1. Date: 2-3-13
2. Topographic point: Pope Joy Hall
3. Name of ensemble ( s ) acting: Albuquerque Youth Symphony included threading ensembles of the Violin. Viola. Cello. Stringing Bass. and. The Woodwinds Ensemble included the Flute-Piccolo. Oboe. Clarinet. Bassoon ; Brass Ensemble included the Gallic horn. Trumpet. Trombone. and the Tuba. Equally good as the Percussion ensemble. Equally good as a Keyboard ensemble the Harp 3. Describe the concert locale and where you sat ( i. e. : balcony ) : I took my twelve-year-old stepdaughter with me and we stood out side for about five proceedingss waiting in line to buy tickets. Upon come ining Pope Joy Hall. we were greeted by an information booth that was filled with circulars and booklets and plans to all different locales of art. from orchestras to dramas.

Lindsey asked me broad eyed ; make all these things mean that this is what is demoing or playing here? I looked at her and smiled and replied. yes this is Pope Joy Hall. UNM Center for the Humanistic disciplines and they have a assortment of things traveling on all the clip. We grabbed some information on what we would wish to come and see and headed to the first theatre on the left. We walked up to the entryway doors to the theatre and were greeted by two really friendly saluters. who handed us our plans.

Then. we entered the dual doors and were greeted by an eager Ussher who courteously guided us through manus and arm gestures to travel down the left isle. Therefore. Lindsey and I sat together in the lower degree on the left side in-between terminal row seats. Once seated. I realized that this theatre is set up like a little sized concert hall that would typically be set up for an indoor classical music locale. It was really nice and cosy every one was dressed insouciant to semiformal and Lindsey was in awe. she had ne’er experienced anything like this before. 4. Were there any spoken comments about the concert? Yes? No? : Yes If yes. depict by and large. what was said:

They started with proclamations by that first welcomed everyone to the Albuquerque Youth Symphony. and to province that they are audio and video entering the event and we can if we haven’t already signed up for a transcript. we can still make so out side the dual doors during intermission or after the concert. Then they went over the plan indicating out the fundraiser and the new solar panels that are traveling to be installed in the close hereafter. Third. they made an proclamation about a really particular Concertos’ Cellist Kayla Mathes. and announced that she was chosen to be a portion of the National Youth Orchestra. in New York this summer and touring to Moscow and London with the group.

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Last. they went over the patrons and so introduced the symphonic music. 5. Which genres of music were performed? i. e. : symphonic music. concerto etc. : The Albuquerque Youth Symphony performed an Overture to “William Tell” by Gioachino Rossini ( 1792-1868 ) . Triumphal March from “Aida” by Guiseppe Verdi ( 1813-1901 ) . Prelude and Liebestod from “Tristan and Isolde” by Richard Wagner ( 1813-1883 ) every bit good as the Concerto for Violoncello and orchestra in E child by Edward Elgar ( 1857-1934 ) . 6. Were any of the plants programmatic ( music with literary or pictural? Associations ) ? Yes No: Yes.

If yes. which composings were programmatic? : Overture to “William Tell” by Gioachino Rossini a attractively written piece of music particularly of considerable size and complexness. Equally good as. the Concerto for Violoncello and orchestra in E child by Edward Elgar. which was filled with natural emotion.

7. Choose two complete plants from the plan and fill in the spaces:
Composition # 1:
Name of Composer: Gioachino Rossini ( 1792-1868 )
Composition Title: Overture to “William Tell”


Movements/ Tempo markers. if through-written. merely leave space: I. III. II. IV. Historical Era of Work: Rossinis’ Overture to “William Tell” is a mixture of Baroque from ( 1600-1750 ) classical from ( 1750-1820 ) and romantic from ( 1820-1900 ) . Choose from: Medieval – pre-1450. Renaissance – 1450-1600. Baroque – 1600-1750. Classical 1750 – 1820. Romantic 1820 – 1900. twentieth Century 1901 – 2000. 21st Century 2001 – Present –

Name any solo voice or featured instruments: None
Composition # 2:
Name of Composer: Edward Elgar ( 1857-1934 ) .

Composition Title: Concerto for Violoncello and orchestra in E child. Movements/ Tempo markers. if through-written. merely leave space: I. III. II. IV. Allegro Historical Era of Work ( see description above ) : Romantic from 1820-1900 and twentieth Century from 1901-2000. Name any featured ( solo ) instruments or singers: Kala Mathes solo Cellist.

