Classical Music Concert Report Essay, Research Paper
The performing group was the Astral Trio, Nicolas Kendall on the Violin, Clancy Newman on the Cello, and Anna Polonsky on the Piano. They performed on Monday, November 5, 2001 at the Cerritos Center for the Performing Arts.
The Cerritos Center is exceptionally stylish and classy or maybe I think like this because it was my first time in a musical concert. In fact, I was nervous since I didn?t know where to walk but the center was well coordinated plus I was helped all the way to my seat. My seat was located at the front left section of the concert hall. It was an adequate seat location for the reason that I could clearly observe and listen to the performers quite well. The stage lighting was fine because it focused on the performers. The only problem I noticed was that the seats were extremely uncomfortable and too compact to each other.
There was one special feature at the end of the concert, it was an encore presentation of another movement in the Trio in B Major of Johannes Brahms.
The age of the audience range from children as young as 5 years to elder adults. Almost everybody dressed differently but all were dressed suitable for the occasion. The behavior towards the performers was supporting and well liked reactions regarding the pieces they played.
The first piece played was Trio in G Major, Op 1 No. 2 by Ludwig van Beethoven of the Classical Period. The performance medium was the Orchestra Trio; they used of all three instruments in the entire piece. (Violin, Cello, and Piano) The texture of the piece it self was homophonic. The piece also used ample terraced dynamics or gradual dynamic change throughout the piece. The first movement was in a fast tempo, with a nice but not catchy rhythm. Since it was quite hard to remember when it was over. The second movement was in a slow tempo, it very dramatic. It made me sad as if someone died. The audience seemed captivated by grief it projected. The third movement was like the first but changed w/ higher tones in a fast tempo.
The second piece played was Cafe Music by Paul Schoenfield of the Twentieth Century. The performance medium was the Orchestra Trio; they used of all three instruments in the entire piece.
The texture of the piece was polyphonic/homophonic.
The entire piece was smooth and suave, charming melody for any moment. The first movement was in fast tempo; it resembled a get it going rhythm, a little slow dance like. The second movement was in a slow tempo; this movement was like saying goodbye to something but not in an unhappy manner. The third movement was similar to the ritornello form; it had aspects of the first movement.
The last piece played was Trio in B Major, Op. 8 by Johannes Brahms of the Romantic Period. The performance medium was the same as well as the instruments played. The texture of the piece was homophonic/polyphonic. This piece had a harmonic and relaxing melody. The first movement was in a fast but some parts slow tempo. This movement was the most relaxing of all. The second movement was in a fast tempo; the music played was like reminiscing old time playing on a hilly grass field. The third movement was in a slow tempo, not projecting sorrow ness but more like peacefulness. The last movement was in a fast tempo; it had high climax point that marked the end of the main theme.
The piece that had the most emotional effect on me was the second movement in the Beethoven piece. It was so dramatic that it made remember the times when I had to let go some of the person I loved the most. The concert itself was great but that movement really shook me.
University essay from Malmö högskola/Kultur och samhälle
Abstract: This thesis introduces the research of combining the field of interaction design with the domain of the classical concert. The research is framed around a curiosity about why interaction at big stages tend to fail: how can mass interaction support the concert experience in a way that interactivity becomes a dialogue between artistic intention and audience experience. The work is centered around a collaboration with The Royal Danish Theatre and The Royal Danish Academy of Fine Art – The School of Design, focused on a scheduled classical concert at The Royal Danish Opera, where a concept is tested. The work is carried out as an explorative work of a design space through interweaved processes of design practice and reflection, emphasizing the need to include the artistic intention and to support the experience of the performance. Validation of the work is triangulated: empirical results from interviews and observation at the concert, supported by theoretical aspects, related work, reflection, and analysis. Additionally validation is drawn from the collaboration, as well as on a micro level: all engagements are part of the validation, making reflections in iterations and through material exploration.With a focus on the whole, both regarding methodological points of view as well as the specific ideal to include artists and artistic intention, the work adds a new layer to the HCI (Human Computer Interaction) tradition otherwise dominated by a focus on the user. In conclusion, the work brings forth four provisional takeaways to the design space of mass interaction: Reserve interaction for dramaturgical significant moments, Breaking norms creates social playfulness and disruptive behavior, Create tight coupling between action and meaning, and Tie the stage to the whole space. The specific concept at the concert will be part of a repertoire and possibly be an inspiration to the design community and cultural institutions.
