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Introduction
When it comes to music, its possible forms and expressions may seem overwhelming; however, if there is any common ground that may relate to all of them, it would be classical music. Thus, for my report, I have chosen a single concert by Chicago ensembles of a symphony orchestra and chorus (2015). Accompanied by the conductor Riccardo Muti, they performed Beethoven’s ninth symphony to celebrate the anniversary of its creation.
The Performance of the Chicago Ensembles
One of the most fascinating and sorrowful things about this symphony is that Beethoven could not hear his masterpiece because of deafness. Nevertheless, it only contributes to his genius since the symphony included numerous musical instruments, such as flute, piccolo flute, oboe, clarinet, bassoon, contrabassoon, French horn, trumpet, trombone, drum, timpani, and other, including string instruments. Several vocalists also participated in the performance’s finale: Camilla Nylund, Ekaterina Gubanova, Matthew Polenzani, and Eric Owens; they sang in soprano, mezzo-soprano, tenor, and bass-baritone, accordingly.
The concert is divided into four parts: Allegro ma non troppo, un poco maestoso (00:01:44); Molto vivace (00:19:46); Adagio molto e cantabile – Andante moderato (00:35:41); and Finale: Ode to Joy (00:52:13). At the concert, I enjoyed the part of Molto vivace most of all. The way how the orchestra ceases only to several flutes, quietly playing in a major tone and a swift tempo, creates a cheerful and playful atmosphere. It greatly contrasts with the gradual transition to the loud and epic parts that include all of the orchestra instruments. Suppose a person greatly desires something; in the Molto vivace, transitions could be interpreted as mood swings when considering pros and cons. With regard to cheerfulness and playfulness, it might as well be the thoughts of a very young person. It would perfectly correlate to the epic parts, when a child feels himself the king of the whole world.
Another part that I would like to highlight is the solo of Eric Owens (00:59:23). Psychologically, a low male voice invokes the feeling of protection; such is the case with the Owens’ bass-baritone. An exciting feature of this part is that most of the time, he sings in silence. However, the overall tempo of the symphony is being maintained, which is indicated by the occasional reintroduction of instruments between the lyrics.
Despite enjoying the first showcase of vocals in the symphony, I cannot state the same for the following section. At 01:01:13, other vocalists joined the singing, and the voice of Camilla Nylind, singing in soprano, felt not fit into the composition. On the contrary, the pitch was too high, which significantly differentiated it from the other voices, resulting in dissonance. Ultimately, it made it harder to concentrate on the melodic atmosphere.
The last part I would like to showcase is the final part of the symphony (01:16:52). The quiet and slow introduction by the string instruments is suddenly followed by the surge in tempo, as other instruments and the chorus begin to join their sound as well. By its triumphant melody, this part seems to summarize the whole symphony, bringing it to a logical conclusion. Wind instruments achieve a sense of triumph and completion – I felt myself being at a parade, celebrating the sort of a grand victory.
Among others, I would like to praise the performance of conductor Riccardo Muti. The way he moved his hands and the emotions and passion present on his face during the concert describe his dedication and devotion to his job. His performance reminded me of a metronome, which is commonly used to track the melody’s tempo. Moreover, by his gestures, he was able to control not only the tempo but also the velocity.
Conclusion
Overall, I enjoyed the concert and the performance of the Chicago ensembles. I can only imagine how it felt in the theatre – I suppose the total effect would be much more substantial. At times, I felt a pleasant tingling over the skin because of the melody and the tones I heard. Through this concert, I was once again assured of the definition of what classic is – something that has stayed relevant for centuries.
Reference
Chicago Symphony Orchestra. (2015). Beethoven 9 – Chicago Symphony Orchestra – Riccardo Muti[Video]. YouTube.
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