Overture to “William Tell” by Gioachino Rossini Essay Example for Free

Overture to â€Å"William Tell† by Gioachino Rossini Essay 1. Date: 2-3-13 2. Place: Pope Joy Hall 3. Name of ensemble(s) performing: Albuquerque Youth Symphony included string ensembles of the Violin, Viola, Cello, String Bass, and. The Woodwinds Ensemble included the Flute-Piccolo, Oboe, Clarinet, Bassoon; Brass Ensemble included the French horn, Trumpet, Trombone, and the Tuba. As well as the Percussion ensemble. As well as a Keyboard ensemble the Harp 3. Describe the concert venue and where you sat (i.e.: balcony): I took my twelve-year-old stepdaughter with me and we stood out side for about five minutes waiting in line to purchase tickets. Upon entering Pope Joy Hall, we were greeted by an information booth that was filled with flyers and pamphlets and programs to all different venues of art, from orchestras to plays. Lindsey asked me wide eyed; do all these things mean that this is what is showing or playing here? I looked at her and smiled and replied, yes this is Pope Joy Hall, UNM Center for the Arts and they have a variety of things going on all the time. We grabbed some information on what we would like to come and see and headed to the first theater on the left. We walked up to the entrance doors to the theater and were greeted by two very friendly greeters, who handed us our programs. Then, we entered the double doors and were greeted by an eager usher who politely guided us through hand and arm gestures to go down the left isle. Therefore, Lindsey and I sat together in the lower level on the left side middle end row seats. Once seated, I realized that this theater is set up like a small sized concert hall that would typically be set up for an indoor classical music venue. It was very nice and cozy every one was dressed casual to semi-formal and Lindsey was in awe, she had never experienced anything like this before. 4. Were there any spoken remarks about the concert? Yes? No?: Yes If yes, describe generally, what was said: They started with announcements by that first welcomed everyone to the Albuquerque Youth Symphony, and to state that they are audio and video recording the event and we can if we haven’t already signed up for a copy, we can still do so out side the double doors during intermission or after the concert. Then they went over the program pointing out the fundraiser and the new solar panels that are going to be installed in the near future. Thirdly, they made an announcement about a very special Concertos’ Cellist Kayla Mathes, and announced that she was chosen to be a part of the National Youth Orchestra, in New York this summer and touring to Moscow and London with the group. Lastly, they went over the sponsors and then introduced the symphony. 5. Which genres of music were performed? i.e.: symphony, concerto etc.: The Albuquerque Youth Symphony performed an Overture to â€Å"William Tell† by Gioachino Rossini (1792-1868), Triumphal March from â€Å"Aida† by Guiseppe Verdi (1813-1901), Prelude and Liebestod from â€Å"Tristan and Isolde† by Richard Wagner (1813-1883) as well as the Concerto for Violoncello and orchestra in E minor by Edward Elgar (1857-1934). 6. Were any of the works programmatic (music with literary or pictorial? Associations)? Yes No: Yes. If yes, which compositions were programmatic? : Overture to â€Å"William Tell† by Gioachino Rossini a beautifully written piece of music especially of considerable size and complexity. As well as, the Concerto for Violoncello and orchestra in E minor by Edward Elgar, which was filled with raw emotion. 7. Choose two complete works from the program and fill in the blanks: Composition #1: Name of Composer: Gioachino Rossini (1792-1868) Composition Title: Overture to â€Å"William Tell† Movements/ Tempo markings, if through-written, just leave blank: I. III. II. IV. Historical Era of Work: Rossinis’ Overture to â€Å"William Tell† is a mixture of baroque from (1600-1750) classical from (1750-1820) and romantic from (1820-1900). Choose from: Medieval pre-1450, Renaissance – 1450-1600, Baroque 1600-1750, Classical 1750 – 1820, Romantic 1820 – 1900, 20th Century 1901 – 2000, 21st Century 2001 Present Name any solo voice or featured instruments: None Composition #2: Name of Composer: Edward Elgar (1857-1934). Composition Title: Concerto for Violoncello and orchestra in E minor. Movements/ Tempo markings, if through-written, just leave blank: I. III. II. IV. Allegro Historical Era of Work (see description above): Romantic from 1820-1900 and 20th Century from 1901-2000. Name any featured (solo) instruments or vocalists: Kala Mathes solo Cellist. In the space