Concert Report Essay

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

This paper will begin with a brief discussion of sonata form, which will define many of the terms used in the remainder of the paper. Next, a detailed explanation of first-movement concerto form as it was understood in Mozart’s time. Following this, Mozart’s habits of altering tradition will be established, and there will be an analysis of the alterations he makes to first-movement concerto form in his Clarinet Concerto K 622, and how they foster unity.

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

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.

The third movement - Adagio molto e cantabile - is quasi-variational similar and involves two themes: Adagio molto and Andante moderato. Both themes are of unsurpassed beauty. There is no link musically between the themes. Indeed it seems that contrast serves an important function in the movement as also seen in the two dramatic fanfares hear towards the end.

His work in the 1780s included symphonies, piano trios, piano sonatas, and string quartets. His influential op.33 quartets, issued in 1782, were said to be in a quite new, special manner: this is sometimes thought to refer to the use of instruments or the style of thematic development, but could refer to the introduction of Scherzos or mighty simply be an advertising device (Hughes, 36). More quartets appeared at the end of the decade, op.50 was dedicated to the King of Prussia (often said to be

One of the problems clarinetists of the 21st century face when performing Mozart’s Clarinet Concerto, K. 622, is creating a performance that is memorable while keeping the authentic integrity of the work. Many clarinetists who perform this work are often concerned with how they should the approach and execute the concerto. Any musician who tackles any new work will approach it by researching historical information on the composer and work, do a musical analysis, and gathering recordings of other interpretations of the same work. This approach will not only allow the performer to be fully immersed in the piece but allow for the performer to create a memorable interpretation.

On Sunday, May10 2015, a concert was held in The Broad Stage. The concert was played by Santa Monica College Symphony Orchestra, whose conductor is Dr. James Martin. For this concert, I would identify myself as a referential listener at this concert. I say this because I am not an expert in music, therefore it would be hard for me to be a critical listener. I wouldn’t be able to tell what went wrong with a performance even if some incorrect notes were played. I was more of a referential listener because the music was soothing and brought my mind to peaceful thoughts. This essay will tells my experience of the concert in order to persuade my friend to  attend a classical music concert with you in the future.

Beethoven’s symphony No. 5 in c minor, Op. 67, I has four movements allegro con brio, andante con moto, scherzo allegro, and allegro. The first movement is a sonata that contains a motif and fortissimo phases using imitation and sequence with a constant flowing melody. The second movement contains two themes in alternation. The first theme starts later followed by the second which later dies of as a third theme is born followed by fortissimo The third movement contains a scherzo and trio and is in ternary form the theme is immediately stated and continually gets revived. The fourth and final movement starts immediately after the third and is a variation of a sonata. The piece has strong cadence and recapitulates only to finish in an extremely

The Quintet follows the general guidelines for form that audiences of the time have come to expect from serious string chamber music pieces. The first movement acts as a Sonata form with some unexpected variation, the second as a three-part song form. The third and fourth movements begin to some unconventional practices. In the third, instead of a scherzo movement in 3/4 time, we get a sonata allegro in 4/4 and 2/4 time. In the fourth, the audience gets a theme and variations, but the tempo is considerably slower than what one would normally expect from a concluding movement. In 1891, the only memorable clarinet quintet was composed by Mozart. If one were to come into a performance of the Brahms Quintet with Mozart’s Quintet in mind, they would expect the clarinet to take the most important role, with the strings accompanying more often than not. This is certainly not the case in Brahms’s work, as the

The formal structure of the movements, while generally adhering to the Classical models, charted new territory. The first movement, although in Classical sonata form, confounds listeners first by rising to a fortissimo climax in the harmonically unstable exposition section and then by delaying a return to the home key. The scherzo is placed as the second movement, rather than the customary third, and the third movement is a mostly restful, almost prayerful adagio. The last movement builds from a gentle beginning into a brazen finale, while recalling some of the themes from earlier movements and once the “Ode

Words alone do not fully express the concerto’s sound. Listening to the first 8-10 minutes would paint the majesty of the piece’s poignant style. In brief, a Romantic orchestra set-up - including percussions and winds along with the strings - complemented a cello soloist. There existed three movements, transitioning from loud and lively to somber yet light, finally ending furiously in typical finale manner. The performance employed

First and foremost, the piece reflects the development of the clarinet that its role in the orchestra became more and

On Thursday April 25, 2013 , I attended a jazz vocal concert at the Music Concert Hall. The first vocal ensemble opened up the performance with a slow rhythmic song called Blue Skies. It began with vocals and I noticed a light auxiliary percussion and drum rhythm. Also, the bass guitarist used walking bass and the piano and electric guitar joined in as well. The first song also consisted of two soloist Regina and Chantel who took the front stage to show off their chops. After the solo performances they fell back into the vocal sections and finished off the song as a complete band. The second performance had a piano opening which led to vocals joining in at the same time as the rhythm section. This performance

This afternoon, I went to the music concert hall where is located in the music building for the listening hour, a small noon-time concert which is performed by the staff and students from the music majors. Since it is a free noon-time concert, most of the audiences just wear the t-shirts and jeans to the concert. Dresses are not required for the concert. The performance today is given by the Ananda Jazz Ensemble. They have played “Running Away”, composed by Bob Marley; “Madalena”, composed by Ivan Linz; “Conejitos y Ananda”, composed by Abi Romero; “La Bikina”, composed by Ruben Fuentes; and “Chukaro”, also composed by Abi Romero. Because this is a Latin Americdan Journey, all of the music performed is jazz music. All pieces played in the concert are an ensemble of piano, bass, and drums. During the concert, I was trying to be a perceptive listener; I enjoyed the music with concentration and paid attention to the music’s unity and variety, such as the dynamics and tempos. I also tried to associate the music with a picture when I listened to it and understand the emotion in the music.