Piano Play Philippe Quint

On Sunday, 14 October, Jeffrey Phelps, cello and Lee Jordan-Anders, piano, performed Ludwig van Beethoven’s Sonata in A Major, Opus 69 (1808) and Claude Debussy’s Sonata (1915)

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.

“A Music Faculty Recital” at Prince George 's Community College was actually the very first concert I’ve been to that included Baroque style. The environment created a nostalgic yet modern and elegant mood; something that made you feel like you were in the late 1700’s yet still in modern times. The songs were mostly enjoyable and we 're all well played. This concert included an ensemble: the flute, the cello, the piano, and the harpsichord. Peggy Bair, who played the flute, was very enthusiastic. Irma Cripe, who played the cello, was quiet for the first part of the concert but gradually became more important throughout the concert. And lastly, the virtuous Gary Kirkeby, who played the piano and harpsichord, served as the backbone of all parts of the concert and made this concert very enjoyable.

For the second and final concert report, I listened to the performance of Beethoven’s 9th symphony, as played by the Chicago Symphony Orchestra. Beethoven lived in Germany during the late 16th and early 17th centuries, and was an influential figure in the transition between the Classical and Romantic eras in western music. The performance requires a large number of instruments, with woodwinds, brass, percussion, strings, and even a choir during the 4th movement.

As a University of Northern Iowa College student taking Soundscapes, I attended a recital by Annalea Milligan on Wednesday Oct. 19th, 2016 at 8:00 p.m. in Davis Hall, a small auditorium, at the Gallagher Bluedorn. Annalea Milligan received her Bachelor of Music degree in performance at Pacific Conservatory of Music, and is currently a first-year graduate student pursuing a Master of Music degree in bassoon performance at University of Northern Iowa. For the first half of the program she played the bassoon in Rhapsody composed by Willson Osborne and then she was accompanied by Mariya Akhadjanova on piano playing Variations on Theme of Pergolesi composed by Otmar Nussio which included I. Arietta, II. Scherzetto, III. Tamburino, IV. Lamento, V. Ostinato, VI. Rapsodia, VII. Elegia, VIII. Barbaresca, IX. Stornello, and X. Danza. Then after a brief intermission Milligan played the bassoon and was accompanied by Serena Hou with the harpsichord playing Concerto in G Minor, RV 495 composed by Antonio Vivaldi which included Presto, Largo, and Allegro, not to mention she also played Bachianas Brasileiras No. 6 composed by Heitor Villa-Lobos and was accompanied by Azeem Ward with the flute which included I. Aria (Choro), and II. Fantasia. I will depict the first and second part of the recital and describe my reaction and total opinion about the overall concert.

The piece was the only Opera Beethoven ever wrote and was a classical piece. The pitch is very extreme it features sad lows while having extravagant highs that change the mood from slow to fast at the same time. The Rhythm the piece featured The overture opens with a short unison Allegro in the string and wind instruments, followed by an Slow in the horns and clarinet. The opening measures are then repeated and the Slow tempo reappears, the horn theme being taken in the wind instruments. After development the theme returns in the woodwinds, and again appears for the horn, leading to the main Allegro of the overture. The wind instruments sound a crescendo chord and the first theme is outlined by the second horn, answered by clarinet, and then developed by full orchestra. The strings give out the second theme, which is briefly treated. In the closing section of the overture the first theme is heard in the horns, accompanied by violin passages. At the conclusion of the Allegro development the Adagio episode returns, leading to the Presto Coda, in which a familiar phrase from the first theme is worked up to a climax of exultation closing an overture which has been called "an example of perfect beauty." The Timbre of the piece was

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 Saturday, December 12th, the High School Philharmonic All-Region Orchestra performed a variety of fascinating pieces. They were directed by Professor Edward Kawakami from Carthage College. The region orchestra began the concert with “Pomp and Circumstance March No. 4 op. 39” by Edward Elgar. The next piece that the orchestras performed was “Clair de Lune” by Claude Debussy. The last piece that the High School Philharmonic All-Region Orchestra performed was “Samson and Dalila Dance Bacchanale op. 47” by Camille Saint-Saens.

