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Concert Review The music concert this review covers is the Plano Symphony’s rendition of the Beethoven’s Choral Fantasy in C minor and Symphony No. 9, The Choral, in D minor. The concert was held at a church in April 16, 2016, and it was a sold out performance. Since it was a night simply dedicated to Ludwig van Beethoven, the symphonytitled the concert as “Best of Beethoven.”
The first part of the concert played Beethoven’s Choral Fantasy, also known as Fantasia, and it lasted less than 30 minutes. It opened with a lady named Anastasia Markina, and she introduced the piece with a slow virtuoso playing of the piano, to which later on the strings, cellos and basses, enter. Then Markina played an ornamented version of the choral theme, to …show more content…
Beethoven followed the typical pattern of Classical symphonies with the sonata form first; however instead of having a slow movement of themes and variations follow the sonata form, he places the scherzo first. This was actually the first that Beethoven places the scherzo before the slower movement. For the second movement, the scherzo, it follows a sonata form and incorporates fugue techniques in the exposition. The piece ends with a chorus and the symphony also features 4 vocal soloists: Ranielle Krause, Caroline Nielsom, San-Ky Kin, and Curtis Streetman. Thus, this piece follows the Choral Symphony …show more content…
Though my ears are not exceptionally honed nor trained to point out musical mistakes, I would like to add that mistakes, if any, were not thoroughly noticeable. The musicians blended well and produced the right effect based on the musical context. However, when the vocal soloists sang in the final movement of the Ninth Symphony, their voices were drowned out by the loudness of the orchestraand large chorus. It did not help that the soloists were located lower than chorus, which made the perception of hearing the soloists more difficult. The conductor, Hector Guzman, was effective in leading the musicin that whenever the piece called for dynamics, his movements told the musicians how much more or less it was needed. And also, Mr. Guzman did not just interact with the orchestra, but the chorus and vocal soloists as well. He seemed to be respected by his fellow musicians and gave the proper recognition to the soloists of the

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