The concert I attended was that of Kristi Sullen, a senior and soprano vocalist. Sullen was accompanied by Dr. Joel Jones who played the piano throughout the performance meaning most of the songs being performed are homophonic. As she entered the stage for the first time of the night, she is dressed in a beautiful purple gown. She is adorned with dramatic jewelry. Dr. Jones introduces Kristi to the crowd and the recital begins. The first song she sang was “Inflammatus”, the eighth of ten movements from Stabat Mater. Composed by Gioachino Rossini, this Latin tale is sung from the perspective of Jesus’s mother, Mary, as He was crucified. The piece begins strong at forte and we can hear the pain that Mary is experiencing in the singer’s voice. …show more content…
This set consists of the compositions “Zueignung”, “Nichts”, and “Die Nacht”. Composed by Richard Strauss, these three works are from the larger set 8 Latzte Blätter and are based on poems by Hermann von Gilm, an Australian poet. Though the tempo of “Zueignung” is somewhat allegro, the meaning behind the song is not as cheerful. “Zueignung” is dedicated to a heartbroken lover who is attempting to drink their sorrows away. “Nichts” is also played and sung at allegro but is more playful and sarcastic. Die “Nacht” has more undertones of fearfulness. The lyrics express a fear that as the night mercilessly takes things away, it will also steal the singer’s lover. This is expressed through its moderato tempo along with it being played at mezzo piano for most of the song. The song does, however, have some moments of forte as it reaches its climax. After “Die Nacht” ends, the performers take another bow and exit the …show more content…
This work is the second song of three from Suor Angelica. The story this opera tells is one of a nun who was sent to the covenant for having a child out of wedlock, who unfortunately passes away. Greif struck, Suor Angelica drinks poison to be with her child again. As Kristi sings the sad tale, the grief of the mother can be both heard in her voice and seen on her face. At the conclusion, Sullen and Dr. Jones take a bow and exit the stage again. The next set Sullen performed comprised of the two works Extase and Soupir. Extase takes on a sensual feel as the song begins piano and adagio. Soupir takes on a more sorrowful feel as it also begins piano and adagio but without many timbres. Soupir is more sorrowful because it is about a man mourning the death of his wife and pledging to always love her. The work fortes toward the middle as the husband yearns to be able to hold his wife again. Once they are back on stage, Kristi and Dr. Jones perform “Summertime” from the opera Porgy and Bess by George Gershwin. “Summertime” is the first English song of the recital. The opera opens with the mother expressing to her baby that the struggles of being African American will not interfere with her ability to provide through lullaby. To emphasize this moment, Sullen walked onto the stage carrying a baby doll as she began to sing the
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:
The first piece presented in this concert was Robert Strauss’ Metamorphosen, Study for 23 Solo Strings a piece was composed during the last months of World War II, from August 1944 to March 1945, dedicated it to Paul Sacher. It was first performed in January 1946 with ten violins, five violas, five cellos, and three double basses, this was immolated in the performance by the Atlanta Symphony orchestra on April 13th that I attended. It is widely believed that Strauss wrote the work as a statement of mourning for Germany's destruction during the war, in particular as an elegy for devastating bombing of Munich during the second World War.
For my first concert report, I have decided to attend the Applied Music Student Recital. The musical performance was at Palomar College on February 27, 2015 from 1:00P.M.--2:00P.M. at the performance lab room D-10. The type of music that was presented at the concert was a brass ensemble, chamber music, classical, contemporary, jazz, opera, percussion, and many vocal arrangements. There was a total of eight musical Palomar College student performers who are majoring in music theory. I am only going to focus on a few of the musical pieces that I enjoyed most. The majority of the performers were dressed in formal attire. As the men were dressed in a dress shirt, a tie or bow tie of their choice, black slacks, and dress shoes. As for the women, they wore dresses, skirts and dress shoes. Also there was a pianist, accompanist who is a Palomar College music teacher named Ruth Weber. The performance was in a music concert hall with roughly fifty audience members.
The sole concert performer was Anton Nel. The date of the performance was October 8th, 2017 at 4:00 PM. The concert lasted about an hour thirty minutes. The concert was located at Rainey Hall in Jessen Auditorium. The performer Anton Nel was a middle aged man. The audience was generally middle-aged to elderly. Nel is a very well known pianist who has taken his talents to several areas across the globe including Europe and Africa. He has received several awards including the 1987 Naumburg International Piano Competition at Carnegie Hall. As a UT student, my ticket was free.
At the outset of the lyric the speaker demonstrates a mother unable to overlook the emotional occasions, which have trapped her inwardly. We can see a sample of the storyteller confronting more than one tormenting memory of premature birth in the exact first line, "Premature births won't let you overlook"; took after by a notice in the first line of the second stanza, "… vo...
On Tuesday, October 17, 2017, I attended a musical concert. This was the first time I had ever been to a concert and did not play. The concert was not what I expected. I assumed I was going to a symphony that featured a soloist clarinet; however, upon arrival I quickly realized that my previous assumptions were false. My experience was sort of a rollercoaster. One minute I was down and almost asleep; next I was laughing; then I was up and intrigued.
