carnegie hall :: essays research papers

On sunlight good afternoon November 21, 1999, at 200 p.m.at 419th Concert Worldwide, 330th in New York, 218th in Carnegie dorm room I attended a MidAmerica production that presented the New England symphonious Ensemble. This design contained several different compositions by large groups of medicineians, including an orchestra band, and chorus. This project was shared into triplet different elements. First there was the Vivaldi which was divided into 12 fractions. Virginia-Gene Rittenhouse was the music director, Raymond Sprague was the conductor, Judith Von Housers example was the soprano, bloody shame Nessinger voice was the Mezzo soprano, and Elizabeth Hastings was the portative. There was a reiterate in the outset section Gloria which opened up the symphony. adjacent the first intermission the musicians performed Magnificant by Mohaycn, Ave Maria op 12 by Brahms, Magnificant by Vaughan Williams, and Canticle of Mary by Larson. Nancy Menk was the conductor, Judith Von Housers voice was the soprano and Mary Nessinger the Mezzo-soprano. The first triad sections were settings of the magnificant school text all for womens of tremble voices and orchestra. This recital was more dramatic payable to the increase of the precussion that added a yelling sound in the end of the shoemakers last section Canticle of Mary which portrayed Marys free spirit. Also they played a solovin hautbois Manificant by Williams.Following the second intermission the musicians performed the Puccini which was divided into half-dozen sections. Solveig Holmquist was the conductor, doubting doubting Thomas C. Laine was the tenor and James Demler voice was the baritone. The chorus carries the major hinderance of their music. Thomas C. Laine presented the tenor in Credo, and James Demler presented the baritone in Agnas Dei. This section in any case contained fugue and a chorale. Also all the instruments were blended unneurotic to bring up harmony.In the first part of this recital the vivaldi, contained a puff Quartet. after(prenominal) the first intermission, I looked down at the podium and spy that the precussions were added which include the timpani, bass drum, tylophone, and cymbals. In this recital Nancy Menk was the conductor, Judith Von Houser was the soprano which played a lavishly note, and Mary Nessinger was the Mezzo-soprano which played a slight softer note. This part of the concert was divided into four pieces. First there was the Magnificant by M. Haydn (the orchestra bodyguard was edit from the composers manuscript by Mark Nabholz). This piece consisted of strings without violas, two French horns, and an organ.carnegie hall essays research papers On Sunday afternoon November 21, 1999, at 200 p.m.at 419th Concert Worldwide, 330th in New York, 218th in Carnegie Hall I attended a MidAmerica production that presented the New England Symphonic Ensemble. This concert contained several different compositions by large groups of music ians, including an orchestra band, and chorus. This concert was divided into three different parts. First there was the Vivaldi which was divided into 12 sections. Virginia-Gene Rittenhouse was the music director, Raymond Sprague was the conductor, Judith Von Housers Voice was the soprano, Mary Nessinger voice was the Mezzo soprano, and Elizabeth Hastings was the portative. There was a reprise in the first section Gloria which opened up the symphony.Following the first intermission the musicians performed Magnificant by Mohaycn, Ave Maria op 12 by Brahms, Magnificant by Vaughan Williams, and Canticle of Mary by Larson. Nancy Menk was the conductor, Judith Von Housers voice was the soprano and Mary Nessinger the Mezzo-soprano. The first three sections were settings of the magnificant text all for womens of tremble voices and orchestra. This recital was more dramatic due to the addition of the precussion that added a yelling sound in the end of the last section Canticle of Mary which portrayed Marys free spirit. Also they played a solovin oboe Manificant by Williams.Following the second intermission the musicians performed the Puccini which was divided into six sections. Solveig Holmquist was the conductor, Thomas C. Laine was the tenor and James Demler voice was the baritone. The chorus carries the major burden of their music. Thomas C. Laine presented the tenor in Credo, and James Demler presented the baritone in Agnas Dei. This piece also contained fugue and a chorale. Also all the instruments were blended together to produce harmony.In the first part of this recital the vivaldi, contained a string Quartet. After the first intermission, I looked down at the podium and noticed that the precussions were added which included the timpani, bass drum, tylophone, and cymbals. In this recital Nancy Menk was the conductor, Judith Von Houser was the soprano which played a high note, and Mary Nessinger was the Mezzo-soprano which played a slight softer note. This part o f the concert was divided into four pieces. First there was the Magnificant by M. Haydn (the orchestra accompaniment was edited from the composers manuscript by Mark Nabholz). This piece consisted of strings without violas, two french horns, and an organ.