From the Top at Carnegie Hall

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From the Top at Carnegie Hall

From The Top at the Carnegie Hall is program of performances that mainly highlights performances from the classical music period. Musical performances by violinist Gil Shaham and Alice Ivy Pemberton depict music mainly from the classical period. Their musical performance is of the third movement Allegro from Bach’s Concerto for Two Violins in D Minor, BWV 1043. This is mainly because the piece fluctuates in terms of mood. The mood changes both gradually and suddenly from the beginning to the end. In the process this creates conflicting surges of elation and depression. The musical piece depicts flexibility in terms of rhythm. Within the time of play, the audience is taken through unexpected pauses, syncopations, gradual, and fluctuations from long notes to shorter ones. These changes are varied from gradual to sudden changes (Downs, 58).

Another classical epic performance is done by Eleven-year old violinist Simone Porter from Seattle, Washington. She performs Paganini’s Variations that helped propel her to prominence. During the performance, she was accompanied by Host Christopher Riley and eighteen-year-old tuba player Ibanda Ruhumbika. The performance lasted several minutes making the violin concerto a big piece. The performance was depicted by bold gestures and virtuosic flights. The show related to a 19th century concerto and the artist confronted the underlying challenges enthusiastically characterizing the entire performance with a shining tone, accurate intonation and impeccable technique.

The representation of the three musical movements created and impression of a more cheery concerto than it is supposed to be. The violin is played are various rates depicting a tumultuous first movement. This is later opened with a jagged motto resulting into a full orchestra that repeats itself in the punctuation and the ferocious passagework from the alluring soloists. The performance also takes the form of second oven that is mainly depicted with the opening plaintive melody from the marimba and is later heard alluded to in later stages in the upper register of the violin. It is this form that it is realized that the artist infuses her performances with her personal style (Downs, 58).

Another performance in the program was one performed by a brother and a sister. The Sitawala Duo from grapevine performed a well-executed Passacaglia; after Hendel, during the episode of top of Carnegie hall. The team comprised of double bassist, fifteen year old Kiyoe Wellington who comes from Kaneohe, Hawaii. The talent and skill seem to be hereditary knowing that her family is mainly comprised of bassists. During the performance, and in honor of the musical tradition that is inherent in the family, she plays François Rrabbath’s “Reitba” using her grandfather’s bass. She is accompanied on this particular performance by the Host Christopher O’Riley. The intimate relationship between and the artist and the violin was evident in every bar. The artists seemed to listen to each other rendering into subtle nuances.

This performance at times alludes to various forms of Roman Catholicism although this is made in very minute portions in the violin concerto. The violin concerto in various instances bristles along in a contemporary way but immediately reverts to the traditional classical form. This creates a rather comforting, Scottish like folksong or waltz. The performance is executed in a striking breadth and sheer quantity. The violin concerto can only be described as an exhilarating experience that highlights absorbing listening.

The performance also included a gorgeously performed account of Tchaikovsky’s Symphony No. 5 in E minor. The artist’s broad tempos and the rhythmic flexibility that were utilized in designing the musical performance were vital in making the performance to have slight a touch of symphony’s romantic essence. The performance often created a drive among the audience to have a forward drive but the inherent incomings were made up for in the richness of the striking violin.

The program covered a wide emotive range. The entire performances indicated characteristic musicality, attention to detail, fanatical preparation and theatrical insight. The various artists paused before engaging in any piece to ensure they engaged fully into the mood of what was about to be performed. They displayed a masterly of acting and music performance. Using dramatic expressions, the artists delivered the rhythm in an impeccable manner. Classical music is mainly characterized by gradual and sudden changes in terms of mood and theme.

This experience, which was mainly characterized by classical performances, affected the audience moods through the creation of positive mood that randomly changes into moods of being elated, dramatic and broody. This was mostly experienced when the artist engaged in the fast notes. When the tone was changed, the audience was trans-located into a mood of melancholic nature, self-conscious, sentimental, poignant and hypnotic.

The musical experience was highly educational in terms of the underlying concert etiquette. If not observed properly, this could lead one into being a bother to the rest of the audience and the performers and being shunned. The paramount etiquette especially in classical concerts is the maintenance of silence. This is particularly in un-amplified orchestra. The audiences at such concerts expect utmost silence and disapprove of other members who make unnecessary noise other than breathing.

Unavoidable sounds such as coughing or sneezes ought to be delayed to the time there is a loud passage. If this is not possible, the sound ought to be muffled by a handkerchief. It was learnt that the trick is most effective when the handkerchief is placed at the inner elbow joint with the whole arm and pressing it against the mouth. Mobile phones and pagers ought to be either switched off or strictly kept at silent mode (Downs, 38).

The latter is often emphasized by the management before the musical concert commences. Timely arrival and settling at the seats is paramount. Eagerness in applauding is discouraged and often resented. When the performance ends, it is now becoming common for the audience to reflect in moment of silence and in some cases silent prayer before applauding.

The musical program influenced the audience in various ways.

It created an inspiring cross-cultural appreciation regarding common humanity, which is evidenced during historical music performances. The history in delved in classical music renders the audience to have a feeling of history being still relevant and active in the present. This is almost as if the ancient composers are still alive due to the accurate and precise execution of the musical plays. The audiences are therefore able to commune with the music’s original culture through the insight on the ethos and emotions that influenced the ancient composers.

The audience literary felt as if they were caught in the middle of a cross fire with different musical ideas. This is because although the performances were predominantly classical, each of the artists added their own spice into the works of art and in the process creating a shift in the audience’s perception of how classical music is supposed to be. During the live performances, the audience is also able to appreciate the passion and talent of the performers who took time and effort in selecting, learning and refining historical music.

 

Works cited

Downs, Philip. Classical Music: The Era of Haydn, Mozart, and Beethoven, 4th vol of Norton Introduction to Music History. London: W.W. Norton & Company. 1992. Print.

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