Concert Report – Essay Sample
On November 92007, the University of Oregon hosted one of their Jazz Cafe performances. This was chiefly a show window for music big leagues and alumnus pupils. Held at the Beall Concert Hall, the public presentations featured many flowering instrumentalists with an mixture of alone musical jazz band. This was a perfect chance to see such a broad assortment of music, which for the novice Jazz hearer, was perfeCI. It wasn’t merely the music, nevertheless, that m4: lde this perfonnance a success. It was the ambiance. Low illuming coupled with candlelit tabular arraies made for a great romantic day of the month. Although the topographic point was packed to capacity, the feel of the ambiance remained unagitated and loosen uping. There was a pleasantness and easiness about the whole public presentation.
The following public presentation was a couple with a piano and tenor Sax. One ormy favourite public presentations ofthe dark, it had an eerie and cryptic sound due 10 the drama with minor keys. There was a strong accent on the call and response or antiphony facet, particularly at the beginning ofthesong. Theuse ofminorkeysandnotesproducedclashingsounds attimes during Ihe public presentation. In this couple we got 10 see spots and pieces ofeach instrument both the piano and the Sax. One technique the saxophone seemed to be utilizing was the repetition of arpeggios. The piano would pick up strong at the same clip and so decease down once more. There was such an high-strung sound to this public presentation. Straight from an Alfred Hitchcock film or something, this music had everything I wanted to hear. Towards the terminal, we start to see Ihe music making this climatic terminal and so it all of a sudden stopped.
This vocal entitled “I heard it Through the Grapevine, ” was done with a couple between a bass and piano. The bass begins and uses really strong gutsinesss to stress the tune. The bass acquire a small rougher and Ihen the piano boots in. Using a 4/4 clip on Ihe left manus merely and the bassist playing chords I & 3 with right manus. This music decidedly has a touch ofbJues and psyche. Its deep beats and repealed bass lines ( Ostinato ) makes your pess begin to t~p and head nod. Towards the terminal ofthe vocal the piano begins to take charge utilizing right manus chords merely. He begins to freestyle utilizing his right manus, reiterating assorted notes and graduated tables. The piano produces fast graduated tables and uses bottom chords. Finally the piano begins 10 soften and the music fades off. This was an illustration ofa technique called ritardando, which is a gradual lessening in pacing.
Write the first bill of exchange of your report every bit shortly as possible after the concert so your feelings remain fresh, but dont write during the concert. Use the plan to remind yourself of what you heard when you write your report. Use the plan as a manner to assisting yourself use right nomenclature. Do non utilize the plan notes as a replacement for your ain thought and personal reactions ; make non jam your report full of historical choice morsels about the piece. Remark on affairs of historical background merely if they straight influence your personal experience of the music. Read Why So Serious? , by Alex Ross in the New Yorker magazine, 8 Sep 2008, before you go to a classical music concert. It is about the development of classical music concert audience behaviour.
Did you like single pieces? Did you have emotional reactions to any peculiar piece? Why did you respond the manner you did? Be it in the composing or the public presentation or both? What held your attending? Did your temper alteration in the class of the concert? Was the concert full of assortment or was it all more or less the same? Could the public presentation be better? How? Could the choice of composings performed have been more to your gustatory sensation? Was this a familiar or a new experience? Was there a theatrical dimension to the public presentation? How does your concert traveling experience comparison to those discussed in the Alex Ross Why So Serious? article?
In 1985, I attended a public presentation of the Mozart Requiem by a community chorus and orchestra in Yellow Springs, Ohio. Part of why I remember that public presentation to this twenty-four hours is the graphic facial looks that I could see on some members of the chorus. One older gentleman in peculiar was striking to watch. I believe he had some kind of medical job, because his face was in changeless gesture with little convulsive vellications. Whatever the feeling was in the music, it was amplified in his facial gestures. He looked panicky and terrorizing as he sang the Dies irae. More peaceable, even joyous emotions seemed to contend through the cramps to register in his face when the music called away those feelings of joy and peace. Other faces in the chorus reflected happy satisfaction at the pleasance in singing Mozart.
