Symphony No. 9 Summary

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.

Then, it comes out of nowhere. The biggest climax, suddenly brought on like a wave crashing against a cliff’s edge. The oboe melody recurs again, this time less sorrowful than inviting. Come back, it sings. And the flute comes skipping over the sound, the sun rising from behind black clouds. But the melody it plays sounds out of place, lower than and not as bright as what it could be. My fingers twitch, following the flute countermelody as if I were up there playing with them—as I should be.

The lowest note of the fanfare at 0:32 indicates the ending of the instrumental verse and helps transition into a new section of the song, which would be the addition of choral voices (0:38). The melody continues at a lento pace, or very slow, and step-wise. The verses follows the pattern of AABA; the second A sounds at 0:53, and the B and last A parts begin at 1:09 and 1:24, respectively. At 1:42, the instruments interrupt the chorus and proceed into an instrumental verse, which mimics but slightly alters final A part of the verse, playing in flat and sharp notes to indicate suspense and prepare the listener for the key change of the next and final choral verse (2:02). At 2:36, the loudest

The first piece, Allegro Ma Non Troppo, un Poco Maestoso, which starts at one minute and thirty-nine seconds, and ends at nineteen minutes and fourty-one seconds in the symphony, started with an accelerando as the starts quite slow and with a gradual pitch, then the music gradually became faster. The movement starts as a D

Next, the chamber orchestra quickly transitioned to a vivace song that was performed con fuoco and was named “Indiana.” In this song, every instrument was given an uptempo solo to showcase the performer’s immense talent. The dynamic throughout was forte in fashion and did not vary from beginning to end.

The concert starts, the lights dim in the gallery. The President and CEO Tim P. Young takes the stage to inform us that this evening 's concert is being recorded to be aired at a later date on KNPB channel 5. Mr. Young introduces, Ms. Laura Jackson she introduces the principal violinist to a standing ovation. Followed by Mr. Benjamin Bielman enters the gallery to thunderous applause. The concert begins. Starting like a warm spring day full of happiness, joy birds a fluttering.Mr. Beilman 's expression shows an intense passion with every note played. Dark tones turn into light in the next movement. Like a lost loved one who has been found. From light to dark the music plays. Hopefulness swells like a playground full of young vibrant children, running, laughing enjoying the sunshine beating down on their smiling faces. Leaves appear blowing in the wind one by one until the crescendo of the deep dark tones reaches the top of the concert hall. A Lonely

Afterwards, a pickup by the string section leads into an 8-bar B melody (0:36). The rest of the ensemble

The harp plays ascending scales whilst the oboe plays a minor legato melody. The bass strings play pizzicato then the rest of the string section play tremolando and Crescendo. The brass repeats the melody, accompanied by the orchestra and a string tremolando inverted pedal. A string melody follows, accompanied by pizzicato strings and brass. There is a series of suspensions in the brass with perfect cadences, then an anticlimax with descending strings and brass. The main melody is repeated again, syncopated, in augmentation then there is a diminuendo as melody strings then French horn play melody.

The group started off with a String Quartet obviously in G major, K 387 by W.A Mozart (1756-1791). They wanted to do a Mozart celebration for the people attending the show. The

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.

Also it seems that both the instruments used and their arrangement amongst one another is done in a way that resembles how it would have been originally played.

In the entire arrangement, there are many instruments that can be heard, with each instrument adding its own flair to the sound. The instruments that I heard are two flutes, two clarinets,

The oboe then plays main melody. There is a rallentando and diminuendo with a flute melody and pizzicato strings.

There were a total of four music pieces performed. They were “Overture from the Singspiel”, “Concerto in e minor”, “Concerto on b minor,opus 104”, and “Symphony#2 in b minor, opus 5”. I think pieces were performed belong to classical style.

Firstly, the audience heard “Saints Without Tears” by Libby Larsen. This feature was composed in 1976, and has five movements of music. At the College, Suna Gunther sang soprano voice, Yvonne Chavez Hansbrough performed on flute, and Susan Loegering Daves performed on bassoon. The first movement titled, “The Temptations of Saint Anthony” contained small sections of sixteenth and thirty-second notes in the flute part that ascended up the scale. There were also many trills in the flute part, creating a very rapid note pattern. The meter of this movement is 6/8, so it therefore has a “leaping feel.” The score dictates the tempo of this movement as Allegro, or dotted quarter-note equals 96. This quick tempo made this movement sound very lively and bright. Dynamically, this movement included multiple sforzando-pianos in the bassoon part, which tells the bassoon player to play very loudly and then quickly drop down to piano all on the same note. This movement had very frequent dynamic changes throughout the flute part, as well. This creates a lot more intrigue rather than having the performers remain at one dynamic level. Generally, the texture of this movement appears to be homophonic because there are many times in which the flute and bassoon parts have the same rhythms, while the soloist has an entirely different set of rhythms.