Senior recitals are a great way for exposing yourself to great composers and great musicians in our department! On Sunday, April 8th 2018 at 1:00pm, I watched Kylie Dilonardo perform her Senior Recital. This was a solo recital under Dr. Johnson’s studio, accompanied by Dr. Kazuo Murakami on piano. The rectial had repertoire from Bernhard Crusell, Camille Saint-Saëns, Gabriel Pierné, and Witold Lutosławski.
The first piece played on the program was “Concerto No. 3 in B-flat, Op. 11 Movement 1 “Allegro Risoluto””by Bernhard Crusell. Bernhard Crusell was a Classical composer that wrote chamber music and concertos for clarinet, voice, piano, and orchestra. Born on October 15, 1775 in Uusikaupunki, Finland, he was born into a family of bookbinders.
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Witold Lutosławski was a modern Polish composer and widely regarded as a leading figure of music in the 20th century. Witold Lutoslawski was born on January 25, 1913 and died on February 7, 1994. Lutosławski’s family owned estates and was quite wealthy but after the events of World War I, his family's land was destroyed. In his early days, he studied piano and composition in Warsaw, Poland beginning piano at six and carried piano into composition around 1932 (Guide to Warsaw). His composition style consisted of folk influences, harmonies for intervals, and robust textures and he composed four symphonies, concertos, orchestral song cycles, string quartets, and other instrumental …show more content…
This movement was much longer than the first movement by about two minutes. The second movement was very slow and is structured almost to tell a story with its use of dynamics and themes followed by the meter of 9/8 and 6/8. The piano was more of an accompiant during this movement and stayed mezzo piano for most of the movement. The middle portion of the movement was driving a theme forward that I felt did not flow well with the movement since it was usually slow and expressive. The movement fades into pianissimo to end just like the first one and began with an bold and brash introduction into the third movement. The third movement, “Allegro Giocoso”, starts off with a dissonant piano chord structure, opening a way for the clarinet to come in followed by a brisk tempo and a punchy accompiant. The meter for this movement varies between 2/4 and ¾, ending with 4/4. The articulation was crisp and light, which helped the soloist stick out from the dissonant piano. The clarinet follows the dissonant chord structure for a few bars before taking off unto its own melody and theme. This movement was primarily forte and had many scale like ascension throughout the movement to add onto the
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
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.
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
On Wednesday, November 5th, 2014 at 7:30 p.m. the Charlotte Symphony performed seven compositions by various “maverick” composers. Halton Theatre at Central Piedmont Community College’s central campus was pack to near full capacity. The program included the Molto Allegro from Mozart’s Symphony No. 40 in G-Minor, Warehouse Medicine by Mason Bates, Apotheosis by Austin Wintory, Cielito Lindo a traditional Spanish copla, Oaken Sky by Chris Rogerson, Le Tombeau de Couperin by Maurice Ravel, and the 4th movement of Beethoven’s Symphony No. 5. Charlotte Symphony’s Assistant Conductor, Roger Kalia, conducted and Juan Cajero appeared as a soloist. Although there were several pieces that had a more lasting impression on me, each composition performed
Beethoven's Symphony No.3 also known as the Eroica consists of four parts, namely, allegro con brio, adagio assai, scherzo and allegro, which is the standard structure of a symphony. In this work, the analysis focuses on the first movement so as to show how Beethoven enriched symphony. The first movement has a distinctive sonority and texture. It is considerably long as it takes about 14 minutes (it may depend on the version). Some complete symphonies from the classical period are about the same length as this first movement, so Beethoven's work set aside from the traditional symphony. It tells other composers that there is no such thing as a standard length of symphony's movement. In order to understand the first movement, one needs to consider the historical framework. Beethoven composed his 3rd symphony at the beginning of the XIX century when Europe underwent through a lot of political changes. The absolutism was coming to an end, so freedom was in everyone's heart. Beethoven manages to convey particular feelings and emotions t...
The concert I attended was a Junior piano recital held at The Florida State University College of Music in the Dohnanyi Recital Hall. The pianist was Kaisar Anvar. The pieces performed were:
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
Lupo, Benedetto, and Peter Maag, perfs. Concerto for Piano and Orchestra in A Minor Op.54. By Clara Schumann. Orchestra Della Svizzera Italiana. Arts Productions, 2004. Florida College's Classical Music Library. Web. 17 Nov. 2013.
The 2nd movement: A Ball. This movement is representative of the gala ball where he once again sees his beloved. This section is a dance movement in three parts. The Idea fixe reappears in Waltz time. The 3rd movement: Scene in the Fields.
After the intermission and the house lights were dimmed. I settled back into the concert, and decided that there was no way I would like the last piece as much as the B minor Sonata. The Fourth piece just seemed to drag by. The fifth piece got a little better. It was by Tchaikovsky and I always tend to like his music. This was no exception. I was back. It was from “The Seasons, October – The Autumn Song” and it was very enjoyable. Finally, the moment I was waiting for, and was it ever worth the wait. “Islamey” is generally considered one of the most difficult works ever written for piano.
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...
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had already been playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation before moving firmly into the minor in the coda, with the movement ending with an emphatic statement based on the first subject.
The first piece on the program was Polonaise from Eugene Onegin (1878). This piece is from the Romantic period composed by Pyotr Ilyich Tchaikavosky (1840-1893). Very short piece probably around six minutes. The variations and the interesting theme made this piece the most interesting among the other compositions despite the length of this piece, but it was amusing. The piece started with trumpets playing short high notes as an introductory, with the accompaniment of violins playing quick short notes. It sounds like if it was played in a major key, very cheerful and very fast like if the tempo is Vivace. Moreover, trumpets throughout the piece reinforce the harmony. Throughout the piece varies styles were used such as legato (smooth connected style).The texture of this piece is homophonic ( one line of real interest with accompaniment). The rhythm of the piece is really catchy, pretty much predictable; most of the piece variations are centered on the main theme, but it is very pleasing to the ears (consonant).
On the night of the DancePlus performance, I saw numerous little performances. There were six of them in total and the one I had most reactions and favors to is the last one of the first half, which is called Swampin. It was choreographed by John Evans with additional material by Oluwadamilare Ayoride, Jennifer Payan and surprisingly, the dancers. Usually what I would expect from a piece of dance performance is choreographers dominating the process of being creative on the grounds o f coming up dance moves. However, this time, it is nice to see how the dancer actually participating first hand in the creating process of the whole performance which would definitely benefit the quality of the dance, since the dancers would their own choreography
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”