Orchestra Concert Essay

Words: 951
Pages: 4

The music played throughout all of the concerts adhered to be diverse. The instruments, the individuals performing, and the conductor all proved to be outstanding. The concerts proved to be interesting as I witnessed them, first hand.
The first concert I attended was performed by the Dallas Symphony Orchestra. The orchestra had performed Shostakovich’s “Symphony NO. 7, Leningrad” from the Romantic era. The orchestra was a large ensemble (1) containing various instruments that contributed to the overall sound of the piece. Since the orchestra was a large ensemble, just like the instrumentation common in the Romantic era, the orchestra was able to perform in a lively, vigorous manner, probably vivace (2). The orchestra performed tutti
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The bow stroke of the piece that was mostly used was legato. Unlike the piece we previously played in orchestra which is also part of the Baroque era (“Allegro in D for Strings”), the piece the symphony performed did not have the marcato stroke. My favorite part of the whole composition was when the harp was playing distinctly, but overall the orchestra played magnificently. The intonation of the orchestra was precise and all of the members of the orchestra played well as a whole.
The orchestra also performed “Concerto #23 in A major, K. 488” by Mozart, which is part of the Mozart era. The orchestra included many instruments, as well as the piano, which had a very important part in the piece. The piano seemed to have the solo (13) in the piece. The use of the piano is not a standard to the classical era, although it contributed to the overall sound of the piece.
The piece that the orchestra performed was extensive, which is a common characteristic of the Classical era. The composition reflected a fanciful style, known as caprice (14). The composer used some of the typical characteristics of the Classical era, by making the piece lengthier than those of the Baroque era, but the composer also added a twist by using the piano. The orchestra used both legato and marcato to reflect a whimsical style. The composition most likely included cue notes (15), in order to guide the players who were not playing while the piano