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On January 30th, there was a concert held in the orange county auditorium. The name of the concert was "Elegant Sounds Of the Eminent Classical Orchestra". Upon arrival, I had felt a bit underdressed. Looking around I had noticed that most everyone was very formally dressed. After taking my seat mid-center, I began to look around at the stage. There was a huge orchestra and everyone was dressed in black and was ready to play their instruments. A woman in a shiny black dress with long hair had welcomed, and thanked everyone for being there that night. The concert had finally begun, and it would be one of the most relaxing concerts that I have ever attended.
The first piece that was played was by Bela Bartok. It was called the, "Joc Cu Bata," which meant a "stick game". The lady told us that the man who had produced this piece was Hungarian. At the start of the piece, very nice violins were being played. They sounded very soothing. Awhile after that, a flute was playing in the background, and soon after that, the whole orchestra had joined in. To me it sounded very exciting, like I was viewing a horse race. The next piece that was played was Folk music. A British man, Ralph Vaughn Williams had composed it. It was called the "Welsch Hymn Tune." This one had actually sounded a bit patriotic to me. The next one was by Aaron Copland. It was a ballet from the 1900's in New York called, "Variations on a Shaker Melody." It sounded as though it started off with horns, and later trumpets that started to play solo. Then there was a time where only strings were playing, and soon after more instruments became involved. The piece after this was by a Russian Romantic composer, who was also a Chemist and Medical doctor. His Name was Alexander Borodin. The piece was called, "In the Steppes of Central Asia." In this piece I had an image of horses running off into the dessert. It turned into something that was very soothing and made me sleepy. Just abo.Related Essays:
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In the spring of 2004, I attended the 5:00 p.m. Bach Vespers concert at the Holy Trinity Lutheran Church. It was a requirement from my college music course to go to a live classical music concert for a final grade. The Bach Vespers was in its 36th consecutive season, and I must say I enjoyed the theatrical presentation. The Coffee Cantata is a delightful work, featuring soprano and bass with tenor opening and closing commentary, which focuses on a father/daughter relationship, and the father's aggravation at his daughter's resistance to giving up coffee; a habit which, according to the father, prevents her from obtaining a suitor. The performers were soprano Rebecca Lord, soprano Martha Sullivan, alto Emily Eyre, tenor Jos Milton, and Joe Damon Chappel, bass. They performed the classic works: "Erschuttre dich nur nicht" from Cantata, "Pursuing Beauty" from Sir Anthony in Love, and "Cantata 211 The Coffee Cantata".
It was a good presentation! The performers did an outstanding job, and they were full of energy. They were obviously having fun performing the pieces. The setting of the concert was spiritual and church-like. The mood of the audience was somewhat laid-back and they were into the scenes most of the time. At times, I caught a few onlookers looking away and talking among themselves, but it was safe to say once each piece ended the audience did gave them a long ovation. One piece I enjoyed was the Cantata 212 The Peasant Cantata written by the late great Johann Sebastian Bach. It was entertaining and fun! The overall quality of the performance was excellent. I think the concert would have been even better if they performed outdoors such as in Central Park, Sutton Park Place. or Washington Square Park. An outdoor setting definitely would have made the show extraordinary!
If Bach was alive and he attended the concert, I think he would be in awe with the performers. Joe Damon Chappel and Jos Milton would have impressed him because I think they were the stars of the show. Both of these singers made the show, and they have such a unique way of how to grab the audience's attention. Once Bach saw them performed his work, Cantata 211 The Coffee Cantata, he would be amazed and probably drink coffee more often.
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This past Sunday I attended one of many classical concerts that the Lake San Marcos Chamber Music Society (L.S.M.C.M.S.) hosts. The one I sat in on was their season opener.
