Symphony And Chorale Concert Review: A Night At The Symphony

Gentle warmth bathed the audience. It was an unusually cool July afternoon. The smell of patriotism, if there were such a fragrance, was dancing throughout the skies, skipping across the clouds, lingering above the treetops. The date is July 1st, and we are about to be entertained. Welcome to the ISO Star Spangled Symphony.

At 0:46 they introduce the first orator/conductor by the name of Michael Tielsson Thomas. Everyone applauds him. He explains what the audience will be in for for the evening. Then, clips of some of the orchestra members appear on the wall via projection. At 07:15 the orchestra then begins to play Allegro giocoso from Symphony No.4 in E minor, Op. 98 by Johannes Brahms from the Baroque Period. It was written in Austria by 1880s. The symphony is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle and strings.

On the night of Thursday, January 19, the Neuqua Valley Music Department delivered an array of opera pieces and additional music at the Masterworks Concert! With all music groups gathered together, the emotions and passion for their music were very apparent.

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 June 15, 2016, I watched An American Night with Ingo Metzmacher and Pierre-Laurent Aimard, where Ingo Metzmacher and the Berliner Philharmoniker preform George Gershwin’s Cuban Overture and Leonard Bernstein’s Symphonic dances from west side story.

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

I have never attended an orchestral concert. Although my taste ranges between several different types of music, the only concerts I have attended are of the rock and country variety. I was not sure what to expect in attending The Houston Civic Symphony’s performance on Sunday, October 9, 2016. It was held at the Dunham Theater within the Morris Cultural Arts Center at Houston Baptist University. Once inside I saw the beautiful stage with all of the performers warming up and three stories of seating. Many of the patrons were in the age range of 30 and up. I did see some kids and young adults but not many. The HCS marked its 50th year since the very first performance this season. The first performance happened in 1996 when a group of music lovers in Houston came together to play a concert just because they wanted to play and share their love of music with others. From that day they became known as the Houston Civic Symphony. Some of the players I watched in this performance have been with the Symphony for 25 years or more while others are barely reaching their first year if not their first performance; only two of the players have been there since the very first season. Out of the three pieces performed the one that caught my attention the most was the last, it hold a powerful message of fear and desperation for

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 concert was performed on the Southam Hall stage at the NAC; this is a large hall with extremely good acoustics. It is a nationally known stage, so the quality of the hall is very good. Generally, the audience was very receptive as it was composed of adults, who were all silent. The acoustics were very good as the hall spread the sound throughout the hall without making it echo. This had a positive effect on the performance, because it was possible for the orchestra to be clearly heard from any point in the entire hall. I was impressed by the large number of students that I saw that night because the show deserved to have been heard by many young people.

I feel that the fourteen members of chamber orchestra and the two vocalists did an outstanding job. This piece was well put together. I loved the harmony that was brought forth between the orchestra and the vocalists. The two vocalists a tenor known as Paul Groves and a soprano known as Anna Larson, did a beautiful job staying in tune. The way that their voices went back and forth in harmony was just beautiful.

Michael Mauskapf explores the changes within concert audience in recent years and how the orchestra is plays both innovative and archaic roles within the community. Has formality surpassed the needs of modern audiences? Mauskapf notes that the orchestra is catering to a culture that is soon to die out and that being an “elite” organization with lead to its demise.

With a sense of mystery, highly acclaimed New York Philharmonic conductor Lorin Maazel opened Bruckner’s 8th symphony with a tremolo on the strings and then repeats this tremolando in forte while the brass gloriously brought in the first major theme. Amidst the bright colors and amazing acoustics at Disney Hall, the audience sat in eager anticipation; many of the present members were experienced with Bruckner’s pieces and Wagnerian style. Sitting next to me, David Barry of the LA Philharmonic Board of Directors gave me an introduction to the history of Disney Hall, the LA Philharmonic musicians, and Anton Bruckner. He quickly detailed several prominent musicians’ profiles, including that of the only timpanist at the concert, and then, he

Never could I have thought that my first concert experience was going to be in a college class, performed by various composers of classical music. During the concert, I got to listen to four performances. First, the Oxycotton was played by Tim Sanchez. Second, Samantha Post played Acht Stucke on flute, followed by Nicholas Gledhill, playing Blues and Variations for Monk on horn. Finally, the CSU Graduate Brass Quintet performed a piece named Misty. In this essay, I will share my personal experience of the concert and discuss the different elements of music seen in the different performances.

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.

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.