The audience took their respective seat by 7.30 pm on Friday March 27, 2015 at the O’Sulivan Theatre. The first performance is a sonatina violin and piano recital by the Russian born Vera Alekseeva and Erika Reiman. This recital was composed by Antonin Dvorak (1841-1904) during the baroque period for instrumental performance with no vocal accompaniment. The tempo of the recital was andante and presto, and in the combination, the rate of the notes ranged from a walking pace to a quicker pace that is also lively.
The melody of the recital was described by a short but fast shifting motive; the performers used about four notes that shifted rapidly from one set to another. At the introduction and throughout the piece, the energy and vigor depicted in the melody gives the recital a jovial or celebratory atmosphere and mood. The harmony of the recital is also varied between an interval and a chord. In the introduction of the piece, the general harmony is an interval sounding at most two notes at a time. In the later stages of the piece, it shifts to a chord but turns back the harmony back to an interval. The texture of the presentation could be described as thin and monophonic in nature; this is because the presentation is a solo recital that is not accompanied by any vocals. The performers were able to link greatly with both the audience and the performance; this was indicated by the body movements during the performance. The performer gave a good and direct introduction to the audience and right from the start the audience would know what to expect.
The second performance was a Sonata doe solo cello performed by Gordon Cleland, and the piece originally composed by Zolan Kodaly (1882-1967) Dorel. On a personal note, the performance was good with several variances, and the tempo of the presentation was uniform all through the piece. The harmony was varied between single chords and intervals all through from the start to finish with minimal interjections of chords. Compared to other concerts, this one carried through the rich tradition expressed in the pieces by the composers, and I enjoyed the second solo performance from the emotional reactions the performance created. The assured performance by the third performer playing into the intermission, a matopes piano solo recital by Erika Reiman, and utilized the composition by Karol Szymanowki (1882-1937) and it portrayed one important point that they were being moved by the song, in a manner that could echo a gentleman conversing with the lady. The slow rthymic performance captured the gape of the audience quite fitting, as a quick glance around the Flint Centre showed positive approval of their performance. The six-minute cameo recital in mid performance began floating emanating rich, grand, and delicate rhythm. Throughout the mid performance, the piece began to convey the message for which the Karol had composed; the gentle throb of the combination of different strings could never be ignored and forgotten. In fact, this paper is quite a frank resonance of the sound that was heard in the concert hall.
In combination, the rate moved from a walking pace, then progressively moved quicker hitting the climax in a very fast pace, albeit lively. The melody of the recital was short and fast shifting motive, attained a high crescendo, and the applause of the audience confirmed the liveliness of the performance. The composer used about four notes that the shift rapidly from one set to another. At the introduction and throughout the piece the energy and vigor depicted in the melody gives the recital a jovial or celebratory atmosphere and mood. The vigor and strength that was depicted in the piece can be likened to the mood of a carnival or an active musical dance.
Musically it is expected that where the interval is supported by an underlying melody and the audience perceives a level of stability, the harmony is referred to as consonance. However, in the case of a turbulent and unstable set of chords, the harmony is referred to as a dissonance.
The texture of the presentations could be described as both thick and thin, and the performance of the first piece’s the texture was polyphonic. The description of the texture is because the presentation is a concerto performance that is not accompanied by any vocals, though a good example of thin texture is that which contains only one part like a solo voice that is not accompanied by anything. However, some composers might have the opinion that the piece did not have a thin texture. The argument would support the counterpoint composition, and in this style of composition, the composer used the underlying harmony that is overrun by the tone of the piece. This is a texture referred to as Melody and accompaniment, and in this case, the piece would be described as polyphonic in nature.
The performances were thoroughly pleasing, and having to be part of the audience, the acts rejuvenated a personal interest in all the three instruments. The first solo performance was exceptional, much like the second and the third performance. Further, the combinations of the instruments were also very good, particularly the cello and piano piece, and violin and piano piece. Overall, the performance would get a high personal rating, as they were way above the general expectations, but then the performers were real top dogs on their respective instruments.
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