Michael Symphony Orchestra

1a. The first piece of the concert was Divertimento No. 2 in B-flat Major, K.137, by Wolfgang Amadeus Mozart (1756-1791). This Divertimento has 3 movements:

This concert overall was interesting and entertaining. The way that the ensemble is split into trios and groups and the short and plentiful songs provide a refreshing change continuously giving the audience a chance to hear different play styles. The only critique I have of the pieces is that at times they had a disorganized sound that I did not recognize as pleasant to listen to. The emotion I was able to leave with was a lightened mood, but I did not have any deep emotional connection to the music. My favorite piece of the night was “The Obstinate” because of the amazing french horn solo that is played halfway through and leads into the conclusion of the song. The style of this concert was new to me and I enjoyed becoming a part of a musical era and style that is not something that I would typically indulge in. The art behind these pieces was shown through the passion of the performers

During a musical performance many elements to be looked are not easily recognized by the average critic. A musical performance has multiple interactions taking place between the music, text, performers, audience, and space that all can contribute to a great performance. Overwhelming majority of the audience does not realize so much can be looked at during a single performance. At a performance by the University of Maryland Marching Band I was able to analyze the Musical Sound, Contexts of the Performance, and Interpretation of the Performance.

The concert performed by the Allen High School Symphony Orchestra, which combines the Chamber and Sinfonia Orchestras, was an amazing concert but was not a flawless one. The pieces all sounded quite wonderful on the outside, but by diving deeper into the music and truly listening to and observing the performance with a sharper eye, there were some problems that appeared in a couple different areas, and those problems came mainly from three distinct areas: tone, technique, and musicianship.

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

Considering that the concert consisted of more classical music the stage and the musicians was divided depending on instruments. Although it was not singing each, instrument held its own dynamic but still maintained a perfect polyphonic feel as the song progressed. After each song, the Director effortless began to explain the songs and continue a personable connection with the audience. While viewing the concert, I came to the understanding that the Directors are very important to the show. They are the leader, voice, and connector to the musicians

As I was sitting in the audience, the first thing that I noticed was that the audience consisted of all ages, ranging from eighteen years of age to perhaps eighty years of age. In preparation for the concert to begin, several performers entered the room and tuned their instruments to the keys on the piano. The performers’ attire was highly conservative, covering almost every inch of their entire body, and they wore all black from head to toe. When the concert began, the audience clapped as the performers were introduced and were walking out onto the playing area. As the performers took their seats in front of their stands, the audience became quiet and there was a short moment of silence before the performance commenced.

As a member of the orchestra, Stephen distinguished himself by his solid musicianship, dependability, and leadership. Always on time for rehearsals with his music well prepared, Stephen’s supportive attitude and musical skill inspired his fellow performers. Greatly respected by members of the orchestra, he was appointed concertmaster in his freshman year, a rare accomplishment. In 2005 he won the orchestra concerto competion, and soloed with the orchestra, performing Pablo de Sarasate’s Zigeunerweisen. I have engaged him to solo again with

There are pops orchestras, there are symphony orchestras – and then there’s the Cleveland Orchestra. While classifying itself as a symphonic group, its musicians nonetheless display a versatility matched by few. Rarely has that been more apparent than this Labor Day weekend, when the orchestra paid tribute to Hollywood composing legend John Williams.

Since this is a new direction with no prior sales history, the director of the

The Performing Arts Center was bustling with attendees of all ages. There were young students holding notebooks and laughing and repeatedly changing seats. There were older concert goers wearing blazers and serious expressions. A man in a black suit and a bow tie was sitting in an aisle seat holding an oboe. The atmosphere was cheerful and lively.

Entering the Chicago Symphony Center my face must have looked completely memorized as I gazed at the design and architecture structure that was before me. The amount of intricate detail that was on the ceilings and trim work must have taken months to complete with a construction army. As I walked through the hall and stepped into the elevator the smell of fresh clean red carpets filled the air with a slight scent of floral. Before I entered the venue a punch size bowl of cough drops was to my left. The usher grabbed my ticket and escorted me to my seat right in front on the third level. The entire venue was covered with three basic colors gold, cream, and red. The Chicago Symphony Orchestra, founded in 1904, consists of three levels with the

I think that the performer’s ability was appropriate for their location and for their audience because the tone quality of the musicians sounded very rich and clean. When I listened to the performance, I was able to hear all of the different parts of the piece clearly, which has made me much more conscious of the balance and dynamics of each phrase when I play. The texture of the pieces played was very rich and full because an orchestral piece is designed to have a good balance of instruments and good range of frequencies of sound that has lots of different things happening at the same time.

Concerts contain so many sensations. The white chairs being put away, the stage getting placed back on the big black trailer piece by piece, and the quiet shuffles of the last feet leave the stadium; the stadium transforms into the purple and white stadium it once was, leaving no

Orchestra concerts are an example of music being presented in an emotional and artistic manner. Often people, mainly think of contemporary music when they hear about orchestra concerts. Music composed in the late 1970s to 1990s. But its music extends to much further than that. Scores have been performed from many composers in grand concerts that originate from many sources. These sources include movies, television shows, and even video games. The level of emotion that these concerts express varying from excitement, sadness, intensity, and many others. As a listener, you feel absorbed in the dramatic conducting of the composer and the unity of the orchestra as a whole. Even the setting of the concert can be cinematic as other displays show the grandeur of an orchestra. Our bodies were meant to take in the sounds of music more so than the images. What we derive happens automatically as we drown in the mixture of emotions orchestra has to offer.