Live Concert Review - Essay Example

The live concert was just like any other live concert by the fact that it was being held in my hometown made easy for me to attend. I was interested in sampling the intro only to find myself moved by the virtuoso solo passage that the conductor had inserted into the movement in the concerto towards the end. I decided to give the performance my best interest, and the beginning was just impressive. Even though in considered the piano concerto no.3 as a technically tricky concerto, Natasha Paremski Played Rachmaninov Piano Concerto with Andrew Litton conducting well despite her relative inexperience. She played the piano concerto in D minor perfectly. Rachmaninov Piano Concerto was initially done by Sergei Vasilievich Rachmaninoff who was one of the leading Russian pianists, composer, and conductor. The Piano Concerto No. 3 was first played by Sergei Vasilievich Rachmaninoff himself in 1939 as an Allegro ma non-tanto.

Natasha Paremskis play was interesting as the standard concerto form of three movements. The Allegro molto was faster, quicker and brighter and could, be estimated at 120168 bpm. I could hear the fast movement and compared the tempo to my heartbeat. The diatonic melody escalated faster developing into a very complex shorter succession of notes. Her allegro ma non-tanto was unique in that the second movement opened with faster shifts between the piano and the orchestra then finally converted into a B-flat major scale. I loved the way she restated the first part of the theme before the orchestra pulled the movement into a forte (loud) chordal system. While I would not agree with the way she expressed the eighth note passages, the pianos toccata quivers were unique in her play. There was an overlap in the notes that reminded me of the original Piano Concerto No. 3 played by Rachmaninoff.

Considering the fact that that was this was a classical composition, I loved the tight accuracy that Natasha Paremski gave the composition. For example, I could hear the tempo increase from fast to faster as the movement reached a fierce climax. Never the less, I would have been happy if she also played the chordal original- the ossia. Not that one can complain because the performances were also great for people like me who have more in-depth interest in music. Her toccata was soft, and I also love the way she complemented her cadenza with the solo. As the cadenza descended into a soft and quiet solo section, the wind instruments took over restating the initial theme of the three movements. The first movement was weaker, and then the second movement was stronger followed by a weaker third movement. All the three movements combined and overlapped into each other into a soothing melody despite the frenzy in the second movement.

It is not right to compare Natasha Paremski with the original composer, but her passion could be read from was she played the composition perfectly well, unlike any other player I have listened to. The way she played the broken cord delicately and the manner in which the cadenza ended was unique for a performer who is not the original composer. Anyone listening would understand them and enjoy the way the piano continued to play the E-flat major. The repeated broken cord notes spanning more than three octaves gave the performances a distinct rhythm before the final recapitulation as she replayed the first then and the orchestra accompanied the piano.

While listening to the music is interesting the love performances was much more interesting. I preferred the live performances because it had a lot of positives. It was the first time I saw a young person play such a classical composition perfectly with little variation from the original production. Never the less, such performance is not easy to rate in isolation. Therefore, another performance should have been identified to be compared to this by Natasha Paremski. The flowing melody, as directed by the orchestra. The wind instruments such as the solo flute, the clarinet as well as the horn were effective in rippling the broken chord in the piano. It was also interesting to hear the way she elaborately played the cadenza making it the most virtuosic section of the performance. The way the orchestra re-entered and finalized the movement accompanied by the solo instrument made the composition rich probably, she should have used the cadenza I the last five minutes or more frequently in the middle. Alternatively, she should have played the sounds of the chord separately to help in proper differentiation of the notes.

In conclusion, I loved the live performance, and I was particularly intrigued by the cadenza at the end of the movement and would have loved the cadenza to be played at the middle just for experimentation purposes and not necessarily for perfection. I, however, saddened by the fact that most modern-day artists do not like to experiment with original composers and no one is trying to compose a new music or modify an existing one. I as much as the performances were interesting, it lacked creativity. I would have suggested the arpeggio rising or falling the or more octaves. Arpeggiated chords, multiple modifications would be much more preferable to me as opposed to listening to old compositions without modifications. I think classical composition should be used as motivations and not an end.