University Orchestra Concert Review: Classical to Pink Floyd
This paper is a concert review of a performance by a university Contemporary Symphony Orchestra held at the First Church of Boston on November 17, 2009. The 88-piece ensemble, led by conductor Francisco Noya, performed a diverse program spanning classical and modern works: two movements from Smetana's "Má Vlast," the world premiere of an original orchestral fantasy, two movements from Berlioz's Symphonie Fantastique, and a symphonic arrangement of Pink Floyd's "The Wall." The review describes the emotional impact, stylistic contrasts, and audience reception of each piece, offering a beginner-friendly perspective on the orchestral concert experience.
- Introduction: An Orchestra Concert for the Uninitiated: Concert context, venue, ensemble, and program overview
- Smetana's Má Vlast: 'Šárka' and 'Moldau': Emotional impact of two Smetana movements
- World Premiere: Quiet Earth: A Fantasie for Orchestra: Audience reaction to original faculty composition premiere
- Berlioz's Symphonie Fantastique: March and Witches' Sabbath: Dramatic contrasts in two Berlioz movements
- Pink Floyd's 'The Wall' — Reimagined for Orchestra: Symphonic arrangement of a classic rock song
- Conclusion: A Recommended Experience: Overall recommendation for new orchestral audiences
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What makes this paper effective
- The review is structured chronologically, following the actual program order, which makes it easy to follow and mirrors the audience experience naturally.
- The author effectively conveys emotional responses — describing the eerie tone of "Witches' Sabbath" and the pride felt during "Moldau" — grounding the analysis in accessible, sensory language suited to a general audience.
- The paper provides useful contextual detail (e.g., Smetana's hearing loss, the arranger of "The Wall") that adds depth without overwhelming a reader new to classical music.
Key academic technique demonstrated
The review demonstrates descriptive analysis applied to a live arts event. Rather than simply listing pieces, the author interprets the mood and effect of each movement — describing percussion as "thunder-like" and the brass as "powerfully leading" the march — showing how critical observation can translate auditory experience into written argument.
Structure breakdown
The paper opens with a brief framing paragraph establishing context (venue, date, ensemble, conductor, and program). Each subsequent paragraph addresses one work or pair of works in program order. A short concluding paragraph synthesizes the overall experience and offers a recommendation. The structure is clear and symmetrical, well-suited to the concert review genre.
Introduction: An Orchestra Concert for the Uninitiated
It is safe to assume that most college students do not know much about classical concerts. Many college students have been to concerts and enjoyed all types of music, but concert experience is mainly limited to rock and pop acts. For those who have not experienced an orchestral concert, a recent performance was a great place to start. On November 17, 2009, the University Contemporary Symphony Orchestra held a concert at the First Church of Boston. The 88-piece ensemble, led by conductor Francisco Noya, performed a varied program — but there were also several surprises for the audience. Two pieces from "Má Vlast" by Smetana, the world premiere of Quiet Earth: A Fantasie for Orchestra, two pieces from Berlioz's Symphonie Fantastique, and "The Wall" by Pink Floyd were all extremely different in nearly every sense. The variety of the pieces gave the audience a taste of many different sounds and feels.
Smetana's Má Vlast: 'Šárka' and 'Moldau'
The first two pieces were from Má Vlast by Bedřich Smetana. "Šárka" has a sound that is very epic. It cycles between a soft, loving style of strings and a thunder-like force of percussion reminiscent of music heard in old silent films. The powerful shifts and changes brought out emotions in the entire audience. The tragic yet loving tale that the music tells was incredible.
The second piece from Má Vlast was "Moldau." In comparison to "Šárka," this piece was overall much lighter. The patriotic sound of the piece was very moving and inspiring. Also cyclic in theme, the audience was taken from sounds of peace and joy to inspiring bursts of energy and pride. It is remarkable to note that while composing "Moldau," Smetana was battling hearing loss. This beautifully crafted work was a great introduction to classical music for those who had not experienced it before.
Berlioz's Symphonie Fantastique: March and Witches' Sabbath
The next two pieces were from Symphonie Fantastique by Hector Berlioz. The first of the two was the appropriately titled "March to the Scaffold." The movement began with a wonderful crescendo, then gave way to a march — but with a somewhat non-traditional mixture of instruments. Soon after, the march became powerfully driven by strong brass instruments. The building tension and climax were powerful enough to captivate the entire audience.
The next movement, "Witches' Sabbath," was an extraordinary piece that caught much of the audience off guard. The opening sounded eerie and almost bizarre. After this near-unsettling passage continued, the sounds of bells were heard as the music began to slow. It was a sound uncommon in other works — an unexpected, almost frightening surprise that left a lasting impression.
Conclusion: A Recommended Experience
Going to see the University Contemporary Symphony Orchestra was an experience that many people unfamiliar with orchestral music could appreciate. Experiencing the emotions that such a powerful performance can bring forth is something everyone should encounter. The audience enjoyed the concert tremendously, and it is recommended for anyone wanting to sample the sounds and feelings of fine art.
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