Stony Brook Symphony Concert Report The orchestra is an aspect of music that dates back several centuries. Due to it’s long history and various advancements in musical instruments, the orchestra has evolved tremendously. Today, a typical orchestra contains a vast amount of instruments from the string, woodwind, brass, and percussion families. This is no different for the Stony Brook Symphony Orchestra. I had the pleasure of attending one of this ensembles breathtaking concerts on November 7, 2015. Conducted by ___________, this ensemble performed three marvelous pieces of work: Ravel’s La Valse, R Strauss’s Burleske for Piano and Orchestra, and Beethoven’s, Symphony No. 3. In any aspect of classical music, Beethoven is a name that appears
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From the the tempo to key and even the title, it is pretty obvious that Beethoven was trying to achieve a major contrast between the two movements. Though my knowledge of Italian is fading, I remember that Scherzo means, ‘to play’ and the piece is rather playful. The piece begins with a homophonic texture, that is well complimented both by its major key and it’s fast and lively tempo. For the most part, it seems as though the melody is carried by the flutes and the piccolos. As a whole, the piece is rather bouncy and quite staccato, but the meter is rather difficult to pick up. At times it seems the piece is in a duple meter, but it is only when the oboe comes through, that I sense an ounce of “triple-ness”. While the piece maintains a major mode, it seems to jump around between keys. While trying to find the tonic, it found myself humming several different notes through the whole piece. A very nice aspect of this piece is that Beethoven introduces something by adding a piece within a piece. Though this section is short, it offers and does a lot to the piece. The section entitled “Trio” offered what I consider to be a break because the tempo is a lot slower Not long after this separate section, we experience a shift from a triple meter into a duple meter. This change in meter, along with a very purposeful crescendo aid in transitioning into the end of the piece and the Coda. In
From the the tempo to key and even the title, it is pretty obvious that Beethoven was trying to achieve a major contrast between the two movements. Though my knowledge of Italian is fading, I remember that Scherzo means, ‘to play’ and the piece is rather playful. The piece begins with a homophonic texture, that is well complimented both by its major key and it’s fast and lively tempo. For the most part, it seems as though the melody is carried by the flutes and the piccolos. As a whole, the piece is rather bouncy and quite staccato, but the meter is rather difficult to pick up. At times it seems the piece is in a duple meter, but it is only when the oboe comes through, that I sense an ounce of “triple-ness”. While the piece maintains a major mode, it seems to jump around between keys. While trying to find the tonic, it found myself humming several different notes through the whole piece. A very nice aspect of this piece is that Beethoven introduces something by adding a piece within a piece. Though this section is short, it offers and does a lot to the piece. The section entitled “Trio” offered what I consider to be a break because the tempo is a lot slower Not long after this separate section, we experience a shift from a triple meter into a duple meter. This change in meter, along with a very purposeful crescendo aid in transitioning into the end of the piece and the Coda. In