Concert Review: Stanbul Devlet Senfoni Essay

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Schumann's "Cello Concerto in a Minor, Op. 129" illustrates this principle. There are three movements of the piece, all of which are quite distinct, but there are none of the showy, distinctive shifts as distinguished the Hayden works. The music is lyric and tonal in quality like the Hayden, but there is a searching, introspective quality that the Hayden lacks. As is evident in the title, the voice of the cello dominates the work, and the focus on the string instruments gives the work a kind of delicacy and nuance which forces the listener to literally hang on to every note. At times, the instruments have almost a human quality, as they engage in a back-and-forth exchange or conversation throughout the piece, with the cello providing the rhythm and the other instruments exploring the themes introduced by the cello soloist.

The Classical and Romantic era works were in stark contrast to the output of the contemporary Turkish composer U.C. Erkin. Erkin's work, simply entitled Symphony No. 1 was less tuneful than either of the previous composers' pieces and seemed more designed to unsettle than entertain the listener.

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It was discordant, unharmonious and halting in places and was effective in conveying a foreboding mood. Erkin's work demonstrates how a musical composition does not necessarily have to be classically beautiful to be moving, and his innovations with the symphonic form were interesting to compare with the more traditional musical renderings of Hayden and Schumann.

When designing a program of classical music, quite often it is common to select a particular composer or theme to showcase. However, this concert shows how selecting very different composers can be equally instructive. Over the course of the evening I was not only able to enjoy the music; I was also able to take delight in the history lesson I received in terms of the evolution of Western attitudes to the proper role of music in expressing emotions.....

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