Concert Review Program Under Review

Concert Review

Program Under Review

Overture Die Entfuhrung as dem Serial -- W.A. Mozart (1781)

Adagietto, Symphony Number 5 - Gustav Mahler (1901-1902)

Piano Concerto #2 in G minor, Op. 22 -- Camille Saint-Saens (1868)

Symphony #6 in a Major -- Anton Bruckner (1881)

Concert Review Matrix

Piece

Form

Sound

Rhythm

Tempo

Texture

Ensemble

Classical Era

Clear texture, vivacious

Quick with small c-minor adagio section

Alters between 4 and 6 bar phrases

C-Major, bright, cherry

Classical orchestra

Romantic

Multi- faceted and complex counter- point -major

Common time, alternating theme under arpeggios chords

Sehr langsam (Very slowly)

Rich and tonal with lots of string choral work

Large, full orchestra for entire work, less brass and percussion during 4th movement

Romantic

Varied depending on movement and solo -- orchestral dialog

4/4 and resulting variations on theme

Andante, Allegro, Presto

Varied, from classical baroque to more modern

Medium orchestra (only 2 horns, 2 trumpets, percussion) no trombones or tuba or extra winds; with piano

Romantic

Varied, from soft to loud based on theme and movement

Varied, changes occur within movements as well

Varied, from majestoso to Adagio to Scherzo

Rich full orchestral with some wind and brass choir work; solos vs. tutti

Large full symphony orchestra

Narratives

Part 1 - Overture Die Entfuhrung as dem Serial -- W.A. Mozart (1781). During the late 18th century, things "oriental" began to fascinate the upper classes in Europe. The opera, the Abduction from the Seraglio, is a comedy by W.A. Mozart. The piece is relatively short, and is bright, cheery, and alternates between 4- and 6- bar phrases that make up some of the major themes of the opera. In this case, Mozart added a piccolo, bass drum, triangles and cymbals to make the work appear more "Turkish." The piece is classical in form and style, is relatively stable in terms of dynamics, is quick with a number of scales and arpeggios for the strings. The piece is not very layered or textured, but it sets the audience up for the opera. When performed as a stand-alone piece, it is a great opener due to its happy and vivacious scoring. And use of the standard sonata format. This theme, begins softly, but by bar 9 has the entire orchestra and percussion joining to paint a picture of a far off land.

The piece is pleasant, rather whimsical and fun and perhaps emulates the mood of the composer at the time because there are no dark and brooding moments in the piece. Interestingly enough, the composition of the piece coincided with Mozart's marriage (Melograni, pp. 147-9).

Part 2 - Adagietto, Symphony Number 5 - Gustav Mahler (1901-1902) -- of all Mahler's works, the Adagietto is the most often performed; whether by orchestra or ensemble. It was performed during Robert Kennedy's funeral, various solemn state occasions, the 1971 film Death in Venice, and even used in the Winter Olympics as an ice-skating routine. While Mahler marked the tempo to be "very slow, his recording of the pieces is about 7 minutes, while Leonard Bernstein and some of the modern interpretations last 10-12 minutes. The piece can only be described as layers upon layers of musical lushness. The piece begins with the strings layering an F-Major chord until the bassoon enters with the theme:

It is this haunting theme that outlines the entire piece, moving further up in the bassoon's register to almost a "crying" or pining tonality that makes the piece perfect for funeral or solemn occasions. Unlike the rest of the 5th Symphony, this movement layers instruments based on their tonal production, not size and volume. Truly, of all the pieces this is the most transcendent, and to this listener, hesitant to the point that one longs for the cadence, if just to breathe again (Adorno, 1996).

Part 3 - Piano Concerto #2 in G minor, Op. 22 -- Camille Saint-Saens (1868) -- This work is said to be Saint-Saens' most popular piano concerto; premiered with the composer as the soloist and Anton Rubinstein conducting. Saint-Saens wrote it in 3 weeks, and it is scored for a classical orchestra (1 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals and strings). More of a homage to Beethoven and Mozart, the work has three movements, but with a small twist on the tempo of the work. Typically, classical three movement sonata form is fast, slow, then very fast. In this case, Saint-Saens opens the piece with a melody that is in the style of Bach, but much more chromatic and harmonic than a baroque concerto. The basic them is introduced by the piano, and then taken up by the orchestra. The piece is lively, with even the slower movement making sense in that the propel the ear forward styles seem to change from this opening Baroque, through a mostly Classical treatment, with a bit of the romantic of the late 19th century piece. There are not many chromatic surprises, and the piece leaves on with a reaction of being satisfied -- of the ear being rested instead of tested, pleasant and content without unnecessary fanfare and flair (Kief, ed., 2005, pp.109-30).