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Chicago Symphony Orchestra Final Concert Review

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For the final concert review, I was able to attend the Chicago Symphony Orchestra’s event that showcased Maurizio Pollini. Maurizio Pollini is an Italian world-renowned piano player who is a recording artist. Since this was the first time I attended the symphony, I was stunned by the gorgeous concert hall and the sheer size of the hall as well. The stage was empty except for a grand piano and Maurizio Pollini himself. The concert’s program included works from Chopin and Debussy. It is important to note that the musician did not have any scores or sheet music while playing these complex pieces that each were 10 minutes or more in length. The first piece that Pollini played was Prelude in C-Sharp Minor, Op. 45 by Chopin. This piece flowed with …show more content…

2 in B-Flat Minor, Op. 35 (Funeral March). The first movement of the sonata was the “Grave”. This section was in a minor key, had flurries of notes and had a dark and melancholy theme. The section also had a varying tempo with sections that slowed down and ones that were much faster. Overall, this first movement had a wide range of tempos and dynamics which made it very captivating to listen. The piece also had many swells and climaxes within the piece which consisted of louder dynamics and faster flurries of notes and runs. The second movement was the “Scherzo”. The scherzo was more playful and the notes were much more agitated than the first part of the piece. In addition, the piece was more forte and there were a lot of fast flurries of notes. This piece seemed fiery and with a lot of energy. The third movement of the sonata is the “Marche Funebre”. This march emulated themes from the first movement and for the most part was piano or pianissimo. However, there were definitely moments of forte and musical tension. I enjoyed how this section was reminiscent of the first movement and recapitulated the iconic theme of the Funeral March. Finally, the “Presto” section of the piece was very quick with lots fo notes being played at once which almost sounded jumbled because the player kept doing series of runs of notes. While the section shows the speed and nimbleness of the musicians playing, the piece was not dynamically

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Unlike most of the other first movement sonatas in Classical Era, Mozart begins it in the middle by dropping the listener into the fast motion of the lower strings and a dense melody in violin. The second theme of the first movement is a contrast, a chromatic descent that begins in the strings, changes color quickly into the winds and then returns to the strings. The development section is full of modulations and plays fragments of the first theme in a variety of key areas. When the recapitulation come, the violins turn to lower strings. The balance between emotion and control is at the heart of this

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The concert had three sections which were separated by short break. The second piece was . It opened with a baroque music - the Partita IV in D major, BWV 828 which was composed

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This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).

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Also characteristic in this Sonata the slow beginning "Grave". Far from being a "prelude" it is, to quote

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The third piece, Overcome was much like the other two pieces, the tempo was always changing on the spectrum gradually from largo to vivo. While watching, Eric preform

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It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the

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