At 9:00 on the 20th of October, Director Leonard Bernstein began the opening act to the YouTube Concert, the “Overture to Candide”, with an abrupt introduction, cutting in the London Symphony Orchestra before the applause had even died down. Following the first movement, Bernstein and the London Symphony took a leave of absence, replaced by Seiji Ozawa and the Boston Symphony Orchestra to perform Dvorak’s Humeresque, heard clear over the clatter of the IHop Express. Bernstein then returned, this time accompanied by the Orchestra National de France, to finish the event with La Valse, written by Maurice Ravel. The entire night composed of a wonderful harmony of pieces, perfectly orchestrated for a class assignment. Bernstein’s sudden start to the night was not unplanned, …show more content…
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 movement as a whole also followed a wavelike flow of volume and energy, slowly rising in volume and incorporating features such as glissandos and harsher instruments, before quickly falling back down. Each “wave” throughout the piece was shorter and reached higher than the previous, continuing this pattern until the very end of the piece. With the single wave of the conductor’s arms and 3 stuttered notes from the orchestra, the concert came to an end as abrupt as its beginning. The audience erupted in applause before the final notes had even begun to fade from the concert
1. It was one of her biggest crowd’s since the 1990’s. 2. Many of the audience member’s were fans who gave the performance 10’s 3. The auditorium resounded with they’re bravo’s and more’s 4.
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
Music has a powerful impact on people, and can change people in a dramatic way. When people go to concerts, they don’t only listen to the music being played, they also look at what music and songs they are playing or singing, and the order of the songs. The order of the concert has an effect over whether the audience will enjoy the music or not. Above, I listed what I think the order of the songs should be. The concert repertoire should be in this certain order, based on our concert’s intended purpose, what our audience is feeling during the concert, and what Christmas means to each individual in the audience and performing.
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
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 varied witches’ dance is imitated by bassoons, horn punctuations that are followed by the low string section with a mezzo-piano dynamic and in the brass section the chant of Dies irae (Kamien, 2014: 299). The fugue theme of the witches’ dance is introduction by the lower strings and then imitated
It started off pretty slow and peaceful, and the audience became relaxed. It began to increase in speed, and all of sudden the percussion came out in full force. It woke the whole audience up and brought life back to orchestra, who had begun to lose energy. It was funny when the violinists stop playing and it got quiet, and then they picked back up again, and stopped. The audience was so confused.
The opening piece for the evening was “Entry of the Gods into Valhalla” written by Richard Wagner. This specific song was taken from Das Rheingold and was written in the Romantic Era. “Entry of the Gods into Valhalla” starts with deep mysterious music
Introduction Roger’s and Hammerstein’s The Sound of Music is arguably one of the most well known films that many can admit to watching at least once in their lifetime. People all around the world have found this musical inspiring, as it documents growth and hope amidst the horrors of World War II. This incredibly well written film is based on the story of the Von Trapp family who escaped Austria when the Nazis invaded it during the war. Part of what made this movie so interesting on so many different accounts was the music that accompanied the vivid and exciting scenes. Without music, many could agree that our world would be a sad, quiet, dull and depressing place.
This Chaconne begins with a singing violin melody almost beguiling in its character, with a natural sense of ebb and flow that traverses numerous episodes. With the addition of double stops and chordal textures, the intensity gradually rises until it reaches the breaking point where the violin charges forward through a frenetic, virtuosic passage. The tension and register continue to rise to the point where the violin sounds as if it is screeching. The drama resolves in the brief coda as the frantic energy unwinds and the violin fades away into the
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.
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.
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.