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 H only I accompanied a MidAmerica production that presented the New England Symphonic Ensemble. This concert contained several(prenominal) diametric compositions by large groups of musicians, including an orchestra band, and chorus. This concert was dissever into three diametrical parts. setoff 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, bloody shame Nessinger vocalism was the Mezzo soprano, and Elizabeth Hastings was the portative. There was a reprise in the get-go section Gloria which opened up the symphony.following the depression quietness the musicians performed Magnificant by Mohaycn, Ave Maria op 12 by Brahms, Magnificant by Vaughan Williams, and Canticle of bloody shame by Larson. Nancy Menk was the conductor, Judi th Von Housers utter was the soprano and bloody shame Nessinger the mezzo. The send-off three sections were settings of the magnificant text all for womens of shingle voices and orchestra. This recital was more dramatic due to the addition of the precussion that added a emit sound in the end of the last section Canticle of Mary which visualised 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 pains and crowd together Demler voice was the baritone. The chorus carries the major burden of their music. Thomas C. Laine presented the straining 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, inscrutable 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 of the concert was divided into foursome pieces. First there was the Magnificant by M. Haydn (the orchestra accompaniment was edited from the composers ms by Mark Nabholz). This piece consisted of strings without violas, two french horns, and an organ.carnegie vestibule 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 musicians, 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 of the concert was divided into four pieces. Fi rst 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.