This past Sunday I attended one of many classical concerts that the Lake San Marcos Chamber Music Society (L.S.M.C.M.S.) hosts. The one I sat in on was their season opener at the San Dieguito United Methodist Church. It featured Michele Zukovsky (clarinet), Daniel Rothmuller (‘cello), and Joanne Pearce Martin (piano) as they performed an all-Brahms program. The musicians presented three pieces by Johannes Brahms: "Sonata in F major for ‘Cello and Piano, Op. 99," "Sonata in F minor for Clarinet
CONCERT REPORT On April 26, 2000 I attended a concert at Mesa College in room C-119. The concert started at 12:00. There I observed as the musicians.
and Piano, Op. 120 No. 1," and "Trio in A minor for Clarinet, ‘Cello and Piano, Op. 114." The performance of "Sonata in F major for ‘Cello and Piano, Op. 99 Allegro vivace" was truly an amazing experience and was my favorite piece of the concert. The piece started out fortisimo: violent and frantic. Within twenty measures it faded to pianissimo. During the entire piece, the dynamics ranged in and out of this spectrum. The tone color of the ‘cello
Thursday we had an Andean concert. Condor Conspiracy, a five member group, played. Two of the members have played for us before. The group played a variety of instruments like.
was sharp, flighty, and eclectic while the piano represented tonal characteristics of power, joy, grace, and sorrow. The pitch of the number varied from soprano to bass although it stayed mostly in the baritone register. It was measured in thirds and there was some syncopation involved when the ‘cello would deviate from the beat set by the piano. During the piece, both the piano and ‘cello would imitate each other in a counterpoint fashion. It seemed as though at times
This past Sunday I attended one of many classical concerts that the Lake San Marcos Chamber Music Society (L.S.M.C.M.S.) hosts. The one I sat in on was their season opener.
the ‘cello would command the piano and vice versa. The texture was definitely homophonic because of this. Overall I give this concert four and a half (out of five) stars. It would have been perfect if only the artists had added more passion to their work. They played the pieces beautifully but showed little outward emotion. This, I believe is
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“Classical Concert” Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria. He was born to an overbearing and ambitious father, Leopold, who was more than anxious to exploit his son's extraordinary musical gifts. Mozart began composing at an early age, and he began t
Classical Vs Modern Essay, Research Paper “Classical Concert” Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria. He was born to an overbearing and ambitious father, Leopold, who was more than anxious to exploit his son’s extraordinary musical gifts. Mozart began composing at an early age, and he began touring around the same time. Throughout his life, Mozart made many enemies, many his own fault, through his naive arrogance and harsh critique of his musical contemporaries. He worked feverishly, composing symphonies and operas, as well as touring constantly. Mozart died of overwork and kidney failure on the 5th of December 1791 while still ironically at work on the “Requiem Mass” for an unknown patron. Though he lived for a relatively short
time, Mozart’s prolific musical career, in which he composed hundreds of musical works, gained him a place among the all time greatest composers. Henry Vieuxtemps was born in 1820 in Verviers, Belgium, a fertile ground for violinists. He had his first lessons from his father, a weaver and amateur violin-maker and player. Vieuxtemps made his first public appearance as a violinist at the age of six, playing a concerto by Rode. In 1836, Vieuxtemps wrote his first violin concerto, the Concerto No. 2 in F sharp minor, published as Opus 19. In 1843 and 1844 he toured America and during that time, he wrote his Concerto No. 3 in A major, Opus 25, a work now as a great poem rather than a concerto, influenced by Beethoven’s Violin Concerto. In his later years, Vieuxtemps devoted much
of his time to teaching, but suffered a stroke in 1871, making virtuoso playing impossible. Afterwards, in 1877 he resumed teaching and conducting in Paris. Illness led finally to his resignation in 1879, but he continued to compose, completing his Concerto No. 6 in G Major, Opus 47, and soon thereafter Concerto No. 7 in A minor, Opus 49. He died in 1881 and was buried in his hometown of Verviers. Mostly Mozart Festival, Avery Fisher Hall, Lincoln Center. This musical performance included three works from Wolfgang Amadeus Mozart – Symphony No.32 in G, K.318, Piano Concerto in D minor, K.466 and Symphony No.35 in D, K.385 (”Haffner”) – and one from Henry Vieuxtemps – Violin Concerto No.5. Emmanuel Krivine conducted the performance, with featured soloists Joshua Bell
