Analysis Of The Momenta Concert

‘The Four Seasons’ or ‘Le quattro stagioni’ was published in 1725 by composer Antonio Vivaldi, a musician, composer and ordained priest who lived from 1678- 1741. He was an 18th-century, Italian composer and violinist who lived in the Baroque era. Vivaldi impacted the style at which concertos were written. One of his most famous compositions is his concerto movement, ‘The Four Seasons.’ This essay will discover how Vivaldi created contrast, unity, balance and cohesion in the 3rd movement of his ‘Spring’ concerto, as well as how the Baroque characteristics have influenced this piece.

The music played throughout all of the concerts adhered to be diverse. The instruments, the individuals performing, and the conductor all proved to be outstanding. The concerts proved to be interesting as I witnessed them, first hand.

Wolfgang Amadeus Mozart was a prodigy of his time, and arguable the greatest of all time. This paper will discuss an analysis of his third string quintet in C major, K. 515. Through this piece in Sonata Form we will dissect the exposition, the development, the recapitulation, and the coda; along with an analysis of the quintet we will briefly discuss parts of Mozart’s life, as well as look at the background of the Viola Quintet No. 3 in C Major, K. 515.

Overall, the performance turned out a success. Both the symphony and opera act enhanced the audience with the feeling of warmth and laughter. The symphony made me to realize how each section is structured and in order, while the opera act was simple, yet made it very delightful to listen to. Also, It’s amazing how different the symphony and opera act turned out. The symphony followed a four-movement pattern: fast, slow, minuet/dance, fast, while the opera combined both musical and singing element. In essence, the combination of voice and strings as well as the unstructured nature and freedom of the opera led me to emotionally connect with all three pieces of the

My initial response to the concert was of much surprise. First, when I walked in I didn’t expect to see such a formal event. Thank goodness I showed up in my work clothes! My initial reaction to the music however was one of great surprise. I didn’t really know what to expect from the Lee’s Summit Symphony because honestly I didn’t even know they existed. Once the symphony began to play “Don Giovanni” my mood instantly changed. The symphony was incredible, and the music was not what I had expected at all. I was surprised by how much of the music I had actually heard before and just not realized it.

For my concert report, I chose to attend a University Chambers Players performance. Within this classical genre of music, the pieces performed were all homophonic in texture and each melody introduced was supported by chordal accompaniment. All of the pieces performed ranged from an eighteenth to twentieth century time period, and furthermore, each performance employed the use of western world instruments, such as the piano, cello, violin, and viola.

On Monday afternoon, January 23rd, I tuned into NPR and classical radio for the 3-4 pm hour of classical music. The radio host was Gigi Yellen who was very knowledgeable about the pieces she had in the playlist for that afternoon. In between pieces she would usually make a comment or two about some extra-musical fact regarding the piece or composer. It was very interesting and I thoroughly enjoyed the hour of listening. There was not an expressed theme or organization to the playlist when I tuned in, so I had no preparation for the pieces that were to come. I actually enjoyed this position of surprise and anticipation because it left me with a completely open mind without

The first piece I am going to discuss is the Overture of Egmont by Ludwig van Beethoven (1770-1827), the greatest and most influential German composer who

The opera was extremely impressive, overall it was a one-of-a-kind experience. If you haven’t seen an opera I would personally recommend it. I am constantly in awe by the resources and opportunities the Jacobs School of Music is able to provide. This was in fact the first opera I have attended and they undoubtedly exceeded my expectations. The music,

I feel that the fourteen members of chamber orchestra and the two vocalists did an outstanding job. This piece was well put together. I loved the harmony that was brought forth between the orchestra and the vocalists. The two vocalists a tenor known as Paul Groves and a soprano known as Anna Larson, did a beautiful job staying in tune. The way that their voices went back and forth in harmony was just beautiful.

The students and professors exhibited fantastic talent, while it was equally great to have Joan Tower present to introduce her pieces. Incidentally, I am very excited to brag to my friends and parents that I was in the company of a grammy award winning composer. Lastly, although this was my final concert report, I do not plan to halt my classical music experiences. The music is extremely soothing and a great alternative to the widely distributed hip-hop and rap music of our generation. With that being said, in the future I hope to attend and listen to many more classical concerts

The concert was performed on the Southam Hall stage at the NAC; this is a large hall with extremely good acoustics. It is a nationally known stage, so the quality of the hall is very good. Generally, the audience was very receptive as it was composed of adults, who were all silent. The acoustics were very good as the hall spread the sound throughout the hall without making it echo. This had a positive effect on the performance, because it was possible for the orchestra to be clearly heard from any point in the entire hall. I was impressed by the large number of students that I saw that night because the show deserved to have been heard by many young people.

“Castiglioni Gutman 1952-2016” CD is an homage paid to Niccolò Castiglioni (1932-1996), on the twentieth anniversary of his disappearance, that draws an invisible line connecting the date of the first composition of the Master to that of the last composition of his pupil Delilah Gutman. The album opens with Alef Tango (2016) by Delilah Gutman, a piece inspired by and dedicated to the theme of the musical note Inedito by Castiglioni (1993), the CD second track; following Così parlò Baldassarre (1981) and Undici Danze per la Bella Verena (1996) by Castiglioni, alternate with Sette Canti d’Acqua (2011) and 6 Songs in the Mirror by Gutman, that reflect how profound is her search for sound landscapes and the use of the voice in its different composition

This concert opened with Le Grand Tango by the Argentine tango composer Astor Piazzola. Some of the most relevant aspects that I noticed of this pieces were its arrangement, tempo and mood. Even though this piece was originally composed for piano and cello, the arrangement made for quintet added new combination of timbers. Also, it was noticed that Le Grand Tango’ first section was predominantly exalted by the rhythm. Nevertheless, the second section of the piece presented a change of dynamic because of melancholic mood mixed with some jumps of expressivity. Finally the last section’s main attraction was the variable tempo providing a taste of excitement and energy.

They say what’s old is new again. There is nothing new under the sun. What goes around comes around. History repeats itself. These may be just a few banal sayings, but they might hold true for classical music as well. Maurice Ravel’s Le Tombeau de Couperin is one such example. Written during the neo-classical and neo-baroque movements of the early 1900s, this clever piece ties together French musical traditions, baroque styles, and World War I in just six short pieces. This essay will detail the origins of the suite form and the neo-classical neo-baroque movement, and compare Le Tombeau de Couperin with Bach’s French Suite no. 5 in G Major, BWV 816.