On Sunday, May 6th, 2018, at the California State University of Northridge’s (CSUN) Younes and Soraya Nazarian Center for the Performing Arts, the Camerata Strings, Chamber Ensemble, Symphony and the Combined CSUN Youth Philharmonic Orchestra and CSUN Symphony Orchestra performed. These groups performed a variety of pieces throughout the Gala Finale. The Camerata Strings, conducted by Kim Kilgore, performed One Hand, One Heart from West Side Story by Leonard Bernstein, Pizzicato Polka from the ballet Sylvia by Leo Delibes, Aria Ready for a Little Opera?, as well as Summer Movie Favorites, which included selections from Ratatouille by Michael Giacchino, Harry Potter by John Williams, and Pirates of the Caribbean by Hans Zimmer. After this group …show more content…
These young musicians performed a variety of pieces, but the best piece was Pizzicato Polka from the ballet Sylvia by Leo Delibes. This piece begins with the pizzicato technique and consists of violins and violas, which begin in moderato, progress towards allegro and maintain it, until the second movement begins. The second movement, was performed without the pizzicato technique and in allegro, though it was brief, it had a rather joyous tone. The last movement, was pizzicato just as the first one was and was also performed in allegro. This piece was a rather joyous and lively piece and the most interesting movement of this piece would have to be the first movement, largely because it was capable of creating a joyous atmosphere through its beginnings in moderato and its progression towards …show more content…
Although, this group performed three exponential pieces, I believe the best of the three was, Russian Easter Overture by Nikolay Rimsky-Koraskov and arranged by Sandra Dackow. This piece had a rather lengthy introduction, consisting of solely the trombone and then continued into the second movement, which was the majority of the piece. This piece was mainly in allegro, with some instances in which it transitioned between allegro and vivace, in the third movement of this piece, it seems as if the tempo decreases to moderato. Even after this decrease, the piece then moves back into a solo trombone and then comes back to life and increases to allegro, once more. Within the Symphony, there were violins, cellos, trombones, clarinets, flutes as well as a few percussion instruments. Combining all of the instruments as well as the tempo, this piece had a rather intense tone, which made it seem as if it was capable of being used in a dramatic movie
The fourth and final movement, of course, was my favorite. Presto opened with a dissonant and quick piece that lead to a more recitative style. After the cellos and basses played, the aria from the famous “Ode to Joy” intervened. After minutes passed by, the movement started over and a vocal recitative of a deep soloist began and then the chorus and four other vocal soloists followed by repetition elaborating on the “joy” part of the theme. This movement went through several variations of the melody presented in the finale and became a variation of a Cantata which eventually led the music to reach a climax.
On Wednesday, November 5th, 2014 at 7:30 p.m. the Charlotte Symphony performed seven compositions by various “maverick” composers. Halton Theatre at Central Piedmont Community College’s central campus was pack to near full capacity. The program included the Molto Allegro from Mozart’s Symphony No. 40 in G-Minor, Warehouse Medicine by Mason Bates, Apotheosis by Austin Wintory, Cielito Lindo a traditional Spanish copla, Oaken Sky by Chris Rogerson, Le Tombeau de Couperin by Maurice Ravel, and the 4th movement of Beethoven’s Symphony No. 5. Charlotte Symphony’s Assistant Conductor, Roger Kalia, conducted and Juan Cajero appeared as a soloist. Although there were several pieces that had a more lasting impression on me, each composition performed
One of the pieces the UC Davis Symphony Orchestra performed was Carnival Overture, op. 92, composed by Antonin Dvorak. The conductor at this concert was Christian Baldini and the main violinist was Shawyon Malek-Salehi. This piece was made in the Romantic era with an orchestra instrumentation. The genre for this piece is concert overture and has a sonata form in a similar formate to other sonata forms from the Romantic era, making it sound dramatic compared to the Classical era’s sonata era. The live performance was true to Dvorak’s original score, which took the traditional sonata form of the classical era and changed it to incorporate a common Romantic era sonata form. Although the live performance focused on the first violinist, it still maintained the dramatic atmosphere from the original piece by keeping the sonata form, rhythm, texture, and instrumentation.
The concert is performed by the Lincoln Center Orchestra with Wynton Marsalis. The video of this concert is 90 minutes in length. The concert was an ensemble of various Dave Brubeck arrangements utilizing various jazz techniques and styles with mainly the following instruments: bass, piano, trumpet, trombone, tenor sax, soprano sax, clarinet, bass clarinet, alto sax, flute, piccolo, baritone sax, drum, and tambourine. The performance included these 15 pieces: “Unsquare Dance”, “Three to Get Ready”, “The Duke”, “Cassandra”, “Strange Meadowlark”, “Who Will Take Care of Me?”, “It’s a Raggy Waltz”, “Tokyo Traffic”, “Take Five”, “Lost Waltz”, “Upstage Rhumba”, “In Your Own Sweet Way”, “Fast Life”, “Bluette”, and “Blue Rondo a la Turk”. The performance highlights the versatile, influential and extraordinary life’s work of Dave Brubeck.
