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, 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 Month Mai. This performance played a total of 24 pieces, composed by 4 composers, including Wolfgang Amadeus Mozart, Ernest Chausson, Benjamin Britten, and Robert Schumann. The first song I will be writing about is The Lincolnshire Poacher.
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 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.
Music is virtually everywhere we go, no matter if it is background noise in a coffee shop or singing along while shopping for groceries, we can find music somewhere. The event I attended was the Flint Symphony Orchestra on October 8, 2016. I have never attended a symphony before so I was excited to go, especially since I had invited my friend to attend with me. For this event, I was already informed by my teacher that the symphony will be formal so we needed to look the part since others will be dressed fancy. This made me curious how this event will turn out. Walking past the ticket area and through the doors to the lobby made me feel instantly memorized at how grand it was on the inside. I went downstairs and there were a vast
...ded by the contemporary Count Basie Orchestra and other musicians. Charless’ lyrics recorded from the concert mixing board were added to new accompaniments to create a "fantasy concert" recording.
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,
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.
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.
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.
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.
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.
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.
Each piece was unique choreographed to commemorate different eras. All tied into the major theme in observation of the occasion to hone Mrs. Miller. The inaugurate piece Strict Love caught me by surprise. Before the performance music is played in the background.
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.