Orchestra Reflection Essay: performance at Citrus College What are quandaries our orchestra can take “note” to further amend until our next concert? At Citrus college, the Diamond Ranch High School orchestra performed three pieces, The American Quartet, Andante from Symphony Number Four, and Waltz Triptych. The three judges designations are Gilpin , Robinson, and Schuster. They each commented on intonation, dynamics, and stylistic distinctions that can be picked up on. The first musical composition played was the American Quartet, by Dvorak. The most assiduous comment made by all of the three adjudicators is pellucidity . Gilpin states that we should be more precise on our notes because we require a “cleaner” sound. He additionally mentions our intonation, which was not locked in, and a more preponderant dynamic contrast. Robinson elaborates on visually examining the conductor in order for the orchestra to fine-tune any tempo discrepancies between individuals and sections, as well as the majestic violas projecting their playing more often. Schuster’s comments concretely fixate on intonation with the high voices (violins), and to internalize the pulse of the music. The orchestra’s positive points include the ritardando, which was only possible through visually examining the director, uniform bowing, and an invigorated base of fundamentals. Clarity could be worked on by bowing more gradual on lower notes, applying enough pressure on the bow to achieve tone
One of which was the unbearable learning curve of playing an instrument. The early years of our orchestra performances of “music” was relatively similar to a swarm of bees and I was surprised that our audience could sit through our torture, but Maestro Johnson did not yield to the challenge that was in front of him. He did not give into our lifeless prowess; instead, he helped give life to what I can call music to my ears. Day in and day out, he would continue to stand at the heart of our orchestra, as our conductor and as our mentor, and ensured that every time we laid foot into his class, we improved both in musical talent and in self-identity. Maestro Johnson allowed the weight of the orchestra to rest on his shoulders as he carried us to greater heights, making leaps and bounds to the peak of success.
Music Appreciation Analysis SSG River-Ayala, Sammy J. Columbia College Music Appreciation 122 Abstract We will cover Beethoven’s Fifth Symphony classically derived we will identified romantically inspired sections, comparing Beethoven as sonata form in the earlier symphonies of the Classical composer Mozart. Last but not lest we check the final three movements of Beethoven’s Fifth Symphony. Beethoven A musicality is extremely identifiable, regardless of the possibility that the writer changes every one of the notes and the harmonies. Along these lines, Beethoven utilize the cadence of the Fate theme heaps of times all through the fifth orchestra, to entwine everything the main development
The ambiguous sounds of the middle, give an uneasy feeling of impatient monotony, while the concluding movement is in a revelatory and joyous mood with occasional clashings of dissonance and jazzy inflections. The two Serious Little Pieces are charming miniatures: the first, a swift pointilistic whirlwind, the second, a slow waltz. Scored for wind quintet with baritone saxophone, a rustic sound is
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.
A comparison of the Beijing Opera and the Italian Opera reveals a significant contrast in almost all fundamental areas of music between the two examples. Because of cultural influences, the two performances share little commonalities, as the timbre, medium, elements of pitch, rhythm, dynamics, form and phonic structure are definitely not similar. For instance, the musical and physical performance dynamics of the Beijing opera music are forceful, the timbre is loud, tinny and harsh, the rhythm is lively and vigorous, while the Italian Opera music has a gentle dynamic, steady and rolling rhythm and an emotionally deep timbre. One commonality that is noted for both examples, is the powerful delivery of the entertainment.
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.
Composer Igor Stravinsky wrote an essay about orchestra conductors and his point of view on them. To express his opinion, he used many rhetorical strategies to further explain his thoughts. First, Stravinsky uses aphorism to illustrate a common belief; taking the belief that, “if you are unable to listen to the music”(43-44), at a concert then you can watch the conductor, but “if you are able, you had better not go to the concert”(45), he explains that people often mistake, “the conductor's gestures for the music’s meanings”(33-34). This shows that he views conductors as unessential and visually distracting to the audience. He even goes as far as to use the word, “corybantics”(44), to describe how conductors move.
Throughout the years, America went through an immense transition of both music and culture. The musical revolutions during the twentieth century and earlier years left an enduring mark on the musical culture of the country, combining different rhythms and melodies to create unique musical hybrids that attribute to the equanimity that would be spiritually given to every American citizen. The classical genre of music was emphasized through many composers who enforced a world full of righteousness, and their pieces that helped create the ideal that every United States citizen should be able to achieve success and prosperity through hard work, determination, and initiative. America was influenced by a particular composer whose pieces during
This orchestral composition is a skillful combination of these elements that makes this classical piece one of my favorites. The instrumentation
This work calls for flute, pairs of oboes, bassoons, horns in G and trumpets in C, timpani, and strings. Similar to Stamitz’s, “Oxford” symphony is written in four movements and has similar tempo structure; I. Adagio-Allegro Spiritoso, II. Andante Cantabile, III. Menuetto, Allegreto, IV. Finale: Presto.
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.
The violin, an instrument that I once despised, has led me to the point of being able to perform anywhere. Furthermore, without having had the perseverance to continue to play this instrument, I would not have become the person and musician that I am today. The musical notes written on the page before me were ingrained in my memory, allowing me to catch the reflection of their image on the shiny wooden floor below. As my gaze moved across the audience, I was captivated by the tiny arc of lights that outlined the innumerable levels of red velvet seats.
The Appalachian Symphony Orchestra performed, Celebration and Remembrance. The orchestra opened with Fanfare for the Common Man. Which was conducted by Mr. Smith. It was a great way to start off a World War II and Civil War Memorial concert. It was the opening piece and the orchestra was full of energy, and came out loud and with the bang.
Prior to this, I have never attended a classical concert. I actually had no clue as to what to expect because I could not find a review for UH concerts. The Jazz Orchestra performed in the Moores Opera House on a stage setting similar to that of my middle school band. The band instruments were tiered on the risers while the other performers were simply beside the risers. There were a few noticeable differences such as, the microphones set in the center for soloists, and a marker hanging from above to mark the center of the stage.
This movement begins with a beautiful love song until a turbulent middle sections rudely interrupts its dream-like reverie. The finale, Andante-Allegro, begins with a quiet, introspective introduction in the piano alone which then leads into an exuberant Allegro. At the Allegro, the violin breaks forth with ascending, slashing passages from its lowest to its highest register, creating a sense of drama and importance. However, then comes a playfulness that sneaks into the music almost without notice. And then after a rush of virtuosic passages from both violin and piano, the sonata comes to an explosive end.