How To Write A Recital Critique

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.

When the concert first began, the three instrumentalists walked with energy despite their age. The first song, “Sonata I in G-Major Op. 2, Nr. 1” by Michel Blavet, was a Baroque Sonata. There were five movements and was played by the harpsichord, flute, and cello. All movements of the song were polyphonic because of the three instruments that had different parts and equal importance. In the first movement, I noticed that the flute tended to rise in pitch. In the second movement, I noticed that the melodies often repeated. Throughout the rest of the song the tempo changed from fast to slow and the flute would usually take the lead. On the last movement, the cello and the harpsichord

The first and opening piece was a Roman Carnival Overture, Op. 9, by Hector Berlioz. In major tonality, classical piece started with vivace statement, and then slow introduction progressed later in allegro. It featured an independent solo that was performed with an English horn and gradually changed dynamics throughout the classical movement.

The concert began immediately with the Chamber Orchestra’s performance of Mozart’s “Divertimento in D major”, K. 136. This piece consisted of the 3 movements, Allegro, Andante, and Presto, which follows the fast-slow-fast arrangement typical of the Classical era. Divertimento is one of Mozart’s “Salzburg” symphonies, which are symphonies performed by only string sections. After the performance of this piece, the conductor commented on the 2nd violin’s part, and drew the conclusion that Mozart must have saved that role for either himself or an enemy. The second piece performed by the Chamber Orchestra was Bach’s “Suite No. 2 in B minor”, BWV 1067. This piece did not require a conductor, and also featured a flute soloist, Maisa Peters. Their

The concert began with an upbeat tune called “Loafin” led by the trumpet section and drums. The rhythm pattern was consistent compared to Horn of Puente and Pipe Dreams which the rhythm patterns were infrequent. In Horn of Puente, the congas had one section and Pipe Dreams, began with the drums and saxophones which returned later in the piece. The musicians maintained a steady beat in the performance but especially in Brushes Anyone which included a drum solo. The drum solo had a mixture of short and long sounds. When the music transitioned to the solos, there was a pause in the music which

The fourth piece had not only used instruments, but it also used a magnificent chorale. The fourth piece seemed to have four separate movements in itself as the fourth movement first starts in a low tone and tempo. Then suddenly the music changes into an adante tempo, and then at last the music becomes allegro, as well as fortissimo as the music is not only loud, but its tempo is rapid. Also at the end of the fourth movement when the choir is singing, and the musicians are performing as well, the music becomes extremely rapid and fast compared to the rest of the

On the 4th of December in the year 2015, I attended the 40th Anniversary Celebration of Music at UT Dallas. While there were many notable pieces, the centerpiece, which I will focus on, was a violin and orchestra with an accordion solo called The Ox on the Roof. Originally Le boeuf sur le toit in its native French, the musical was composed by a Frenchman of Jewish roots by the name of Darius Milhaud in 1920. The musical played on this December night was performed under the supervision of Director Robert Xavier Rodríguez. While there were many qualities of various shades in this musical, the shifting timbre, the keen rhythm, and the perpetual notes of harmony were the most notable components to me as they helped represent a dual sense of both proud, unchanging timelessness and boisterous, dynamic nonce that gave a sense of life itself in all its glory.

There were a total of four music pieces performed. They were “Overture from the Singspiel”, “Concerto in e minor”, “Concerto on b minor,opus 104”, and “Symphony#2 in b minor, opus 5”. I think pieces were performed belong to classical style.

Seven years ago scientists found a flute that someone crafted in 1484 B.C. (Suttie 1). Why would one need an instrument when they should focus on survival? Some say it aided in scaring away animals or attracting the opposite gender (Hullinger 1). Jessica Hullinger (2015) says she believes humans formed music to bring communities together (1). Symphonies, orchestras, and bands bond people together today by allowing them to do something creative as a group, to come together to relate over a common interest, and to develop the emotions humans feel towards one another. To get these social benefits, one must experience the individual changes that come along with playing or listening to an instrument. Character development plays a key role in this change. Overall, participating in instrumental productions can bring people together.

There was a reception, so we went back upstairs to socialize with the audience members. I was grateful to have had such a wonderful conversation with an elderly woman, we spoke about how the choreography enhanced the lyrics and made the concert more emotional to watch. Later, my family congratulated me on the hard work and dedication that was invested into this composition. Disappointed to say goodbye to such astonishing, kind musicians like my fellow choristers, however, proud of all we accomplished. We all received a new perspective on the privileges that we have and the oppression in the world, I concluded. As I exited the building after the reception, I pondered Anne’s

MUS 113 Samul Ensemble rehearses and performs a Korean samul repertoire each semester. The primary foci of the course are for students to experience the art of ensemble playing and to understand basic compositional components and techniques associated with the samul genre. Our class relies on the traditional rote learning method that employs instrument-specific Korean onomatopoetic sounds. Unlike Western performance organizations such as a band, an orchestra, a chorus, or a chamber ensemble group for which musical scores are available for procurement through various channels, coming up with a samul score that would complement the level of proficiency our samul ensemble possesses requires a great deal of resourcefulness. In other words, in order to prepare for a samul performance each semester, I must listen to various recordings of existing samul performances, transcribe them, arrange them to be suitable for our

The concert took place in St. Joseph church on Mono Street. After the orchestra tuned all their instruments, the conductor, Garo Avessian, came to the podium. The first piece played was “Overture to Ruslan and Ludmilla” by M. Glinka, The Overture opens with a fast tempo and dynamic rhythm which leads to crescendo at moments. There follows a strong, joyous theme that leaps about with seemingly unbounded energy. Although, this theme, has a complete opposite mood compared to the original theme, it complements it. After this, a smooth, warm theme is played by the cellos, which to me was the highlight of the whole piece. What caught my attention, was that the last theme played was the recapitulation of the original them (sonata form). To me, the conductor and orchestra, completely understood each other and worked in harmony, mastering an already elegant piece.

The first movement is a bit unique because it only has one main theme which is surrounded by this light feeling of rising. The second movement, slow and intimate, features a theme that is presented in several different variations throughout. The third movement, a scherzo, features many arpeggios in quick succession. The finale opens with a melody in the first violin which is supported by a simple accompaniment. This eventually gives way to more syncopated sections until the return of the opening music and the conclusion of the

In 1886 Saint – Saens composed a piece of programme music titled “The Carnival of the Animals”. Moreover, it consisted of fourteen movements, each of which was dedicated to an animal. ‘Animals were a lifelong fascination’ for Saint – Saens allowing him to craft one of his most famous pieces. It was a gift for his friend Charles Lebouc who was a veteran cellist and seemingly was the only influence on this work. Saens was captivated by the impression of a swan during one of Lebouc’s concerts, which then motivated him to compose this piece of programme music. However, this piece was not made public as he

Besides having a great history, this piece of music also has spectacular topics of each movement. Altogether, the symphony consists of five movements. Each movement has its name and program. The first and the last movements are intensive