On the 5th of December, I attended my second concert in Cypress Recital Hall. It was an amazing experience. I got to fully appreciate the sounds of the violin and the piano. Erika Salas, played the Violin accompanied by Yoko Mizuno, Doris Wang and Michael Cooper each individually performed a different piece on the piano. The first song was Sonata in D major HWV 371 by George Frideric Handel and performed by Erika Salis and Yoko Mizuno. The structure of this sonata was made up of four movements. Affetuoso feeling, tenderly, Allegro lively, fast, Larghetto slowly, steadily, and Allegro energetic, fast. Each section had a specific form the first movement reminds one of a slow symphony. The Allegro is written in a fugue, polyphonic style. The

When the performance will upcoming, no one walk around, no one to eat and chat, no one use the cell phones. On the stage, performers were wearing black clothes and shoes. They debug with instruments by themselves, or sit quietly wait for the show to start. And then the conductor makes a short description about the performance. As for this concert paper I would like to focus on Symphony No. 1 in C Major. It was Beethoven 's first symphony genre works, and linking the romantic and classical styles. It built in 1800. The main melody is based on the flute and oboe. The first movement is Adagio molto - Allegro con brio. Beginning with slow teases. The first theme of a dance, vice theme is beautiful oboe and flute repartee. After the beginning, the melody change to powerful and variation. It only a little of melody do not have harmony. In general, violin and viola play first, and then it will add flute and oboe. The second movement is Andante cantabile con moto. It is built around a simple theme of the sonata allegro musical form of development and expansion. There are a lot of decorations in main theme. The third

On Wednesday July, 8 I attended a concert at the Mimoda Studio located in Los Angeles the concert started at eight o’clock. On that day there was a group of four Instrumentalists performing a cello concert. The performances consisted of acts of big composers such as David popper the cellist also Alexander Konstantinovich ,it last about an hour. The show did not include programs so I will have to go off my notes some of the pieces that were played for David popper were Serade, Ballet scene, Gavotte, and La Chanson villageoise. The pieces played from Alexander Konstantinovich were impatient, land of heroes. There were also some Armenian chants played from the medival times, that were either composed by Sahakdukht orkhosrovidukht.

As a result of the Piano Quintet being composed for both a piano quintet and string quartet, a listener of the piece would be able to feel the emotion that Schumann put into this piece. The contrast of the piano against the violins really allows the listener to take in the music. The first movement literally translates to a fast tempo, between allegretto and vivace, and bright/sparkling/brilliant; given this name the first movement did not disappoint with its lively theme with beautifully placed dynamics. The second movement is the slower funeral march with a lyrical main theme played by the violin and cello, and a second theme played by the piano with string accompaniment. The Scherzo utilizes the chromatic scale to re-engage listeners after the slower second movement.

Although my interests are numerous, my passions are very few. First and foremost, I have a passion for classical music. There is an indescribable sensation I feel when hearing “The Variations of The Canon” gigue from Johann Pachelbel’s Christmas Carol Collection. For two minutes and fifty-five seconds, I was mesmerized and I realized why I persuaded my mother to buy me his CD. His music, in its grandeur and consonance was perfect, the climax of coloratura repertoire, hitting every F note with glorious precision as the forty piece orchestra projects their brilliant voice. The

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

At the Salzburg Festival in 2005, Valery Gergiev conducted the Vienna Philharmonic Orchestra in its performance of Nikolai Rimsky-Korsakov‘s Scheherazade, Op. 35 (Classical Music db 1). He is a highly achieved, accomplished and revered conductor and is considered to have “attained a level of worldly power perhaps unmatched by any living classical musician” (qtd. by Alex Ross 1). All the wile, this orchestra is considered to be one of the premium orchestras in the World (Moderato 1). Between the two, a performance is created that instantly catches one’s attention with its gentle opening by trumpets, followed by a cello solo, and then the flutes follow with their soft, fluttering sound that makes the listener gently sway with the music. Images of a soft ocean breeze come to mind and its audience is mesmerized.