Ensemble Vagabond's The Rite Of Spring

“A Music Faculty Recital” at Prince George 's Community College was actually the very first concert I’ve been to that included Baroque style. The environment created a nostalgic yet modern and elegant mood; something that made you feel like you were in the late 1700’s yet still in modern times. The songs were mostly enjoyable and we 're all well played. This concert included an ensemble: the flute, the cello, the piano, and the harpsichord. Peggy Bair, who played the flute, was very enthusiastic. Irma Cripe, who played the cello, was quiet for the first part of the concert but gradually became more important throughout the concert. And lastly, the virtuous Gary Kirkeby, who played the piano and harpsichord, served as the backbone of all parts of the concert and made this concert very enjoyable.

As a University of Northern Iowa College student taking Soundscapes, I attended a recital by Annalea Milligan on Wednesday Oct. 19th, 2016 at 8:00 p.m. in Davis Hall, a small auditorium, at the Gallagher Bluedorn. Annalea Milligan received her Bachelor of Music degree in performance at Pacific Conservatory of Music, and is currently a first-year graduate student pursuing a Master of Music degree in bassoon performance at University of Northern Iowa. For the first half of the program she played the bassoon in Rhapsody composed by Willson Osborne and then she was accompanied by Mariya Akhadjanova on piano playing Variations on Theme of Pergolesi composed by Otmar Nussio which included I. Arietta, II. Scherzetto, III. Tamburino, IV. Lamento, V. Ostinato, VI. Rapsodia, VII. Elegia, VIII. Barbaresca, IX. Stornello, and X. Danza. Then after a brief intermission Milligan played the bassoon and was accompanied by Serena Hou with the harpsichord playing Concerto in G Minor, RV 495 composed by Antonio Vivaldi which included Presto, Largo, and Allegro, not to mention she also played Bachianas Brasileiras No. 6 composed by Heitor Villa-Lobos and was accompanied by Azeem Ward with the flute which included I. Aria (Choro), and II. Fantasia. I will depict the first and second part of the recital and describe my reaction and total opinion about the overall concert.

The instruments in the first gathering included bass, drums, conga, trumpet, alto saxophone, shaker and vibraslap. They performed two quick tempo melodies for drums and percussion, and every instrumentalist was given the chance to hold a performance. All through the execution of the first gathering, the bass player was absence of innovativeness and specialized abilities that should have been be cleaned; his spontaneous creation was a progression of specific scales that were dull and basic. Then again, he was extremely rhythmical and had decent state of mind toward the group of onlookers, coordinating great with drums and knew how to connect with the gathering of people. Particularly, the alto saxophone player was not the same as different instrumentalists, since his tones were more vividly communicated than some other payers. His act of spontaneity was confounded and inventive too. His pitch and rhythms were exact. Notwithstanding that, he executed as harmony with trumpet player in a brief moment performing melody, where he demonstrated a decent feeling of flow. In general, despite the fact that every part of the orchestra possessed the differential musical skill, but they coordinated with each other quite

On Saturday, December 12th, the High School Philharmonic All-Region Orchestra performed a variety of fascinating pieces. They were directed by Professor Edward Kawakami from Carthage College. The region orchestra began the concert with “Pomp and Circumstance March No. 4 op. 39” by Edward Elgar. The next piece that the orchestras performed was “Clair de Lune” by Claude Debussy. The last piece that the High School Philharmonic All-Region Orchestra performed was “Samson and Dalila Dance Bacchanale op. 47” by Camille Saint-Saens.

The movement started out very literal to the story that was being told. It was characterized by a lot of hand gestures, stillness and walking. In the same way, the dancers’ narration of the conversation between Bill T Jones and Dora was separate from the dancing on the rest of the stage. However, as the story evolved, the movement became for poetic, interpretive and full-bodied. The dancers often uncontrollably shook different parts of their bodies, and stomped around the stage. Yet, there was a sense of awareness among the dancers as they were constantly watching each other. The movement was very gender-neutral especially in lifts and there was a lot of experimenting with the weight of other humans. It is also important to note that language was the majority of the sound score for the performance, and that the dancers began to speak while they moved. The tone of the narration was mostly calm, serene and factual; however, certain phrases would act as a gateway to Dora’s emotion that would explode into music and dance. The contrasting and interwoven simple but complex movement and music served to convey a lot of ideas. The idea of evolution returned through the way the movement evolved from literal to poetic and the narration changed from separate to inside the movement. Essentially, this idea of evolution in costume, props, movement and music allowed to performance to not just tell the story but to become Dora’s story. It seemed to mirror the idea that when someone recalls a memory it is easy to become submerged in the thought and nostalgia for that moment. At the same time, this conveyed how history is still alive, that the past is always part of the present. The narration was not laden with historical stories that often can alienate an audience. It was very personal, which allowed the audience to connect on a human level with Dora’s story. The audience was able to

After a few second, bass and two percussions joined them and then two woodwinds, three brass and violin began to play in a calm rhythm. In the middle of the composition, when the brasses and the woodwinds accompanied, the rhythm changed, it became faster and that part was so wonderful and energetic of this composition. The ensemble did an excellent job of keeping with the beat.

