My Visit of The Classical Music Concert

In this essay I will make a report on the classical music concert I’ve visited. This was the first classical music concert that I have been to in my life so I guess I didn’t really know what to expect. When we drove past the glass front of the civic center we quickly realized that we looked a little underdressed, considering that three-quarters of the people in the building were wearing tuxedos and here we were with dress pants and button-down shirts looking like we were in the wrong place. When we actually went into the building I could see that the concert hall itself was also more than I was expecting. Red carpet all around and fancy tapestries also made us feel that were in the wrong place. This being said the architectural layout of the building is pretty cool to see but what I like were the stairs leading to the actual auditorium. I don’t know exactly what it was about them that I liked so much but I did. Once we got up the stair and threw the doors into the concert hall I kind of chuckled to myself when I saw the red blue and green seats that they have in there. I thought it was kind of funny how everything else in the civic center had been so dressed up, except for the seats. This aside the lighting and the acoustics were really good. Just as a movie theatre the lights were dim but obviously bright enough to see and they would dim to darkness as the show began to put an emphasis on the well-lighted stage. The acoustics of hall was also very good for pretty much every square inch of the building had some sort of sound dampening surface that again put emphasis on the sound of the instruments.

We sat in Front section in row N, so we were in the back right of the best seats. I thought we had got a pretty good deal because just a couple seats over seats were 70 dollars and we picked ours up for 20. From hear we could see everything but I would say our best view was seeing all of the violinists sync up so well. The stage walls were made of wood and were shaped like a tornado siren and I presumed they shape it like that to project sound better. Also, I noticed that there were no sound dampening devices on stage which makes sense that they would want to dampen outside the stage mouth and not where they play. As the lights fade and the concert and the concert was about to begin the whole crowd went dead silent. Like you could hear a pin drop from any part of the room. At this particular concert, there were no decorations or sets that were displayed. This is probably due to the fact that it was as Classical as a classical convert could get. Prior to the concert all of the performers were on stage playing their instruments to their own melody to check if their instruments were in tune. Also, I’m sure they were practicing complicated parts and in general just getting ready to start. When they stopped playing and the lights dimmed the conductor Joseph Giunta came out to start the show. Now in this concert report I will talk about the preformed pieces.

Tchaikovsky Romeo & Juliet, Fantasy-Overture (1870) Composed by: Joseph Giunta

At first, this song starts off really quiet and it only builds from there. At the start, there is only one melodic line but slowly melodic lines are added to create polyphony. Not too long after these deep cello notes were played and this added a kind of a darker emotion that kind of foreshadowed bad to come. But, shortly after we hear a hopeful melody. For the remainder of the piece, we hear this back and forth of light and darkness. As the song goes on we can hear the tempo get faster and also more melodic lines are added. What I enjoyed most was seeing all of the violinists totally in sync when they would play. I also enjoyed listening to the Melodic lines bounce back and forth to show the imagery that was being portrayed. Overall this piece was really cool to hear and see because of the music quality and emotional projection that they were achieving. Another thing I noticed is that they would also come back to the same melody of the song.

Tchaikovsky Serenade for Strings in C Major, Op. 48 (1881) Composed by: Joseph Giunta

This Piece was written in tribute for one of Tchaikovsky’s biggest influences and that would be Mozart. The First movement is sonata-structure development. The introduction is significant for a few reasons, some of which are not evident until the finish of the work. It is an excellent and rich chorale, scored extensively for the entire of the ensemble. The primary topic pursues and contains an especially athletic entry for the cello area, playing scores of quick notes underneath a more slow-moving section in the upper strings. The Second Movement is more of an uplifting playful one. The consonant movements are various and regularly abrupt and in every case deftly made. The surface is to some degree a takeoff from the past development in that there is a recognizable softness of touch in the three-step waltz. The thought is for the ensemble to sound light-footed and rich; it is, all things considered, a three-step waltz. The third movement, that is called ‘Elegy’, is surely the sort of immediate, enthusiastic and very melodious composition for which Tchaikovsky is known. The amicability is strong and reminiscent, consistently the ideal supporting for the melancholic songs heard above. Particularly viable is the finish of the development, which ‘becomes dull’ as the strings move from typically played notes to music, giving a practically spooky sheen to the last harmony. The last and final movement is the Finale. This moderate and quelled area, in light of a Russian society tune, remains as an unmistakable difference profoundly of the development, which is an extremely snappy paced and romping finale dependent on another Russian people song — this time a moving tune. This move tune twists out and gives the symphony a fairly strenuous exercise. It is as though the piece is consistently building and building, apparently getting quicker, until Tchaikovsky channels the innovativeness and eccentrics of his dearest Mozart.

Tchaikovsky Violin Concerto in D Major, Op. 35 (1881) Composed by: Joseph Giunta

Gil Shaham is the performing violinist. First of all, I would like to add the comment of how amazing Gil Shaham is at playing the violin. That dude can really play. Let’s talk about this piece, this work is loaded up with verse tune reminiscent of the Slavic and Russian folksong that so frequently discovered its way into Tchaikovsky’s ballet performances. In spite of the challenges of the performance part, the violin centers around embellishing the subject instead of showing absolutely specialized entries. The second topic of the primary development has frequently been referred to for instance of Tchaikovsky getting it done. The two subjects are shown prevalently in the all-inclusive worked out cadenza. An excessively expressive Canzonetta in the far off and sudden key of G minor fills in as the subsequent development. In the enthusiastic finale, the impact of folksong is most unequivocally heard, both in the harmonies and in tunes based after slipping fourths. Taken all in all, the work ended up being one of Tchaikovsky’s most inventive and least vainglorious works, just as a proportion of how well he was capable quickly to separate himself from his own issues.

Tchaikovsky Polonaise & Waltz from Eugene Onégin, Op. 24 (1879) Composed by: Joseph Giunta

This concert is ended with Tchaikovsky’s Polonaise & Waltz from Eugene Onégin, Op. 24 (1879). This piece started out fast and pretty much keep getting faster the entire time. The temp was fast and melodic lines were twisted within each other. In my opinion, this was probably my least favorite sample because I just felt that it did not have the same imagery and emotional projection that the other performance had. Don’t get me wrong it was still very good but I just liked the other ones better for the reasons listed above. As the song goes on we can hear the tempo get faster and also more melodic lines are added. What I enjoyed most was seeing all of the violinists totally in sync when they would play. I also enjoyed listening to the Melodic lines bounce back and forth to show the imagery that was being portrayed.

Works Cited

1. Giunta, J. (Composer). (1870). Tchaikovsky Romeo & Juliet, Fantasy-Overture. [Audio recording].
2. Giunta, J. (Composer). (1881). Tchaikovsky Serenade for Strings in C Major, Op. 48. [Audio recording].
3. Giunta, J. (Composer). (1881). Tchaikovsky Violin Concerto in D Major, Op. 35. [Audio recording].
4. Giunta, J. (Composer). (1879). Tchaikovsky Polonaise & Waltz from Eugene Onégin, Op. 24. [Audio recording].