In the infinite below decipherably compose a brief narrative sum uping the two pieces listed supra. If you prefer. you may attach a typed sum-up to this page. Choose among these points to discourse: Describe manner. metre. pacing. kineticss. texture. Was the music more harmonic or unresolved? Make it hold frequent speech patterns. syncope or transition? Did the tunes move more in conjunct or disjunct gesture? Was there a voice or instrument timber that affected you emotionally?

Rossini’s overture starts with a lingering debut and spry tunes constantly leads to an huge crescendo transition. in which Rossini replicates a motif several times. adding instruments and volume with each repeat. Then out of the hush. a individual cello rises sorrowfully from a low Tocopherol along an arpeggiated cord through an E-minor chord to a high B. 2? octaves higher. while the other cellos lend their harmoniousness in E-minor. Slowly the first cello leads us toward a brighter ambiance of E-major. Then adds a few pizzicato beats to impart influence and a delicate yet graceful rhythmic accent. While adding an convergence of a new. twirling motive by the violas and 2nd fiddles. as they ask the inquiry and it is answered with three detached chords from the piccolo. flute and hautboies.

As the pacing hastens the storm begins. I can hear and see the faithlessness of falling rain in my head and through syncopating the raindrops. it drops off the driving round of the pizzicato dual basses. I can experience the harmoniousness as it darkens. perplexing. pulling me back to the of all time so dark E-minor. With a monumental reaching of gestures from the fiddles and woodwinds. the storm unleashes its wrath over turn overing the timpani’s. thumping bass membranophone and a fortissimo piece from the brass chords. Then the falling motive asks in a bare downpour. that is answered by an every bit and majestically go uping motive of the dual basses. bassoons and trombones. The flood tide of cymbals cascading among the whirlwind motive of the flute. piccolo and violins leads into a beautiful breath taking G-major. This so overlaps with the huntsman’s horns blasting in E-major with the connection of horns and membranophones that hold on to a resonating B-major chord that resounded into a galloping anapaestic beat.

This unleashes the contrasting in-between subdivision in C-sharp child that is dominated by a presto line for the strings and woodwinds. Then we find ourselves back to a galloping anapaestic step in E-major that once more builds the exhilaration into the release of the coda. When the hair on my weaponries were raised. eyes were tear filled. cognizing the narrative behind the music. the life of two brothers who ne’er knew each other. met merely one time. As one bows down to the other in realisation that the other is worthy of congratulations. award and acknowledgment. so honors him with an animating piece that succeeds to exceed the stoping in victory. Edward Elgars’ Concerto for Violoncello and orchestra in E child was alive as it unfolded as an enthusiastically structured. requiem-like a changeless spring of deep undiluted emotions.

The gap of this piece begins with a feature of decently and nobly planing the mark. is a flourish for the soloist Kala Mathes. and recurs throughout the concerto. The unmistakable chief melody-at once was brooding. inspirational. beautiful. and transcendent emerged about instantly with the violas. before Kala began to play the Cello. Throughout the piece of the motion the subject winds its manner through assorted keys. A. C. G and E minor. while the secondary thematic notes emerge from the clarinets. Then Kalas’ opening flourished as it transformed into a pizzicato transition that appeared in staccato sixteenth notes. Then in the key of B flat. the Adagio seemed to do clip base still as the beautiful tuneful musical lines sang its music of undeniable grief.

The symphonic music at this point was reduced to strings. clarinets. bassoons. and horns as Kala weaved in and out of the symphonic music cloth in an of all time so facile vocal without words. this is where I had goose bumps all over. cryings turn overing down my face. the power and emotions were overpowering. for even Lindsey was even shouting. The coda nestled back into E minor and had a rondo-like feel to its chief subject that echoed the gap. However. nil could conceal the fact that the nucleus of the concerto as a whole is a temperament of credence. patience and conclusiveness. The Albuquerque Youth Symphony played with such passion ; it was as if each individual and their instrument were one traveling in perfect harmoniousness. rime. beat. organic structure. head. and spirit. One fluid entity or divinity that entranced anyone within ear shooting. It was beauty and repose that was enormously incredible.

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