(Vieuxtemps violin concerto) and Stewart Goodyear (Mozart piano concerto). A full orchestra performed the symphonies. Overall, the Mostly Mozart Festival was a tremendously enjoyable experience. The qualities that define the works of Mozart are often the same as those that are used to describe those of the “classical” period of music, from his smooth melodies and flowing rhythm, to his pleasing use of dynamics to create an atmosphere of complete satisfaction. One of the most defining principles of the style of Mozart is the connection to nature and God, and the seeming oneness and harmony that can be achieved simply by listening while the melodies take you to a higher plane of thought. The most enjoyable piece from the performance was “Allegro,” from Mozart’s Concerto
in Dm. There are simply not enough words in the English vocabulary to describe how eloquently crafted and rhythmically shaped this piece is. One of the most outstanding elements of this piece is the harmony created between the piano and the strings as they accompany each other with seeming flawlessness. The resulting experience is exhilarating to say the least. Accentuating the piece even more was the performance by the virtuoso pianist, Stewart Goodyear. Although still in his early twenties, this musical genius has already far surpassed many of his contemporaries and his solos are breathtaking, as he routinely improvises and takes even the most perfect piece to new heights. In addition to Mozart, the performance also included a Violin concerto by Henry Vieuxtemps, a romantic era
ujax Threads: 4
Author: Bharath Krishnamurthi
Tell us about the most significant challenge you've faced or something important that didn't go according to plan. How did you manage the situation?(*) (200-250 words)
This had to be my worst performance ever. "I should have practiced harder," I thought to myself. My hands were numb and sweating and my mridangam playing was shaky at best. The vocalist and the violinist were in tune and in perfect harmony while my cacophonous noises perhaps scared some people away. I was playing my mridangam in local Indian Classical concert and I realized my tempo and rhythm were off. It was embarrassing. My persistent trepidation kept me from performing well. Afterwards, people came up to me with smiles and said "Well done, Bharath!" I weakly smiled but I knew they didn't mean that. Needless to say after the performance I was dejected, my confidence to play shattered. That night I went home and after aimlessly browsing the web I came upon a quote by Samuel Beckett, "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better." I was irritated. I thought his quote was meaningless and useless to anyone who wanted to succeed. Later, I began thinking of that quote and understood its true meaning-perseverance. Perseverance was key and I spent the next year honing my skills and practicing hard so my confidence was at its highest. I may have failed and not lived up to my expectations but there was only one way to go from there-up. Maybe I would fail but I was sure I would "fail better" and that would be my next point to begin until I reached my goal.
Any corrections (grammatical, content wise, etc) appreciated and harsh but constructive criticism appreciated!
St. Louis Symphony Orchestra
I would like to start off by saying that having the opportunity to attend the St. Louis Symphony Orchestra was an experience all in itself. The building as a whole was breath taking, and the music that was played was fascinating.
The first piece played was by the composer George Frideric Handle. Handle was born on February 23, 1685 in Germany. He settled in England in 1712 and became something of a music establishment. Handle provided music for coronations, funerals and other public instances. His first performance of this piece is unknown but estimated to be sometime around 1747. His Concerto a due cori No. 3 in F major was dated around the late 1740’s. The scoring of this piece is suited for an outdoor performance with distinguished contingent of wind instruments.
“A due cori” refers to the two choirs of wind instruments the concertos utilize. Handle places wind players on each side of the string orchestra. The Concerto No. 3 in F major uses identical groups of wind instruments, each comprised of a bassoon, a pair of oboes and horn. The groups go back and forth trading calls and echoing each other’s phrases.
Overall I thought that this was a good piece to listen to. The overture was slow and rich and led into a fast, happy, upbeat movement that involved lots of strings. It was a beautiful piece both for listening and playing. The conductor was very lively and you could tell that he was very passionate about this polyphonic textured piece. I loved how within the movements the instruments were very dramatic, loud and repetitive.
Mendelssohn’s Piano Concerto No. 1 in G minor was the next piece to be played by the orchestra. Overall, it was my favorite piece because the pianist was absolutely amazing, even though the concerto starts off with strings.
Felix Mendelssohn was born on February 3, 1809 in Hamburg. His first performance of this piece took place on October 17, 1831 while.
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