The Event I Went At The University Of Minnesota

On November twenty-ninth, I attended APSU Student Recital at the George and Sharon Mabry Concert Hall. The performance consisted of only three pieces, yet both were met with enthusiastic applause and praise. When I attended the performance I hear and seen exactly what I expected which were student performing amongst their peers. This particular performance was different because I never experience a student recital. I was very pleased by the performance I thought it was very entertaining and interesting.

The Piano Lesson is a play by August Wilson set in Pittsburgh in the 1930s. The play focuses on a piano owned by the Charles family. The piano is currently in Bernice’s house until her brother Boy Willie comes into town and tells her about the plan he has to sell the piano. This plan causes Boy Willie and Bernice’s true feelings about the piano to come to light. Through this disagreement about the piano it is revealed that Boy Willie and Bernice have conflicting views about whether the piano represents family or wealth.

On October 5, 2015, I attended a live concert at Founders Hall. In that concert, musician David Jolly and Martha Locker performed. David Jolly performed with a horn and Marth locker with a piano. Jolly has thrilled audience throughout the world with his outstanding work that even New York Times recalls as “remarkable virtuosity.” Martha Locker, an avid chamber musician, leads a diverse musical life, giving memorable performances in the United States and internationally. The concert consisted of several different pieces: Villanelle by Paul Dukas, Nocturne by Aleksandr Glazunov, Sonata No. 3 by Alec wilder, and three poems of Thomas Tranströme that were called “Tracks,” “Allegro,” and “Morning Birds” by David Jolly.

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.

The concert that I attend was on Thursday, April 7th. This was a violin recital presented by two students: Luciana Hontila and Vlad Hontila. These students are from the studio of Dr. Julieta Mihai. In this recital many pieces were from the Baroque period, the Classical period, and the Romantic period. There were obviously many violin sonatas, violin concertos, and some caprices. They played pieces from people that we have discussed in class; Johann Sebastian Bach, Ludwig van Beethoven, Johannes Brahms, and Niccolò Paganini.

On September 7th at 7:30pm, I attended the Chamber Music Trio Concert at Williams Hall. The three musicians were the cellist Dr. Martin Gueorguiev, the violinist David Harned Johnson, and the pianist Dr. Joanna Kim. In total, they performed four pieces, two duets and two trios, one of which was an original composition by David Johnson himself. Their pieces included a wide range of styles, from upbeat majors to dark, emotional minors and from standard classical to zesty tangos. Having played the piano since third grade and taken music theory, I felt that I was able to resonate better on an emotional and technical level.

I contemplated dissolving the flute choir, as a group of eight wouldn’t bring a large crowd and reorganizing parts for each piece would cause chaos; some flautists would be forced to learn a new part in half as much time. Reminiscing about the first rehearsal and the exhilaration of starting with an abundant group of talented musicians, I realized that these minor obstacles shouldn’t prevent me from allowing the other flautists to realize their potential. Invigorated by my latest epiphany, I reorganized parts to minimize the amount of music each flautist would relearn and we continued rehearsing without

Antonín Dvořák was a Czech composer who is well known for creating the Dvorak simple keyboard. Although it is not the best know it is one of the most famous. When he was six years old he showed gifts in piano. When he was aged 31 he show many success at concerts. He was born in Nelahozeves near Prague, the eldest son of František Dvořák and his wife, Anna, née Zdeňkov. Many of Dvořák's compositions were directly inspired by Czech, Moravian, and other Slavic traditional music. He lived around the 1800’s and early 1900’s. He made symphonies songs and operas. For over 30 years his chamber music was biblical and diverse it showed much about him and his religion and was very diverse. He was born on september 8 1841 and died 1 may 1904. Dvořák’s

Blowing a thin stream of air across the mouthpiece. Moving your fingers to match the notes and rhythms. Soaring up high and back down low in harmony to the music, as the conductor counts the beats, and your fellow band members balance their notes to match yours. Where the sounds glide over each other, bringing the song to life, punctuated by your high sixteenth notes, weaving in and out of the tune. This is the life of a flute player. The ones that can play anything and everything, and are the light melody of the pieces that we play. Just like in Tiffany, Age 11, flute is one of the things that I really like and that partly makes up who I am. Music is important to me, and our instrument seems made for spring with the flowing beauty of it’s tone. I

I am an also active member of the Colorado New Music Association and have served on committees for the commission of new works. Additionally, the focus of my doctoral research is on the music of living, American composer George Crumb. Currently, I am in the process of recording several of his chamber works for flute.

Today we are going to listen to music composed by Béla Bartók. Bartók was born on March 25, 1881, in Nagyszentmiklos, Hungary. He spent his childhood in various provincial towns. And as a child, he studied the piano with his mother then later went on to study with a teacher. His most productive years were the two decades that followed the end of World War I in 1918 when his musical language was completely and expressively formulated. He immigrated to the United States in 1940 and stayed put until his death on September 26, 1945, in New York City, New York in.

A composition for a solo instrument arguably shows the inner-workings of a composer’s musical being. It is transmitted through a sole individual, rather than a collective group of individuals. One must also note the divide between solo works for a monophonic and homophonic instruments. A homophonic instrument, like the piano for instance, is one that is constantly referring back to color and polyphonic capabilities of orchestras in elucidating textures and voices, while a monophonic instrument is inherently linked to the voice. Upholding this argument, a work for solo flute should grant us a glimpse into a composer’s inner process, exposing a verity that larger works cannot express. One piece that contains such potential is Claude Debussy’s (1862–1918) Syrinx (1913).

I chose to attend a music recital which consisted of one brilliant piano player. The recital lineup consisted of music by three well known musicians which include Wolfgang Amadeus Mozart, Sergei Rachmaninoff, and Frederic Chopin. I was pleased with the reemergence of the ten pieces of music. It provided me with knowledge of how music differed from century to century. Each of the three musicians came from different time periods and cultures.

Dieterich Buxtehude was born in 1637, Helsingborg Sweden. He was a Danish-German composer and organist during the Baroque period. He mostly composed instrumental and vocal idioms. A quick fun fact is that he influenced some of Johann Sebastian Bach’s composed music. Buxtehude was also considered as “the man the man who inspired and led the famous Johann Sebastian Bach.”. Dieterich Buxtehude is remembered as one of the finest and most important composers in Germany from the mid-Baroque period. The music that he composed had a seasonal and religious feel to it. You might of heard of Prelude in F Major and Cantata BuxWV 104, these very famous songs were composed by him. Aside with composing, he was also a fabulous organist. Dieterich Buxtehude

Béla Bartók (1881 – 1945) was a Hungarian composer and pianist, and was one of the most profound musicians of the twentieth century.