This is a response essay to a classical music performance I saw at the Disney Concert Hall in Los Angeles on December 7, 2012. Adam Reilly and Igor Stravinsky are the creators of ‘Toyota Symphonies for Youths,’ which was performed by the Musical Dramaturg and Production Consultant.
The musicians were Dietrich Paredes and Abigail Deser, and the music was directed by Abigail Deser. The goal was to bring together a variety of classical music for kids. To amuse teenagers and young people, who are known to enjoy entertaining songs, the music was combined with fun and imagination. Leon Martell and Kitty McNamee collaborated on the first piece of art I witnessed, which was choreographed by McNamee.
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In the main hall, there was a pleasant blended melody played on different musical instruments, as well as a beautiful vocal performance by the artists. There were four people on stage: one lady and three males. The lady primarily sang while one of the males played the piano, another played an oboe, and the final one played a bassoon. As usual, the stage was brightly lit, and the performers felt secure as they entertained their audience.
The medium of the performance was music, therefore it was easy to predict who would enjoy it. One interesting aspect about this event is that classic music was blended with vocals. This is one of the many modifications that this type of music has had to undergo. It was previously very unusual for classical music to include vocals. The lyrics for the song were transcribed into musical notes and instruments were used as the sole form of communication.
Aside from the first group’s performance, there were additional groups that performed with the Hollywood Bowl Orchestra. The Eugene Goossens was the creator of the Hollywood Bowl Orchestra, which premiered in 1922. The orchestras bands once again performed superbly, reading scripts and playing music with their various instruments while following notations from a script.
The two groups were accompanied by pianos, organs, and harpsichords. These instruments are primarily played alone. I observed that there were many electric equipment; for example, an electric guitar and a synthesizer.
The two orchestra bands performed music, which was accompanied by stunning ballroom performances in which ballet dancers joined the music and thrilled the crowd. From the beginning of classical music, there have been modifications to the instruments used.
There’s a lot of modernization, including dress codes and performers. Every one of the dancers in this performance, including the ballet dancer, was clothed in suits. The sort of individuals that appreciate these works of art are generally members of society’s upper class. It is usually a given that audience members value music by following etiquette in the auditorium when they attend classical music concerts.
The music was well-balanced and harmonic. The melodies were elegant, which led to the audience’s great enjoyment. When viewed from the traditional standpoint, such pieces are only supposed to be performed in this manner. There is no need for oral presentations or recording. However, conventional classical music has experimented with various elements, including the recording of performances for commercial purposes.
Watching and listening to skilled musicians is an essential element of learning an instrument. Each semester, we have the opportunity to listen to several guitar concerts. If you’ve never attended a classical music performance before, it may be daunting. This is completely natural and isn’t restricted just to classical music. I’m sure you can relate how unusual it would be if someone attending a Phish show wasn’t familiar with the culture that accompanies that music. The same may be said for every style of music in general.
The main thing to remember when going to these shows is that the emphasis is on the music’s sound. There are no lavish lights, dancers, or singers; all you’ll notice is a person sitting in a chair playing guitar. Aside from some unusual face contortions, classical guitar concerts lack a strong visual component. The music itself is also rather fragile.
Because of the louder volume, this makes for an even more quiet audience. As a result, the audience must be quieter than they would at an orchestral or wind ensemble performance. You should act in such a way that you can pay attention only to the artist and not to other members of the audience. When you concentrate on the music’s sound, you may be amazed at what your guitar is capable of. The following is a list of some things to look for.
Music in the traditional style will never be out-of-date. It has a melody that can help to relax the listener’s mind. Typically, it is considered uninteresting by teenagers. However, they should try their best to give classical music a chance and listen to it for at least a few minutes. Then, hopefully, the notion that it is tedious may be debunked. I attended a performance of Festival City Symphony’s professional musicians on March 17th 2013 as part of their Classical Music Series.
It was dubbed as “Not an Irish Concert” and consisted of some exceptional performances based on the legendary works by Ludwig Van Beethoven and Sergei Rachmaninoff, which were performed so effectively by the Festival City Symphony musicians (www.wisn.com). One of the performers at the award-winning pianist Jeannie Yu, a native of Korea, was Jeannie Yu. It exceeded my expectations in every way possible. Here’s a quick rundown of my experience at the fantastic performance at Festival City Symphony.
The location of ‘Not an Irish Concert’ was the Pabst Theatre in Milwaukee, Wisconsin. There was a slot for youngsters who arrived at the venue 15 minutes before the start of the concert to take part in a Children’s Program Notes (quoted from Symphony Sunday). It occurred before the main performance, during which Music Educator Jayne Perkins (quoted. from Symphony Sunday) explained some aspect of the music that would be played during it so that we might understand it better. The event began at 3 p.m. and lasted until 5 p. m..
The spectacular symphony began the show with their breathtaking musical performances. They opted to perform two of Beethoven’s greatest works: the Leonore Overture No. 3, composed for his one and only opera Fidelio, and Symphony No. 8. The musicians delivered each piece in a tremendous way. The audience responded with thunderous clapping to each performance. Children made up the majority of the spectators.
