful blue dress that reached all the way to the floor. She started the piece just like Yo-Yo Ma did in his rendition. It looked as if she loved playing in front of everyone. When the maestro stopped between the first and second movement, the crowd clapped. Because of the clapping, the maestro did not stop in between movements again. Not breaking in between would have been tiring for the performers if there was no intermission. The piece had pizzicato notes in all of the string sections. The cellist’s pizzicato notes were the best. She played virtuously. None of her pitches were off, even with the highest note on the cello that she played. It was beautiful to watch and
The overall pitch of this piece is low but the piano during 2:18-3:17 gives variety by introducing a higher pitch.
It started out as a jolly, syncopated tune that was played at a relatively fast tempo. The song was played at a mezzo forte, but went into a crescendo, then reached a chord. After the chord was hit, the violin had a solo, and played a variety of rhythms, tempos, and tones. Eventually a countermelody joined in and changed rhythms, tones, and dynamics throughout the violin’s solo. There were also several dissonant sections throughout the song.
The Poem for Flute and Orchestra (1918) originally written for Georges Barrère demands high lyrical virtuosity from the performer. Technical aspects of performance all should serve to interpret the lyrical characteristic of the piece. Poem was first performed on November 16, 1919 by the New York Symphony Orchestra conducted by Walter Damrosch with Georges Barrère as the flute soloist. The atmospheric opening is heard as a refrain throughout the work, there are sections of dense chromatic language, polymetric dance, and enlivening technique.
Bach-Brahm Project Concert No.1 Did you know that Joel Schoenhals, Professor of piano at Eastern Michigan University, is a foreign expert at Central China Normal University in Wuhan, Hubei, China? I was able to attend his Bach-Brahm Project Concert on September 23rd in Pease Auditorium at Eastern Michigan University, not only to enjoy the music, but to hear and understand the piano in different major and minor keys on a professional level. It mainly focused on him playing the piano and gave really interesting facts about piano music history. In this paper, I will be discussing what the different major and minor keys signify for each different mood, the two main composers Joel Schoenhals played, and how this event relates to my UNIV and speech class. I had intermediate knowledge going into this event because I was a former aristocrat in high school and had to listen and perform in different major keys.
The piece included a slow tempo. I am not quite sure, but I believe I heard Merry-Go-Round played by one of the trumpet players. The ending to the piece had a continuous pattern of crescendos and pauses. Consequently, the audience became confused because they didn’t know when it was over. I thought it was a humorous way to “include” the audience.
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
This orchestral composition is a skillful combination of these elements that makes this classical piece one of my favorites. The instrumentation
I attended to a concert performed by the San Francisco Symphony Youth Orchestra on November 13th this year. This concert took place in the Davies Symphony Hall in San Francisco. I chose to attend to this concert because I have never been to a performance by any youth orchestra, I was curious to see how their performance would compare to other orchestras. The first of the three piece that were performed in this concert was Maenads’ Dance, from The Bassarids, composed by Hans Werner Henze. A variety of instruments were used in this piece, including woodwinds, brass, percussion, and strings.
Concertino for flute and piano, Op.107 Cécile Chaminade (1857-1944) Cécile Chaminade (1857-1944) was a French composer and pianist. Her mother, a pianist and singer, provided young Cecile with her earliest musical instruction, who at a later age began to experiment in composition. Her father’s disagreement prevented her from attending the Paris Conservatoire, so instead she studied privately with members of its faculty, which included Benjamin Godard. She started composing music at the age of 8 and performed abroad at the age of 16. Chaminade became a successful composer and concert pianist in the early 1900s, with a tremendous popularity in the United States and was one of the first French female professional composers.
It is forceful and heavy and is very different to the accompaniment of the first section. The accompaniment has a sudden crescendo from the pianissimo of the first section to the mezzo forte of the second section, which shocks the audience. The harmonies are also more chromatic and dissonant, adding to the unease and discomfort felt, both by the character and the audience. In bar 23, instead of the dyads, the left hand begins playing octaves while the right hand plays chords, making the piece feel more menacing. The crescendos, diminuendos and sforzandos in the accompaniment, and the harmonies accurately portray the second and fifth stanzas of the poem, where the character is pulled from his lovely dream and sees his reality, where it is cold and he is alone.
It is played in a homophonic texture with the first violin leading and the other instruments accompanying with the same rhythm. Each instruments remains separate but the first and second violin play parallel thirds, sixths and tenths at time mark ‘0.12’ or bar 9. There are imitative entries present in the piece where the violin melody is taken up by other instruments seen at ‘2.32 to 2.40’, bar 112 to 119. Double stopping is a string technique used in which two notes are played at the same time which can be seen in the ending Adagio section, ‘3.13, bar 149’. In reference to dynamics, this piece starts off with Piano as we are introduced to the theme.
The way the conductor opened the show was very nice. As I walked in some of the violins were playing sweet melodies until everyone arrived and took a seat. They asked us to shut off our phones so we would not interrupt the concert. They had an itinerary for us to follow along with all the songs but they did not play every song that was on he itinerary. Also,
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 Lovell High School Concert Band had an amazing concert on the 30th of November. The songs included Celebration and Tribute, Sleigh Ride, Spirit of the Highlands, with a bonus of the combined band on Jinge, Jinge, Jingle. While all the songs were good, they were not spectacular. One that stands out to me is Celebration and Tribute. While Celebration and Tribute is not an extremely a technical piece, it still has its moments of fast notes and rhythms.
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.