The USA Percussion Ensemble performed many great works at the recent Spring Concert at LaidLaw Performing Arts Center. As a guest to the ensemble, the talented Andy Harnsberger performed a piece originally dedicated to his wife Palmetto Moon. He also performed the three sections of his sentimental work Words Unspoken. Leading up to Harnsberger, the ensemble played many other contemporary works such as Bloom by Ivan Trevino, which as the first performance certainly grabbed the audience attention. The next piece being Vous avez du feu? by Emmanuel Sejourne intrigued the audience as well through the extended techniques of multiple cigarette lighters. There then was the particular four chosen from the eight pieces of Postludes for Bowed Vibraphone by Elliot Cole. The pieces being in the order of second, first, seventh and ending with the third. These percussion works also featured Coming Home by Steve Gisby and the three movements of Toccata for Percussion Instruments by Carlos Chavez. In my opinion, the music was well chosen and performed. The various techniques and styles of these works seem to have connected jointly to stimulate the senses. Altogether, The Percussion Ensemble members and their lovely guest Harnsberger made a night worth hearing and seeing.
The very first piece in the performance is one of the most interesting works of the concert. Bloom, the marimba quartet seemed to be blending in between post-rock and minimalism. It began with a four note motive which was a subtle introduction. I noticed constant repetition throughout the work. The members each had four mallets in which they introduced various thick textures. It sounded as if this piece had an overall joyful tone especially when all members played together...
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...ant Words Unspoken and Palmetto Moon.
“The piece is in three sections, each representing an emotion; stages that one might go through after losing a loved one.”(Harnsberger, program notes) Words Unspoken is a piece that highlights many expressive qualities. This piece was a four mallet solo. It contained modern maramba techniques, in which I notice large leaps in the music also.The first section being sadness or loneliness going on to anger and frustration then the third section was the resolution. As you can see, this is a highly emotional solo in which Harnsberger mastered. “Palmetto Moon” on the other hand created imagery and tone painting for the audience. Before the performance, Harnsberger told the audience to visualize themselves somewhere on a beach or around water as he performed. The piece moved swiftly but it was very smooth. This was also a solo maramb
I thoroughly enjoyed this concert from beginning to end. The opening piece, “String Quartet in F Major, K 590”, was both soothing and moving with an engaging theme that followed through the piece. The sudden stops and starts with changes in theme built the suspense and pulled the listener in to a jaunty gallop through the second section. Also the bass tones in the back ground seem to be slightly off kilter with the violins, providing a complex texture and harmony that provides depth and poignancy to the music.
The details of intense experiences are often times not easily lost to others who acknowledge secondhand wonder when it is conveyed passionately. In other words, there are stimulating occurrences within even the most mundane lifetime that provide incredible sensory and a life changing incentive. Furthermore, this experience has the overwhelming power to convince others to pursue that event’s awe. An example of such an influential event is expertly playing an instrument and marching deliberately within The Pride of the Devils in front of a populous crowd. The primary reveal of The Pride’s strength is portrayed within the time-withstanding moments of the pregame exhibition as well as the enduring image of the half-time show. Because of the precise
In conclusion, it was a very unique experience for me to attend this concert. It was my first time listening to music in a church. The music was wonderful and played brilliantly. I now realize how talented some of the women composers were throughout the history of music. The experience of listening to such wonderful music firsthand was an honor. I hope to attend one in the near future.
I will begin my description of the music that I heard at the LACMA concert with the work that I liked best. This was the new discovery from Kinderszenen’s Ahnung, the composer of this piece was Robert Schumann, U.S. Premiere performed by the pianist Luiza Borac. This piece was first beginning with the repeating chords accompanied with the soft moderato me...
The first aspect of the music I recognized was the volume, or the dynamics. It ranged from forte during the climactic moments to mezzo piano during the calmer parts, but mostly remained in this range throughout the concert. There were also several instances of crescendo and decrescendo, which served to build up tension or slow the piece down, respectively.
