As I overlooked the syllabus for Intro to western music I was excited while reviewing the requirements of the concert report. I only vaguely remember attending the production of The Nutcracker once as a child and looked forward to the new experience. I grabbed my ever supporting husband, dropped our kids off at grandmas and headed to the opera. While approaching the venue you could identify who might also be attending the show by their polished attire and exited faces. While walking from the parking garage I looked up and The Benedum was in sight, I was captivated by the sign illuminated with flashing lights, showcasing the title of the show. While entering the venue I immediately took notice of the detail in the décor and rich red and gold …show more content…
I recalled Figaro’s Aria from the cartoon Pudgy and Grunge which was the opening scene of a personal childhood favorite movie, Mrs. Doubtfire. The beginning of the aria opens with the fast tempo of the violins, racing franticly while harmonizing with Figaro’s agile singing. This tempo remains fast paced until about two minutes into the song. The tempo slows down for approximately a minute before rising to presto again. There is a middle cadence when he sings his name “Figaro” over and over in a low pitch. Following the brief cadence, the music and singing rapidly escalate, faster than the opening tempo before coming to a smooth closing cadence. I was most impressed with the actor’s ability to sing the tremendously fast paced verses and the harmony he is able to maintain with the instruments while doing so. The distinctive variation of pitch coincides with the tempo. Paired together are the fast paced measures that we hear in the beginning and end of the aria with the performer singing a higher pitch, and slow sections sung with a lower pitch as we briefly hear during the middle. The texture of this piece is mostly polyphonic but briefly becomes monophonic during the middle cadence when Figaro is signing without the accompany of the instruments. I was pleased to have discovered the origin of the familiar tune that I had previously only knew from the cartoon sung by Robin
Is one of Heads more popular vocal works. This song is from a collection of works; Songs from the Countryside. The ritard in a the opening system and then a quick follow by the a tempo marking creates vivid word painting and puts emphasis on the lyrics money. The intensive use of accents and use of textual markings of this composition make it a great example of a 20th composition. In this case the dynamic and textual markings poses a great dimension of context as instruments were at this time capable of almost anything. A definite characteristic of the 20th century and a characteristic of this piece is the variety in mood, textual markings and accents on majority of the notes.
...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.
For my first concert report, I have decided to attend the Applied Music Student Recital. The musical performance was at Palomar College on February 27, 2015 from 1:00P.M.--2:00P.M. at the performance lab room D-10. The type of music that was presented at the concert was a brass ensemble, chamber music, classical, contemporary, jazz, opera, percussion, and many vocal arrangements. There was a total of eight musical Palomar College student performers who are majoring in music theory. I am only going to focus on a few of the musical pieces that I enjoyed most. The majority of the performers were dressed in formal attire. As the men were dressed in a dress shirt, a tie or bow tie of their choice, black slacks, and dress shoes. As for the women, they wore dresses, skirts and dress shoes. Also there was a pianist, accompanist who is a Palomar College music teacher named Ruth Weber. The performance was in a music concert hall with roughly fifty audience members.
On Tuesday, October 17, 2017, I attended a musical concert. This was the first time I had ever been to a concert and did not play. The concert was not what I expected. I assumed I was going to a symphony that featured a soloist clarinet; however, upon arrival I quickly realized that my previous assumptions were false. My experience was sort of a rollercoaster. One minute I was down and almost asleep; next I was laughing; then I was up and intrigued.
...ast, or allegro, and at the end, became very slow, or largo. The dynamics were between mezzo piano and mezzo forte throughout. Towards the end of the piece, there was a constant repetition of the main theme, making it have a first rondo formal structure. It was evident because the musician kept running her fingers from one side of the piano to the other without lifting a finger. This piece was perfect to be played last because if had a very soft and resolving finish.
The first section, which we will call section I, starts with the opening chant and ends with a strong cadence on measure 18. It uses six overlapping phrases to express the first sentence of text. The first canon starts with the bassus voice, but the starting voice changes throughout the piece. However, each canon, throughout, is sung at the fourth. There are four strong cadences, m. 2, m. 5, m.10, and m. 18, each marking the end of a thought in the text. There are also many other places that exhibit a kind of pseudo-cadence where the modern ear expects to hear a resolution, and the resolution is reached; however, movement among the middle parts nullifies the effect of the cadence. For example, in m. 12, the superius and the bassus parts seem to reach a cadence point, but the tenor and alto parts continue to move catching the listeners attention away from the cadence point.
This was the second work on stage, it began with a striking solo violin melody this set a light heartening tone to that piece at a faster rate. The orchestra particularly the pizzicato cellos and lyrical strings entered and offered a strong layer of support. That solo contrasted well with the orchestra. This created sustained ethereal ...
The pianist and concert conductor, Christian Zacharias opened the Los Angeles Philharmonic Classical Music concert with a fascinating performance that left the audience in party mood and in happy f...
I had just broken my glasses. It was December and my elementary school class would be taking us to the most recognized Ballet, The Nutcracker. Because our seats were pretty far from the stage, I found it very difficult to see. Embarrassed, I walked and spoke to my teacher, she of course understood my situation and arranged for me and a friend to sit in the front row. Breathtaking was the experience, gazing at the beautiful ballerinas in their intricate costumes and tutus, dancing on their pointes, making jetès and èchappès, I remained extremely captivated throughout the whole performance. I gained something more than the experience however, I developed a dream that turned into a goal. Determined, I wanted to perform, to leave others in awe and hopefully have them experience the similar feelings as I did
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 been already 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 befor...
Also, the second example concerns the famous opening aria of Figaro in Act 1 "Se vuol ballare”, a seriously threatening and even sarcastic outburst that establishes the battle of intelligence between Figaro and the Count that drives the whole opera.
...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.
In one of the opera’s many notable arias, “Avant de quitter ces lieux” (“Before I leave this place”), Valentin bids farewell to his sister Marguerite before going to war, and asks his younger friend Siébel to look after her while he is away. The emotion and nobility of the character, combined with the role’s high notes and demanding phrasing, make this a benchmark aria for baritone
6, mezzo forte (mf) in m. 14, and so on) and the “Till” motif being passed through the orchestra “(…from the oboes, mm. 21-25, to the clarinets, mm. 26-30, to the bassoons and lower strings, mm. 31ff. , and so on)” builds anticipation for a perfect authentic cadence. Strauss reaches the dominant chord in m. 29, which is “prolonged in a cumulative crescendo” (Hepokoski 21). The “forte (f) and fortissimo (ff) interruptions and restarts of the V7 in mm. 39-45, ending with a fermata-paused dominant-pitch in octaves…only heighten the expectation for a promised cadential conclusion” (Hepokoski 22).
The musical style was mostly set in the major keys with few minor keys. The pieces I enjoyed were the aria [ duet] between Figaro and Susanna, at the beginning of the opera when Susanna disclosed count Almaviva seduction towards her, the raged and revenge that engulfed Figaro with the musical blend of the orchestra .Also is the aria of the countess – the lamentation of her husband infidelity, but the most trilling moment of the day for me was the recitative and aria of Figaro, when he expressed his annoyance and bitterness about the betrayal and infidelity of women with the strings and harpsichord accompaniments to drive home the mood at fast tempo. Also features are choruses, ensembles, triplet quadruple, minuet and trio in different forms-ABA,