This is a sample concert report for Music 10. It illustrates how you might utilize musical nomenclature in depicting an existent public presentation, and does a reasonably good occupation of explicating the music and conveying what it is approximately. Remember, a mere description of musical events is deficient. You must demo an apprehension of the music, of how it works, and of what it is approximately. You will do different types of observations about different types of music and different concerts. For case, a public presentation of German vocals might take to a treatment of vocal public presentation and how the music conveys the significance of the words, whereas a public presentation of a Baroque orchestral concerto might imply a treatment of period instruments or instrumental public presentation techniques. On the other manus, certain subjects of treatment, such as key, intrumentation, texture, signifier, etc. , will be relevent to all concerts.
The concert opened with the Festival Overture. This piece began softly. As the twine instruments plucked in unison, the brass instruments entered with a slow tune. The temper became more dramatic as it progressed. The gait became faster and the texture more intense with fugue-like entrywaies. The different instruments succeeded one another until they finally all entered in unison. The huntsman's horns were the most outstanding participants in the overture, efficaciously supported by the uninterrupted whipping of the membranophones and clanging of the cymbals. The huntsman's horns were shortly replaced by the strings, while the brass instruments receded to the background, rapidly taking to the flood tide in the concluding subdivision of the piece.
The 2nd work of the eventide was the Concerto, which began with a dramatic solo fiddle tune, which set a blithe tone to the piece. Very rapidly, nevertheless, the orchestra, and in peculiar the lyrical strings and pizzicato cellos, entered and provided a steadfast bed of support. Barbini 's solo, contrasted good with the orchestra, and culminated in a sustained high-pitched ethereal sound, proposing an other-worldly character. The flood tide of the first motion occurred when the huntsman's horns played a forceful pound motivation which punctuated the beautiful chief subject in the fiddle. This was one of the most inspiring and traveling transitions of the full concert. It occurred to me that it had about a chauvinistic tone to it, and I would be interested to cognize whether Tchaikovsky intended it that manner.
In contrast, the temper of the 2nd motion was melancholy. The twine instruments played a sad tune and the brass instruments enhanced the temper by their changeless horn blowing in the background. The interplay between the soloist and the orchestra took on a more intimate veneer, and they appeared to be more comfy with each other, as opposed to the first motion where they had appeared adversarial. The 3rd motion began `` attaca, '' that is without a intermission at the terminal of the 2nd motion. The connexion of the motions, in my sentiment, enhanced the ever-building flood tide at the terminal of the 3rd motion. The soloist took on a winning function and seemed to prevail over the orchestra. The highly lyrical shutting subject brought an component of glorification to the full concerto.
After a 15 minute intermission, the orchestra played the last two pieces of the eventide, though it was the Serenade, and in peculiar the first motion, which made the most permanent feeling on me. An interesting feature of this piece is that it was composed for an ensemble dwelling wholly of strings. I was at first leery about this, but shortly realized that the absence of brass, woodwinds and percussion instruments in no manner detracted from the effectivity of the piece. The homogeneousness of the timber was rather hearty, as the degree of communicating was greatly enhanced by the familiarity and acquaintance of the sound. The motion opened dramatically with the full ensemble playing together. The instruments moved from one chord to the following, as the kineticss bit by bit decreased, which fueled my expectancy of a important event. Certain plenty, after a intermission, the fiddles made a dramatic entryway by playing the serenade subject, while the warm resonating sound of the cellos enveloped them in the background. The motion became lively and energetic, as the pizzicato cellos and the short fiddle shots underscored the chief subject.
The 3rd motion began quietly, increasing in volume as the motion progressed. A vivacious sound was created by vibrating cellos and the long shots of the fiddle bows. Whereas in the first motion, the divertimento had opened softly with the sound of fiddles, in this motion the cellos were the head of the piece, while the fiddles plucked softly in the background. This was the lone motion in which the cellos were the dominant sound, and the motion became livelier when the other twine instruments eventually entered, making an exciting flood tide to the full piece.
