Better Live

The violins fill their seats first,
followed by the violas, then cellos.

They tune; quite the cacophony this makes, filling the entire hall.
Basses join now, and the conductor makes his way to center stage.

Without even addressing the orchestra, the violins begin a tune.
Slow, melodic, gloomy.
Cellist reply with a peppier theme, with a walking pace, and higher notes.

Violas attempt to cut in as the other two die down,
but a quick sforzando from both the violinists and cellists silences them, and they remain quiet.

A legato, melacholic phrase is heard out of the violins,
met with an equally drawn out response from the cellos, still with their higher notes.
Both begin to build and crescendo, alternating between legato and staccato notes;
Violins drawing out their phrases longer and longer, cellists switching slowly to shorter, quicker notes and phrases.

Basses try gettting a note in edgeway, but are silenced with another louder sforzando from both ends, and they stay silent.
There's a breath, a rest; one beat in a 2/4 and 4/4 time signature feels like an eternity.

As one, violins and cellos start again, slowly, flowing; a series of loud triplets emerge from the violins, and are at odds with louder eighth notes that have the violins dial down.
Cellos pull a heavily accented, and slightly crescending phrase counter with the violin's longer, louder scale up and down the music.
Both are now at even pace, phrasing and volume.

Basses and violas begin to play, pianissimo, before matching the rest.
Melodies begin to come forth, tossed around the sections.
Harmonies are more emphazised, and prominent; the orchestra starts to crescendo, and build, and draw out their notes as some are quicker, all parts tirelessly reaching the loudest, comprehensible end possible!
Fermata!! Hold, hold!

And the conductor? Holding a rest.