Descriptive Essay On The Museum Of Music

The first part of the concert played Beethoven’s Choral Fantasy, also known as Fantasia, and it lasted less than 30 minutes. It opened with a lady named Anastasia Markina, and she introduced the piece with a slow virtuoso playing of the piano, to which later on the strings, cellos and basses, enter. Then Markina played an ornamented version of the choral theme, to

On Sunday, 14 October, Jeffrey Phelps, cello and Lee Jordan-Anders, piano, performed Ludwig van Beethoven’s Sonata in A Major, Opus 69 (1808) and Claude Debussy’s Sonata (1915)

As I waited backstage for my turn to perform, music from the piano filtered back to me. Listening to the notes, my own mixture of nerves and excitement was replaced by the appreciation and amazement I felt every time I heard another pianist play. My joy does not come from the beauty of the music alone. Instead, I find satisfaction in the meticulous technique underlying a performance. From complex finger-work to proper articulation to intuitive pedaling, each component must be carried out faultlessly to yield harmonious art. In a similar way, dentistry relies on detailed procedures whose product puts a smile on others’ faces. I find the same sense of satisfaction in the meticulous and creative process of dentistry that began to be cultivated while learning to play the piano in elementary school.

The most distinct sound throughout the play is a musical piece called the "Blue Piano".

Both were based on slavery and I would assume the purpose was to remember events passed as well as enjoy the rich culture and tradition of African Americans. My initial response to the entire production was surprise. After hearing that it was based on slavery I was a little confused that many parts of both pieces were lively and bright. I enjoyed the second piece more than the first. I felt without the narration I could better focus on mood changes and dynamics of the music. Before even reading the pamphlet, after listening to Delius’s piece I could easily tell it had a very deep mournful and somber undertone. After reading the pamphlet I realized the sadness was due to the loss of the love of his life. I feel that a lot of music classical or not is biased by the writers love life. This is shown all throughout the Romantic period and I feel set a precedent for other music to come for example 20th century music. The first piece didn’t grab me as quickly as the second. I think I enjoyed the unexpected aspects of the String Quartet but also I felt this one was so much easier to get lost in. But as I said before since I am new to this kind of concert experience I feel my assessment would be much less detailed and accurate than that of someone who is educated in music and familiar with concerts such as these. Since I liked the second piece more than the first I plan to discuss the second more in detail.

The pieces were quite odd for me at the first time, first hearing, but I got used to it at the end of the each piece. “The Gospel Train” and “Little David, Play On Your Harp” were African-American Spiritual songs, which I kind of enjoyed, because I was also, very spiritually active. The last song, “Precious Lord Take My Hand” was very calming songs. I liked the lyrics of the song. The lyrics were very touchy that it made me ponder after the applause.

When the concert first began, the three instrumentalists walked with energy despite their age. The first song, “Sonata I in G-Major Op. 2, Nr. 1” by Michel Blavet, was a Baroque Sonata. There were five movements and was played by the harpsichord, flute, and cello. All movements of the song were polyphonic because of the three instruments that had different parts and equal importance. In the first movement, I noticed that the flute tended to rise in pitch. In the second movement, I noticed that the melodies often repeated. Throughout the rest of the song the tempo changed from fast to slow and the flute would usually take the lead. On the last movement, the cello and the harpsichord

On March 30th, 2017 I attended a wonderful jazz concert at Prince George’s Community College. The concert was performed by a group titled The Reginald Cyntje Group. The Reginald Cyntje Group was comprised of five talented musicians: Herman Burney, Reginald Cyntje, Lenny Robinson, Brian Settles, and Hope Udobi. The group performed a song cycle of seven songs: “The Rise of the Protester,” “Ballad for the Masses,” “Chant of the Revolt,” “Descension and Ascension,” “No Justice No Peace,” “The Piece of Resistance,” and “Blues People vs the Deplorables.” The piece titled “The Piece of Resistance,” my favorite song from the recital, and will be the focus of my concert report.

The first and opening piece was a Roman Carnival Overture, Op. 9, by Hector Berlioz. In major tonality, classical piece started with vivace statement, and then slow introduction progressed later in allegro. It featured an independent solo that was performed with an English horn and gradually changed dynamics throughout the classical movement.

The concert started off at a quick and stimulating pace with Brahms’s Sonata for Two Pianos in F Minor. The piece starts with descending arpeggios echoing a sensation of distress or confusion. There are frequent slight pauses, creating a sense of suspense for what is to follow and building on the emotions

My initial response to the concert was of much surprise. First, when I walked in I didn’t expect to see such a formal event. Thank goodness I showed up in my work clothes! My initial reaction to the music however was one of great surprise. I didn’t really know what to expect from the Lee’s Summit Symphony because honestly I didn’t even know they existed. Once the symphony began to play “Don Giovanni” my mood instantly changed. The symphony was incredible, and the music was not what I had expected at all. I was surprised by how much of the music I had actually heard before and just not realized it.

This song seemed to require the most work from the performers as it used a wide range of dynamics, pitches, and tempo. The last song of the evening, and probably my favorite (not just because it was the last), was “Folk Dances”. This song, just like the first, had a very festive feel to it. The upbeat tempo, lead by the flutes and clarinets, made the song very enjoyable to hear and also had a very happy feel to it, which, in my mind, made it a very appropriate closer. The song started with a great tempo but a relatively soft dynamic. This quickly changed about half way through the song when the dynamics picked up. The loud dynamics with the fast tempo at the end of the song had a very grandiose sound and left the audience with a great taste in their mouths.

Whenever a performer faces a piano on stage, a battle between David and Goliath ensues, but when that performer is me, everyone listening expects David to overcome all odds and win. While the audience expects my performance to run like a set of perfectly-oiled gears, a small defect in the millions of pieces and parts that make up a performance--piano, distractions, lighting, piano bench, audience, and more--could cause absolute disaster. As I walked onto a brightly lit stage five years ago for my first piano competition and faced the Steinway grand piano in the center of the spotlight, I didn’t know what the next ten minutes of my life would be like. Never in my six years of playing the piano had I ever played under such immense pressure.

The concert began at 7:30 pm with Johannes Brahms’ Piano Quartet Number 2 in A Major, Op. 26 consisting of four parts—Allegro non troppo, Poco Adagio, Scherzo:Poco Allegro, and Finale:Allegro with Professor Li-shan Hung (piano), Mary Irwin (violin), Lisa Boyko (viola), and Alan Harrell (cello) and lasted for fifty-five minutes. I noticed Professor Li-shan Hung stood out during the performance because she was in control of the whole time and because she was also the lead performer. It was difficult for Professor Li-shan Hung to turn the music pages so there was a helper on her left side to turn the music pages for her. This was an excellent performance and the classical music lovers inside the Crowell Music Building Auditorium gave applauds time and again.

The performance began with a beautiful introduction, followed by the beginning of the song “Come On Feel The Noize,” by Quiet Riot. During the introduction, the music made me feel free and alive. I could picture myself drinking a cold beer with a guitar in my lap. Immediately following the beginning of the song “Noize” was the song “Just Like Paradise,” by David Lee Roth, which flowed