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Augustin Hadelich Violin
Mendelssohn’s violin concert is played by solo violin and a classical orchestra and consists of three movements. It begins with allegro molto appassionato tempo played in E minor. Augustin Hadelich entries the concert with his instrument, introducing listeners to the minor melody as the opening theme of a one-minute duration, accompanied by the orchestra that predictably emphasizes reflects the accent made by the violin. Minor harmony and the mentioned tempo create the impression of growing tension and excitement waiting for the further explosion section or, on the opposite, for an attenuation.
Then, the orchestra lowers the tension, allowing the soloist to create a peaceful atmosphere, which enables to calm the feelings. The opening theme is further repeated, followed by the other one played in contrast in the major harmony. Finally, the movement ends in Presto tempo with an emotional chromatic passage performed by the orchestra without the violin, which successfully releases the tension previously created. Numerous changes in dynamics are present thorough the movement.
The second movement is performed in Andante tempo. The melody is serene, lyrical, and played in major harmony, followed by a minor one in the middle, and ended with a main major theme. This passage is mostly performed by the solo violin, with a modest accompaniment by the orchestra. Changes in dynamics are not significantly present, but the soloist moderately manipulates the loudness of the melody, successfully making the listeners keep their attention. The movement ends with a peaceful conclusion.
The final passage has a short passage played in Alegro ma nontroppo, followed by the allegro molto vivace movement. The first part’s melody is performed in minor harmony and serves the purpose of preparing listeners for the final passage that is played in the major theme. In this part are presented numerous ascending and descending dynamics changes represented with short chords. The coda ends the concert.
Martha Argerich Piano
Martha Argerich plays Piano Partita No. 2 In C Minor, BWV 826, by the composer Johann Sebastian Bach. It consists of Symphony, Allemande, Courante, Sarabande, Rondo, and Capriccio. It begins with the dramatic minor melody played in adagio tempo, which further flows into the Andante tempo section and finishes with Adagio as well. Dynamics is changed from forte into mezzo-piano, and finally, piano, which significantly relieves the tension created. The further passage that is Allemande is played in minor harmony as well, and it creates the feeling of the solemn moment, which is highly tender and full of melancholy.
Courante, performed in triple meter, creates a feeling of running due to appropriate passages. This part can be considered by listeners as a serene dance melody that is a contrast to the Allemande. Sarabande, also performed in triple meter and minor harmony, creates a sad feeling of old grief throughout the passage. In contrast to the previous part, this one is played slowly. The chapters of the concert are sequentially in contrast to each other.
This passage is followed by the Rondo movement that shows strong and dramatic impulses complimented with the bass line, which leads to the explosive ending. This passage revitalizes the melody, and the listeners’ attention focused. The last part, which is Capriccio, is played in minor harmony as the entire concert in general, with occasional transferring into major sections, has a fast tempo. The passage encourages and creates light and serene feelings due to its strongly played motives. The concert ends with an explosive and culminating ending, which creates tension for a short duration and eventually relieves it with the final chord.
Diego Silva Tenor
The concert performed by Diego Silva, accompanied by piano by Rolando Garza Rodriquez, consists of several distinct songs. The first of them, named “The Lord’s Prayer,” is played and sung in adagio tempo in major harmony. The melody creates a feeling of highly impressive and dramatic monologue, which may be intended to persuade the listener in its content. The second one, named “Una Furtiva Lagrima,” has a minor and tragic melody that symbolizes deep, potentially complicated feelings and is sung slowly and without dynamic changes. It ends with an unaccompanied tenor, which represents the question dramatically asked.
The next song, named “Pourquoi me reveiller” creates tension with the first chords that rise further, with continuous strengthening of the singer’s voice that approaches to treble, and eventually flows in undramatic culmination. The melody is minor and played in allegretto moderato tempo. Then, “A vucchella”, the song that has an opposite, in comparison to the previous ones, motives, is performed. It creates a peaceful mood and rather optimistic feelings that successfully relieve the raised tension. It is played in major harmony with a constant dynamic.
The following song, “Parlami d’amore Mariu” is played in major harmony, allegretto tempo, solemnly and significantly louder than previous ones, which creates an atmosphere of ceremonial celebration. “Core ‘ngrato” is played similar to the prior song but even more solemnly, with a triumphal ending. The following song, “Dein ist mein ganzes Herz” is the final one of the first part of the concert, and it is played with several dynamic changes in major harmony, and allegretto tempo following the previous songs motives. The second part of the concert contains the songs “Flor roja”, “Sabor a mi,” “Como yo tea me,” “Contigo en la distancia,” and ends with “Jurame”. It is performed traumatically, mostly in major harmony and allegretto tempo, with constant dynamic.
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