Bob Jones University Woodwind Ensemble: Concert Report One On Wednesday, March 14, 2018, I attended the Woodwind Ensembles that was held at Bob Jones University. There was a total of nine well-performed pieces from the students that sounded very pleasant and harmonious to the ear. The woodwind ensemble consisted of various types of wind instruments such as the flute, oboe, clarinet, bassoon, English horn, bass clarinet, bass flute, alto flute, and piccolo. The transition from one piece to another was smooth with good variations of tempos, meters, style, and movements. The first opening piece of the evening was Trio No. 2 in F Major, Op. 83 Allegretto. This piece was originally composed by James Hook between the time of 1786-1832. This musical …show more content…
The generic name of the piece is Trio, Op. 87 Finale: Presto. This piece was played by three musicians with the following instruments: an oboe, clarinet, and English horn. This piece was fast paced and in a homophonic style. The abrupt silence in between the themes seemed to build a form of climax to the piece. The English horn gave this piece so much character appropriate for the era it was composed. Throughout the piece, I like the way the English horn was the foundation of the piece and with accompaniment and response of flute and oboe made everything flow together so euphorically. The sixth piece of the evening was Canonic Sonata No. 2 in D Major TWV 40:120 Spirituoso composed by G.P Telemann. You can definitely tell that this piece was composed in the baroque era. You can hear the elaborated musical ornamentation throughout the piece and the canon technique of both flutes in a major scale. The sound of this piece sounds jolly and yet adventurous with its steady consonant tempo and trills. This by far was one of the shortest pieces that I heard throughout the evening and yet …show more content…
1 Op. 18 Scherzo composed by Felix Mendelssohn. This piece was performed by five musicians four of which played the regular clarinet and the fifth musician played the bass clarinet. I never knew a bass clarinet existed, but now I know that it does. It looks very similar to a saxophone but played really low notes similar to a bassoon if not lower. The ending to this piece was a bit ire due to the Allegro and crescendo ending and the use of the bass clarinet to emphasize emotion. Overall, a great piece to hear due to its variations of contemporary sounds that brought intense emotion, especially towards the
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.
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.
On the day of Sunday April 10th, I went to a jazz ensemble concert at the Trinity University Ruth Taylor Recital Hall. This hall was much larger than the previous performance I attended. My first impression of the group was that they were relaxed and comfortable. For instance, when the drummer winked the drummer gave when the director explained his switch from the trumpet to drums.
The stringed instruments were the accompaniment; therefor, they began with harmonics, chromatics, and tremolo for various measures rather than having a moving part. The melody was given to the flutes and soloist, Sami Junnonen, who was also very talented. The song was about 22 minutes long and he had the whole piece memorized. It sounded very sad, but soothing simultaneously. There were visuals around the theater, which made it easier to understand and visualize what Lopez was trying to describe when writing the song.
The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).
This orchestral composition is a skillful combination of these elements that makes this classical piece one of my favorites. The instrumentation
The Baroque period was identified as the “Age of Absolutism” because it was a period where rulers practiced their full power to control subjects. Also during the Baroque time frame music became more leant about where it was played. Instead it only being played at churches and occasionally in some courts, it was being played at specific functions and operas. It was at this time that operas were established for the first time in history. Musicians at this time were employed for aristocrat’s courts, churches and operas although they were considered high positions yet still viewed as servants.
The last piece of the performance was Symphony No. 6 in B minor, Opus 54, written by Dmitri Shostakovich. This piece also has three movements, and they are Largo, Allegro, and Presto. The piece starts off with a homophonic texture, followed by several changes in tempo and dynamics. The middle of the piece was mostly very quiet and slow.
Ferdinand De Jean, a Dutch flautist, ordered Mozart to write 4 quartets and 3 flute concertos, but Mozart only completed three quartets and one flute concerto. Instead of composing a brand new flute concerto, he rearranged the oboe concerto he had written earlier that year as the second flute concerto, which is divided into 3 movements: Allegro aperto, Adagio non troppo and Rondo: Allegretto. The concerto is an excellent showpiece and is widely performed by soloists nowadays. Listening to this well-written repertoire, it is hard to believe that Mozart disliked flute or that this piece was originally written for another
The woodwinds starts the section off with the Dies irae as a fast staccato
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
Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion.
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
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.
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.