The All-Brahms Concert by Zimmermann at Fishers Hall

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Table of Contents

Introduction
Main Discussion
Conclusion
Works Cited

Introduction

The All-Brahms Concert performed by Mr. Frank Peter Zimmermann was a stellar performance that was aimed at rewarding Brahms. With the audience expecting a lot from him, he managed to pull-out a stunning performance, which the audience at the Fishers Hall applauded in respect to Brahms.

The article has been named, “the Rewards of Brahms, Playful to Magisterial” in relation to the pieces of music, similar to this one, that were being played at that time. Therefore, the orchestra had an intention of giving honor to Brahms in a magisterial way. The Concert was held on Sunday 22^nd January, 2012 at the Avery Fishers Hall, New York (Tommasini, 2012). The author behind the intriguing New York Times article on the Rewards of Brahms, Playful to Magisterial is Anthony Thommasini.

Main Discussion

Basically, the author, Anthony Tommasini, is seen to have taken intertwined the review from dedicating a paragraph describing the concert to a general approach on what the Philharmonic violinist; Frank Peter Zimmermann has been doing as a residence at the philharmonic. In the first paragraph, he explains the combination of the German violinist, Zimmermann; Pianist, Enrico Pace, and members of the New York Philharmonic, who came up with an excellent performance at the Avery Fisher Hall. However, he laments why the chamber music was played at the Fisher’s Hall, which is too vast for such a performance (Tommasini, 2012). He reiterates that despite the quality of the music, the sound was disappointingly heard from a distant (Tommasini, 2012).

From the foregoing, it is evidently clear that Tommasini praises the quality of the music played at the concert. Despite the vast spaces in the Avery Fisher Hall, with 2,700 seats, the performance was stellar. However, he explains that with more seats empty, it was not clear as it should be according to Zimmermann, who had an urge to be heard by as many as possible; though, this would only have happened, if all seats were full to capacity. Tommasini gives an example of a place where Zimmermann wished the concert to be held, which was at Alice Tully Hall, which has a capacity of 1,100 seats. Literary, this would give Zimmermann an advantage, and nearly everyone would get a taste of his classical orchestra.

Generally, the review of such orchestral music would have many factors to analyze. First, the type of Orchestra and the number of participants would matter a lot, to be able to achieve that desired taste of classical music. This is also accompanied by the setting of the play. Generally, this would be affected by the number of people involved in the orchestral music. Additionally, the inclusion of any other member into the orchestra is a big tuning to the music. It might change the direction the music is headed to or change some aspects of the music.

These occurrences should be notable in any orchestral music. It is also important to note the techniques used to come up with a quality sound, just like the nimbleness and vitality of Mr. Pace’s playing.

When joining at the middle of performance, the demonstration should ensure that the performance is not distracted, yet is able to maintain the pace, without losing its quality, in an elegant manner (Tommasini, 2012).

Conclusion

With much expected from Mr. Zimmermann, hope lies in his forthcoming performances, and probably more is expected of him and colleagues. It is expected that the Avery Fisher Hall will house more people in the coming performances, which are scheduled for this week. Therefore, a lot is expected from the violinist, as he extends his performances on, “the Rewards of the Brahms, Playful to Magisterial.”

Works Cited

Tommasini, Anthony. “Analysis of the Brahms Concert.” Rev. of The Rewards of Brahms, Playful to Magisterial, dir. Richard Temine. New York Times.2012: C1. Print.

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The All-Brahms Concert by Zimmermann at Fishers Hall

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