Presenting a recital for the public is a daunting task. It exacts from the performer a number of skills which must come together at the exact hour of the performance. I like to think of the solo recital as the musical equivalent to the athletic triathlon. In the case of the recital, the three areas that must come into complete alignment by the recital date are musical expression, mental focus, and physical preparedness.
In this article, a systematic approach is used to address these components. The suggestions are not exclusive but have been used to good success with both my own recitals and those of my students. Many of these ideas are simply practical ones with which the reader may already well be familiar. Other ideas might be new, and could be considered for improved recital preparation by the recitalist.
1. Choose a Program
In previous years, choosing a recital program was largely a historically based paradigm in order to showcase the performer’s skill in three or four primary stylistic periods. These types of programs are still presented today and are preferred for competitions, especially for younger performers. Today, however, recitalists could choose from a broader palette of types of programs, including music by a single composer, a program of music by composers of a certain country or geographic part of the world, or a program of music from a single period.
Choose a program of high quality music that will keep the listener engaged. The world is full of great music both old and new. Master and present the standard works in your repertoire first, then explore less often heard gems. As you progress in your career and make contacts, commission works from emerging composers to present in your recitals. ...
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...standing that it is one of the pinnacles of musical expression, endurance and concentration for all musicians, will allow the recitalist to create a musical event of lasting beauty resonating in the collective memory of an audience.
Scott Locke has given numerous clarinet recitals throughout the U. S., including the University of Georgia, Arkansas State University, Anderson University, Ball State University, Western Illinois State University, Middle Tennessee State University, Purdue University, the University of Mississippi, Murray State University, and the American University, Washington, D. C. He has also presented solo recitals at the World Bank, the Coolfont Manor House, the Sligel Music Club, the Pacific Rim Summer Music Festival, Canada, and at the American Church in Paris. He is currently Associate Professor of Music at Murray State University.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
There was a vocal recital on October 19th, 2017 at 7:30PM, held at the performance hall in Mountain view college. Alex Longnecker, a tenor vocalist and Imre Patkai, (pianist) played a series of homophonic textured songs, some being sung in German and others in English. The Three selected songs I will be writing about are, The Lincolnshire Poacher, The Plough Boy, and Im Wunderschonen Monat Mai. This performance played a total of 24 Pieces, composed by 4 composers, being Wolfgang Amadeus Mozart, Ernest Chausson, Benjamin Britten, and Robert Schumann.
I was impressed by the range of the pieces that were performed as they were from 18th century classical symphony arrangements to contemporary techno pieces. However, the pieces that moved me most were Mozart’s Molto Allegro, Oaken Sky by Chris Rogerson and Beethoven’s Symphony No. 5. In hindsight, I am surprised that the two pieces from the Classical Era had such an impact on me. Perhaps, “classical” pieces were what I expected to hear at a Symphony. Oaken Sky evoked the most imagery for me and the conductor’s introduction of the piece was perhaps partly responsible for my ability to go from the earth to the sky in my mind’s eye. Oaken Sky was definitely a pleasant surprise and very pleasing to all of my senses. I was fully engaged in body, mind and soul with Rogerson’s composition. Cielito Lindo was interesting and the soloist really enhanced the piece with a stellar performance. Warehouse Medicine caused an incongruent stirring in me; perhaps I was not prepared for electronics to be added to the symphony. Ravel’s composition, Le Tombeau de Couperin, was a moving piece, but did not engage my senses, only my intellect. This work essentially left me feeling confused and although I appreciated the description of the dedication of the work by the composer, this was my least favorite piece. The “CPCC” soloist, Juan Caljero’s, rendition of Cileito Lindo was mesmerizing. Charlotte
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
According to Cambridge Online Dictionary, a performance is the action of entertaining other people by dancing singing, acting, or playing music. In a performance, performer(s) execute their act while audiences watch and critique. Performance of the human body changes depending on various factors such as the format, venue, and dynamics between the performer and spectators. In Anna Deavere Smith’s Never Giving’ Up, which is a live performance, and The Pianist, which is a film, there are differences and similarities on how the performance of the human body alters.
The Los Angeles County Museum of Art has a website that announces its programs. Anyone can easily find and choose a concert. I chose a concert for Sunday July 25, 2010. This concert was emerging artists from Ipalpiti Festibal 2010. It included the four pieces of music that are described below. One of these was Fantasiestucke, Opus 88, both Romanze and Duet were preformed. This concerto was performed by pianist Luiza Borac, violinist Vladimir Dyo, and cellist Yves Dharamraj. The second piece was Ahnung, a new discovery piece from Kinderszenen. This piece was U.S. Premiere, played solo by the pianist Luiza Borac. The third piece was Piano Quartet in E-flat major, Opus 47. This piece was an Andante cantabile piece. This concerto was performed by pianist Luiza Borac, violinist Conrad Chow and Adelya Shagidullina, and Cellist Kian Soltani. The last piece was Piano Quintet in E-flat major, Opus 44. What I discovered about my own musical understanding by attending this concert is the following thing. I know how to appreciate and to enjoy music that is a little bit familiar, but my understanding stops when a very new type of music is performed. I made a conclusion from this experience. My conclusion is that learning about music will increase the pleasure of listening to music, but that musical learning is not, perhaps, as easy as learning subjects like Math or History.
The pianist and concert conductor, Christian Zacharias opened the Los Angeles Philharmonic Classical Music concert with a fascinating performance that left the audience in party mood and in happy f...
I have found the process of choosing a musical topic about which to write a difficult one. My musical interests have never been concentrated in a singular area. To aid myself in this search, I will list the areas in which I hold an interest: music education, tuba performance practices, music pedagogy, tuba pedagogy, psychological development through music, and the history of music.
Akins, M. L. 1982 An analysis and Evaluation of selected methods for the beginning Private Piano student. PhD, Peabody College for Teachers, Vanderbilt University, USA.
In conclusion, the programmatic symphony has been used to create some of the greatest works of musical literature in the past two hundred years. In the next century composers will probably follow in these composers’ footsteps and expand the size of the orchestra to create new timbres and tell stories through tone painting in symphonies.
Pogue, David and Scott Speck. “Classical Music for Dummies.” Hoboken, New Jersey: John Wiley & Sons, Inc. 1997. Print.
As the piano started to sound in the Four Season Theater, the crowd would turn silence in just a second. That was the impression that piano gave me when I attended to Richard Clayderman’s concert last month. The power of the piano is not just shown by the sound itself but also the unshakable social standing as the “King of the instruments”.
A ballet dancer’s general intention when performing any piece is to convey a message to the audience. A message is relayed through the dancer’s strategic facial expressions and body movements. Each movement has a purpose in articulating the dancer’s energy, and confidence within themselves to express the emotions and inspire the audience (Lucas). A dancer’s energy and
At the movies, in stores, on the radio, many of the places you go to that have music playing have music that was written from the Classical Period. The Classical Period harbored famous and renowned composers and performers. Two composers who stand out are Mozart himself who composed many pieces including the famous piece Piano Concerto No. 22 and Ludwig van Beethoven who composed his astounding 5th Symphony. Through the centuries the Classical Period has still been honored and commemorated for its style beauty.
The category chosen to carry out our topic is, a Group Performance. Why a group performance? We want people to know and see in their own visual aid how the ceremony is performed. We also want to state for a fact that our generation knows what the ceremony is and the process of the performance.