This year’s edition of The George Washington University’s “Danceworks” directed by Anthony Gongora was a modern variety act that combined components of dance and theatre throughout several individual performances. Among these individual performance, there were acts that were narrated while others told a story just through dance; there were acts that related to particular circumstance of GW students such as “9:35, 11:10, 12:45, 2:20, 4:10”, others that narrated the life stories of a particular character such as “Belinha,” and others that looked into the deeper meaning of human existence such as “Exuviate.” Even though the individual performances generated some interest among the members of the audience, there was chronological sequence among

The performance took place on October 8th at 8pm at the newley renovated Northrop auditorium. The new acoustics of the venue added greatly to the overall performance. It really brought the auditorium to life and helped to take the viewer to a whole other place. I only regret that I wasn’t able to focus completely on the ensemble’s music due to being distracted by the exciting show the dancers were putting on.

On the evening of Sunday, December 16, 2012, I had the pleasure of attending a concert I’d wanted to see for quite a while. I was delighted to attend Tchaikovsky’s The Nutcracker, performed by the Richmond Symphony Orchestra and the Richmond Ballet. The performance took place at Carpenter Theatre in Richmond Virginia. As I entered I felt a bit out of place. I’d never attended a performance quite like this one and I was a bit nervous. I took my seat to the left of the orchestra pit. I was thrilled to see how close I was. I had arranged for a seat near the orchestra so I could observe them as they played.

After listening to Sir Simon Rattle and the Berliner Philharmoniker: The Rite of Spring, I noticed how intensely the orchestra played. Every single note was belted out with force from every single orchestra section. The conductor, Simon Rattle, is a very passionate and powerful conductor. While I was watching him conduct his Berlin orchestra, he expressed the intensity each section was to play. The string section sends out striking sounds that blend in nicely with the percussion and brass sections. The Rite of Spring, has a dynamic of being played fortissimo from the very start. After the first movement there are two slight pauses, and the orchestra plays with a dynamic of a moderate piano, going into the second movement. In the brass section

With an aesthetic opinion of simplicity, his use of percussion is subtle and precise. Using horn, trombones along with drum and cymbal to create a sense of grand and magnificent, strings with triangle and glockenspiel to create sprightliness, etc. In “Vein, veni, venias”, he used double chorus, two pianos and six percussionists, and even the piano was like percussive, which is very similar to the tonal idiom of Stravinsky’s “Rite of Spring”, which caused a riot on its premiere in Paris, 1913 because of its innovation or so called violation of the traditional music.

The flash of red and gold skirts contrasted with dark and ratty fabric is just one of the many comparisons used in the ballet Face to Face. This ballet demonstrates a stark contrast between a dancer filled with the hope and joy that Christ brings, and a dancer consumed by selfishness, alcohol, and loose living. I had the opportunity to view this ballet during a summer ballet intensive, and it challenged me to repent from my sin, and turn towards God.

The production of Stravinsky’s Rite of Spring was made, to recreate the performance of the Paris premiere. Although, many people did liked the premiere, about half of the people did not like it. At the beginning of the ballet many people did not like the severe, and rigid music aspect of the ballet. They were used to the original ballets, with the smooth, peaceful music and the clean lines. Even with the disagreement about the ballet, it didn’t hinder it, they continued doing the performances overtime and many of the people who originally didn’t like it came to actually really enjoy it. My first reaction to this ballet was that the music, which was very dark, was very interesting/weird considering that all the other ballets that I knew of

The music was wonderfully performed in a beautiful room at Carnegie Hall. The music consisted of Debussy, Carter, Bach and more. The piece from Bach was performed with a pianist who assisted very well in the musical pieces she performed. They signaled each other ever so slightly without being to noticeable. Kim kept the flute at a joyful pace, with an upbeat tempo causing a feeling of dancing fairies all around. Opposite from wanting to dance was the Boehm piece which was in a piano dynamic with an adagio feel. This piece was performed beautifully almost as though Kim was singing through her flute with Lee matching her tone of the piano to the soft and lento feel of the flute. Their rhythm and tempo together and separate through all pieces

Contemporary dance is a dance performance genre that developed during the mid-twentieth century it incorporates elements from many styles of dance. And due to its technical similarities, it is often perceived to be closely related to modern dance, ballet and other classical concert dance styles. It was originally developed as a reaction against the more rigid techniques of ballet. The Sleeping Beauty, ballet was first performed in 1890. The music was composed by Pyotr Ilyich Tchaikovsky and the choreographer of the original production was Marius Petipa. Having given bold contemporized dance-theatre makeovers to both The Nutcracker and Swan Lake, Matthew Bourne started turning his attention, in 2011, to that other great 1890s Tchaikovsky/Petipa ballet, The Sleeping Beauty. The result detailed sets and costumes, evocative lighting and a story line that transports the audience in time from the halcyon days of the late Edwardian era through to the modern day. In a world full of magic, fairies, vampires, love and romance. This essay will outline the choreographic intent of this dance being intentionally stunning especially in the genre of classic story turned modern. This piece of dance plays a tremendously important role in the overall explanation of the entire narrative. It does an impressive job at introducing and communicating the characters of the all the main characters of the story, it also effectively heightens the mood and effects the emotion of the viewers. The dance