A Music Faculty Recital At Prince George 's Community College

As the program shows, this concert is all about the music of the Baroque period. The players were

For my first concert review, I attended the Music at the Marley event at the St. Petersburg Museum of Fine Arts. The event featured the University of Tampa Faculty Ensemble with Barbara Prescott on flute, Meg Cassell on oboe, Theodore Decoroso on clarinet, and Grigorios Zamparas on piano. They played a selection of pieces from the Classical period to the twentieth century which were performed in the following order: Franz Danzi: Sinfonia Concertante Op. 41 Allegro Moderato; William Grant Still: Miniatures for flute, oboe, and piano; Malcolm Arnold: Divertimento for flute, oboe, and clarinet; Gabriel Faure: Dolly Suite Op. 56 for flute, clarinet, and piano; Jacques Ibert: Deux Interludes for flute, oboe, and piano; Madeleine Dring: Trio for flute, oboe, and piano: and Camille Saint-Saens: Caprice on Danish and Russian Airs Op. 79.

In the month of March, I attended the musical performance “Harp Magic” by the Ann Arbor Symphony Orchestra at the Michigan Theater and the performance of the Montreal Symphony Orchestra at Hill Auditorium. Though the two orchestras, repertories, and venues were all different, experiencing the two performances in the same month allowed me to gain a deeper understanding and appreciation of the role that symphony orchestras play in today’s society. By attending live performances of symphony orchestras in Ann Arbor, one can learn become engaged with musical history and the symphonic tradition, recognize the transformation of the function of symphony orchestras, and take part in enjoying and continuing the art that has also been undergoing

Diana woods has a Junior recital scheduled for 10/11. I forgot about the recital hearing until yesterday. I'll be on campus Wednesday but teach straight through before going over to Emory. Also, I will be out of town all next week playing recitals and giving master classes in North Carolina.

In the packed recital hall, an orchestra performs their warmup rituals. The venue boasts of chandeliers, perfect lighting, cushioned seats and richly carpeted aisles leading to the stage on which stands a Steinway grand piano in front of the orchestra. The pianist and conductor mount the stage. The soloist bows while the audience claps. Silence descends on the room and the performer takes a seat at the piano. Strains of beautiful music emanate from the instruments and fill the room. The pianist’s fingers fly across the keys. Amazed, the audience listens in total silence. One of the greatest composers had left his mark on this audience. The piece was the Concerto No.1 in D minor by Johann Sebastian Bach. He was the greatest composer not just because of that piece but also considering music history, his personal story, his popularity during lifetime, the volume of his compositions, the make-up of his music, and familiarity today.

Cyr, Mary. Essays on the Performance of Baroque Music Opera and Chamber Music in France and England. Variorum collected studies series, 899. Aldershot, Hants, England: Ashgate, 2008. ISBN 978-0-7546-5926-6

The performance provided audiences with a selection of trio sonatas played by two violins with cello and harpsichord basso continuo from the very best composers of the Baroque era, featuring Corelli, Handel, Telemann, and Vivaldi. The trio sonata was an extremely popular form of writing during the Baroque era, although now more marginal and succeeded in the classical era by its more modern counterpart the string quartet, the perfection in the writing for the trio sonatas is comparable to that

On September 21st, 2017 I attended a classical concert at the Organ Recital Hall located in the UCA building on campus. The first piece of music was performed by Tony on the bassoon and Dan on the organ. This piece also had two movements, the first was Der Gartner composed by Hugo Wolf and the second movement was Ma Rendi Pur Contento composed by Yincenzo Bellini. Der Gartner started out with a four-measure intro and then the rest of this movement was in a 6/8 meter. The bassoon and the organ both have incredible range. I enjoyed the sound of the organ in this movement because the notes had a more pleasant melody than the bassoon. This performance was my least favorite out of the three performances because there wasn’t harmony between the bassoon and the organ a majority of the movement. Since they didn’t have harmony, this movement sounded like there was two different pieces of

