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Asher Reppert
Music 100
Concert Report #2
11-23-13
While studying certain styles of music pertaining to the classical genre and its
progressive eras it is easy to become enthralled with the dynamics of each piece and its unique
features. While each era of classical music has its own reasons for writing, and social pros and
cons for the sounds, styles, and movements. This particular genre has become an almost
universally vogue representation of the beginning of Western music as well as a staple for
composing and archiving music. Classical music can be recognized through its old world sound,
combined with its continual popularity and prestige within the modern day western world. Not to
mention other nations surrounding it who have been known to mimic the art and structure of
certain compositions of classical music. That is why my journey to the Los Angeles Disney
Concert Hall on November 15th 2013, featuring a Philharmonic series was such a brilliant and
eye opening experience. This experience brought the universally appreciated and worldwide
influence of classical music to life right before my eyes.
I arrived about 7:50 pm at the Disney Concert Hall in LA California, as I entered the hall
I was surprised to find a large room with high ceilings. As I walked towards the escalator I was
greeted by several individuals dressed in formal suits and attire. Each one of these people calmly
and excitingly asked me if I would like information about the concert and directed me towards
my appropriate seating area and arrangement. As I finally reached my seat I was confronted with
this awe struck realization that not only was I surrounded by a diverse mixture of instrumental
professionals, but that I was also blessed to end up with one of the best seats in the house. These
seats were called the orchestra view seating because they were located directly behind the
orchestra ensemble. This was the first time I had ever experienced this type of concert up close
and personal. It made the moment come alive and the experience even more breathe taking. As I
waited for the music to begin, I looked up and noticed a rather abstract appearance and shape on
the ceiling. This particular concert hall was designed by an architect by the name of Frank
Gehry. This man designed and constructed the facility in such a way that it has been most wellknown for its “acoustically sophisticated” construction. It has been said to be able to provide
“both visual and aural intimacy for an unparalleled musical experience” (LA Philharmonic). This
is nothing less than a true statement to anyone who comes to experience this concert hall.
Finally after I took a moment to admire the construction of the concert hall it wasn’t long
before the conductor entered the room. This is when the audience and instrumental players began
to cheer him on until he finally reached his position at the podium. At this point the audience was
completely silenced, it was as if every person in the room knew the value of respecting the
conductor and his orchestra. This conductor had a fiercely serious look on his face, one that
illustrated to those around him the importance of what he was about to do. His demeanor
reminded me of Beethoven in a way in that he seemed to carry a mad passion for this art of
conducting classical orchestra!
Famous and well known as a Russian conductor, Seymon Bychkov is well known in
many differing European concert halls as well as those in New York, LA, and even Berlin. He is
an international artist who thrives on sticking to his Russian roots. He has a desire to play music
in a way that is almost artistic. As I viewed him at the podium it was as if there was a canvas
before him, enabling him to both create and recreate classical compositions. He once said in an
interview “When I look at the music of Beethoven I have to imagine how it should sound,
otherwise how could I play it?” (Seymon Bychkov). Not only is he referring to a political
standpoint, but he is also trying to give fans and peers the understanding that the music he
conducts is not only read, but imagined in his mind, and painted onto the canvas of the orchestra.
A thought process that embodied his performance at the LA Concert Hall and also much of the
Romantic period. This attitude towards music also is reflected by composer and conductor
Ludwig Van Beethoven. This similar passion and perception was greatly seen in his performance
at the Disney Concert Hall when he conducted a piece by Bruckner titled Symphony No. 8. This
piece held many climaxes and deceptive cadences that caused the audience to constantly be on
the edge of their seat. In one instance you would think that the movement and piece was over,
but then suddenly the composer would wave his hand to signal the orchestra players to suddenly
and rapidly begin again.
Concerning the instrumentals themselves you could see many diverse and familiar
instruments partial to the classical orchestra. This orchestra contained two harpsichords, a
timpani, tubas, violins, violas, oboes, bass violins, flutes, and even a cymbal. This particular
orchestra had highlights from the flute, French horn, and timpani that were obvious to both the
experienced and inexperienced listener. These particular instruments gave the audience many
moments of intrigue and variety, even for those who knew the piece well. Another interesting
point in the performance was that of the movements that contained the beautiful textures and
layers of the harpsichords. These instruments played only a few times during the orchestra, but
left the audience with a memorable melodic sound to take home.
As the piece continued to play all I could visualize was the sound. I had never known
classical music to carry such an image driven vibe. It was literally as if the conductor was
painting a picture and this picture was full of life, depth, and even darkness. I had never before
uttered this sound so full and so close. This specific piece by Bruckner had so much intensity and
so much color it was possible for people to arrive happy, become sad, and then leave happy
again. This was because of the usage of interchangeable major to minor notes. It made for an
exciting experience that left audiences applauding with a standing ovation for both conductor
and instrumentalist. This is an experience that is well worth hearing and attending again.