Energetic. Sociable. Curious. These words describe the atmosphere of the Dr. Bobbie Bailey & Family Performance Center on the evening of September 26, 2016. I was surprisingly excited to be a part of the audience that was gathering to witness a performance by the KSU Wind Symphony. After a brief survey of the patrons assembled in the lobby awaiting the doors to open to Morgan Hall, it appeared that 75% of the audience were parents and family members, with the remaining 25% being students. With ages ranging from 10 to 80 years old and a great mixture of ethnicities, it was nice to see the support from the community.
I was one of the first to arrive in the lobby for the performance, but it didn’t take long before the area was full and the chatter amongst everyone was rather loud. Most of the older crowd greeted each another as if they
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Debra Traficante. From her entrance until the very last note, Dr. Traficante firmly directed the wind symphony with full confidence and clearly showed why she was qualified to be the conductor of the KSU Wind Symphony.
The performance consisted of six different pieces, however the first two songs caught my attention, which included a composition by David Maslanka, “Mother Earth Fanfare.” A very aggressive and progressive selection made especially for wind ensembles. With striking fortissimo and crescendos, this made for an impressionable opening. The next selection was two pieces combined into one performance. The first being a very emotional, “Irish Tune from County Derry”, while ending spiritly with “Shepherd’s Hey.” Both pieces were composed by Percy Aldridge Grainger.
The other song titles and composers were, “Shadow Rituals”, composer Michael Markowski. “Imagine, if you will”, composer Timothy Mahr. “Elegy”, composer John Barnes Chance. Finally, the all popular, “Easter Monday on the White House Lawn”, composer and developer of the sousaphone, John Philip
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
Or Jupiter or the Sun. The second and final was the Lord Nelson Mass, composed by Joseph Haydn. In this concert, the two performances differed greatly, unlike the last performance that I went to. The previous one that I attended had music that all sounded very similar to me. That could just be my lack of experience with American music, especially music that was composed hundreds of years ago.
When society envisions a Wind Ensemble, talented musicians, grand music halls, and difficult arrangements typically come to mind. However, a modern-day Wind Ensemble includes a variety of musicians,
The venue was a small amphitheatre with wood paneled walls and a wooden stage with the piano situated in the middle. The chairs were covered in blue fabric. I would estimate that the venue was about one-third full, and the crowd consisted primarily of college students (although I did see two senior-aged individuals in attendance, as well). It appeared that attending the event was a requirement for a specific class, although I did not ask anyone about this directly. There was a young man sitting outside handing out some sort of attendance slips. Everyone was dressed quite casually, with jeans and tee shirts being the norm among the male population, especially. Before the performance began, the venue was very brightly lit and it was quite noisy. When the performer stepped out onstage, I was very surprised that several of the audience members were whistling and hooting, since I had read that that was improper decorum. Once Mr. Anvar took his seat and the lights went down, the crowd went silent. Between performances the crowd generally applauded, but there were always a handful of people yelling out, as well.
The melody of Irish Tune itself is notably recognized by many. Percy Grainger used a simple folk song and created one of the most musically challenging works for band. A rubato style with no rhythmic difficulties or key changes, the piece can be deceptive to those that have never played or conducted it. Irish Tune from County Derry will always be one of the most loved works for wind band.
The second piece comes from George Gershwins "Cuban Overture" performed by the pianist Ivan Davis and the Cleveland Orchestra. This song is a mix of Cuban rhythms with George Gershwin's own thematic material. The result of this is a symphonic overture with cuban beats. The next song is a suite from Girl Crazy, great song, i can even imagine the dance sequences in my head through this piece. All the rest of the songs on this cd, are taken out of Gershwin's musicals.
...xcited to have this experience. Part of the drama of the concert at first is felt when the musicians come in and sit down and begin tuning up their instruments. I would not be able to comment on the performance of the orchestra. During the performance, I seen the audience were moving with the music, but I felt like that everyone seems knows more music than what I learned throughout this semester. After I went home and did some of the research on these music I finally understand why these people like to attend the orchestra concerto, it was because that every piece of music has a history behind it. The Los Angeles audience seemed to me to be people who know music and who will listen to something new in a respectful way. All the same, when the more familiar sounds of the last piece were heard, I could feel a little sense of relaxation and fun coming into the room.
As soon as I walked in, I realized that it has totally different atmosphere from what my expectations were for the music concerts. Unlike all the other concerts I attended, this concert intended for small audience, probably around a hundred people. Also, this jazz concert seemed very relaxed and comfortable. Most of people were dressed very casual, wearing jeans and shirts. But the musicians were dressed in suit, which seemed quite awkward to me. There was a good diverse group of people, from young children to senior citizens. There was also a pretty even mix of different cultures, too.
I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias who was the conductor and Martin Chalifour who was the LA Phil commanding Principal Concertmaster and Bach violin player. In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffer introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience.
The second piece, Paratum Cor Meum, was a much shorter piece with very few lyrics. It was interesting to hear a piece by Haydn, since we had discussed this composer in class. I was impressed by the choir members’ ability to remember words in another language, and I enjoyed the sounds of the piano accompaniment.
The Symphony Orchestra concert was preformed by The OU School of Music with Jonathan Shames as a conductor and they presented Sutton Concert Series. In addition, the Orchestra concert performed at Paul F. Sharp Concert Hall in October 12, 2015.There were like forty-one performers on the stage including the conductor using different types of instruments and and all of them were wearing a nice black clothes. The stage was a quite large with wooden floor and there were two floors for the audience with a comfortable seating. However, all the performers were on round shape and against the conductor.
Joseph Haydn’s historic role helped perfect the new instrumental music of the late eighteenth century. In his late symphonies he expanded the size of his orchestra’s. Hayden also put greater emphasis on the brass and the clarinet, which was new to the orchestra.
Winspear Hall in the Murchison Performing Arts Center is absolutely beautiful. This concert allowed me to see Winspear for the first time and everything about it captivated me upon walking in. It was warm in the hall, much warmer than I expected it to be when walking into the building. The way the seats were positioned so that the audience to see only the stage, allowing full focus on the performance. The audience seemed to range from well-dressed older adults and families to casually dressed younger adults and students. Some wore heels and nice dresses and others walked in wearing jeans and t-shirts. Between each performance, the audience would applaud politely, but there always seemed to be the
Then audience members who were perfect strangers who were screaming loudest would turn to each other with knowing glances and smile because they were sharing the same excitement and connecting with one another over their love of this man’s music. There was no pushing or shoving to get closer to the stage – it wasn’t that kind of crowd. Instead, there was mutual respect for one another’s space within the confines of the too-small venue. Nobody wanted to be the person who ruined it for someone else. It was this respect that made the audience members’ connections with one another that much stronger – we were all here to listen to this wonderful man’s music and see his performance – and, of course, we were here to enjoy it.