Lensky 's Aria From The Opera ' Eugene Onegin

Many of the characters in the play are stuck playing a comedic role or a dramatic role, but Flute is one of the characters that gets to play both, again, making him a much more rounded character. Playing the part of Thisbe requires

1. Roy, Gabrielle. The Tin Flute. Translated by Alan Brown. Toronto: McCelland & Stewart Inc., 1989

The eight-part collection for various combinations of trumpets and trombones, Canzona septimi toni no. 2 by Giovanni Gabrieli, employs antiphony as a means of taking advantage of church acoustics. His strategic separation of two instrumental groups illuminates the dialogic structure of Gabrieli’s composition. It’s meter alternates between duple and triple, finally returning to duple meter pending the completion of the piece . In terms of harmony, the work contains mainly homophony, again, alternating between both instrumental groups placed antiphonally within the church. The through-composed canzona exhibits Gabrieli’s cultivation of musical material in dialogue between instrumental groups. The timbre, meter, and antiphony utilized in Gabrieli’s

This is a series of twelve musical etudes by Franz Lizst. It was published their final form in the 1850s. According to “Encyclopaedia Britannica”, paragraph one, These energetic etudes are Lizst at his most Lisztian.” This first began when Lizst was in his early teens. The final version of the musical was dedicated to pianist and composer Carl Czerny, one of his mentors and Beethoven's students. Most of the pieces are short, but the ninth and eleventh are a broader scope. In all the Transcendental etudes covers a variety of moods and require mastery, patients, and large amount of Virtuosic

To assist me in the completion of my Arts Responding activity I found the video we watched in our Week 12 workshop extremely valuable. This video, titled ‘Instrument Families’ by Andrea Burress, examines the different musical instruments, categorises them into instrumental families and gives examples of the sounds that each instrument produces. The knowledge I gained from this video allowed me to detect which instruments were being played in each section of The Moldau and thus, complete the Arts Responding activity. As well as this, I used a variety of websites, including the Rockford Symphony Orchestra website and the In Mozart’s Footsteps website. These assisted me in analysing the musical elements featured in the Moldau and uncovering the inspiration behind the song and the cultural significance of

In Johannes Brahms’ first symphony, an angelic alliance of flutes hypnotizes the audience with delicate notes that form a scenic melody. In the distance, I am blowing until my face turns blue into a large goofy instrument that hardly anyone notices. When I picked up the tuba during my junior year of high school, I quickly became accustomed to less glamorous musical parts, long notes of loosely buzzing lips, and pages of paramount silence. Worst of all, playing the tuba never quite made me a “ladies’ man.” Yet my short-lived stint as a tubist sparked an appreciation in me for the humble instrument’s significance. Were it not for the deep rumbling of the tubas which mirror the melody step-for-step, coloring the piece to a new depth, Brahms’ rich masterpiece would undeservingly sound hollow.

Studying the various aspects of this class, has awakened my senses to the beautiful sounds of each instrument; therefore, it was difficult to choose one. Nevertheless, I chose the piano for the simple reason that it is an instrument that my son and I both enjoy playing.

The concert I will be reviewing was performed by Gregory Sauer (cello) and Eric Jenkins (piano) as part of the UTRGV Patron of the Arts Guest Artist Series, which began at 7:30 PM on Monday, October 3, 2016 in the TSC Arts Center Performance Hall. This well-rounded program included modern works from the 20th Century as well as works of the Late-Romantic and Baroque eras. Sauer 's style and expression varied according to the piece he was performing; however, the principle elements of his virtuosity remained unaltered throughout Monday night 's performance. These foundational practices are what made each articulation and individual piece not only well-understood, but (and more importantly) consistent.

Avoiding bumpy roads, “Chorale” and “Chaconne” are short horn-driven pieces delivered in trio and smoothly designed with parallel and diagonal motions as well as polyphony.

On Monday afternoon, January 23rd, I tuned into NPR and classical radio for the 3-4 pm hour of classical music. The radio host was Gigi Yellen who was very knowledgeable about the pieces she had in the playlist for that afternoon. In between pieces she would usually make a comment or two about some extra-musical fact regarding the piece or composer. It was very interesting and I thoroughly enjoyed the hour of listening. There was not an expressed theme or organization to the playlist when I tuned in, so I had no preparation for the pieces that were to come. I actually enjoyed this position of surprise and anticipation because it left me with a completely open mind without

This proposal is for the composition of a piece for organ solo to be premiered at the Ronald G. Pogorzelski-Lester D. Yankee Memorial Organ. The proposed title of the piece is “Flowing Streams”. The title is a word game with the name of the composer and organ master J. S. Bach (which translation means creek). The mainstream of the proposed piece is to give a contemporary voice to the immortal work of the baroque composer through quotation of elements of his own music. Bach’s original elements will not be used in their own traditional baroque-tonal approach, but they will be a vehicle to tell a story under a contemporary polystylistic approach. These elements will be combined, compared, and opposed sometimes in a very converging way, another

This piece, composed in 1995 and previously recorded for the Jazz Big Band Graz record, exudes scented spring breezes with dulcet benevolence and optimistic oceanic textures, featuring delightful saxophone and trombone solos. The title track follows a similar pacifism yet slightly more concentrated in texture.

One Classical Evening was arranged by selecting composers, one from each of the classical music eras. We begin with an overture

The orchestral sound felt liquid in nuance and Uchida balanced them with every phrase of her performance. With the piano leading, the Cleveland Orchestra followed with the taste, vitality and elegancy of Mozart and played with the charm through its delightful melodies and engaging writing. I can especially sense the accents of trumpets and drums and enjoy how they brought a regal splendor into the outer movements of the concerto. In the sway of her body, I was impressed by Uchida’s passion for her instrument; through her strokes of the keys, I understood her fervor about Mozart’s music. I can also feel a touching tenderness in Uchida’s rendition of Mozart, manifesting her love for the music.

The paper at hand is a music appreciation of The New York Philharmonic’s performance of Gustav Holst’s The Planets at Avery Fisher Hall, New York, on 7th July 2013 at 3:00 p.m. This tenth season of Summertime Classics, presented by The New York Philharmonic, features Bramwell Tovey, who has been the host as well as the conductor of this series since its commencement in 2004 (Gilbert, 2013, p.1). Tovey, a Grammy-winning conductor is renowned all around the world as a highly versatile musician due to his “artistic depth” as well as “charismatic personality” that reflects in his works as a composer and pianist (p.1). On the other hand, The New York Philharmonic is an orchestra group that is comprised of highly talented musicians who by playing musical instruments such as violins, piccolo, cellos, trombones etc are able to bring in the essence of the works done by original composers (Keller, 2012, p.7).