Night At The Symphony Essay Research Paper

Night At The Symphony Essay, Research Paper

The first reason why I chose to go to the Seattle Symphony production on February 17th, 1998 was that the resources of the featured artists and the conductor Maximiano Valdes were quite plentiful. It was quite easy to find information on the conductor using the library and even the Internet. In fact, Valdes current place of employment, that being the music director of Buffalo Philharmonic has a detailed web page and history of Valdes, including his place of birth and significant accomplishments up to present. With all this information available, the writing of this paper would be significantly easier. Upon arriving at the production, there was an announcement that Maximiano Valdes would in fact not be conducting the Seattle Symphony that night, but a replacement by the name of Jorge Mester would. The announcement was surprising, but the biggest shock was after the concert when the information sought on Mr. Mester was very limited. The information that could be found on Mr. Mester was that the man was quite accomplished, and winner of various awards. Some of the major accomplishments were that of being the current Artistic Director of the National Orchestral Association’s New Music Project and winner of the prestigious Naumberg Prize.

The Seattle Symphony production that I attended February 17th lasted approximately just over a two hours. It started promptly at 7:30 and had a brief 20-minute intermission at 8:30. Not including the intermission, the concert could primarily be divided into three parts. Each of the three parts was different in composer, texture, volume, and instruments used. Although all the parts of the performance where very well done, the second was just exceptional, as it featured the talent of guest cellist, Antonio Meneses.

The first part of the performance started promptly at 7:30 with the orchestra led in followed by the conductor. As stated above, an announcement was then made at this time that stand-by conductor Jorge Mester was replacing Conductor Maximiano Valdes. The first part featured the music of German composer, Johannes Brahms (1833-1897) with the piece, Tragic Overture. Research sought on Mr. Brahms indicated that he was very critical of himself and at one point burned all that he wrote before the age of 19 as well as some sketches of later masterpieces. It is this turmoil within oneself, which later was reflected in his piece of music why I believe this work for that night. An intense piece of music, full of life, requiring if not demanding audience attention. The history that could be sought on Tragic Overture pertained chiefly to the naming of the piece. Apparently Brahms thought that the work should be titled “Melancholy Overture,” but decided against this because the name Tragic Overture sounded better to the ear. According to some critics though, the original title, Melancholy Overture fits better than Tragic Overture because it describes the mood of the work better.

Brahms’ Tragic Overture started very lively, robust, and energetic. Most notably the stringed instruments, such as the violin, cellos, and violas that led a fast pace for other instruments to follow and focused any deviation from audience attention to the stage. It was during this first part of the performance that I noticed the conductor’s passion for the music. Not so much as attention to detail as was which was discovered in a later parts, but the conductor moving his hands simultaneously, in fast rhythmic like motions.

The interlude into the second part of the performance was closed by audience applause and the introduction of guest cellist Antonio Meneses. A special place for Mr. Meneses was made, and he was seated next to the conductor, Jorge Mester. The second work for the night was Edward Elgar’s, Cello Concerto in E minor. Edward Elgar (1857-1934) was an English composer and research sought suggested that up to the time of his wife’s death in 1920 indicated he was a romantic, often reflecting his mood in compositions. One example of this romanticism was his prolific number of works that he produced while they were married and that it is almost implied that he stopped writing works at the time of her death. The idea of Romanticism is also reflected in the instruments used in the second part of the performance. A harp and piano was brought out in addition to the guest cellist. The beginning of the second piece started with a trumpet and almost sounded as an announcement to the piece. One of the things that was apparent throughout this piece was the focus on clarity and purity. The piano and the harp, sometimes a wind instrument such as the flute, often led this texture of softness. In addition to the trumpet at the beginning were the sounds of guest cellist, Mr. Meneses.

It is unquestionable that most of the audience attention was shifted to Mr. Meneses during the second act. One of the first things to notice was that there was no music stand, nor musical notes on front of Mr. Meneses. All the music played by him was from memory. His passion for the cello was demonstrated in his facial expressions and his undivided attention toward the work being played. If somehow an audience member did shift his attention from Mr. Meneses it would be to Mr. Mester. Even though Mr. Meneses was stuptifing the audience with a brilliant performance, the conductor was just as passionate and cautious at attentio