Concert Attendance Paper

MUS 121 Jeffrey Phelps, cello and Lee Jordan-Anders, piano 14 October, 2012 Dr. Passage 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. Preface: 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 praise until the finish of each piece. The main 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, opened with the cello laying on one note. The tone of the cello as it started in a lower register was warm and rich, the beat beginning rather moderate. The temperament was forlorn to me toward the start and I had no clue about what's in store. The surface toward the start of the main development was monophonic.As the piano entered the song for both cello and piano was conjunct with balanced expressing. Here the surface got polyphonic. The tone shade of the piano appeared to be differed to me, substituting all through the piece among energetic and quelled. At the point when the state of mind was not vivacious it got grave. The elements of the two instruments changed all through this development, from piano to specialty and afterward piano once more. The development of the tune was conjunct toward the start of the piece and the shape 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, where the elements were fortissimo. The surface was polyphonic, the antithesis delivering a call and reaction, as though the cello and piano were holding a discussion. The song had a limited to medium range in the start of this development. Redundancy permitted all the subjects to return all through the development, which is a trademark of the sonata. The cello and piano alternate performing little independent entries 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 dropping song from the piano the development at that point gets disjunct with a wavelike shape. I couldn't help thinking that when the tune in the cello climbed, the tune in the piano dropped. It had a melodious mind-set to it and it was delightful. The amicability, now, was still in a significant key as the cello dominated, described by a tone that was dull. The state of mind was one of despairing and I could fe el distress. It was intriguing to watch Phelps and Jordan-Anders unpretentiously signal each other as the elements turned out to be pianissimo and the beat adagio. In the lower registers both cello and piano had a tone that was warm.In the upper registers it sounded red hot. The surface of the cello here was monophonic with no piano. I was not expecting the touchy part that followed. At around four minutes into the development the elements turned out to be fortissimo and I could hear the amicability 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 temperament 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 form of the tune was climbing and conjunct. This development stayed in duple meter all through the piece. There was an arrival to contradiction as both cello and piano played, utilizing a polyphonic surface, the elements piano before coming back to strong point. As the beat turned out to be allegro the cello strings were culled making a tone that was splendid and a state of mind that was energetic. 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 symphonious examples repeated.This piece was long, at twelve minutes, and at one point I quit taking notes, in wonderment of what I was hearing. The whole piece felt even 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 song stayed conjunct with a shape that was wavelike, by rising and sliding, particularly for the piano. The beat came back to allegro all through this piece and finished with the elements coming back to strength and the last rhythm as the amicability 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 tune 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 regular in the principal development. The development of the tune 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 extremely intriguing musicality I’m not certain how to depict. The mood was timed with a steady accentuation on beat three of each measure with the subsequent beat set apart by quiet. The tone of the cello felt brilliant, 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 principal development of this sonata.Movement two appeared to arrive at a unique peak part of the way through which was specialty, just to come back to piano. The tune in the piano shifted back and forth among conjunct and disjunct and as the elements became stronger the form of the tune was rising. The trades between the cello and piano made an exuberant 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 wide with extremely boist erous elements. The topic 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, in light of the fact 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 brimming with hyper vitality that left me needing to hear more. The word scherzo implies â€Å"joke† however this energetic 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, yet couldn’t very tell without a doubt what they were. At a certain point, right off the bat, I heard both piano and cello playing as one which made the blended surface heterophonic just as heterorhythmic. The tune 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 beat was adagio.Even however the congruity 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 sign of what was to come! The concordance stayed in a significant key anyway the beat turned out to be vivacious (vivace) and the state of mind felt perky 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 splendid 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 form of the tune felt wavelike for the two ins truments, particularly when scales were utilized, here and there rising, now and then plummeting. The elements changed all through this development from delicate to noisy at that point back to delicate once more. I heard the development of the piano as conjunct however wasn’t secure with the cello. Once more, ostinato is at play part of the way 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 boisterous. At long last, the agreement arrived at consonance, after the cello rehashes the main bar of the subject again and again while the piano hammers out the backup. The elements shifted back and forth among delicate and uproarious, cello and piano completion on the last note as one, the elements a surprising strength. The primary 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 an agreement that was minor. The tone shading here was dull, the mind-set very somber.The program notes for this exhibition note this Sonata as the first of six anticipated sonatas for different instrumental mixes that Debussy couldn't finish because of the malignant growth that made his last years a hopelessness. This sonata was the primary organization. I could sympathize with his torment and wretchedness as I tuned in to this work. The expressing of the song was even with a development that was c