The first song played was from a genre that I had previously taken a test on, Sonata. The musicians played the song by the book. There were three movements and polyphonic texture. It was even fast and jerky. Nonetheless, this is the part where my rollercoaster was going down. In my opinion it was boring. Although very well played, the song itself did not interest me. I did not like the roadrunner, coyote essence of the song. The piano accompaniment would sometimes play the melody and let the clarinet follow and then they would switch. This to me seemed force instead of like the Sonatas that I listened to in class. However, apart from the musical aspect of the first piece there was a certain intensity expressed by the performers. I had never seen a
...ked throughout the concert. The pacing of the selections seemed appropriate. No piece sounded like the one before it. There was a great variety of songs played. There were songs played that were written by famous jazz composers and songs played that were written by some of the performers themselves. This added to the excitement of the show.
The first piece that was performed by the ensemble was Lincolnshire Posy composed by Percy Grainger. I found this piece to be quite enjoyable as a whole, however one of the movements towards the end of the piece that was quite repetitive and
In conclusion, the concert was really interesting and I enjoyed myself. In my opinion the two pieces that I really like in this concert, are Sounden Horn and Polonaise from Engine Onegin, the shift between the melodic lines and the element of beauty is what made me like it. In the future I would recommend it to my friends and I will not mind to go with them at all. This kind of music is the best to me by far.
This piece was easier to understand than its predecessor and as such, became accessible to the growing percussion community and Xenakis’s most popular percussion work. Rebonds did however share the exclusive Xenakis character of sound as Psappha and continued to pushed the boundaries of performer technical limitations that Psappha introduced. Both works are thought to be some of the most powerful and difficult solo percussion pieces in the twentieth century and have become staples in modern percussion recitals. Rebonds is essentially a mandatory study for aspiring percussionists, in part to continue to improve the ambitious musician’s multiple percussion skill-set, but also to understand the piece’s influence in the on-going validation of solo percussion literature. Renown music critic, Jacques Longchampt who was present for the premiere of the work by percussionist Sylvio Gualda, eloquently declared Rebonds as a "immense abstract ritual, a suite of movements and of hammerings without any folkloristic "contamination", pure music full of marvellously efflorescent rhythms, going beyond drama and tempest.
The Texas State University School of Music presented a beautiful piece called the, “Chamber Music for fall”, at the Performing Arts Center Recital Hall in San Marcos. This professional classical music concert was performed the evening of Wednesday, October 7th at 8 p.m. and was directed by Ian Davidson. Ian, who played the oboe, along with other performers (Daris Hale, bassoon; Ayren Huslig, harp; Kyung-Ae Lee, piano; Paula Bird, violin; Ames Asbell, viola; and Karla Hamelin, cello) presented this album of five pieces to bring great examples of classical music for the young audience of Texas State students to appreciate and experience the movement of this enlightenment period.
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 final and twelfth piece was made up of excerpts from a longer work called Five Short Pieces for Clarinet and Bassoon. To me, maybe because the concert was beginning to get long or maybe because I did not have many notes over it, the last piece seems fairly similar throughout its movements, or “Short Pieces.” The first was an up-beat piece with a distinct melody. The clarinet and bassoon alternated, with the clarinet playing the higher notes. The second movement had a have complete feel to it. The two instruments played at the same time, close to it. The third movement was an impressive sounding mix of ups and downs. It seemed that the performers were working very hard and it sounded very complex.
The distinguished classical tabla genius nowadays, Zakir Hussain conveys vivid performances that have recognized him as a national symbol in his native India and one of the world's most valued and dominant musicians, popular for his collaborations with players from all over the world. “Master of Percussion” is the touring group of Hussain and his father and other members. They have successful tours in the West since 1996. Joining the group in 2014 are musicians from India and one member of the western society who is also one of the best players on western drums. I am very happy to have the opportunity to see these masters of drums in one place and to enjoy their virtuosity. That was a great concert that took place on April 4th, 2014 at Chicago Symphony Center. I am going to tell you everything about it as you were there.
As you walk into the grand hall that is the main stage of the J. Scheidegger Center of the Arts and take your seat in the red plush seats the mood is set for the master pieces to come. The opening act provided energy that would have to carry you throughout the rest of the night. Overall a majority of the pieces took your breath away and captivated your being. The composure and professionalism of each eight count they graced the stage.