Concert Report - Part 7

The concert that I attended at Yale University on November eighteenth was called Symphonie Fantastique - Concert Report introduction. During the concert, the band played Beethoven’s Piano Concerto No. 4, William Tell Overture, and Berlioz: Symphonie Fantastique. The music was excellent and played with much expertise. Each piece was performed well. I enjoyed listening to the extravagant music with very few mistakes. Beethoven’s Piano Concerto no. 4 The first movement in this piece opened with a solo piano. The pianist played chords in a key which I am unfamiliar and then came to rest on a dominant chord.

There was a pause for what seemed to be two or three beats and then the orchestra entered in what I made out to be B major. A theme is played by the orchestra in the continuing B major and then drops in pitch to another key, which I was unable to make out which one. Once again the theme is played, followed by a strong cadence. The music seems to fade into one bar. After some kind of accompaniment, the music changes to minor, and sounds pianissimo. There is a rise in the bass and more harmonies. There is a rise in the bass and more harmonies.

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A final cadence is heard, and then the beginning bars are heard again for closing. As explained before the piece began, the second movement is supposed to make the image of Orpheus taming the Furies, which is represented by the piano and strings, at the gates to Hades. This movement is played in a piano sounding minor key. The piano player sounded as if he was off key on some notes. This goes into what sounds like to me to be C major. Then a solo cadenza was played at the end of the movement by piano. I can’t write much about the third movement of this piece, because I didn’t write much down while listening.

What I do know is that it was played in Rondo form, and was in a minor chord. Some parts of this movement sounded off however I was unable to figure which instrument was off key. Symphonie Fantastique When the first movement of this piece is played you hear the ide fix. The first melody of the beginning introduction moves into a new melody. I began to hear the theme starting with allegro. The allegro is in sonata form. After some changes and developments, the end of the movement moves into the second movement. The second movement is in rondo form, and sounds almost like a waltz.

Seemingly sounding piano, you can hear as the harps play brilliantly. Earlier explained, using two harps is something that can characterize Berlioz . Soon, the idee fix is heard, only to be drowned out by the music of the waltz, leading us into the next movement. The third movement of this peice is the most confusing that I heard. The same melody heard in the first movement is heard but in a change of key. The idee fix is heard very briefly in the basses. In this movement there are two violas playing. There is a slight decrescendo.

The fourth movement sounds like marching. In class we talked about how this movement represents before the guy gets decapitated. The ide fix is heard once again during the march. In the program it is to be the man being led to his execution for murdering the woman who he loved. The melody is stopped suddenly. The fifth movement is supposed to make you envision a person at a funeral, and then you hear the ide fix. This then turns into what is supposed to sound like a witches Sabbath. The idee fixe is played one last time and then it gets lost in the other sounds. he Dies irae is played, then instruments are played to represent the Witches’ Sabbath the two come together in the end of the piece. Conclusion Although these pieces are not my favorite genre of music I enjoyed sitting and listening to them played. The yale orchestra did a wonderful job at playing these pieces with few mistakes. My favorite piece of the night was The Symphonie Fantastique. One thing the orchestra could have improved on was the harp playing. Although it was soft and melodic, the players were off on timing. One thing they did well on was transitioning from one piece to another.

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