The Importance Of Seeing The Philadelphia Orchestra Perform Gustav Holst 's : The Planets Suite

According to Holst, the suite was written about the ‘seven influences of destiny and constituents of our spirit’. Each planetary portrait is based on its astrological attributes, with Mars noted as being the ruler of our aggression, survival instinct and animal like nature.

Mars, the Bringer of War, is a programmatic composition by Gustavo Holst: British composer of orchestral pieces, operas and choral part-songs. Mars is the first segment in a 7 movement programmatic piece by Holst, The Planets, in which the Roman astrological characteristics of Mars, Venus, Mercury, Jupiter, Saturn, Uranus and Neptune are depicted. The movement, Mars, carries out three consistent themes: a brutally rhythmic figure of five beats relentlessly hammered out in a 5/4 rhythm, a principal theme in triads moving by chromatic steps without any true harmonic purpose, and a second theme consisting of a calling melody by the tenor tuba answered by an embellishment of trumpets.

On Saturday, November 4th, I visited the Denver Art Museum in Denver, Colorado. The piece of art I decided to write about is called “A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado)” This two-dimensional oil on canvas painting was completed in America in 1927 by Sven Birger Sandzén. This painting has not been on public view since 1927 and is located in the Denver Art Museum in Denver, Colorado. It was a “Free Day” at the museum, so I decided to attend by myself. I was unable to get a picture of myself in front of the work of art I decided to write about, but I did get several pictures of the artwork and a picture of myself with the “Free Day” sticker. I decided to write about this work of art because it was the only piece in the museum that really stood out to me and really caught my attention. A Mountain Symphony is a lively, beautiful landscape painting with a vibrant pallet filled with luminosity and broad brushstrokes. The sculptural quality of the paint surface reflect the influence of turn-of-the century modernist techniques. The balance of color and light brings happiness and joy to the viewer.

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

This article discusses the world’s need for classical music and why it will always be relevant. The author explores what makes certain things “art” and why certain other things are simply entertainment. He claims that classical music can never die because it is fundamentally different from many other types of popular music. It defines what makes art different from entertainment and answers the age old question of who gets to judge between them. In an age that dooms classical music to inevitable failure, this article offers a refreshing different perspective in a much more hopeful light.

The first movement, Mars, the Bringer of War emphasizes bass and low brass using an unusual 5/4 rhythm. The greatest moment in war-torn Mars comes shortly before the end as the orchestra rises to a massive climax, supported by organ and gong. It is a moment of sheer terror, transformed into a still darker terror, as the same two-note motif is repeated in a lower register but still highly dissonant. This is the first 'spiritual' moment of the work, in my opinion: the wrath of God at the warring, sinful nature of Man and the consequences of this, as I

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.

‘Jupiter’ was composed by Gustav Holst, who was an English composer, between 1914 and 1916. It was represented about 1918 or in the Early Twentieth Century. ‘Jupiter’ was one of seven movements of Gustav Holst’s work, ‘The Planets.’ And each movement, including ‘Jupiter’ was named after a planet of the Solar system.

17. On my museum experience, I took it in like every other visit to the museum I have ever had: much like other children expressed wonder and amazement at a circus performance or sports game; I was awestruck and mesmerized by the colors, the atmosphere, and the same restrained joy that I felt evident in the eyes of all the other observers. My girlfriend and I made our way through the museum, blending in with crowds of other viewers to see Cezanne, Gauguin, Brueghel, O’Keefe and the like in the permanent collection, making time to go from one end of the spectrum to the other. But my heart has always had a soft spot for

Ludwig van Beethoven once said, “Music, in truth, is the mediator between intellectual and sensual life”. Though he and his music were from an entirely different era, both still have relevance in our lives today. Music from the past is all around us on the radio, in commercials, and on the big screen. For example, one of Beethoven’s most famous symphonies, “Symphony No. 9”, makes an appearance in many movies. It even makes an appearance in Die Hard. Though we like to think that which is old is obsolete, we are everyday reminded that this is not true.

The first movement is “Mars, the Bringer of War.” It begins moderately quiet with mainly percussion and strings attacking the ostinato in a march like 5/4 meter. Brass begins to crescendo its way in before the terraced dynamics of the upper woodwinds begin. It is a moderately fast piece. The main goal of the piece is to create a war-like sound. The beginning creates a sound that feels like troops are gathering and it continues until both sides attack, recuperate, and attack again with full force (during the coda). The tenor tuba carries the melody while the march-like rhythm keeps reappearing. As the piece

Lamont Symphony Orchestra performed three beautiful sets of music that was conducted by Ryan Kozak with Hisham Bravo Groover, Assistant Conductors and Lawrence Golan being the Music Director and Conductor at Denver University on Thursday, November 17, 2016 in June Swaner Concert Hall at 7:30pm. Kozak conducted all three of the of the pieces; Danse Macabre Op 40 by Camille Saint-Saëns (1835 to 1921), Isle of the Dead, Op. 29 by Sergei Rachmaninoff which is my favorite out of all three pieces (1873 to 1943), and Symphony No. 5, Op. 107 by Felix Mendelssohn (1809 to 1847). Walking into the concert hall I was flabbergasted. The size of the room just amazed me and the stage was fantastic to say the least. Made me more excited for the show to start! As I sat down in my seat I noticed all the types of people in the concert hall were dressed in many different sets of attire. Elderly people were better dressed with their suits and dresses and pant suits where the younger people in the concert hall were still nicely dressed but were a little more casual. After what seemed like forever the lights finally began to go dim and I knew the show was about to start. In the first piece, Saint-Saëns, setting of the poem, the solo violin represents the devil who is playing his fiddle for the dance. The dance begins at the stroke of midnight in a graveyard. The harp begins the work with 12 strokes,

Attending a NY Philharmonic Orchestra is similar to analyzing a company that makes music. Each person in the orchestra is a crucial part of its whole entity. The conductor plays a huge part as a leader and all the musicians create a sense of unity by being able to work together to put on an amazing show. Leadership from the conductor guides the musicians, while each team member brings their own specialty to the table to be molded into a successful philharmonic orchestra.

As we all waited in line to go into the concert there was a thrill of

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.