below legibly write a brief narrative summarizing the two pieces listed above. If you prefer, you may attach a typed summary to this page. Choose among these items to discuss: Describe mode, meter, tempo, dynamics, texture. Was the music more consonant or dissonant? Did it have frequent accents, syncopation or modulation? Did the melodies move more in conjunct or disjunct motion? Was there a voice or instrument timbre that affected you emotionally? Rossini’s overture starts with a dawdling introduction and spry melodies invariably leads to an immense crescendo passage, in which Rossini replicates a motif several times, adding instruments and volume with each repetition. Then out of the stillness, a single cello rises sorrowfully from a low E along an arpeggiated cord through an E-minor chord to a high B, 2 ½ octaves higher, while the other cellos lend their harmony in E-minor. Slowly the first cello leads us toward a brighter atmosphere of E-major. Then adds a few pizzicato beats to lend influence and a fragile yet graceful rhythmic emphasis. While adding an overlap of a new, whirling motif by the violas and second violins, as they ask the question and it is answered with three detached chords from the piccolo, flute and oboes. As the tempo hastens the storm begins. I can hear and see the fickleness of falling rain in my mind and through syncopating the raindrops, it drops off the driving beat of the pizzicato double basses. I can feel the harmony as it darkens, mystifying, drawing me back to the ever so moody E-minor. With a monumental arrival of gestures from the violins and woodwinds, the storm unleashes its wrath over rolling the timpani’s, pounding bass drum and a fortissimo piece from the brass chords. Then the descending motif asks in a desolate torrent, that is answered by an equally and majestically ascending motif of the double basses, bassoons and trombones. The climax of cymbals cascading among the whirlwind motif of the flute, piccolo and violins leads into a beautiful breath taking G-major. This then overlaps with the trumpets blaring in E-major with the joining of horns and drums that hold on to a resonant B-major chord that resounded into a galloping anapestic rhythm. This unleashes the contrasting middle section in C-sharp minor that is dominated by a presto line for the strings and woodwinds. Then we find ourselves back to a galloping anapestic measure in E-major that again builds the excitement into the release of the finale. When the hair on my arms were raised, eyes were tear filled, knowing the story behind the music, the life of two brothers who never knew each other, met only once. As one bows down to the other in realization that the other is worthy of praise, honor and recognition, then honors him with an inspiring piece that succeeds to top the ending in triumph. Edward Elgars’ Concerto for Violoncello and orchestra in E minor was alive as it unfolded as an enthusiastically structured, requiem-like a constant outpouring of deep undiluted emotions. The opening of this piece begins with a characteristic of decently and nobly designing the score, is a flourish for the soloist Kala Mathes, and recurs throughout the concerto. The unmistakable main melody-at once was reflective, inspirational, beautiful, and transcendent emerged almost immediately with the violas, before Kala began to play the Cello. Throughout the piece of the movement the theme winds its way through various keys, A, C, G and E minor, while the secondary thematic notes emerge from the clarinets. Then Kalas’ opening flourished as it transformed into a pizzicato passage that appeared in staccato semiquavers. Then in the key of b flat, the Adagio seemed to make time stand still as the beautiful melodious musical lines sang its music of undeniable heartbreak. The symphony at this point was reduced to strings, clarinets, bassoons, and horns as Kala weaved in and out of the symphony fabric in an ever so eloquent song without words, this is where I had goose bumps all over, tears rolling down my face, the power and emotions were overwhelming, for even Lindsey was even crying. The finale nestled back into E minor and had a rondo-like feel to its main theme that echoed the opening. However, nothing could hide the fact that the core of the concerto as a whole is a disposition of acceptance, forbearance and finality. The Albuquerque Youth Symphony played with such passion; it was as if each person and their instrument were one moving in perfect harmony, rhyme, rhythm, body, mind, and spirit. One fluid entity or deity that entranced anyone within ear shot. It was beauty and serenity that was tremendously unbelievable.