Classical music concerts are a unique live music experience that everyone should experience at least once in their lives. Ira Gold, an exquisite double bass player, performed live in Organ Hall at Colorado State University. He chose three powerful pieces: Suite No. 1 in G major, From Jewish Life, and Sonata for Arpeggione. Each piece of work had its own character and added a different dynamic to the concert in its entirety. The first piece, written by Johann Sebastian Bach, had six different movements. The first movement is the most known portion of the music; it has a very uplifting feel. The volume stays at mezzo-piano until the next movement. Tempo ranges between andante and moderato. Each note in this prelude is accented and distinctly …show more content…
The very first part of number two shows a theme that reoccurs throughout the entire movement. After following such a strict rhythmic pattern, the piece gradually works its way into more of a Baroque-style dance song. There are multiple, short cadenzas (solo passages) strung together to make for an upbeat dancing beat. This portion of the piece is played around mezzo-forte. The third movement of Suite No. 1 is the most somber of all. The tempo slows to adagio, and the volume is around mezzo-piano. There are multiple ritardandos, with the music temporarily pulling back, or slowing down. There are also three quick moments of silence which adds to the dramatic feel of this movement. The beginning of the fifth movement sounds very similar to how the fourth movement sounded, but gradually works its way up to something more. Starting out slow and emotional, the prelude of movement five is played in mezzo-piano and at a speed near adagio. The volume crescendos into mezzo-forte; as the volume increases, so does the complexity of the instrument. The ending is extremely fast and powerful and finally pulls all of the slower moving portions together in a grand finale. The true
14 in C-sharp minor, Op. 27, No. 2 by Ludwig van Beethoven. This piece sets a down mood that isn’t as bright as the other pieces Nel played due to its minor key. However, the sound of this piece is really intense and emotional. This piece has a very smooth melody and demonstrates syncopation. Also, the dynamics of this piece are low. As discussed throughout class, this piece has sonata-allegro form. This means that it has an exposition, development, and recapitulation. The first movement is slow since it is adagio sostenuto, the second movement is brisk since it is allegretto, and the third is quick since it is presto agitato. Beethoven uses a continuous soft dynamic and a smooth wave-like rhythmic pattern. The texture of this piece can be described as mixed between homophonic and polyphonic. Lastly, this piece required Nel to constantly use the fortepiano levers to create the piece’s distinct
I have been to many different concerts throughout my life but this year I experienced two exceptionally unique ___ that I had never seen before. The first one was a spectacular chamber recital that took place at the Chicago Symphony Orchestra performed by pianist Yefim Bronfman and violist-violinist Pinchas Zukerman. The program included Schubert's Violin Sonatina No. 2 in A Minor, Beethoven's Violin Sonata No. 7 in C Minor, and Brahms’ Viola Sonata No. 1 in F Minor. The second was a performance by the notable quartet “Anonymous 4” presented by the Universality of Chicago at the Rockefeller Memorial Chapel. The program included a series of medieval French motets from the 13th Century French polyphony, taken from the Montpellier Codex. The two performances were extremely different in nature and but at the same time very similar in what they were trying to achieve. For instance, while the first concert consisted entirely of an instrumental performance, the other was exclusively vocal. However, both were able to bring to life great examples of iconic artists from our past. I left both c...
...xcited to have this experience. Part of the drama of the concert at first is felt when the musicians come in and sit down and begin tuning up their instruments. I would not be able to comment on the performance of the orchestra. During the performance, I seen the audience were moving with the music, but I felt like that everyone seems knows more music than what I learned throughout this semester. After I went home and did some of the research on these music I finally understand why these people like to attend the orchestra concerto, it was because that every piece of music has a history behind it. The Los Angeles audience seemed to me to be people who know music and who will listen to something new in a respectful way. All the same, when the more familiar sounds of the last piece were heard, I could feel a little sense of relaxation and fun coming into the room.
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had already been playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation before moving firmly into the minor in the coda, with the movement ending with an emphatic statement based on the first subject.
The 2nd movement: A Ball. This movement is representative of the gala ball where he once again sees his beloved. This section is a dance movement in three parts. The Idea fixe reappears in Waltz time. The 3rd movement: Scene in the Fields.
On Friday, November 15, 2013, I attended a concert that I found very interesting. It took place at 7:30 pm at the First Presbyterian Church of the Covenant. The group performing was the Erie Chamber Orchestra, but as a special the Slippery Rock University Concert Choir was also there. During the performance I attended, two pieces were performed. The first was a Mozart piece by the name of Symphony No. 41.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
3. BWV in D major. Johann Sebastian Bach wrote four Orchestral Suites. This piece is the second of the five movements that compose his Orchestral suite No. 3. The date it was composed remains unsure, as there is strong evidence that the writing of the piece was done during his years at Köthen, even though the piece is said to have been composed and premiered some years later in Leipzig sometime between 1727 and 1730 by his son Carl Philipp Emanuel Bach, one of his students and himself. Johann Sebastian wrote out the main violin and continuo parts, C.P.E. Bach did the same with the trumpet, oboe, and timpani parts, and Johann Ludwig Krebs, his student, finished with the second viola and violin parts. Regardless the authors of the piece, Johann Sebastian Bach ended up getting all the credit for the piece. Air stands out as one of his most famous and successful pieces of the Baroque period, as well as of his life. The beginning of the piece is one of the most recognizable melodies of the Baroque
From the Classical period and onwards, sonata form became the basis for most instrumental music. Sonata form became established as the clearly defined structure of the first movement of instrumental compositions. This form consists of three sections: exposition, development, and recapitulation. If you have studied anything about story form, you know a lot about Sonata form, because they are identical in their purpose. The exposition (same word is used in music and literature) sets the scene. This section is where the musical themes are introduced, the mood is set, and the key, main rhythmic patterns, and harmonies are stated. The second section, the development, is like the "heart" of the story. This is where the music explores the themes, keys, rhythms, and harmonies, and weaves the musical material into something new and interesting. The development should sustain your interest, make you wonder what is going to happen next, just like in a well-told story. The final section, the recapitulation, is like the closing section of a good story. In the recapitulation, the opening material comes back, but everything is resolved and finalized, just like wrapping up the loose ends in the story.
I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias who was the conductor and Martin Chalifour who was the LA Phil commanding Principal Concertmaster and Bach violin player. In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffer introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience.
In the brief fourth movement, Berio returns to the serenity of the second, providing a relief after the frenzy of the third. The most prominent text on this movement is “Rose de sang” (Rose of Blood) and its phonetic parts. Berio also quotes again Mahler’s 2nd Symphony, now more specifically the fourth movement which’s text “Röschen Roth!” (Red Florets) relates to his chosen text. The movement is made of four sections, which begin with an oscillation between the two opening notes of Mahler’s 2nd Symphony fourth movement: Db and Eb. The voices alternate on various vocal effects, such as whispers, syllabic fragments, and distortions of previous textual material. Hicks points that the connection between the third and fourth movements could cause
The piece opens with an allegro, minor melody with cymbal crashes and timpani rolls. There is a short pause then a major trill. Harp glissandos then accompany a legato oboe melody, which is repeated with a pizzicato string bass. The melody is then repeated by the whole orchestra. There is a crescendo with the tim...
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
The first segment of the piece is an orchestra composed of cello, violin and bass instruments. The segment is divided into four sub-segments. The orchestra play a forte then a decrescendo to a mezzo forte. As the four sub-segments, the transformation to the second segment is brought into by a decrescendo that is a slightly slow. The tempo is less instinct which puts emphasis on the basses and cellos. The timbre of the first segment is the balance of the string instruments with the snare drum in the background.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.