It was a beautiful Jazz themed concert that happened to be the art of the Unexpected Italy performance held at the Kennedy Center in September 2019. The show was directed by Gianandrea Noseda. The director featured the concert around the Generation of 1880 melodists. Apart from the two prominent Italian composers, Casella and Respighi, Gianandrea also included Rachmaninoff, a Russian symphonist who performs a considerably alike evening amorous song. Gianandrea was aiming to continue with the Kennedy Center celebration of his home country. Respighi perfectly arranged the Ancient Air Dances to create an instrumental part that modern players would find interesting. The pianist, Francesco Piemontesi, combined stunning techniques with an intellectual capacity.
The National Symphony Orchestra, for the first time, performed the absolute Suite No. 2 of Respighi’s Ancient Airs and Dances. Respighi performed his three pieces, namely, baroque, renaissance, and more improvements in music. The composer combined an evoked supernatural span of intricate, beautiful moves in his performance. He introduced the first movement by opening delightful matching of the two instruments, hautboys and Cremorne, above the staccato strands (Kennedy Concert, 2019). He added the unusual section of the four-handed harpsichord. The dreamy sounds of the plush strands initiated the third movement, which smartly differed with the extra quantified rustic sound which wrapped the suite. Later on, Respighi was directed by Rachmaninoff to perform some of his pieces. This orchestration produced a quite memorable accolade to the concert compared to other performances previously held on a Theme of Paganini.
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Another key performer that made an impressive debut at the stage was Francesco Piemontesi, a Swiss-Italian pianist. His presentations were accompanied by enough technical flair that made an impression of a beautiful musical sense beyond the fireworks. The pianist made an unintended push to the initial tempos nearly to the core edge. The director and the organizers, NSO, In the central variations, exploited the smooth parts of the fine pieces, posting an informative sheen that made Piemontesi produce an outstanding performance (Kennedy Concert, 2019). To maintain the freshness of the long music crescendo and establish the climax of the songs, the conductor and Piementosi settled for the smooth variation relatively of rubato. This combination of the wrapping series brought the slow movement of Bach’s Italian concert, which provoked a lengthy ovation that earned the viewer an additional pleasurable encore.
Another beautiful presentation on the stage was Casella’s Symphony No. 2. This interesting second piece of symphony brought an epic complexity glimpse at the world of tonality. Its aspects narrate a story of fear and exaltation without an explicit program (Gordon, 2014). The piece is pure with more dissonance elements. The director, for the subsequent time, introduced the audience to Casella’s Symphony. Gianandrea conducted initial moves confidently. He fused those movements in a fitful convey of mood plus rhythm that convinced the whole attenders. He integrated the three moves from the shaking bass tune, the hatching launching, to a bigger rustic intensity, and empathetic seemingly portions directed by collisions. This symphony of Casella’s gave a reference to the classical songs that delighted more into the Rachmaninoff orchestra.
Moreover, the director, hopefully, guided his team via the complex bars of the following movements. This tactic was reinforced by the availability of a broad mixture of crash, brass, and percussion. The central part was characterized by a unique culture-influenced sound; the rustic spike solitary initiated the concept of buzzer vesper and the gush of the harmonica (Kennedy Concert, 2019). The moves led to a cataclysmic moderate movement streamed with loyalist span. The movement went together with the exposition of plangent singles from English horn, violin, and other musical instruments. To end the presentation, the last motions recurred to a further naval atmosphere. This fourth movement came with a style that looked to foreshadow a specific Russian-Soviet composer. This desolation sackbut charmed the conflicting central part. Therefore, it made the whole movement sequence enlarge incapacity in the ending climax of the performance garnished by the twin set of bells.
Being part of the audience at the concert, I enjoyed every aspect of it. It had a comparison to a few pieces that we had listened to in the class The pieces made me feel good. The concert had some aspects that other rock music’s don’t have. The experience was an interesting observation for me. The musical instruments were magic. I was able to see the Woodwind players seated in the first row. Other instruments included in the play were drums, piano, trombones, and the bass. I did not expect to see many people. The audience was very well behaved, and their presence motivated the performers.
I attended the concert to get insight into what live Italian jazz music is really like. It is the type of music that a person would want to relax and listen to. The music is not slow; it pertains to certain elements that no other type of music has. These elements made me like that piece. I learned that those who attend live music concerts developed an improved sense of mental well-being. Live concert boosts a person’s mood, and also it brings a feeling of togetherness. I, therefore, plan to attend more live concerts. This decision is supported by the different advantages that I got from the show. Moreover, I have discovered that I love live performances. It was my first time attending the concert. I am longing for many more coming opportunities.
References
Gordon, S. (2014). The Compositional Styles of Alfredo Casella (Doctoral dissertation) , Arizona State University.
Kennedy Concert. (2019). Full Concert: National Symphony Orchestra Plays Rhapsody on a Theme of Paganini. The Kennedy Center . https://www.youtube.com/watch?v=DPaY5miOK10&list=PLD0m-i-FzaEqNqmuB8-b77ozHYxaU5Eij&index=1
