Word: orchestra
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Dates: during 1990-1999
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...second variation wasn't lying when it was introduced as Interludio per Corde, for that's all it was--intense chords adding gradually to the strange aura of the music, chords that take their origins from unknown places that only the orchestra seemed to know. However, Joe Levin `98, changed the mood by performing a fast and striking flute solo with the orchestra providing major dynamic contrast. Playing off Levin's solo was a long clarinet scherzo, shrieking through technically challenging runs in some kind of frantic war dance, stopping for moments to provide a melodious peace, only to gradually...
Each of the twelve variations featured one part of the orchestra as a soloist in this creative piece, such as a powerfully emotional viola solo by Sarah Darling `01, vibrant with chords and trills that built up tension. More solos came along throughout variations including a morning song by the oboe and bassoon, while the noticeable act of taking off the string mutes presented a disturbing trumpet and trombone variation, and led off to others such as the solo violinist, hornists and the return of the cello and harp. A lively end with a piccolo solo created a warlike effect...
After intermission, the Mendelssohn's Third Symphony greeted the audience with bright colorful chords. With force, the orchestra traded the theme throughout the orchestra, the violinists' hands becoming nothing but a blur from the rapid bowing. The orchestra members' faces crinkled by concentration, the rapid succession of each measure reached a point of chromatic suspended progression, only to return back to the frantic rapidity, ending in a clever pizzicato ending...
...generally bright piece, the Vivace non troppo also started cheerfully with the frolicking melodies of the winds. The orchestra had a way to create an intense yet light tone, filled with their effortless performances of the difficult sections. The piece had a cute ending: three light short notes passed from the winds to strings in a playful way. The most noticeable aspect of the orchestra's performance however, was in the Adagio movement when the buildup of dynamic fortissimos provided a symphonic boom that one would expect only from an orchestra of a much larger scale. Yet, the sound...
Shivers creeping up the spines of the audience, they stood up in loud applause. Meanwhile, the orchestra, happy at pleasing the audience, sighed in relief at finishing this difficult piece by loosening collars, wiping foreheads and smiling at one another for accomplishing this feat. Had the originator of the quote "Strength comes in numbers" been in the audience that night, the quote might not have existed today...