Concert Attendance Paper

MUS 121 Jeffrey Phelps, violon violon violon violon violon violon viol at a timello and lee side Jordan-Anders, easy 14 October, 2012 Dr. traverse Tidewater Community College CA1 The political program Sonata in A Major, spell 69 (1808)Ludwig van van van Beethoven on the wholeegro, ma non tanto Scherzo, each last(predicate)egro molto adagio gagetabile/Allegro vivace Sonata (1915) I. Prologue Lent, sostenuto e molto risoluto II. serenade Moderement anime III. last(a) Anime, leger et nerveuxClaude Debussy The project On Sunday, 14 October, Jeffrey Phelps, violon violon violoncello and Lee Jordan-Anders, sub referabled, per assortmented Ludwig van Beethovens Sonata in A Major, Opus 69 (1808) and Claude Debussys Sonata (1915) at Trinity Methodist church in Smithfield Virginia.After the introduction of the performers we were asked to hold all applause until the give the axe of each composition. The outset Sonata by Beethoven bears the heading of screen Lacrimas et Luctum , meaning Amid Tears and Sorrow. The original performance, Allegro, ma non tanto, from Beethovens Sonata, opened with the cello resting on one agate line. The musical none of the cello as it began in a glare register was warm and rich, the stride starting time rather slow. The imagination was mournful to me at the starting time and I had no topic what to expect. The cereal at the beginning of the first crusade was single-channel.As the mild entered the cable for twain cello and balmy was accommodative with symmetric phrasing. Here the caryopsis became polyphonic. The gradation rubric of the voiced seemed varied to me, alternating passim the piece amidst vibrant and subdued. When the sensory system was not lively it became somber. The kinetics of some(prenominal) instruments changed throughout this nominal head, from sonant to forte and past voicedforte over over again. The bowel hunting expedition of the seam was conjunct at the beginning of th e piece and the manakin of the dividing line was crinkly, especially by the piano.This operation began in a major tombs bill thus abruptly moved into a minor strike, where the kinetics were fortissimo. The cereal was polyphonic, the contrast producing a call and response, as if the cello and piano were holding a conversation. The blood had a contract to medium get in the beginning of this style. Repetition allowed all the stem turns to reappear throughout the front man, which is a mark of the sonata. The cello and piano take turns playacting small solo passages before slew off to something else. At one even out early in the piece I comprehend a homo cpsic grain when cello and piano played the same pocks together.After a descending line of reasoning from the piano the attempt and so be rallys disjunct with a wavethe likes of course. It seemed to me that when the melody in the cello ascend, the melody in the piano desc cease. It had a cantabile body fluid to it and it was beautiful. The amity, at this invest, was stable in a major key as the cello took over, characterized by a whole note of hand that was dark. The mood was one of melancholy and I could have sorrow. It was interesting to watch Phelps and Jordan-Anders subtly cue one another as the actives became pianissimo and the stride adagio. In the lower registers two(prenominal) cello and piano had a shade that was warm.In the upper registers it sounded fiery. The texture of the cello here was monophonic with no piano. I was not expecting the explosive billet that followed. At about four transactions into the causal agent the kinetics became fortissimo and I could hear the capital of New Hampshire in a minor key. The contour of the melody descended and was conjunct. thither was a harvest-feast to a major key and the high-voltages became piano for two instruments. The mood of this apparent motion reminded me of yearning. The tone alter for the piano became lifelikeer here as the cello proceedsed to the warm, rich sound like in the beginning.The contour of the melody was ascending and conjunct. This movement remained in duple quantify throughout the piece. at that place was a return to counterpoint as both cello and piano played, using a polyphonic texture, the dynamics piano before returning to forte. As the tempo became allegro the cello set up were pull creating a timbre that was bright and a mood that was lively. There was a return to a monophonic texture for the cello and the dynamics became pianissimo. Since this movements form was ostinato, I comprehend gyp melodic, rhythmic, and harmonic patterns citeed.This piece was long, at 12 minutes, and at one point I stopped taking notes, in bewilderment of what I was hearing. The entire piece matte interchangeable to me and was sing able throughout. Beethovens Sonata 3, Opus 69 nears a close with a texture that was heterophonic, dynamics that go from forte to piano and a br ight tone blazon for cello and piano. The melody remained conjunct with a contour that was wavelike, by ascending and descending, especially for the piano. The tempo returned to allegro throughout this piece and ended with the dynamics returning to forte and the last cadence as the harmony decide in consonance.The second movement of Beethovens Sonata in A Major, Opus 69 was Scherzo Allegro molto and began with Jordan-Anders contend the opening notes of the melody in a narrow mountain chain with a melodic movement that was conjunct. The texture here was monophonic for only a few mea positive(predicate)s. The timbre of the piano was bright and the harmony was minor. I perceive the second movement in triple meter, and by the time the cello began to play there seemed to be a return to the polyphonic texture which was unwashed in the first movement. The movement of the melody was disjunct with a medium range, the dynamics of the piano soft (piano) and the tempo allegro.Phelps beg an playacting in a dynamic that was piano which mirrored the opening measures of the piano wear, with a very interesting rhythm Im not sure how to describe. The rhythm was syncopated with a constant idiom on beat three of every measure with the second beat label by silence. The timbre of the cello snarl bright, even in its lower register. There was an ostinato form in this piece and again, the cello and piano seemed to talk to each other, with a call and response pattern familiar in the first movement of this sonata.Movement ii seemed to reach a dynamic flood tide halfway through which was forte, only to return to piano. The melody in the piano alternated amongst conjunct and disjunct and as the dynamics became louder the contour of the melody was ascending. The exchanges between the cello and piano created a lively mood throughout the movement and the texture once again became homorhythmic with a return to a polyphonic texture. I heard these textures throughout the Scherzo. The timbre of the piano and cello became sort of broad with very loud dynamics. The theme was repeated and again, ostinato was at play.The movement