Attending this concert made me more cognizant of the diverseness of manner and compositional techniques built-in in Tchaikovsky 's music. I peculiarly enjoyed his command of orchestration, as he is able to unite the different sounds of the orchestra in an effectual mode. Even when the ensemble is limited, as in the Serenade for Strings, he still manages to make interesting effects. The manner he showed the duologue between soloist and orchestra in the Violin Concerto heightened the dramatic tenseness in the piece. At the head of Tchaikovsky 's music, and the ground I enjoyed this concert so much, was the lyric quality of his tunes. Simply put, his music is lovely, and it speaks straight to me.
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On December 7th, at 9:00 p.m. 2012 I watched the wind concert that was performed by Kurt Elling with the WDR Big Band which was held at the Philharmonic in Koln, Germany. Performers: Kurt Elling – Voice ; John McLean played Guitar ; Laurence Hobgood played Piano ; Clark Sommers played Bass ; Kendrick Scott played Drums and Congas. To be honorable Kurt Elling wind concert was the first wind show that I heard wholly. I’m really more authoritative music’s individual. Therefore, I am non an expert on wind music ; nevertheless, it was a good chance to derive some cognition and pass quality clip. The concert was dedicated to new album Kurt Elling “1619 Broadway” . Hear were following composings: “Broadway” , “Come Fly With Me” , “You Send Me” , “I Merely Have Eyess For You” , “I am Satisfied” , “A House Is Not A Home” and a batch of other composings. All instrumentalists played with a great enthusiasm. The audience was fascinated with musical composings. Jazz and Blues are greatest cultural accomplishments of America and 1000000s of people continued to be charmed by diverting assortment of improvisations of wind composings. I think what attracts people is that wind is truly international phenomenon. Jazz is born and being developed amongst diverse population ; hence, today wind is capable to unite people of different faiths, race and civilizations. While I was listening Kurt Elling who greatly performed wind composings, I started to understand that true tune of wind is non in the melody ( as I thought earlier ) , but an thought that is created in a head of the composer, poet and performing artist of the vocals. They all are inspired by thought of externally restrained passion and freedom. Therefore, in wind the advanced performing artist can construe a melody in really personal ways and avoiding executing the same composing in the same manner twice. Jazz public presentation depends really much on temper and personal experience of performing artist.
Kurt Elling is Grammy-winning singer and he is really gifted. Furthermore, he has a great trade of experience and he is non afraid to experiment. Therefore, he has a batch to state about that makes his music unique and unforgettable. For illustration, he transforms “You Send Me” the hit of 1957 of Sam Cooke into a wine-dark and simmering prayer. The vocal “I Merely Have Eyes For You” which is the most celebrated vocal of 1934 sounds now darker and slower, and about as invocation. Kurt Elling added to his vocal “A House Is Not A Home” a brooding reading, and eventually Carole King’s swing “So Far Away” in Kurt Elling’s public presentation sounds with a broken hearted stateliness. Kurt Elling changed these vocals harmonizing his feelings and understanding. Possibly, he changes them because times, people and moral are besides changed. Possibly, he has this possibility to the Jazz’s quality to bring forth a synergism of creativeness, interaction and independent look. Elling’s wind music is going darker, more dry and cryptic with the class of clip. For this concert, he selected his melodies from assorted eras of wind merger. His set frequently employs the amplified versions of keyboards, bass and guitars, and this clip was non an exclusion. Therefore, Elling’s personal vocal reinterpretations are intriguing. Electrified instruments work side-by-side with their acoustic siblings, making really challenging combinations. A ghostly chorus in “You Send Me” set to a brooding funk vibration. Saxophonist Ernie Watts added saxophone tenor to “I’m Satisfied” . Ellings frequently mixes tempers with dejecting melodies of some vocals. “Pleasant Valley Sunday” is pushful, with child’s voice, layered by electric guitars that make it about like Frank Zappa melody. Walking bass nucleus builds up some vacillation horns for and leads them to decision. Elling is a smoothy, yes, but he’s coming down in a line of vocal naturalists like Mark Murphy. Ellings interlaced his placid vocals with noisy. In some minute, I feel like I am present at pyrotechnic show, following minute I’m on the ship’s board. Certainly, I felt passion in his music, but a wisdom besides. At the terminal of the show Kurt Elling took clip to run into the audience and reply their inquiries. He really have a good personality and great sense of wit.
