The Laidlaw Preforming Arts Center held a Wind Ensemble for the students of South Alabama. In this program there were a various Romantic style pieces which are listed on the program stapled to the back of this paper. Each piece of music shows a series of different styles, and the student band does so well with each. As the concert is coming to the end student conductors begin to conduct the pieces, and they all do a wonderful job.
Jazzalogue No. 1 was the first piece played and it was written by Joseph Turrin. It starts as an upbeat tune, and is fortissimo. There are periods of time where the music crescendos and decrescendos and then crescendos to what sounds like fortississimo. It sounds like there is a base line that goes on throughout the piece, and it sounds like it is played with a tuba. Also, as the piece reaches the end there is a cacophony of different instruments which leaves a person feeling that there was meant to be more, but when in fact there was not. This Jazzalogue was played exceptionally by the student band.
The second piece played was a Symphony in B-flat by Paul Hindemith. This piece begins with a cacophony of sounds and is fortissimo like the first piece. The piece decrescendos into piano and stays this way for a few phrases until it crescendos back to forte. The tempo sounds as if it is allegro throughout the first movement. The second movement is more solemn than the first. Its dynamic is a piano to forte. There are periods of both dynamics through movement to of the symphony. As the second movement ends there are crescendos and decrescendos. The third movement begins fortissmo, and then decrescendos into piano. The ranges of the instruments make the movement sound very magical, yet ominous. The flute for ...
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...piece dramatically changes into fortissimo and speeds up to allegro. In the third movement the piece is allegro and is forte, the entire movement seems to be a forte. In the fourth movement there was a soloist accompanied by the orchestra. This movement was adagio in the beginning and then sped up to allegro. There also was more than just one soloist, it seemed like there was a soloist from each section. This suite by Bernstein did not feel like it followed the theme of nationalism, but it was a great addition to the ensemble.
The Laidlaw Preforming Arts Center’s spring concert for the Wind Ensemble was a great production to show the community the talents students have. Most of the pieces had a nationalism feel to them, but each one was much more different than the next. The student of this band did an exceptional job of conducting and playing during this concert.
The dynamic levels at the beginning were in piano, but it did not stay that way, there were changes in the sound there were crescendos and decrescendos but mostly toward the end. The harmony was very polyphonic it had many sounds play at one and the texture was also thick it had many layers of sounds because of the number of instruments and the variety of instruments playing simultaneously. The instruments played in this composition were strings, woodwind, brass, and percussion like, cello, flute, French horn, and timpani and they for the tone color the instruments did have a high pitch range. The form for this was theme and variation because he had a theme and variation he took the melody and used it over and over and over again by changing different elements. Prokofiev’s Piano Concerto No. 2 in G Minor, Op. 16 rhythm was a medium walking pace and the steady beat was recognizable. For dynamics, the composition started off mezzo and had changed where it was forte and had crescendos. The melody seemed to be in minor scale
The piece also switches from 3/2 back to the original time, 4/2. An oboe plays on top of the ostinato, followed by the main fugue from the scherzo from a flute. A solo clarinet plays the same fugue following the flute. Both continue to play, but this time, the two are in harmony, unlike in the scherzo in which both struggled for coexistence. The same melodies are passed from the woodwinds to the brass, all the while, the ostinato starts to become more and more fragmented, “sporadic, even” (Biles, Logan). A baritone enters, playing a somber melody, and the piece ends with the basses echoing a descending step from G to
The first piece was the prelude from Afternoon of a Faun by Claude Debussy. This piece was in contrast with the others in the program because it is very soft and doesn’t have a defined form or beat. The flute was the featured instrument which created a light and beautiful piece of art. One of things that really stood out to me about this piece was how all the instruments worked together to complement the flut...
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
The first movement begins with the cello. Shortly afterwards, the viola, second and first violins enter successively in a canonic treatment of a four-note motif: D, E-flat, C and B.
...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 next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
The second piece, Paratum Cor Meum, was a much shorter piece with very few lyrics. It was interesting to hear a piece by Haydn, since we had discussed this composer in class. I was impressed by the choir members’ ability to remember words in another language, and I enjoyed the sounds of the piano accompaniment.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
Wharram, Barbara. Elementary Rudiments of Music. Ed. Kathleen Wood. 2nd ed. Mississauga, Ont.: Frederick Harris Music, 2010. Print.
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
Smith, Jane Stuart and Betty Carlson. “The Gift of Music: Great Composures and Their Influence.” Wheaton, Illinois: Crossway Books Publishing. 1987. Print. April 2014.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
...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.