The first work was played was called Suite: 3 Airs, composed by Elisabeth Jacquet de la Guerre (1666-1729) from the Baroque period. This piece had a very stepwise and conjunct melody. The key was mostly bright and major. The harmony was a bit resolving and consonant. The polyphonic texture was recognizable because of the multiple melodies playing together. The tempo of this piece was very constant and remained allegretto throughout. The dynamics was mezzo forte or moderately loud. The formal structure was in the ternary form in which the main idea of the piece was repeating after a small contrast in the middle. Overall, this piece seemed quite unique to me because it was my first time listening to the organ.
The imagery of this poem is vivid. The shadowy figures of the occupants at the harlot's house are portrayed as "mechanical" (3.1). The narrator and his companion watch at all that is happening at this house of ill repute. The reader gets the sense that both stand below the window for quite some time. Whether through fascination, or wondering how people live "on the other side of the tracks", clearly there is some allure to standing on this street watching the "ghostly dancers spin to sound of horn and violin" (4.1-2). There are two more dances described, a quadrille in the fifth stanza, a saraband in the sixth.
The concert was on March 13, 2014 at 12:30 pm the performers were Lisa Fujita, Brendan O’Donnell, Daniel Mitnitsky, Yannick Rafalimanana they performed five different Piano Quartet pieces. The first was a Piano Quartet No. 1 in C Minor, Op. 15 it was Allegro Molto Moderato, the next was III. Adagio and both of these pieces were written by Gabriel Faure. The next was a Piano Quartet in E-Flat Major, Op.47, called Sostenuto assai- Allegro ma non troppo this was written by Robert Schumann. Lastly there is the Piano Quartet in G-minor, K.493, I. Allegro, III. Allegretto and these two pieces were by W. A. Mozart. This was not the exact order and they did change a few thing like the way things would be played and they change the Quartet from E-Flat major to G-Minor because they said that it was difficult to play. By playing different types of music they offered us diverse experience. I really enjoyed the entire performance. Each of the Performers played a different instrument. Lisa Fujita played the violin, Brendan played the viola, Daniel played the cello and Yannick played the piano. Each of them played a very important role. Each of the performers looked calm and as if they knew what they were doing, they were dressed very formally but the audience was not dressed as formally due to the fact that it was during the school day and the event wasn’t a black tie event.
and these lines are then repeated. The religious section of the ode begins as the chorus intones in an awed manner: Ihr stürzt nieder, Millionen? Millions, do you fall upon your knees? The music rises hopefully toward God and the heavens as the final lines of verse are sung:
... the harmonium literally, ready to be “carried out”. The second stanza expands on the harmoniums features, with relationships to the father. The third stanza considers the history of the harmonium, which once brought people together over generations. The last stanza involves the description of the harmonium being taken away, paralleling the eventual approach of the father’s death. ‘Praise Song’ is based around the first three stanzas of three lines each which are very similar in format. The forth stanza is introduced the same way as the others but this time it is extended. It brings attention to the ‘Praise Song’ final line about the mother’s advice to the daughter’s future and moving towards “wide futures”. This last line intrigues me as she is reflecting on the ways in which her mother nurtured her and supported her allowing her to grow and follow these ambitions.
The music accompaniment to this piece comes from one or two pianos which work in almost perfect collaboration with the dance so that neither one overshadows the other. While no other instruments are used, the melody of the piano changes from scene to scene in order to depict Jooss’ emotional responses. During the scenes with the politicians, the air of the piano is light-hearted and almost comedic. The purpose of this was to show the detachment of these men from the war. They are in a safe situation, unexposed to war and death. When the scene changes and we see what’s happening in the lives of citizens, this vaudeville-like tune is transformed into a thunderous and eerie song that haunts the audience. The reason for this change is to reveal Jooss’ feelings about the unnecessary brutality and death that always comes with a war, and how politicians don’t understand the horror of it.
On Wednesday, May 23rd, I attended the College Choir concert in the Reamer Campus Center. The choir performed a variety of songs, ranging from pieces in Latin to traditional American folksongs. Two of the pieces featured solos, and one even featured percussion instruments. Mrs. Elinore Farnum provided piano accompaniment for each of the songs, and performed beautifully. I was extremely impressed by the talented choir members and their ability to sing such a varied range of songs.
To begin, the episodic shifts in scenes in this ballad enhance the speaker’s emotional confusion. Almost every stanza has its own time and place in the speaker’s memory, which sparks different emotions with each. For example, the first stanza is her memory of herself at her house and it has a mocking, carefree mood. She says, “I cut my lungs with laughter,” meaning that...
Incest is not such a clear-cut matter as it has been made out to be over millennia of taboos. Many participants claim to have enjoyed the act and its physical and emotional consequences. It is often the result of seduction. In some cases, two consenting and fully informed adults are involved. Many types of relationships, which are defined as incestuous, are between genetically unrelated parties (a stepfather and a daughter), or between fictive kin or between classificatory kin (that belong to the same matriline or patriline). In certain societies (the American Indians or the Chinese) it is sufficient to carry the same family name (=to belong to the same clan) and marriage is forbidden. Some incest prohibitions relate to sexual acts - other to marriage. In some societies, incest is mandatory or prohibited, according to the social class (Bali). In others, the Royal House started a tradition of incestuous marriages, which were imitated by lower classes (Ancient Egypt). The list is long and it serves to demonstrate the diversity of this most universal taboo. Generally put, we can say that a prohibition to have sex with or marry a related person should be classified as an incest prohibition, no matter the nature of the relationship.