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I’ve happened to go to the concert of a world-renown harpsichord performer and conductor Richard Egarr, who has been performing throughout our country in the framework of his world tour. His performance ran the gamut from uplifting to sorrowful to soothing music, which mesmerized me most. Two artists played their music during the night. Erich Hoeprich embellished Richard Egarr’s performance with his own interpretation of Mozart’s Clarinet Concerto. The main emphasis is being placed on Egarr, as many visitors considered him to be “the crowning glory” of the evening. Before I embark on the music description, it should be noted that I did not choose this kind of music accidentally, for it is like a rollercoaster. It encompasses a whole range of emotions, which I am about to share with you.
The very first piece lasted for about 40 minutes and was a sort of preparation for the main event of the night. Richard Egarr started with an easy, tranquil music that immediately penetrated every cell of my body and filled it with some inexplicable warmth. Gradually his music began to assume more energetic dimension, perfectly living up to the expectations of the audience. Although music was exceedingly energetic, it did not lose its charm. In general, the first piece is embedded in my memory forever because of the serenity and happiness it exuded.
The second piece was apparently made from a different musical tissue. I heard many people speak lackadaisically of this piece and grumble about its excessive emphasis on “the extraction of sentimental emotions”. Nevertheless, the music was ultimately mellifluous. It seemed like every separate sound oozed its own sophistication. Eric Hoeprich managed to weave some divinity into his piece. His dulcet music flowed brilliantly and cohesively.
And last, but certainly not least, the third piece. It would be a rash “démarche” to assert that this piece was absolutely opposite to the previous two, but in terms of progressiveness, it was. The piece was characterized by its vigorousness, ebullience, extravagance, and exuberance. It undoubtedly met the requirements of those visitors who did not enjoy the second piece. As compared to the performance of Hoeprich, the third piece proved to be absolutely restless.
As I have mentioned earlier, this performance provoked many profound emotions on my part, which ran counter to each other. Listening to the miraculous sounds of the concert I heard very distinctive sorrow in the first piece. I have managed to see a luminous, and sad at the same time, smile in the second. Moreover, I observed a raving aspiration to get out from under the fetters of grief in the third. This brilliant performance rendered me voiceless. I could not help smiling after Richard Egarr took his position. There was one particular sound in his pieces. It irritated me first, as it seemed very narrow, plain, and barren in terms of timbre. It took me a few hours to understand that this very sound was ideal for the pieces. It resembled a marvelous, scintillating crystal, which chimed perfectly with the whole concert. By and large, I prefer deeper and more multifaceted music, the one that awes inspiration. It is not very rational to juxtapose a keyboard performer on the harpsichord with violinists, but in order that it be clear what I mean I would highlight Anne-Sophie Mutter, George Kulenkampff, Fritz Kreisler, Arthur Grumiaux, and Samuel Furer. Despite being fabulously pleasant and having mellow timbre, Egarr’s music lacked depth, which is peculiar to the aforementioned violinists. However, I could not but fall under his “influence”. I had a feeling that my heart was a blue whale, a tremendous living creature, which accomplishes a long distance from the ocean floor to the surface in order to breach water. I had an impression that the world around me and my comprehension of it changed. Everything became more weighty and profound, but not more complicated.
I cannot still come to after the concert. Despite the fact that Egarr played his music with an injured knee, his two-hour-long performance deserves the highest praise. The show was just spectacular. I have visited many events of this kind before, but none of them holds a stick to this one. People chanted Egarr’s name for a few minutes after he finished playing, and demanded that he play an encore. They stood captivated near their seats with their hands up in the air. I could almost see the walls of the hall resonate with the energy of a very impressive British keyboard oerformer. Richard Egarr held the audience in the palm of his hand. On the other hand, the role of the audience should not be downplayed as well. It was obvious that performers fed on enthusiasm of the crowd, which in its turn proved to be very cooperative. The air in the hall was saturated with music. It seemed like even dust was moving to the beat.
This genre of music elicits mature reflection, compels people to muse upon things hidden in the inmost recesses of their hearts. I closed my eyes several times during the concert and I could not remember where I was. This performance spawned thoughts that I did not have earlier. Indeed, the depth, seriousness, and the very atmosphere of the concert were beyond comparison.
Despite the fact that both music and vocal were profoundly sorrowful, the deliriously happy artists turned this concert into a candid and bright side of depression. I guess all the visitors have felt the pain that performers tried to convey in their pieces. Richard Egarr and Eric Hoeprich rest on the starry firmament of classical music according to their deserts.