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 live concert uses the sonata form to maintain the intense atmosphere through the contrasting themes. In the exposition the main theme is in a quick and loud upbeat tempo. The second theme is in a lower key and is at a slower pace, which helps create dramatic moments as the tempo changes from quick to slow. The bridge decrescendos into the development and creates a calmer atmosphere. The development then explores both themes in a slower and lower
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By watching the pieces live, the interaction between the instruments was easier compared to a video, which picked what performers to focus on. Carnival Overture, op. 92 composed by Antonin Dvorak was in sonata form and used crescendos, decrescendos, dissonance, and consonance to create an atmosphere that is very dramatic and passionate. The performers and the conductor followed Dvorak’s scores and placed emphasize on the first violinist, but still maintained the same atmosphere. The piece also maintained the passionate atmosphere by changing the rhythm and using polyphonic
On Wednesday, June 14, 2017, I had the pleasure of watching the Chicago Symphony Orchestra perform Symphony No. 9 in D minor, Opus 125 by Ludwig Van Beethoven. The original performance was recorded and put on YouTube, May 7, 2015, in honor of its first premier 191 years before when Beethoven decided to share his 9th Symphony with the world even though he couldn’t hear it himself. The symphonic masterpiece was recorded at the beautiful Symphony Center Orchestra Hall in Chicago and conducted by Riccardo Muti. The performance was completely deserving of selling out every single seat for one hour and twenty-two minutes. In fact, the musicians did not disappoint, Stephen Williamson was in the first clarinet chair, alongside colleagues Mathieu
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
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.
Each individual player in this orchestra is a soloist of sorts, playing a completely different piece than the musician seated directly next to them or across the stage. Rather than being written as a concerto, this piece, written in three movements, allows for each of the accomplished musicians to display their skill individually though each solo is not brought to the forefront of the piece, creating a what sounds like a disgruntled compilation of individual pieces that come together. This piece both begins ends with the Funeral March of Beethoven’s Eroica Symphony directly tied into the basses, at first it is quiet and difficult to recognize but as the third movement is introduced it becomes more pronounced and evident. Those who were present for this pieces introduction to society were able to see its emotional effect on its composer who had obvious emotional ties to the music. Strauss never showed up to see his work debut instead he attended the dress rehearsal, asked Sacher if he could conduct this work. Strauss was said to have given a beautiful reading of the score that many view as his most...
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...
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...
Daniel Goode and the Flexible Orchestra was interesting and fun to listen to. Similar to Kenan , I noticed the piece was participatory. Hubcaps are not instruments, so I was interested in how people would approach to play these things that weren’t created to make music. I was pleasantly surprised to watch the audience members and the performers create sounds with the hubcaps. I liked that there was a flexibility to their show that allowed the performers to create different sounds with different people. I was standing next to TJ and I was able to see the musicians give the hubcaps to different audience members. There was enough room for the audience to add their own flair and their own musical abilities to these hubcaps. Because there was no
The “mystery piece” is a very unique musical piece that presenting the dialogue between the pianist and the orchestra. The music piece begins with the orchestra. It sounds energy and heavy. It takes attention to audience in order to present the strong and angry emotion. The tempo and melody are unstable. Until 0:18’’ the piano begins to play, everything is changing. The music becomes soft and light that makes audience feels relaxed. The melody is stable that makes audience more peaceful. In the dynamics, the motion of music is from chord’s loud to piano’s soft. Both of piano and chord are playing monophonic separately. It’s give audience a lot imagination about this music pieces from the high to low in order to form a special meaning.
...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.
It gives a rhythmic kind of excitement and a “catchy hook” for the audience. "The Entertainer" is known as a “Ragtime classic.” It contains brief repetitions, and throughout the piece, the listener can almost recognize the same sounding sections. Also, syncopation help provide the lively “swing” feeling to it. The syncopated beats are clearly heard on the piano and can be felt by the listener.
Beethoven’s fifth Symphony was a piece that was not recognized as a masterpiece until long after its original composition. One is lead to believe it was at the figurative top of the charts with how often it is used today in commercials, film climaxes and its infamous “da-da-da-DA” used to convey a feeling of imminent doom. Symphony No. 5 is comprised of a large orchestra of strings, flutes, oboes, clarinets, bassoons, horns, trumpets and timpani. The rhythms differ by movement beginning with Allegro con brio, followed by Adante con moto, Scherzo Allegro and Allegro.
On Wednesday, March 22nd, I watched a DVD performance, Gustavo Dudamel and the Los Angeles Philharmonic: The Inaugural Concert, which was performed on October 8th, 2009 at the Walt Disney Concert Hall. The performance consisted of instruments in the Woodwind family such as: flutes, oboes, clarinets, and bassoons. The Brass family: horns, trumpets, trombones, and tubas. The Percussion family: timpani, cymbals, triangle, tam-tam, and a bass drum. Finally, the String family consisted of: a harp, violins, violas, violoncellos, and double basses. Gustavo Dudamel conducted Gustav Mahler’s Symphony No. 1 in D Minor “Titan”, which composed of four movements which were: (I) Langsam, schleppend. Immer sehr gemächlich, (II) Kräftig bewegt, doch nicht zu schnell Recht gemächlich, (III)
The Wind Ensemble presented the piece with a wonderful sense of musical accuracy. Each performer and soloist communicated the music to the audience extending the vision from the composer. They worked to keep the audience engaged and interested throughout the total of the 18 minute piece, which can sometimes be hard.
The second movement begins after a short pause after the first movement, which showed some very interesting details about how a live performance works. There was no clapping or no noise. Just silence as the performers wiped their brows and took a drink as they needed. They quickly picked the second movement up with quick successful crescendos that lead up to the main theme of the second movement. However, there was something different about the second movement than the first, and that difference is that there were three trombones of varying types added. During the movement, the dynamics of this piece caught my ear as you could hear them building up to moments where the entire ensemble would play then one instrument at a time they would back off in a crescendo and decrescendo style. Around the middle of the movement the movement fell into a more cheery and light melody than the earlier first movement, allowing instead to imagine the first spring day after a long winter in the house. The harmony between the instruments in this section bring forth a more childlike tone, which reminds me of the work “Sumer Is Icumen In.” This movement was much nicer to listen to than the previous through its mixtures of melody and dynamics. The soft melody throughout the piece between the crescendos of the ensemble made this my second favorite movement in Beethoven’s
Concert Criticism (Essay, 500 words, typed). Attend one public concert of classical music during this course. Write a review or criticism based on your experience. Include your response as a listener to the "live" presentations of varied repertoires; to the circumstances and setting in which the performance occurred; and to the performers. Evaluate these in terms of your own personal growth, and the validity of the artistic experience itself. The performance must be "classical" music of any period, preferably those discussed in class.