Concert Attendance Paper

MUS 121 Jeffrey Phelps, cello and Lee Jordan-Anders, piano 14 October, 2012 Dr. Portage Tidewater Community College CA#1 The Program Sonata in A Major, Opus 69 (1808)Ludwig van Beethoven Allegro, mama non tanto Scherzo, Allegro molto Adagio cantabile/Allegro vivace Sonata (1915) I. Introduction: Lent, sostenuto e molto risoluto II. Serenade: Moderement anime III. Last: Anime, leger et nerveuxClaude Debussy The Concert On Sunday, 14 October, Jeffrey Phelps, cello and Lee Jordan-Anders, piano, performed Ludwig van Beethoven’s Sonata in A Major, Opus 69 (1808) and Claude Debussy’s Sonata (1915) at Trinity Methodist Church in Smithfield Virginia.After the presentation of the entertainers we were approached to hold all commendation until the finish of each piece. The principal Sonata by Beethoven bears the heading of Inter Lacrimas et Luctum, which means â€Å"Amid Tears and Sorrow. † The main development, Allegro, mama non tanto, from Beethoven’s Sonata, opene d with the cello laying on one note. The tone of the cello as it started in a lower register was warm and rich, the rhythm beginning rather moderate. The state of mind was sorrowful to me toward the start and I had no clue about what's in store. The surface toward the start of the principal development was monophonic.As the piano entered the tune for both cello and piano was conjunct with even expressing. Here the surface got polyphonic. The tone shade of the piano appeared to be changed to me, substituting all through the piece among dynamic and quelled. At the point when the state of mind was not exuberant it got dismal. The elements of the two instruments changed all through this development, from piano to strong point and afterward piano once more. The development of the tune was conjunct toward the start of the piece and the form of the tune was wavelike, particularly by the piano.This development started in a significant key at that point unexpectedly moved into a minor key, w here the elements were fortissimo. The surface was polyphonic, the contrast creating a call and reaction, as though the cello and piano were holding a discussion. The song had a thin to medium range in the start of this development. Reiteration permitted all the topics to return all through the development, which is a trademark of the sonata. The cello and piano alternate performing little independent sections before veering off to something different. At a certain point right off the bat in the piece I heard a homorhythmic surface when cello and piano played similar notes together.After a slipping tune from the piano the development at that point gets disjunct with a wavelike shape. I couldn't help thinking that when the song in the cello climbed, the tune in the piano plummeted. It had an expressive state of mind to it and it was lovely. The amicability, now, was still in a significant key as the cello dominated, described by a tone that was dim. The disposition was one of despair ing and I could feel distress. It was intriguing to watch Phelps and Jordan-Anders inconspicuously sign each other as the elements turned out to be pianissimo and the rhythm adagio. In the lower registers both cello and piano had a tone that was warm.In the upper registers it sounded searing. The surface of the cello here was monophonic with no piano. I was not expecting the hazardous part that followed. At around four minutes into the development the elements turned out to be fortissimo and I could hear the agreement in a minor key. The shape of the song slipped and was conjunct. There was an arrival to a significant key and the elements turned out to be piano for the two instruments. The mind-set of this development helped me to remember longing. The tone shading for the piano got more brilliant here as the cello came back to the warm, rich sound like in the beginning.The shape of the song was climbing and conjunct. This development stayed in duple meter all through the piece. The re was an arrival to contradiction as both cello and piano played, utilizing a polyphonic surface, the elements piano before coming back to specialty. As the beat turned out to be allegro the cello strings were culled making a tone that was brilliant and a mind-set that was vivacious. There was an arrival to a monophonic surface for the cello and the elements turned out to be pianissimo. Since this movement’s structure was ostinato, I heard short melodic, cadenced, and consonant examples repeated.This piece was long, at twelve minutes, and at one point I quit taking notes, in stunningness of what I was hearing. The whole piece felt balanced to me and was sing capable all through. Beethoven’s Sonata 3, Opus 69 approaches a nearby with a surface that was heterophonic, elements that go from specialty to piano and a splendid tone shading for cello and piano. The tune stayed conjunct with a shape that was wavelike, by climbing and slipping, particularly for the piano. The r hythm came back to allegro all through this piece and finished with the elements coming back to specialty and the last rhythm as the agreement settled in consonance.The second development of Beethoven’s Sonata in A Major, Opus 69 was Scherzo: Allegro molto and started with Jordan-Anders playing the initial notes of the song in a restricted range with