ended with dynamics of the piano forte, the cello and piano using a texture that was heterophonic, because both instruments were play in unison. The cello was pick off near the very end which created a dull timbre. The piano again utilise a dynamic that was piano. This piece was wax of manic energy that left me absent to hear more. The word scherzo means conjuring trick notwithstanding this lively little piece was anything but a joke The one-third movement of Beethovens Sonata in A Major, Opus 69, began with a little Adagio cantabile which started with the piano.The dynamics were soft. The texture of the piano at the very beginning was monophonic until the cello joined in, and I heard a mixture of textures, but couldnt quite tell for sure what they were. At one point, early on, I heard both piano and cello playing in unison which make the mixed texture heterophonic as rise as heterorhythmic. The melody for both cello and piano was conjunct with a movement that I heard as having a narrow range for the piano and a medium range for the cello. The meter was duple. The dynamic used is piano and the tempo was adagio.Even though the harmony was major, the mood of the first part matte quite melancholy to me. rest in duple meter, the movement shifted from the Adagio cantabile to the final Allegro vivace, the surname a clue of what was to come The harmony remained in a major key however the tempo became lively (vivace) and the mood mat playful to me. The tone colouring of the cello was once again warm, as I am escorting the cello to be. The timbre of the piano was bright and alert as both instruments seemed to veer apart, act to find a way to come put up together. I felt frantic when hearing this movement.The contour of the melody felt wavelike for both instruments, especially when scales were used, s ometimes ascending, sometimes descending. The dynamics changed throughout this movement from soft to loud then back to soft again. I heard the movement of the piano as conjunct but wasnt sure about the cello. Again, ostinato is at play halfway through the movement and I thought I heard noise, as the piano and cello seemed to battle it out. The harmony sounded like it was in a minor key at this point, like the cello and piano were trying to find resolution. The timbre of the piano was piercing here.The tempo for both instruments became fast and the dynamics loud. Finally, the harmony reached consonance, after the cello repeats the first finish of the theme over and over again while the piano pounds out the accompaniment. The dynamics alternated between soft and loud, cello and piano ending on the final note in unison, the dynamics a take aback forte. The first movement of Claude Debussys Sonata, Prologue Lent, sostenuto e molto risoluto, began with Lee Jordan-Anders lone piano pa rt that was homophonic in texture with a harmony that was minor. The tone twist here was very dark, the mood quite somber.The program notes for this performance note this Sonata as the first of six projected sonatas for sundry(a) instrumental combinations that Debussy was unable to complete due to the cancer that made his final eld a misery. This sonata was the first composition. I could looking at his pain and misery as I listened to this work. The phrasing of the melody was symmetrical with a movement that was conjunct. This movement began with a dynamic that was forte. The texture of the piano was homophonic. The cello entered, with an ostinato form which repeated the part just heard by the piano, broad it a tone color that I heard as a bit subdued and dull.The melody ascended, then descended, only to ascend again creating a wavelike contour with a conjunct movement. The dynamics continued to be forte. The cello then played alone, giving a monophonic texture. I felt the mood to be sad here, the movement of the melody more conjunct with a medium range. The harmony was minor. The tone color was muted. The melody of the cello began to ascend, the dynamics piano. Here, the piano joined the cello and the mood started to feel agitated. I heard the harmony to be dissonant here as the dynamics became forte.The texture was homophonic here and the timbre of the cello broad. The melody in the cello descended and was conjunct. The dynamics were piano at this point in the sonata and the tempo andante. The movement came to an end with a shift in harmony from major to minor with an obvious slow down of tempo. The dynamics remained piano. The second movement of Claude Debussys Sonata, Serenade Moderement anime, began with the cello that had a tone color that was dull, almost muffled as Phelps plucked the strings with his fingers, which is pizzicato. The melody was not sing able and I heard the harmony as dissonant.Im not sure about the meter, but I heard it as nonmet ric because it felt wearied to me. The dynamics at the beginning of this movement were pianissimo and the mood was one of animal magnetism or agitation. The phrasing was not symmetrical and as the cello continued in the lower register the piano can be heard, also playing in dissonance above the cello. I had a difficult time with this piece because technically it seemed all over the place. The timbre remained dark and gloomy. The melody became conjunct with a narrow range of three notes with the dynamics lamentable from soft to loud.The tempo was vivace at one point, even though this movements tempo was rather slow. The tone color of the cello became brighter, as a lone part played in a higher register, making the texture homophonic. This movement closed with a cello part that seemed to be looking for resolution, still with a minor harmony and it seemed to repeat the first part of the piece. The third movement, Final Anime, leger et nerveux, began in duple meter with the melody of the cello sounding sustained, then alternating between an ascending then descending movement, with a wavelike contour.The piano became very noticeable as Jordan-Anders began playing in a higher range that had a bright tone color. The melody was conjunct and wavelike, the phrasing symmetrical, for a get around while. As the piano descended, the timbre of the cello once again became dull, as Phelps plucked the instrument. The mood turned dark and dirty once again as dissonance became prevalent. Im sure there were all kinds of technical things going on in this movement that my ear is not trained to detect.I could clearly hear the return to the earlier theme as both instruments reached a loud dynamic, the final note of the movement struck by both cello and piano. Even though this movement was played with mostly piano dynamics, I could hear a contrast between the changing moods, brought about mostly by frequently changing keys. It was a marvelous performance by Jeffrey Phelps and Lee Jordan-Anders and I am very glad I attended. I left the church recollect why I have a soft spot for classical music, something Ive not listened to very much in recent years, until I signed up for this music appreciation class.