Depaul Symphony Orchestra Concert Report

On Wednesday April 27, 2016 at 8:00 p.m., I went to see the Kennesaw State Symphony Orchestra conducted by Nathaniel F. Parker. The concert took place at the Dr. Bobbie Bailey & Family Center in the Morgan Hall. The pieces they performed were "Infinite Ascent" by Erik Morales, "Allegro moderato" by Carl Nielsen, "Andante and Hungarian Rondo, Op.35" by Carl Weber, "Allegro con spirito" by Johann Hummel, and "Symphonic Metamorphosis" by Paul Hindemith. It was truly fascinating to experience the music from many famous composers of many different periods of time.

The concert started off at a quick and stimulating pace with Brahms’s Sonata for Two Pianos in F Minor. The piece starts with descending arpeggios echoing a sensation of distress or confusion. There are frequent slight pauses, creating a sense of suspense for what is to follow and building on the emotions

It’s amazing to listen to musicians who do not normally play with each other come together and leave the audience in complete awe. That is exactly what happened on the day of Thursday November 26th 2014. The Bill Crothers Varsity Winds comprised of grade eleven and twelve students along with a few, talented grade tens went to listen to the Toronto Symphony Orchestra play. We travelled via a typical yellow school bus that took us to Roy Thomson Hall where we went right to the top level and took our seats. The seating seemed rather helpful because from a distance you could hear every instrument when you focused on it. It was beautiful. The band presented well with their “Penguin” like attire that was kind to the eyes. They appeared very organized,

The piece was very upbeat and well fast pace. As for Criantemi was opposite of the other piece. The emotion can off as sad. The tempo was slow and through the piece each section with crescendo and decrescendo throughout the piece as well. Make the piece sadder but yet suspenseful. It was differently song compared to the other ones on the program. This one really stuck out. The other piece they had play was “Capriol Suite composed by Peter Warlock” this one I think the as a whole band there time was very good in this piece. For the orchestra I think was the one piece where I could hear the each section of the orchestra. I was a piece that complimented each and every player in that recital that day. This piece was always a very calm piece, a lot more piano than forte. When they did forte in the piece the transition was

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

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

Its estimated duration was around 22 minutes. The idea for the soloists’ performance comes from the chamber concerto form. The solo players performed periodically through the symphony. The piece included three movements: fast-slow-fast. In the first movement, the soloists are supported by background harmonies. In the second movement, the soloists are playing together by taking turns with the background orchestra playing quietly like whispers. The final movement is more lively and spirited.

Michael Mauskapf explores the changes within concert audience in recent years and how the orchestra is plays both innovative and archaic roles within the community. Has formality surpassed the needs of modern audiences? Mauskapf notes that the orchestra is catering to a culture that is soon to die out and that being an “elite” organization with lead to its demise.

Certainly the jovial nature of the overture fits with this both this theme and the October Revolution festivities. Shostakovich’s composing life was certainly one of paranoia, due to a fear of pushing the boundaries too far with his work. His work had already been subject to censorship in 1936 and 1948 under Stalin’s rule. He managed to escape persecution however by his willingness to write works which reflected ’Soviet Realism’, How ironic it would be if the outpour of relief of Stalin’s death was the true inspiration for piece supposedly penned to celebrate the

Similar to the beginning, another interruption occurs. This time, the melodies do not seem to argue but discuss with one another in harmony. Around 4:00 minutes in, I finally begin to recognize the symphony, which is probably Beethoven’s most famous piece. Each repetition is more appassionato than the previous. The symphony grows forte.

For a reason the composer considered Symphony No. 6 the best work he had ever produced. It arose slowly from emptiness with the unexpected sound of divided double basses and a solo bassoon, enhanced by divided violas, followed by gloomy comments from the woodwinds, before swiftly changing into an edgy Allegronontroppo. Later it transformed into a blusterous section that recalled a Russian liturgical chant. The second movement accented the idiosyncrasy of the work, resembling a charming waltz while in fact it was not. The following scherzo grew rapidly into a march that smashed fiercely until the very conclusion.

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

In this movement, every instrument has equal position, asks and answers each other. Also, this movement sounds very intensive and rush. The phrases are more unexpected, people never know what is going to happen next. However, it sounds deeper because of the accidentals. No matter how exciting the music is, they all go back to the main theme every time. In these four movements, they all end in happy ending. It is typically a Mozart music style, very optimistic. This whole work take

When the performance will upcoming, no one walk around, no one to eat and chat, no one use the cell phones. On the stage, performers were wearing black clothes and shoes. They debug with instruments by themselves, or sit quietly wait for the show to start. And then the conductor makes a short description about the performance. As for this concert paper I would like to focus on Symphony No. 1 in C Major. It was Beethoven 's first symphony genre works, and linking the romantic and classical styles. It built in 1800. The main melody is based on the flute and oboe. The first movement is Adagio molto - Allegro con brio. Beginning with slow teases. The first theme of a dance, vice theme is beautiful oboe and flute repartee. After the beginning, the melody change to powerful and variation. It only a little of melody do not have harmony. In general, violin and viola play first, and then it will add flute and oboe. The second movement is Andante cantabile con moto. It is built around a simple theme of the sonata allegro musical form of development and expansion. There are a lot of decorations in main theme. The third

After a minor wobble of the director stand, a few adjustments and giggles, Symphony No.1 in D major began. The first movement started off with an eerie introduction, with the first two notes morphing into a birdcall as well as main theme but a very magical sound. It made for a very soothing, romantic time. Throughout the piece I felt as if it told a story as most music does, what I came to believe it was a love story. The Allegro begins in the cello with the second Wayfarer song, “Ging heut morgen Ubers Feld,” (I Walked this Morning over the Field). With a light and happy tone in the beginning as if two lovers had just met, this was the main theme of this movement. Suddenly there was a deep, heavy part maybe one of despair in paradise but that only lasted for a short period as it came to a victorious ending of happily ever after. (Kahn)