y of instruments; primarily consisting of brass type instruments and even drums and at the very end, a gong. These three beginnings were led by primarily by string type instruments, then followed by soft notes produced by the wind-type instruments. One example if the softness in the introductions was the way in which the violins were being played. The bow was tapped, almost a bounced off the strings by the violin players. The increase in volume then followed by the actual playing of the violins, and an increase in the use of brass type instruments. The end result was the full orchestra playing, and almost a feeling power coming from the stage, typical to that of a Russian composition.Throughout Prokofiev’s Symphony production Mr. Mester’s attention to detail and passion for the orchestra did not shift in the least bit. In fact, Mr. Mester’s attitude and focus were apparent though-out the entire symphony production and the crowd members standing ovation at the end of the night reflected this. Although the Seattle Symphony production that I attended on the night of February 17th was not my first experience with classical music, it was however the first symphony production greatly enriched by the knowledge that I have picked up as a result of the class Music 100. Although my family has a deep appreciation for classical music, and mine is just beginning, the Seattle Symphony production certainly brought many of the musical ideas and terms such as texture and clarity to life. The three works featured February 17th, Johannes Brahms’ Tragic Overture, Edward Elgar’s cello in E-minor, and Sergey Prokofiev’s Symphony Number 6 in E-flat minor were new music that I have not been exposed to. Also the treat of hearing the work of world renounced guest cellist, Antonio Meneses was without doubt a treat. I much enjoyed this Seattle Symphony production and would like to attend another in the future....
