Thrice-Seven Ensemble: Concert Analysis

On his return to Hamburg he ventured, on 21st September 1848, to give a concert on his own account for the first time. The programmed included the adagio and tondo from a concerto by Rosenhain, Dohler?s fantasy on William tell, a serenade for the left hand alone by his master, Marxsen, a study by the fashionable Henri Herz, a Bach fugue, and his own Variations on a Folksong. He early showed as love for the folksong of his fatherland, which he used as themes for some remarkable variations a musical form, by the

During a later part of Scene Two when the cast is dancing the movements match the music, they appeared to be doing the Waltz, so the music had abrupt changes. In Scene Three: Cadiz, the orchestra plays some sad and somber music at the beginning. As the scene progresses the music goes from dark and dismal to happy and cheerful. During one of the songs of Scene Four: Paris the Old Lady, Cunegonde and Candide were discussing a flight and the music being played by the orchestra matched the lyrics bringing the idea of a flight to life. The Old Lady has a mezzo soprano voice she executes all of her notes well in the song. At the end of scene three Candide, Cunegonde, and the Old Lady leave to go to a new place and in the song they sing there are rounds, which were well executed. It helped change the mood again which brightened up the audience.

Another piece I appreciated was Flight of the Bumblebee. Composed in 1899-1900  by Nicolai Rimsky-Korsakov. Korsakov wrote this piece for his is opera The Tale of Tsar Saltan.I savored the music because it was rapid and reminded of this movie Bee Movie. Also we sat on the seats where we could see the pianist fingers go quickly and elegantly.

The second performance of the night was “East of the Sun,” composed by Brooks Bowman in 1934. This composition is from the modern era and the genre of this piece is also a sonata as it was played by the two performers of the night. This piece was more of a moderato allegro tempo as it was at fast pace but not as fast as the first song. This songs was very jazzy and soothing. In the middle of the piece the piano had a solo. After the solo, the piece slowed down and got quieter. Overall, this piece was calmer than the first song.

On Sunday, May10 2015, a concert was held in The Broad Stage. The concert was played by Santa Monica College Symphony Orchestra, whose conductor is Dr. James Martin. For this concert, I would identify myself as a referential listener at this concert. I say this because I am not an expert in music, therefore it would be hard for me to be a critical listener. I wouldn’t be able to tell what went wrong with a performance even if some incorrect notes were played. I was more of a referential listener because the music was soothing and brought my mind to peaceful thoughts. This essay will tells my experience of the concert in order to persuade my friend to  attend a classical music concert with you in the future.

The first half of the concert was only instrumental. There were two violins, two violas, and two cellos. They sat on stage with the violins one my right, then the violas in the middle, and the cellos on the end. The violins played a few songs solo. The second half of the concert was only the choir and a piano. Their performance started with the song Daybreak. The song Daybreak also had a few girls playing percussion, one of them had a tambourine. Using SHMRG, the Harmony of most of the choirs songs were very homophonic. The Melody of most of the songs were mainly slow, though a couple songs were very fast, and upbeat.

The first composition was Symphony No.44 in E minor Trauer. It was composed by Franz Joseph Haydn. The piece is from the Classical era and it is a symphony. Symphony is a large orchestral piece in several movements. James B. Mallard III was the conductor for the performance. The piece has four movements: Allegro con brio, Menuetto & Trio: Allegretto, Adagio, Finale: Presto. All of them were performed. The first movement was fast. It started softly then it became louder. Regularly, the minuet (with trio) of a symphony is place at third movement. The second movement of this piece is a minuet with trio. It was played fast, but it was not as fast as the first movement. Those movements was sad. The third movement was slow and soft. Its notes was higher and the mood is better. I felt that it changed from minor mode to major mode in this movement. The closing movement was very fast and had a high end.

