The Performance Of The Symphony

The Pittsburgh Symphony Orchestra’s performance of Mahler’s Symphony No. 5 at the Berlin Philharmonie, gifted the audience with a masterful rendition of the movements within the symphony. The Symphony divides into three separate parts, in which the movements complement each other's characteristics. The symphony orchestra features a myriad of orchestral instruments featuring the Brass, Woodwinds, Strings, and Percussion families. Furthermore, the various movements throughout the performance utilize various musical concepts that bring the music to life. Albeit, the complexity of Mahler’s symphony, the Pittsburgh Symphony Orchestra performed superbly throughout the performance.

A very broad exploration of the 7th symphony reveals several unique characteristics that have rarely been seen in orchestral

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.

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.

Following the few words was the Cello Concerto of Sir Edward Edgar. Structured with four movements rather then three opens with slow and poignant music. It reminded me of the music that you hear when someone is mourning from loosing someone. It had its ups and downs in-between and the third was like energy broken down with mourning while going into the forth was the longest and most overly dramatic, it brought the audience to its feet. The performance was soothing and relaxing and amazing to see that each one of those people on that grand stage added something to make the piece special. With that being one of the first symphony performances I

When Jaap van Zweden announced he will leave the Dallas Symphony Orchestra in 2018, the question that comes to mind is: who will succeed him? Although young, James Gaffigan proves tonight that he possesses the stylistic expertise to replace van Zweden’s. This performance by the Dallas Symphony of El Salón México, Rhapsody on a Theme of Paganini, and Symphony No. 5, held at the stunning Meyerson Center, showcases the astonishing capabilities of conductor James Gaffigan and solidifies his claim to van Zweden’s post.

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.

I have never been personally a fan of the romantic orchestra music but going to listen to a concert live is breathtaking. I attended the Fayetteville Symphony Orchestra, Masterpieces concert with music director Fouad Fakhouri performing Igor Stravinsky’s Symphony of Psalms and Gustav Mahler’s Symphony No.1 in D major. There was a full stage of musicians and a complete choir to back it up.

How can a deaf person write a famous symphony? Imaging that, you were in a family that had a musical background, your dad was a singer. He got drunk after he drank alcohol, he shouted at you and forced you to played piano even you did not like it. You had to practice the piano because your father’s frighting shout. Your family grew poor because no one in your family earned money. You father forced you to hold a concert when you were eight years old. When you grew up, you started your career, but you had a omen about becoming deaf an ear infection. Your name would be Beethoven. In 1796, when Beethoven first got music-related success, he got the crises of being deaf, but he did not stop his composition；he still wrote a piano concerto for the

When fifth Symphony was performed for the first time at Vienna, it did not attract the best reception. In fact there were many critics and negative reception. The orchestra failed to perform well and at some point the performance messed up and Beethoven had to start the song all over again (Robins, 1992). Critics such as Dionys Weber and others at the time described the song as a disappointment because the first movement began with what they regarded as discord. Others said it was absurd.

This was my first symphony I've been to and I thought it was really interesting and fun. Since this was my first symphony I really didn't know what all to expect, but the quality of the performance exceeded the exceptions I had coming into this. There were several terms I learned in class the was relevant to the performance. I noticed the first terms before the performance started. It was in the program with the terms of Soprano, Alto, and the various instruments listed. Other terms that were prevalent to the performance included concerto with work from the orchestra and soloist, dynamics with the varying loudness and softness, melody with the organized succession of musical tones, tempo with the speed of the music, and several more. The main

I think the performance of the orchestra was above average. I enjoyed all aspect from when the conductor was welcomed by members of the orchestra to when the choir joined towards the grand finale. Both the orchestra and the audience played their role exceptionally. I watched the orchestra play over and over trying to grasp the meaning of every movement while enjoying the choral. By looking at the members of the large orchestra I could tell they were eager to please. Also the fact that they had rehearsed gave them confidence which was fully in display.

Throughout the experience of hearing Dvořák’s “New World” Symphony and the four movements apart of it, I was able to identify the performing talents of the different instruments and the way they impacted this

The concert that I watched included the Berlin Philharmonic’s performances of Beethoven’s Symphony No. 4 in B-flat Major, and Beethoven’s Symphony No. 7 in A Major, Op. 92. Both of these pieces were written in Beethoven’s second period of composition, during which he began to pull away from Classical ideals (although from time to time still drawing influence from them) in exchange for what were cornerstones of the evolving Romantic movement. Both of these symphonies consist of a full orchestra with a conductor. Many tenets of Beethoven’s compositional style manifest themselves in these two symphonies; most broadly the sense of urgency that comes from his use of almost all musical elements possible, from the vastness of register, to syncopation, to accentuation and tonal dissonances. In particular, these two symphonies are best observed as studies in contrast, as they are very dynamically and rhythmically focused; even at the expense of main melodic ideas. Even though they are not necessarily hallmarks of the organic growth of a thematic idea, their sheer rhythmic drive and stamina over long periods of time makes them especially noteworthy as two great Romantic symphonies.

On November 29, 2017, during a Wednesday night, I attended a Symphony Orchestra. The performance was played by the University of Houston Symphony Orchestra in Moores Opera House at the Moores School of Music. The performance was conducted by two different conductors. The first conductor was Carlos Guillermo Jung, he conducted the first piece which was a piece by Pyotr Ilyich Tchaikovsky called Fantasy which is a Romeo and Juliet Overture. The next conductor was Franz Anton Krager, he conducted the Cello Concerto No. 1 in A Minor, Op. 33, by Camille Saint-Saens which also included Vagram Saradjian, who was a guest cellist performer. The next piece conducted by Fran Anton Krager was the Symphony No.5 in C minor, Op. 67 by Ludwig van Beethoven. The performance overall was over two hours, but was very entertaining and captured my attention the whole time.