Saint-Saens wrote it in 3 weeks, and it is scored for a classical orchestra (1 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals and strings). More of a homage to Beethoven and Mozart, the work has three movements, but with a small twist on the tempo of the work. Typically, classical three movement sonata form is fast, slow, then very fast. In this case, Saint-Saens opens the piece with a melody that is in the style of Bach, but much more chromatic and harmonic than a baroque concerto. The basic them is introduced by the piano, and then taken up by the orchestra. The piece is lively, with even the slower movement making sense in that the propel the ear forward styles seem to change from this opening Baroque, through a mostly Classical treatment, with a bit of the romantic of the late 19th century piece. There are not many chromatic surprises, and the piece leaves on with a reaction of being satisfied -- of the ear being rested instead of tested, pleasant and content without unnecessary fanfare and flair (Kief, ed., 2005, pp.109-30). Part 4- Symphony #6 in a Major -- Anton Bruckner (1881). Of all the pieces in this particular setting, Bruckner's a Major Symphony was the longest and most complex. Some of Bruckner's pieces have the reputation of being incredibly complex and cerebral, but the 6th Symphony in its 4 movements is rather classical in structure, using late romanticism as a harmonic base -- much like Mahler and Richard Strauss. When listening to the piece as a whole, one cannot help but note that rather than longer themes, Bruckner seems to use small motifs that appear throughout the work. He also used the dominant seventh chord and cadences to single different parts of the movements, along with what is known as the Bruckner Rhythm, which...
186).
Concert Review The Asphalt Orchestra is a band with 12 musicians who play brass (horns of all kinds), woodwind (flutes and clarinets), and percussion (drums, cymbals) instruments. The musicians are very talented and the music they play makes the people listening very happy. But more than that, the main thing about the Asphalt Orchestra gets right up next to their audience. They took the word "asphalt" for their name because that
Concert Review The Philadelphia Inquirer warned that Asphalt Orchestra is "not your mother's marching band" (www.asphaltorchestra.com). Those who entered Keene State College's Redfern Arts Center on the evening of October 5, 2011, were in for a surprise if they had hoped to hear "Louie, Louie" or other high school halftime standards. From the opening notes, it was clear Asphalt Orchestra was on stage to bring innovative musical entertainment to an enthusiastic
Concert Review The type and program of events was Lang, the pianist, who was performing live at Carnegie Hall, Chicago on Sunday, April 04, 2004 at 3:00 PM. The only performer was that of Lang at his piano. Lang's program began with Schumann's "Abegg Variations." This resulted in the performance commencing with a rather somber note, in contrast to the following Baroque Haydn's more bracing "Sonata in C Major." The latter
Schumann's "Cello Concerto in a Minor, Op. 129" illustrates this principle. There are three movements of the piece, all of which are quite distinct, but there are none of the showy, distinctive shifts as distinguished the Hayden works. The music is lyric and tonal in quality like the Hayden, but there is a searching, introspective quality that the Hayden lacks. As is evident in the title, the voice of
Rachmaninoff's symphonic poem sounds somber and fatalistic: gradually, the themes of the dirge-like opening trudge onward, creating an almost unbearable buildup of tension. Stringed instruments set the ears of the listeners on edge as they hum on, like a warning -- making the climax of the buildup all the more starling. Shostakovich's Symphony No. 10 in E minor, Opus 93 takes the form of four distinct movements. Each movement --
The fugues in particular, which are at once incredibly regular and mechanical in their construction -- scholars have noted the clean lines the many notes form on the printed page, for example -- yet achingly beautiful and religiously passionate embody many of the concepts of the Bauhaus philosophy and culture (Williams, 2007; James, 2006; Weber, 2009). With the newer orchestrations of Bach's works by these Bauhaus-affiliated composers, and with
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