Because we’re learning about the string section in Arranging & Orchestration, I focused on watching the violin and cello, trying to be observant of bowing patterns, double stops, and the use of open strings. Mendelssohn’s piano trio in C was enjoyable. When the violin and cello played rhythmically identical parts they, indeed, seemed to be using the same bowing patterns. The difference in timbre between up-stroke and down-stroke was much more pronounced on the violin than on the cello. While I never saw any open strings played on the violin in this piece I saw the cellist play his lowest open string – a C. David Halen played very passionately and by the end of the piece I noticed some of the bow hairs had broken loose.
The second section of the concert was more hit or miss. It featured songs of a Latin flavor, but I had no idea whether Miran was singing in Spanish, Portuguese, Italian, German, or other. The cello solo showed great proficiency, but was extremely dissonant and rhythmically confusing. I observed many double stops during this piece, most (if not all), utilizing open strings. My favorite selection was Ritual Fire Dance from (El Amor Brujo) by Manuel de Falla which delivered on the promise of its title.
The second section of the concert was more hit or miss. It featured songs of a Latin flavor, but I had no idea whether Miran was singing in Spanish, Portuguese, Italian, German, or other. The cello solo showed great proficiency, but was extremely dissonant and rhythmically confusing. I observed many double stops during this piece, most (if not all), utilizing open strings. My favorite selection was Ritual Fire Dance from (El Amor Brujo) by Manuel de Falla which delivered on the promise of its title.
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