London Symphony Orchestra
The London Symphony Orchestra has a reputation as one of the most acclaimed orchestras in the world. Its long history spans over a century and features the works of many admired figures in the music industry. The concert they gave on May 24th, 2015 featured violinist Christian Tetzlaff and the London Symphony Chorus. It was a part of the LSO International Violin Festival; this festival showcases twelve world-renowned violinists. Orchestral music is still a part of culture because many talented individuals that have dedicated themselves to instrumental performance.
Western musical literature is both extensive and impressive. It was shaped by the different eras of style music goes through. The first piece the orchestra performed was Beethoven’s Violin Concerto in D major Op. 61 (1806). The piece consists of three movements: Allegro ma non troppo, Larghetto, and Rondo: Allegro. Beethoven was not a stranger to the composition of concertos, although he only ever completed one violin concerto. A reoccurring element throughout Beethoven’s Violin Concerto is the execution of dynamics. The piece is punctuated with extreme volume changes from a gentle pianissimo (soft) to a booming fortissimo (very loud). If the audience is not expecting this change, the effect can be slightly jarring. This does not eliminate overall enjoyably from the performance; it adds an extra layer of technical complication and musical color. One of the reasons Beethoven’s work is so enjoyable to listen to is because it is not stagnate. There is a sense of musical flow from the opening movement to the finale. What the formatting of a concerto does so marvously is it provides a beautiful spotlight for the soloist and a solid foundation by the accompanying orchestra. The soloist was Christian Tetzleff, a violinist originally from Hamburg, Germany. According to the program notes, Tetzleff has performed this particular concerto “around 280” times. His experience is unmistakable because throughout the entire performance Tetzleff appeared completely grounded and comfortable on the stage. It should be noted that the run time of Violin Concerto in D major is approximately 45 minutes long. Tetzleff’s capacity to memorize the entirety of a challenging piece shows how much he has invested into his craft. He was in complete control of his instrument. His physical technique was strong and very intentional. The placement of his bow on the violin’s strings, his posture, and how his fingers moved with lithe precision …show more content…
In the string section all the musician’s bows glide up and down, but no one is ever out of place. The brass and woodwinds produced clear intonation. The percussionists have to subtly double check the sound of their instruments before playing. Under the conductor, the entire orchestra operated very smoothly and produced beautiful music. Which is the exact kind of accompaniment an orchestra should provide a visiting soloist.
The second piece the London Symphony Orchestra performed was Johannes Brahms’s German Requiem Op. 45 (1865-68). The London Symphony Choir sang alongside the orchestra and featured two soloists: Sally Matthews and Matthias Goerne. Brahms’s German Requiem consists of seven movements. Its lyrical texts are derived from passages of the Old and New Testaments, such as the Beatitudes in Matthew 5. Traditionally, requiems are sung in Latin; the German Requiem gets its name from the fact that it is written entirely in
The London Symphony Orchestra has a reputation as one of the most acclaimed orchestras in the world. Its long history spans over a century and features the works of many admired figures in the music industry. The concert they gave on May 24th, 2015 featured violinist Christian Tetzlaff and the London Symphony Chorus. It was a part of the LSO International Violin Festival; this festival showcases twelve world-renowned violinists. Orchestral music is still a part of culture because many talented individuals that have dedicated themselves to instrumental performance.
Western musical literature is both extensive and impressive. It was shaped by the different eras of style music goes through. The first piece the orchestra performed was Beethoven’s Violin Concerto in D major Op. 61 (1806). The piece consists of three movements: Allegro ma non troppo, Larghetto, and Rondo: Allegro. Beethoven was not a stranger to the composition of concertos, although he only ever completed one violin concerto. A reoccurring element throughout Beethoven’s Violin Concerto is the execution of dynamics. The piece is punctuated with extreme volume changes from a gentle pianissimo (soft) to a booming fortissimo (very loud). If the audience is not expecting this change, the effect can be slightly jarring. This does not eliminate overall enjoyably from the performance; it adds an extra layer of technical complication and musical color. One of the reasons Beethoven’s work is so enjoyable to listen to is because it is not stagnate. There is a sense of musical flow from the opening movement to the finale. What the formatting of a concerto does so marvously is it provides a beautiful spotlight for the soloist and a solid foundation by the accompanying orchestra. The soloist was Christian Tetzleff, a violinist originally from Hamburg, Germany. According to the program notes, Tetzleff has performed this particular concerto “around 280” times. His experience is unmistakable because throughout the entire performance Tetzleff appeared completely grounded and comfortable on the stage. It should be noted that the run time of Violin Concerto in D major is approximately 45 minutes long. Tetzleff’s capacity to memorize the entirety of a challenging piece shows how much he has invested into his craft. He was in complete control of his instrument. His physical technique was strong and very intentional. The placement of his bow on the violin’s strings, his posture, and how his fingers moved with lithe precision …show more content…
In the string section all the musician’s bows glide up and down, but no one is ever out of place. The brass and woodwinds produced clear intonation. The percussionists have to subtly double check the sound of their instruments before playing. Under the conductor, the entire orchestra operated very smoothly and produced beautiful music. Which is the exact kind of accompaniment an orchestra should provide a visiting soloist.
The second piece the London Symphony Orchestra performed was Johannes Brahms’s German Requiem Op. 45 (1865-68). The London Symphony Choir sang alongside the orchestra and featured two soloists: Sally Matthews and Matthias Goerne. Brahms’s German Requiem consists of seven movements. Its lyrical texts are derived from passages of the Old and New Testaments, such as the Beatitudes in Matthew 5. Traditionally, requiems are sung in Latin; the German Requiem gets its name from the fact that it is written entirely in