The concert kicked off at 7.30 pm and rolled through the night. The event was organized by the Department of Music. The concert was attended by large group of audience, including the students, some public audience and the artists. The attendance of the audience was also relatively good. …
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There were various interesting bits in the concert presentation that would not have gone unnoticed that I observed out of the concert. The concert was governed by a program, which, in my view, presented the event as become the most interesting. It was a sort of presentation like that of a church. It featured ten musicians, who teamed to make their presentations one-after-another. One of the first pieces of presentation was by David Keck who did presentation of Per pieta, bell'idol mio by Vincenzo Bellini (1801-1835). This was a lovely tenor presentation. The next interesting presentation was done by Justin Donegan ansd Hanbo Ma. Justin Donegan presented tenor while Hanbo Ma played the piano. I loved the way the sounds blended in both pieces by Jacques Offenbach (1819-1880) and Ralph Vaughn Williams (1872-1958). I loved the presentation The Sky above the roof because of the message embedded to it that came out realistically.
I had the opportunity to listen to the famous Mozart 40 symphony. The piece was played in the ordinary movement often accorded to the classical symphony styles. Most movements were in the form of sonata while the trio and the minuet were presented in the ternary form. It was not the kind of presentation that elicits the interests of mainstream society because it at moment felt boring. Another presentation featured Kayla Tesnear and Xinshuang Jin. Kayla Tesnear played a mezzo-soprano while played the piano. The pieces presented included Gebet by Hugo Wolf (1860 - 1903) and I Feel the Spirit Moving. I particularly liked the presentation I Feel the Spirit Moving because it had lovely stretched tones that could move with the message by feeling the spirit moving. Yet one could sense that most of their first movements begin in somehow dark way; it does not start in the first theme but in the accompaniment where the low strings. I have read in the article by Kirgiss (56) that this technique of beginning the symphony in accompaniment was popular in the past and was even utilized by Mozart during his piano concert. I heard that it was also popularized as the was for the romantic theme, as was evidenced in the opening of the Third Piano Concerto, Mendelssohn's Violin Concerto and even in Sergei Rachmaninoff'. However, perhaps most interesting of all was the presentation by Elaina Campbell and Xinshuang Jin. Elaina Campbell did soprano and while Xinshuang Jin did the piano. I love their presentation because it came out like a perfect and moving love song, especially in the presentation I will give my love an apple originally done by Benjamin Britten (1913 -1976). Furthermore, the song came out like a love poem, which I considered charming. The piece of presentation entailing Elaina Campbell doing soprano and Xinshuang Jin doing piano was a representative of one of classical forms of movement, which is a lyrical piece in 6/8 time. One can describe it as being in the submediant major of the overall G minor key, as well as in the E flat major of the symphony. The presentation of John Bell doing baritone and Hanbo Ma doing piano also had a special feature. One could sense it begins on an angry note of the cross accented hemiola rhythm and is also characterized by the pairs of three-bar phrases. A friend of mine who attempted dancing to the rhythm found it particularly difficult to get along because it sounded difficult to dance to. A close examination revealed a contrasting trio sections that were played in G major, which
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(World Voice Day Lecture & Recital: Concert Report Essay)
I took a seat quite near the stage where the musicians performed and this made it all the more interesting watching the concert from close quarters. The concert conductor was Emmanuelle Haim and the artists performing at the concert were the Los Angeles Philharmonic and the Soprano Sonya Yoncheva.
120, Reger – Clarinet Sonata in A – flat Major, op. 49, no. 1 and Schoenfield- Four Souvenirs. The periods represented by the above pieces and their composers were a mixture of Classical and Contemporary music. The piece I chose to write on is about ‘Four Souvenirs by composer Paul Schoenfield.
The hall was already full when I arrived, which was what I expected least. At the start of the live concert, the New Horizon Brass Ensemble headed by Kate was seated on the podium; women wore black dresses or pants, and males in the band wore tuxedos. Kate, who was the band leader and concertmaster, came out to coach the band, while the conductor entered the hall to make a brief introduction of the performance that was almost to be staged (Range & Smith, 1999).
res in the music industry, as well as, lecturers in music at well renowned colleges, the concert was the talk of the week well ahead of its actual dates, and I just could not wait for it. No advance tickets were availed, and all the attendants had to obtain them at the entrance.
e Ossetian excitement of Valery Gergiev might well seem an unlikely combination, but this coupling of two range standards offers attractive, well-balanced readings striking for instrumental delicacy and orchestral feelings. Overall, the concert sounds very well due to
Due to the fact that the concert was held indoors, it allowed the set-up crew ample time and space with which to setup the perfect lighting arrangement. As many concert goers know, lighting is an integral part of any show. Sometimes, when
Although the concert was a mutual effort of the whole team, yet the main performer was Kate Wohlman. She was the special guest at the concert and performed Faure, Debussy, Poulenc, Argell, and Broughton. The School of Music sponsored her.
The first piece to be discussed is Vivaldi’s The Four Seasons for violin and orchestra, Opus 8, Nos. 1-4. In these four concertos, referred to Le Quattro stagioni, Vivaldi incorporates three different movements. The
The performance space was small with a limited number of seats to be occupied by the guests. There was a small place provided for the composers with a projector in the middle of stage. A seat was provided for the piano
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