I went to a Bobby Hutchinson concert here at San Diego City College a couple months back. It was a great experience and I loved the music manners and phase presence. The manner the set held themselves was really curious to me, possibly because I am non used to being a large crowded wind concerts. They used a batch of improvisation included a 5 minute membranophone solo that was unreal. Bobby Hutchinson and his set played exceeding and had a ton of head boggling solos which made it even more merriment to listen to. I would state I learned a batch about unrecorded wind music from this concert because it was my first truly large wind performing artist to see unrecorded. Bobby Hutchinson is instead popular and has been around for a long while so it was great to see his unrecorded presence. The set he played with was really extraordinary in and of themselves. If Bobby Hutchinson wasn & apos ; t enough himself his set truly drove him over the top. I loved the attitude he had on phase. He used a batch of comedy and narratives to maintain his crowd alive and express joying yet still in awe of the music at the same clip. You could state he & apos ; d been headlining shows for a good long while and he knew what he was making. At times he would even walk off the phase during person & apos ; s solo and them come back a few proceedingss subsequently to play his portion. The audience at this show was instead large. All the seats in the hall were full every bit good as people standing along the walls. The crowd truly enjoyed themselves and the music which made the whole thing a batch more gratifying. The garb was insouciant but Bobby Hutchinson was dressed instead semi- formal with a athleticss coat and slacks. Over all I had a fantastic clip at the concert seeing a batch of explosive solos and singular music endowment. I think this was one of the best concerts I have of all time been to for the fact that these people genuinely knew how to utilize their instruments. A batch of music these yearss has become more of a sche.
Eonta by Xenakis begins with a loud piano solo. The horns come in and play one note. While they hold this note they switch the manner they point their horns. Then they all go over to the piano and drama. The horns halt playing and the piano solos really quietly. The horns sit down and three more horns are added to do eight. The piano plays two notes and so the horns play once more. The five horns get up once more and play at the piano. Then they sit down for the remainder of the work. The full work characteristics unresolved sounds and seems to hold no tunes at all. At one point in the piece it seems as though it will stop. It ends a few bars subsequently.
The Enigma Variations, musical composition 36 is based on fluctuations on one cardinal subject. From clip to clip the fiddles play a bright and lively tune utilizing pizzicato. The woodwinds answer or join in and the bassoon and hautboies besides join in on juncture. Suddenly, without warning, the music becomes grave and really heavy ; funeral March music would be a good description for it. Then it lightens up once more for a clip. The work is merely full of surprises. In one topographic point the music stops and it begins once more with loud membranophones, brass, and the crashing of cymbals. Again the music stops, but now a soft visible radiation melody is played. The temper is really eerie at the terminal of the work as the boiler drums lb louder and louder, so softer and softer. The clarinet solos quietly merely before the work ends.
Quality of Performance:
I enjoyed the concert except for Eonta. I did non acquire anything out of the work except a concern. I think the other plants which were chosen to travel along with the piece were really contrasting. It would hold been hard to sit through something really heavy after that 2nd piece. I was surprised when they stopped to tune after the first motion of the Beethoven. I thought that it broke the temper of the public presentation. I tried to listen more this clip and compose a small less. As a consequence I believe that I got a great trade more out of this concert than the old 1. I’m glad that I went to a professional concert this clip. The quality of the playing was phenomenal.
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