However, no one appeared bored. In fact, everyone was ecstatic there. Another outstanding performance given by the musicians was Rhapsody on a Theme of Paganini written by Sergei Rachmaninoff. The great pianist Jeannie Yu also performed at this event. She was so brilliant with her musical notes that the audience became enthralled in her performance. It was really wonderful to witness and hear the symphony orchestra and Jeannie perform together for 25 minutes as they played their melodies beautifully. The variations sounded very beautiful to me.’
The performance was excellent in my opinion. I’d heard all of these song before, so I could understand and enjoy them properly at the show. As a result, when the musician re-created these musical works during his concert, I was ecstatic and delighted. The Symphony No.8 was particularly fascinating as well as melodic. It had about 20-25 minutes of duration and included beautiful movements and songs.
I liked it because at times, it was really funny and creative with its music. We were informed that Symphony No.8 is also known as a symphony of laughter. It genuinely lifted my spirits. As a result, this one is the one I like the most. There was no performance in which I didn’t enjoy myself. Still, if I’m forced to choose, it’s the Leonore Overture No. 3 from Rachmaninoff My First Music Score Series . It was fantastic but not on the same level as Symphony No.8 and Paganini Rhapsody .
The reason I’d choose these two over Leonore Overture No. 3 is because of the impact they made on me with their variations and unique musical tones. In conclusion, my visit to the “Not an Irish Concert” at the Festival City Symphony was a fantastic experience that helped me understand and appreciate classical music. It allowed me to feel music’s power to lift, calm, and excite a listener.
It’s easy to see the distinctions between “popular” and “classical” music after attending two “famous” and one “classic” musical performance. While I was at these events, I noticed several variations, including the type of music performed, the atmosphere, the number of persons in attendance, and audience expectations throughout the performance. Both shows were presentational in Turino’s Music as Social Life course this semester (Turino), with a gap separating the performer from the spectators.
In this essay, I’ll talk about my encounters at the shows, analyze a piece from each performance, examine musical components in the piece, and assess the role of music in society. The ambiance of this event was completely distinct from that of a “mainstream” musical performance. Rather than hundreds of people all mobbing together to dance or sing, there were merely a handful of people sitting quietly in the theater.
The expectations for a performance were extremely different. You were expected to sit still and applaud only at the end of each piece, much unlike the Flume concert. You could hear a pin drop in this one; a slip of paper would have been enough to interrupt everyone. Another distinction was that instead of having programs provided during the performance, which covered information such as the artist, pieces being performed, and so on, these programs outlined the artist, pieces being played, and some background knowledge about the performing artist.
Llupa played five works, of which the Piano Sonata No. 3, Uninterrupted Rests, For Away, Six Encores, and Drei Klavierstucke were highlights. For Away by Toru Takemitsu was a melancholy piece with a slow tempo. This song had a broad range of notes and cadences throughout the track that added to the song’s “creepy” tone. This piece would be known as a “structured listening” work (Andrew Dell ‘Antonio).
While the significance was still to bring people together through music, this show was more about the music than audience interaction with the artist. Because it was “prepared by musicians for others to listen to,” it was purely presentational in nature.
The Music Unites Event was hosted by the local community college, Bunker Hill Community College (BCC), on Tuesday November 13th at 5pm. The International Education Week (club) organized the event in A300 Lobby of BCC. In an attempt to bring students together and display talents open to everyone, the event was hosted. I’m going to start with Jack Ibert’s (1890-1962) Chanson de Don Quichotte from the lieder concerto, No 1. Chanson du Departure.
Ibert was a remarkable French composer. Ibert did not belong to any of the major music eras (eras). Nonetheless, he is remembered for his wide-ranging compositions. Ibert frequently mixed elements from many different musical eras in one composition. It’s a song for voice and piano, which contains characteristics of Ibert’s known diversity in musical styles. Romanticism was evident in the melodic lines. The rhythmical patterns were reminiscent of Romantic music due to the large vocal range and piano accompaniment.
There were notable differences in the genre of each song. Despite the stylistic and thematic distinctions, the composition’s basic features may be characterized as a Classical performance because it was performed on piano.
John Philip Sousa (1854-1932) was a musician and composer in the early period of the Romantic era. Liederkries movement from Piano Concerto No.2 is a well-known piece of Shumann’s work. The second part of Eichendorff Liederkreis, Intermezzo, is an interlude in which all of Shumann’s pieces were composed for lieder or voice piano performance.
The piece’s meters and rhythms were vague, as well as the emphasis placed on the tonal framework. The lack of harmonic balance among musical sounds in voice and piano was clearly apparent, but the piano seemed to grasp onto every amplified tone of the voice. In any case, despite this, the music sounded considerably softer than unyielding voice with a wide pitch range.
The piece had an overpowering sensation of creativity and a desire for adventure. I heard the melodic melody, which was chromatic at times, and I could detect dissonances in use. The arrangement of both classical and romantic styles generated excitement and involvement among the crowd. Overall, the concert was simple to enjoy, highly stimulating, and moving.
The songs’ melodic lines, chromatic harmonies, and disharmonies accurately mirror the sense of liberation in form and design that was fashionable during the Romantic era. The lyrics of the music revealed pain, love, want, and sorrow as themes. The music transported listeners to the romantic period.
I was most impressed by the singers’ capacity to grasp each single meaning of each term and cadence. The two artists Shumann and Ibert appeared to share a similar thematic outlook. I also recognize that the various stylistic and thematic variations did not detract from the songs’ essential meanings.