Concept Report: Belshazzar's Gastabud By George Rothman

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Concept Report
On Friday, November 06, 2015 at 7:30 pm, I attended the conservatory orchestra concert conducted by George Rothman that was held in the Whitman Theatre of the Conservatory of Music of Brooklyn College. There were four pieces of music during this concert. The first piece was Belshazzar’s Gastabud (Belshazzar’s Feast), op.51 by Jean Sibelius. The second piece of music was Le Tombeau de Couperin by Maurice Ravel. The third piece of music was Le Festin De L’araignee (The Spider’s Feast), op. 17 by Albert Roussel. The last piece of music was Symphony No.1 in D major, “Classical,” op.25 by Sergie Prokofiev.
As soon as I was situated, I observed that it was a thoroughly different atmosphere from any other concert that I had attended
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He performed is first orchestra work in 1892. He has additionally developed a vigorous scene of musical tradition in Finland engendering seven symphonies. Belshazzar’s Gastabud, by Jean Sibelius, is a story best kenned for Prophet Daniel’s interpretation of editing on the wall which appears cryptically during feats in Belshazzar’s courts. George Rothman introduced the first piece, then he signaled for a start, then the theatre lights went off and the orchestra commenced. The clarinet was the first instrument played which was very soothing. Next, the flute began to play in the background, and immediately after that the orchestra joined in. The piece had four forms of kinetics that seem to have a homophonic texture. There were a variety of aerophone, chordophones and membranophones utilized in each piece. In this musical piece, I couldn’t organize both of the instruments being played so I had to rely on the program. Among the aerophones were the Oboe, Flute, Clarinet and Horns and the Membranophones included the percussion (triangle). However, I didn’t perceive any chordophones being played in this piece. Throughout this piece, I had an image of someone running around in a garden. The overall dynamics of this piece was …show more content…
Maurice Ravel was a French composer who was highly influenced by composer Claude Debussy. Both composers utilize the theory of kineticism. Ravel was popularized due to his musical piece, “Bolero”. Another of his most famous works was Le Tombeau de Couperin, which stands out as a concretely adroit translation. Just like the first piece, the conductor introduced the piece, made a signal and the lights dimmed. For this number, the violin was played first, followed by the Harp, Oboe, Clarinet, Bassoon, Trumpet and Flute. This piece commenced off lento but reached tempo over time. I experienced allegro in the middle of the piece which created a storytelling feel in my head. I suggest that the overall dynamics of this piece was pp—mp—mf—f—ff, with a theme and variation form. In the cessation, all the instruments played together in a tone of allegro which sounded like someone running from something, then when they reached a safe place the piece dynamics returned back to lento. The performers then took an intermission at 8:15pm.
After intermission, the third piece was Le Festin De L’araignee (The Spider’s Feast), op. 17 by Albert Roussel. Albert Roussel was an outstanding composer and edified of his time, he was born in Tourcoing. His musical style was more of a formal design with a vigorous rhythmic drive. Albert is kenned for is most famous ballet, which is Le Festin De L’araignee. The ballet scenario depicts of the lives

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