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I will pay for the following article My Three Most Recent Classical Escapades. The work is to be 2 pages with three to five sources, with in-text citations and a reference page.
I will pay for the following article My Three Most Recent Classical Escapades. The work is to be 2 pages with three to five sources, with in-text citations and a reference page. My Three Most Recent ical Escapades Eight months ago, I was opportune to have the London Symphony Orchestra in a rare spectacle at Renee and Henry Segerstrom Concert Hall. The orchestra under Valery Gergiev’s direction had created for the audience a milestone high with raptures of Prokofiev’s fifth and sixth symphonies (LSO Press) becoming that indescribable moment the lifeblood of the violin concerto which the ensemble took to the level of genius. The raving Russian conductor had had his very peculiar way of getting every bow on chord to regulate textures of rhythm with a wide range of crescendo from which to pick an element either of mildness or of severity.
Laid back on my seat some ten meters from the stage, tensions fastened with me every shaken sense that my appreciation grew with intense curiosity from one level on to the next as if a wide-eyed scene shut into suspense. A particular story was being weaved movement upon movement like an act in a play, while the tempo brought indications where tragedy must come in, the point to remain as such or otherwise jolt-free with the magical winds, as their collaboration with the strings awaited subsidence of the latter to tell which part would relax cardiac beating.
With its unique style, the sound of antiquity became special that I suddenly felt the ease to span out of my modern musical inclination and reconcile with it each aspect of distortion and fluidity therein. As a consequence of a well-arranged composition and a deranged master at fathoming depths of virtuosity across his company to the fullest extent, the masterpiece went beyond conventions as electrifying as (modern) rock. It seemed there was automatic connection somewhere with the perfectly climatic violins. I could sense that everyone in the turnout was being made repeatedly optimistic in the process, not initially expecting to have tuned the symphonies in as eventful as it’s wonderfully tragic along the transformation of tamed notes to voracious ones, worthy of encore.
The previous month likewise, I came by a fortune of witnessing another exhilarating classical presentation by Salzburg Mozarteum Orchestra at the Orange County Performing Arts Center. The same venue had accommodated the repertoire of ninety-one musicians led by Ivor Bolton (Salzburg Mozarteum) whose expertise worked the most sensitive portion of the piece long enough for the audience to relate its intellect to their emotional understanding at a steady rate of delight. It was particularly captivating to have experienced the wonders of the German-Canadian cellist Johannes Moser who appeared exceedingly inspired to pay Haydn (a great Austrian composer) tribute as he took part in the latter’s enduring works by gorgeously rifting his cello that effected a pitch very much congruous with his good-humored facial expressions. To me, the very incidence of the soloist in this scene was critical that it carried and preserved thrill around the rest of the orchestra which the major accompaniments were being moderated within. Evidently, it was bound to take quite a while before this simply unforgettable coffee concert could linger off our enthralled sensations.
Additionally, I would not have had the rarest chance of meeting with one of the celebrated violinists of the present Julia Fischer were it not through a spare complimentary ticket of a friend who badly needed company for one of Fischer’s North American musical tours back in February of this year, the first month that trigged my fondness for classical reprise. Surely we could tell that Ms. Fischer’s handful of followers were driven beyond borders of sanity as some of them could not help but howl during her new recording of Bach concertos with the Academy of St. Martin in the fields which apparently earned for her the highest selling record to date (Culture Monster). The momentous night was assuredly filled with inspiration that in my entrancement by the invisible waves of her volatile solo with the instrument, I came snapping back to reality every time as if from subconsciously stepping onto a whole new dimension where imaginings just soared and spirits were lifted to cosmic heights. It was all about Julia’s way with her violin that defines and sets her style apart from a traditional player. She made Bach flow or gush through with an undiminished passion in the manner it should have as either seriously original or blended with her contemporary rendition.
Where I was seated, the lights were timely low and the general atmosphere with molecules saturated with pleasant scents and the musician’s lyrical effort in random succession had me taken in to a realm and imaginary setting in which I went therapeutically detached from worldly cares.
Works Cited
de-construct. “LSO Press Release.” LSO. London Symphony Orchestra Ltd. 30 November 2009. Mangan, Timothy. “Salzburg Mozarteum Orchestra explores Haydn legacy.” The Orange County Register. 25 October 2009. The Arts Blog. 30 November 2009. <. http://artsblog.freedomblogging.com/2009/10/25/salzburg-mozarteum-orchestra-explores-haydn-legacy/>. Swed, Mark. “Culture Monster.” Los Angeles Times. 12 February 2009. Los Angeles Times Arts. 30 November 2009. <. http://latimesblogs.latimes.com/culturemonster/2009/02/julia-fischer-p.html>.