a melodic development that was conjunct. The surface here was monophonic for just a couple of measures. The tone of the piano was brilliant and the concordance was minor. I heard the subsequent development in triple meter, and when the cello started to play there appeared to be an arrival to the polyphonic surface which was normal in the main development. The development of the song was disjunct with a medium range, the elements of the piano delicate (piano) and the beat allegro.Phelps started playing in a powerful that was piano which reflected the initial proportions of the piano part, with an intriguing musicality I’m n ot certain how to portray. The musicality was timed with a consistent accentuation on beat three of each measure with the subsequent beat set apart by quiet. The tone of the cello felt splendid, even in its lower register. There was an ostinato structure in this piece and once more, the cello and piano appeared to converse with one another, with a call and reaction design recognizable in the main development of this sonata.Movement two appeared to arrive at a unique peak part of the way through which was strong point, just to come back to piano. The song in the piano switched back and forth among conjunct and disjunct and as the elements became stronger the shape of the tune was climbing. The trades between the cello and piano made an enthusiastic state of mind all through the development and the surface by and by became homorhythmic with an arrival to a polyphonic surface. I heard these surfaces all through the Scherzo. The tone of the piano and cello turned out to be very expansiv e with noisy elements. The subject was rehashed and, ostinato was at play.The development finished with elements of the piano specialty, the cello and piano utilizing a surface that was heterophonic, on the grounds that the two instruments were playing as one. The cello was culled close to the end which made a dull tone. The piano again utilized a powerful that was piano. This piece was loaded with hyper vitality that left me needing to hear more. The word scherzo implies â€Å"joke† yet this exuberant little piece was definitely not a joke! The third development of Beethoven’s Sonata in A Major, Opus 69, started with a short Adagio cantabile which began with the piano.The elements were delicate. The surface of the piano at the absolute starting point was monophonic until the cello participate, and I heard a blend of surfaces, however couldn’t very tell without a doubt what they were. At a certain point, from the get-go, I heard both piano and cello playing as o ne which made the blended surface heterophonic just as heterorhythmic. The song for both cello and piano was conjunct with a development that I heard as having a limited range for the piano and a medium range for the cello. The meter was duple. The dynamic utilized is piano and the rhythm was adagio.Even however the concordance was major, the state of mind of the initial segment felt very despairing to me. Staying in duple meter, the development moved from the Adagio cantabile to the last Allegro vivace, the title a hint of what was to come! The congruity stayed in a significant key anyway the beat turned out to be exuberant (vivace) and the state of mind felt energetic to me. The tone shade of the cello was by and by warm, as I am seeing the cello as. The tone of the piano was brilliant and fresh as the two instruments appeared to veer separated, attempting to figure out how to return together. I felt energized when hearing this movement.The shape of the song felt wavelike for the two instruments, particularly when scales were utilized, some of the time climbing, some of the time plummeting. The elements changed all through this development from delicate to uproarious at that point back to delicate once more. I heard the development of the piano as conjunct yet wasn’t secure with the cello. Once more, ostinato is at play partially through the development and I thought I heard cacophony, as the piano and cello appeared to fight it out. The agreement seemed like it was in a minor key now, similar to the cello and piano were attempting to discover goals. The tone of the piano was puncturing here.The beat for the two instruments turned out to be quick and the elements noisy. At long last, the amicability arrived at consonance, after the cello rehashes the principal bar of the subject again and again while the piano hammers out the backup. The elements shifted back and forth among delicate and boisterous, cello and piano consummation on the last note as one , the elements a frightening specialty. The principal development of Claude Debussy’s Sonata, Prologue: Lent, sostenuto e molto risoluto, started with Lee Jordan-Anders’ solitary piano part that was homophonic in surface with a congruity that was minor. The tone shading here was extremely dull, the state of mind very somber.The program notes for this exhibition note this Sonata as the first of six anticipated sonatas for different instrumental blends that Debussy couldn't finish because of the malignant growth that made his last years a wretchedness. This sonata was the main piece. I could sympathize with his agony and hopelessness as I tuned in to this work. The stating of the song was balanced with a development that was c