It is a work saturated with the aura of Romantic poetry, and a harmonic language analogous to Wagner’s. Around 1900 he was engaged as a conductor of several amateur choral groups in Vienna and it was these groups that piqued his interest in vocal music. He began work on a choral composition of colossal proportions, Gurre-Lieder. For sheer demands of bodies alone, it surpassed even the most ambitious creations of Gustav Mahler; the work calls for 5 soloists, a speaker, 3 men's choruses, an 8-part mixed chorus, and an enormous orchestra. Special music paper of 48 staves had to be ordered for the master score. He completed the first two parts of Gurre-Lieder in the spring of 1901, but the rest of the composition was not finished for another 10 years. Later in 1901, Schoenberg moved to Berlin and met Richard Strauss. With the encouragement of Strauss, Schoenberg composed his only symphonic poem for large orchestra, Pelleas und Melisande (1902). Returning to Vienna in 1903, Schoenberg finally became acquainted with the Austrian composer Gustav Mahler, who would become one of his strongest supporters. It was during these years that Schoenberg’s activity as a teacher became increasingly important. The young Austrian composers Anton Webern and Alban Berg began studying with him in 1904. Schoenberg benefitted greatly from the intellectual stimulation of his bright students. He stated at the beginning of

The concert in which I will be reviewing in this essay is the Department of Fine Arts and The Faulty of Arts and Science Presents The Mallery Concert Series Fall 2015 in the Mallery Room on November 4, 2015 at 12:15pm. This concert series lasted for an hour long. It started at 12:15 pm and it finished approximately at 1:15pm.

In order to survive as artists, exiles had to reach out to American audiences, which meant adapting to American culture.[ix] The adjustments to the new environment, culture, and language may have caused a temporary hiatus in his creative activity, but as a resident of California, Schoenberg contributed to modernism through the interaction of cultures and the talents and skills that he was taught.[x] Schoenberg was a modernist composer and painter, and became a driving force for modernism in the Southern California region where he was one of the first composers to apply the twelve-tone method.[xi] “During his eighteen years in America, Schoenberg completed fifteen original compositions, in addition to many canons and six arrangements of his own and other composers’ works. He also started but left unfinished numerous pieces, most notably his opera Moses and

The second concert I attended was Die Fledermaus a Comic Operetta in three acts. Die Fledermaus is an example of a singspiel, which is a sung musical work on the style of opera with spoken dialogue. Johann Strauss wrote Die Fledermaus in forty-two days and was premiered for the first time in 1874. The Auburn opera workshop performed Die Fledermaus to give students the opportunity to perform operatic literature in a staged setting. Die Fledermaus was performed in three acts with an orchestra. The orchestra included the Violin, Viola, Violoncello, Bass, Flute, Piccolo, Oboe, Clarinet, Bassoon, Horn, Trumpet, Trombone, Timpani and Percussion.

The first music was “Piano Trio D major, Op. 70, No.1, “Ghost Trio” this music was made by Lidwig Van Beethoven. Before the Trio playing, Mis.Valerie Walden who plays cello explained about this music. That is good for the young or new audiences for the concert. Beethoven is very famous comporser in

Stravinsky wrote this particular piece two years after the death of Claude Debussy in his memory as per request from La Revue Musicale. The piece was not meant to please the audience, and understandingly so. I did not actually enjoy the music until Beethoven's "Eroica" began. The first half of the show was interesting to hear and watch, but there was a lot of dissonance. There were sharp sounds, abrupt chords, and irregular phrases. The passages were in blended timbres and the instruments used were oboes, the French horn, English horn, and contrabassoon. The tonality was hard to distinguish as the sounds were all over the place including instrument solos. The overall dynamics of the concert ranged from mezzo piano to piano and then ended with

I went to the concert with my friends. The concert is set up at whitemud crossing library. The performance was set up in the lecture hall of the library. It was a small lecture hall with small stage on it and it was set up with Soft lighting, neat wooden bench, and warm atmosphere. There were 4 Musicians on the stage sit in a semicircle facing the audience.,2musician is come from university of Alberta department of Music. Guillaume Tardif is Associate professor and the associate chair and Yue Deng is artists-in Residence in Violin. The rest 2 musicians were artist comes from Edmonton Symphony Orchestra, Charles Pilon is Assistant principal Violist and Colin Ryan is Principal Cellist. Instrument contain are 2 violin, one viola and one cello.The repertory they performed is come from Felix Mendelssohn and Robert Schumann. All the information about today’s concert is include on a brochure which you can get when you walk in.

The first two pieces of Drei Klavierstücke were composed in February 1909 in Vienna, while the third came later in August and a revision in 1924. Schoenberg published the work with the Universal Edition in Vienna in 1910, revised in 1925. A typical performance lasts roughly 14 minutes. The world premiere of the work was given by Etta Werndorff in Vienna’s Ehrbar-Saal on January 14th, 1910. Schoenberg wrote these pieces in his new outburst of expressionist music in 1909, along