...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.
The majority of the pieces featured a rather slow steady beat, provided by the drum and the piano, while the other instruments (mainly the brass section) were used to play the main motif along with some minor ornamentations. The third song they played, one of my favorites, was simply a steady 4/4 tempo kept by the drum, with some minor variations. The saxophone and trumpets took turns drifting in and out to carry the melody. The saxophone player delivered an entertained solo which consisted of very light and amusing trills, this created a very soothing and relaxing
The concert I attended was the Liszt, Prokofiev, and Dvořák concert at the Chicago Symphony Center. Emmanuel Krivine is a French conductor who conducted the orchestra to play Liszt’s compositions Les Préludes, Symphonic Poem No. 3. Next was Prokofiev’s Piano Concerto No. 2 in G Minor, Op. 16 in the Andantino, Scherzo: Vivace, Moderato, Allegro tempestoso, the piano soloist was Russian pianist Denis Kozhukhin who was accompanied by The Chicago Symphony Orchestra. Lastly was Dvořák’s Symphony No. 8 in G Major, Op. 88 was performed by The Chicago Symphony Orchestra, the four movements played was, Allegro con Brio, Adagio, Allegretto grazioso, and Allegro MA non troppo.
The performance consisted of six different pieces, however the first two songs caught my attention, which included a composition by David Maslanka, “Mother Earth Fanfare.” A very aggressive and progressive selection made especially for wind ensembles. With striking fortissimo and crescendos, this made for an impressionable opening. The next selection was two pieces combined into one performance. The first being a very emotional, “Irish Tune from County Derry”, while ending spiritly with “Shepherd’s Hey.” Both pieces were composed by Percy Aldridge Grainger.
The Los Angeles Philharmonic Classical Music Concert Report. 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.
“The Harry Potter Suite by John Williams and the Boston Pops.” YouTube. YouTube. 05 Sept. 2010. Web. 09 Nov. 2013.
This piece was based slightly on swing dancing as apparent in the costumes and choreography. The choreographer of this was Joshua L. Peugh. The composers of the music used are Tommy Duncan, Dorothy Fields, Jimmy McHugh, and Bob Wills. My favorite part of the piece was when one of the performers walked across the stage carrying a cactus that would get bigger each time she walked across the stage. This both helped separate each small dance from each other but also added a sense of comedy and a familiar transition throughout the piece for the audience. The performer did this five times and by the final entrance the cactus was easily clearing her head. I liked how this piece from group dances to couple dances and flowed very well. The overall mood of this dance was lively and fun. Another moment that stood out was when the strings of lights came out at the final of the piece. This added a touch of warmth and added to the swing, country feel of the dance. Because I am classically trained in ballet, I appreciate turn out and piles between steps; however, I thought that this piece successfully told a story. It seemed very well rehearsed and the effort put in showed. The dancers portrayed the emotions of the piece as well. I especially thought the costumes were very fitting to the theme as well as the
The Symphony Orchestra concert was preformed by The OU School of Music with Jonathan Shames as a conductor and they presented Sutton Concert Series. In addition, the Orchestra concert performed at Paul F. Sharp Concert Hall in October 12, 2015.There were like forty-one performers on the stage including the conductor using different types of instruments and and all of them were wearing a nice black clothes. The stage was a quite large with wooden floor and there were two floors for the audience with a comfortable seating. However, all the performers were on round shape and against the conductor.
The final and twelfth piece was made up of excerpts from a longer work called Five Short Pieces for Clarinet and Bassoon. To me, maybe because the concert was beginning to get long or maybe because I did not have many notes over it, the last piece seems fairly similar throughout its movements, or “Short Pieces.” The first was an up-beat piece with a distinct melody. The clarinet and bassoon alternated, with the clarinet playing the higher notes. The second movement had a have complete feel to it. The two instruments played at the same time, close to it. The third movement was an impressive sounding mix of ups and downs. It seemed that the performers were working very hard and it sounded very complex.
The recital still consisted of “Amelia Goes to The Ball” by Gian Carlo Menotti along with “The Tales of Hoffmann” by Jacques Offenbach. This time I learned some background information about “Amelia Goes to The Ball.” For example, it was composed in Italian during 1937. Along with finding out it was a one act drama, opera. The part I got to see for the first time on Friday was “The Tales of Hoffmann.”
In academic writings, which are called academese, some professionals feel compelled to use academic jargons and abstract language in their articles. It is becoming a stereotype for all the scholarly writings to be tedious otherwise the papers would seem to the others as works lack professionalism. Steven Pinker criticizes this phenomenon that it is nonsense for the academese to be “turgid, soggy, wooden, bloated, clumsy, obscure, unpleasant to read and impossible to understand” (Pinker, “Why Academics Stink at Writing”). The communication between the professionals and the academic audience becomes unpleasant because of the obscure academese. In fact, in the communication between the officers in the government and its people, this unpleasant