Classical music is one of the most valuable art forms because it reveals people’s deepest and sincerest feelings. It is not enough to listen to the sounds but observe how musicians perform their shows and deliver the composer’s messages. On November 29, 2021, I got a chance to attend a concert performed by the Everett Philharmonic Orchestra at the Everett Civic Auditorium, located on Colby Avenue. After a long break because of the coronavirus pandemic, that concert was a significant breath of fresh air for classics fans. There were two pieces directed by Paul-Elliot Cobbs on stage: Mendelssohn’s 5th Symphony “Reformation” and Tchaikovsky’s Violin Concerto performed by Carrie Rehkopf (Everett Philharmonic Orchestra, 2021). This paper aims to analyze the Everett Philharmonic Orchestra’s performance, paying attention to a comprehensive introduction, the quality of performance, and a personal opinion about the music heard.
The Violin Concerto in D major, Op. 35, by Tchaikovsky and the 5th Symphony by Mendelssohn, were both created in the middle of the 19th century to celebrate social depression recovery. The chosen works were more than appropriate for the current state of affairs to support the modern population who survived COVID-19 and could return to the world of classics in real. After a brief introduction of the event and the words of gratitude to several individuals, Mr. Cobbs entered the stage, and the performance began.
The first Mendelssohn’s piece consisted of four movements and lasted about 30-40 minutes. The first movement began with allegro moderato in D major, sonata form. Despite various orchestration compositions, including flutes, oboes, cellos, trumpets, and trombones, the violin set the tune and the performance’s mood. The second movement, allegro vivace, differed from the first one due to its B major, which lightened the tone. I enjoyed the third movement, G minor, as it was one of the most lyrical pieces where the strings caught my attention. The last movement, andante con moto, was introduced by flutes, oboes, and clarinets, but the timpani provoked the most meaningful emotions. It was impossible not to fall in love with Mendelssohn’s work once again due to the offered quality and passion I observed on stage.
The second part of the program involved Tchaikovsky’s Violin Concerto with three movements, about 30-40 minutes in length. The same sonata form and D major elements were present in work. Carrie Rehkopf was the featured soloist, and her work was brilliant. A crescendo of the first movement (allegro moderato) was a worthy introduction to the violin solo. Instead of attracting all the listeners’ attention to her work, Rehkopf seemed to establish a captivating dialogue with the orchestra. The soloist’s variations were properly recognized and repeated by the orchestra. The second movement (andante) included the woodwinds, horns, and violins in the background and the adagio solo violin. The third movement ended the story by picking up speed and proving the connection between the soloist and the whole orchestra. In the end, I noticed that my hands moved together with the director because it was hard to control my emotions and involvement in the show.
This live orchestra report reminded me of how amazing classical music may be today. When the last movement ended, the hall applauded, and the musicians congratulated each other because they knew the performance was great. This hearing and observing experience helped me understand that classical music should not only be about composers, directors, and performers. The setting, colors, acoustics, and even facial expressions contributed to the correct perception of the message. Despite the existing differences between Mendelssohn and Tchaikovsky, the Everett Philharmonic Orchestra proved the possibility of the unity of the best classical works.
Reference
Everett Philharmonic Orchestra. (2021). Everett philharmonic orchestra live [Video]. YouTube. Web.