The concert opened with Nesper playing Sonata No. 2 BWV 1028, the famous piece by Johann Sebastian Bach. This was one of Bach’s most phenomenal piece of work. Nesper was very successfully able to recreate the music and present it in a very impressive way using the tuba. He was assisted by Magrill playing the piano as well. The mood was very soothing. The language of the music was very social and witty. Nesper played all four forms of the Sonata, namely Adagio, Allegro, Andante and Allegro. These exhibit an older concerto form with four alternating movements: slow, fast, slow, fast. It sounded to me like the slower ones were building up to and serving as introductions to the faster pieces. Both tuba and the piano went hand in hand and together created a very soothing and relaxing music. The opening form Adagio revealed the significance of both tuba and piano. Both instruments were used together as partners, creating an arioso-like melody, but also interlinking the melody parts together in such a way that each of them are equally essential to the overall line. Both instruments are partnered again in the following Allegro,

Words alone do not fully express the concerto’s sound. Listening to the first 8-10 minutes would paint the majesty of the piece’s poignant style. In brief, a Romantic orchestra set-up - including percussions and winds along with the strings - complemented a cello soloist. There existed three movements, transitioning from loud and lively to somber yet light, finally ending furiously in typical finale manner. The performance employed

I attended a piano four hands concert performed by artists, Sangmi Lim and Dino Mulic. The pair preformed a program consisting of four pieces, Sonata in D Major, K.381. by Wolfgang Amadeus Mozart, Fantasy in F Minor, D. 940 (op. 103) by Franz Schubert, Three Pieces (Elegy, Song, Poco rumbato) by Vladimir Denader, and History of the Tango by Astor Piazzolla.

During this concert was conducted by Jonathan Helmick and Danielle Kepple. In this concert, here were flute players, an oboe player, a bassoon player, Clarinet players, a bass clarinet player, Alto Saxophone players, a tenor Saxophone player, a Bari Saxophone player, Horn players, trumpet players, trombone players, euphonium players, 3 tuba players, percussion players, and a timpani player. Playing the flute was; Jamie Coniglio, Samantha Kochis, Frances Orteza, Jordan Lilly, Jennifer Kvortek, Kellie Delorenzo, Kalista Heidkamp, Rachael Kovaly, Cayla Schmolitz, and Emily Bensink. Noah Mariani was playing the Oboe while Caroline Brown was playing the Bassoon. Playing the clarinet was; Olivia Bazanos, Jenna Becker, Joey Caporali, Ashley Bodnar,

On April 12, 2016 I attended Susan Davis and Dr. Robert Wells Bach, Rach and Blues piano selections from Baroque period to the modern Blues Era. This was great experience for me because it was my first time attending a concert that was being played on the piano throughout the entire concert. It was also a great experience because I gotten the chance to see my music professor (Mrs. Davis) perform what she loves to do it. . Since the beginning of the year, I always wanted to see my music professor (Mrs. Davis) play an entire piece. This concert gave inspiration to go after my once and now childhood dreams of playing the piano. I just love to hear the melody of the piano because its gives the music a new sound with a deeper meaning. Mrs. Davis’s class really gave insight on the baroque which help me understand the era being tribute to in the performances. Each baroque and blues section had two selections that was being played. The two selections I enjoy the most was Miss Celie’s Blues from the movie, The Color

Classical music has been played in many different venues, with many different instruments, in many different time periods so it is very interesting to compare all of the performances. The performance I went was definitely very different from how the music would’ve been played when the composers first wrote them. The 200-year difference allows me to explore all of the unique aspects that both the first performance and my current performance added to the experience that classical music concerts. Although concerts of the 1800s and 2000s differ because of venue, musician popularity, and finances, they have similarities in style, audience reaction and musician interpretation.

On Tuesday, October 3, 2017 at 7:00pm the Momenta Quartet, comprised of a violist, a cellist, and two violinists, performed their third night of the Momenta Festival III at the Italian Academy. The classical concert, curated by Michael Haas, the cellist, was entitled “A Room with a View” and explored Italy through the eyes of foreign composers. The program featured Benjamin Britten’s String Quartet No. 3 in G Major, Op. 94 (1975), Pyotr Ilyich Tchaikovsky’s Souvenir de Florence Op. 70 for string sextet (1890), and the world premiere of Claude Baker’s Années de pélerinage: Italie (2016-2017). In this essay, I will be focusing on the performance of Britten’s piece, String Quartet No. 3 in G Major. The work has five movements structured in a pattern of “slow-fast-slow-fast-slow” all of which are characterized by unique forms of dissonance.