Bronx Arts Ensemble: Chamber Music Concert Review

The fifth and final piece of this concert was called "Symphonic Metamorphosis" by Paul Hindemith. It was composed in 1943 after Themes by Carl Maria von Weber. This piece was truly fascinating because it involved every instrument in the orchestra as stated by the conductor beforehand. The song was very technical and had a lot going on in the duration of it. It was also very dynamic and had quite a bit of good synergy to it. There weren't instruments interjecting and playing on top of each other. Overall this piece was incredible and flowed nicely.

On Thursday, December 11 at 12:30 pm, I attended the musical show in Studio 312 of the Roosevelt Hall. It 's not the typical performance expected when thinking about attending a concert. Most people of this generation would assume it 's some performance by a famous artist at Madison Square Garden or Barclays Center. As the title explains, it is chamber music and is a different experience. As for the attire, everyone who took part of the performance were dressed in all black. There were various instruments used such as the harp, piano, viola, flute, guitar, clarinet, violin, and voices ranging from the soprano, mezzo soprano, tenor, and baritone.

I thoroughly enjoyed this concert from beginning to end. The opening piece, “String Quartet in F Major, K 590”, was both soothing and

On November 7, I attended the concert called “ArtPower! Presents: St. Lawrence String Quartet” at 8pm in CPMC, UCSD. Four artists performed it: Geoff Nuttall, Mark Fewer for violin, Lesley Robertson for viola, and Christopher Constanza for cello. They performed three String quartets, composed in different eras. The first one is “ String Quartet in C major, Op.76, No.3 ‘Emperor’,” composed by Franz Josef Haydn, 1732-1809. The second one is ”Five Pieces for Spring Quartet,” composed by Erwin Schulhoff, in 1923.The third one is “String Quartet in C-Major, Op.61,” composed by Antonin Dvorak, 1841-1904. This String Quartet with four musicians impressed me a lot, not only for the concert full of audiences, of whom half were on the lower floor

I learned a lot in music appreciation, without this course I would not be able to understand patterns in music or different tempos. This live performance opened my eyes to the world of classical music I never thought of the whole “Star Wars,” trilogy sound track being based off the classical era. Each piece that was played I could make comparisons and analyze the songs based on what we were taught throughout music

During the evening of February 18, 2016, 75-100 people gathered to listen to seven members of the LHSOM faculty (Thrice-Seven Ensemble) perform three works (Brettl-Lieder, Drei Klavierstucke, Op. 11, Pierrot Lunaire, Op. 21) of composer Arnold Schoenberg. Upon arrival to the concert each member of the audience was given a program listing the title of the performance, the names of the musicians and conductor performing the night’s concert, and the actual works being performed. The program also included an insert on which there was an accounting of Brettl-Lieder (Cabaret Songs) text in English. Most audience members began arriving about 15-20 minutes prior to the concert and appeared to be reviewing the program. This was an indicator that

The program included “Vienna Philharmonic Fanfare” by Richard Strauss was a song that featured primarily brass instruments. This piece started off with just a few brass instruments. Eventually more brass instruments began to play, each making an impact. The composition included a theme, which

25 in G Minor composed by W.A. Mozart, Winter Wind composed by the high schooler Thaddeus Maximillian Gotcher, Concerto for Two Violins in D Minor composed by J.S. Bach (one of my personal favorites), and Intermezzo from “Cavalleria Rusticana” composed by Pietro Mascagni. One detail about the concert that really impressed me was the fact that Sinfonia played all of the full and originally written versions of the pieces except for Intermezzo from “Cavalleria Rusticana” which was arranged by Carl Simpson. To me this shows Sinfonia’s advanced playing abilities, because they were able to play those pieces using the same complex rhythms, melodies, and dynamics the composer had written into their music. Another thing that left an imprint in my mind about the concert was the many soloists including Frank Almond that stood up and played for the Concerto for Two Violins. I was very impressed by the soloists’ abilities to stay together and start and end at the same position of their bows. Not only had these soloists been able move in sync with their bows but the whole orchestra in did within their own sections. This also shows the advanced level of the Sinfonia players and the amount of dedication and hard work those

For the first concert report, I attended one of the listening hours in the Concert Hall. The one I went to was on how “Music Recapitulates the Genesis of Language”. I was very intrigued by how Peter Hadreas demonstrated the correlation between the development of language and the structure of musical pieces. As I have taken psychology and child development classes before, I was able to recall a lot of the approaches to the development of speech. This background knowledge allowed me to better understand the link between the two concepts.

For this concert report I chose to go to a performance of student composers held at the Kimball Recital Hall. I chose this one because I wanted to see some of the talent that my peers have in the music realm, and also it was one of the only concerts I have been able to attend because I usually work at night. It was impressive to hear pieces composed by students. I cannot imagine creating something as complex as a musical composition, much less actually performing it, so this aspect of the concert was particularly awe-inspiring. There was a large attendance, and I think that much of the audience consisted of friends of the composers and/or performers. I went with three friends, who I convinced by telling it would be interesting to see

As a fan of classical music, I decided to attend the Mutter Bronfman Harrell Trio. Which consists of Anne-Sophie Mutter on Violin, Yefim Bronfman on Piano, and Lynn Harrell on Cello. Their powerful bond within the music, grasped my attention. I have heard many single instruments, but never the violin, piano, and cello all in one. It was defiantly a new and exciting experience, which I would like to be part of again.

I have never been personally a fan of the romantic orchestra music but going to listen to a concert live is breathtaking. I attended the Fayetteville Symphony Orchestra, Masterpieces concert with music director Fouad Fakhouri performing Igor Stravinsky’s Symphony of Psalms and Gustav Mahler’s Symphony No.1 in D major. There was a full stage of musicians and a complete choir to back it up.

The first concert I attended was performed by the Dallas Symphony Orchestra. The orchestra had performed Shostakovich’s “Symphony NO. 7, Leningrad” from the Romantic era. The orchestra was a large ensemble (1) containing various instruments that contributed to the overall sound of the piece. Since the orchestra was a large ensemble, just like the instrumentation common in the Romantic era, the orchestra was able to perform in a lively, vigorous manner, probably vivace (2). The orchestra performed tutti

The concert that I went to was Masterworks Series in BargeMusic, New York City’s floating concert hall, located in Brooklyn. It was a classical chamber music concert, compose by two instruments of the string family of cello, and violin and in the percussion section the piano. The selections played at the concert were; Barber(1910-1981) Sonata for Cello and Piano in C minor, Op.6. Beethoven (1770-1827) Sonata in C Major, Op 102 No.1. Weber-Piatigorsky(1786-1826) Sonata No 5 in A Major, Op.10b, J.103, and last but not the least Beethoven(1770-1827) Piano Trio in E-flat Major, Op.70 No.2. During the concert there was a small intermission of about 15-20 minutes. I really liked the concert, but what I loved the most was the final set in Piano Trio

The expansive first movement from Schubert’s “Rosamunde” quartet is an odyssey in which the principal melody, first heard in A minor, sets out on an epic quest for the attainment of A major. Laid out in a straight forward Sonata Form, the Primary theme appears as a triple period, with the last of the three phrases being in A major. The violent cadence in m. 32 dramatically switches the mode back into a menacing A minor, completely forfeiting the three tries in which the Primary theme so yearningly made to establish itself in A major.