On the night of Tuesday, April 4, 2017, I attended a concert presented by Georgia State Master’s student Megan Bauman. The night was filled with an array of various passionate pieces showcasing the saxophonist. The performance put on that night by Megan Bauman was something I have never experienced before. I never thought such passion and charisma could be showcased apart from an orchestral ensemble, Megan Bauman proved otherwise. The program included: Klonos (2007), American Counterpoint (2002), Lovers on the Celestial Sphere (2006), Distances Within Me (1979), Push Stop, To Go (2017), and Black (2008) but by far the first three pieces are what stood out the most.
The night started with the piece, Klonos (2007) by Piet Swerts. Immediately the light revealed the pianist as a dark piano overture begun to fill the auditorium.
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Megan Bauman and Bradley Karas brought new meaning to what a saxophone duo means to me. Growing up in band, I have seen many great saxophonists, but what I saw that night was unlike anything I saw before. For the first time of the night I was able to see Megan come down from the limelight and create something beautiful. The way that both saxophonists created a story not only through their music but by their overall performance was unforgettable. Their emotions played off one another visually and sonically to create what I believe the composer of this piece imagined. The light and bouncy texture of Lovers on the Celestial Sphere (2006) was a pleasant shift from the previous dark atmosphere. Of the three piece in Act One this one was the most different. Japanese composer, Jun Nagao writes that “the piece is about star crossed lovers on opposite sides of the milky way longing for one another. “ Megan and Bradley conveyed this impeccably. The performance reminded me of the aria Tornerai that we listened to in class. The duo was longing for one another and would not take no for an
Thile presented a professional but laid back presence which allowed his audience to relax enough to focus on his musical abilities. Thile also escaped catastrophe through witty comments that did not avoid the troubles but instead recognized them and helped move the show forward and away from the mistakes in order to continue to appreciate his performance instead of worrying about the unavoidable flaws. In choosing to perform as a solo artist, Thile presented himself thourgh his music, allowing it to remain spontaneous and accurate to his own abilities which spoke greatly to the talented performer he is. Thile’s concert was a recognizably unrepeatable event that displayed the abilities of an artist who’s live talents demonstrate his successful musical
The piece also switches from 3/2 back to the original time, 4/2. An oboe plays on top of the ostinato, followed by the main fugue from the scherzo from a flute. A solo clarinet plays the same fugue following the flute. Both continue to play, but this time, the two are in harmony, unlike in the scherzo in which both struggled for coexistence. The same melodies are passed from the woodwinds to the brass, all the while, the ostinato starts to become more and more fragmented, “sporadic, even” (Biles, Logan). A baritone enters, playing a somber melody, and the piece ends with the basses echoing a descending step from G to
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
The musical events Miles Davis created during his so-called electric period (1969-1975), are acts of constant exploring in c...
These outstanding live jazz performances are brought by the master of bebop and piano music Thelonious Monk. Monk opens with “Lulu’s Back in Town” in both performances and showcase some of the most popular of his songs; Blue Monk, ‘Round Midnight, Don’t Blame Me, and Epistrophy. Everybody gets a chance to shine on these songs. Every musician is allotted time specifically to perform multiple solo acts, often improvising on the initial theme of the song. Dissonance plays a major role in the performance, especially from Monk on the piano; enough dissonance to make all of the classical composer roll in their graves by a wide margin.
The Los Angeles County Museum of Art has a website that announces its programs. Anyone can easily find and choose a concert. I chose a concert for Sunday July 25, 2010. This concert was emerging artists from Ipalpiti Festibal 2010. It included the four pieces of music that are described below. One of these was Fantasiestucke, Opus 88, both Romanze and Duet were preformed. This concerto was performed by pianist Luiza Borac, violinist Vladimir Dyo, and cellist Yves Dharamraj. The second piece was Ahnung, a new discovery piece from Kinderszenen. This piece was U.S. Premiere, played solo by the pianist Luiza Borac. The third piece was Piano Quartet in E-flat major, Opus 47. This piece was an Andante cantabile piece. This concerto was performed by pianist Luiza Borac, violinist Conrad Chow and Adelya Shagidullina, and Cellist Kian Soltani. The last piece was Piano Quintet in E-flat major, Opus 44. What I discovered about my own musical understanding by attending this concert is the following thing. I know how to appreciate and to enjoy music that is a little bit familiar, but my understanding stops when a very new type of music is performed. I made a conclusion from this experience. My conclusion is that learning about music will increase the pleasure of listening to music, but that musical learning is not, perhaps, as easy as learning subjects like Math or History.
Ellie Mulder is an eighth-grade student at Northview Crossroads Middle School. The fourteen-year-old strives her hardest in every subject, and she will be enrolled in the accelerated courses at the high school next year. Training relentlessly and working hard, Ellie can be found outside of class rowing in long shell boats with her teammates on the Northview Crew Team, performing jazz compositions on her tenor saxophone with the Jazz Band, and playing rhythmic music with the Percussion Ensemble. She was recently accepted into the Wind Ensemble and Jazz Band at the high school and looks forward to crafting music with incredibly talented sophomores, juniors and seniors. With a work ethic stronger than most, Ellie is a conscientious, well-rounded
On Monday, October 16, 2017, I was honored to attend Leonard Bernstein Centennial Celebration in the June swagger gates concert hall at the University of Denver. The conductor in this concert was Joseph Martin and his assistant was Chris Ugolini. In this concert, there were several instruments used. Catherine Flinchum, Daniel Eng, Mari McCarville, and Rose Khorsandi were playing the flute. Chris leech and libra Bennett played the oboe. Max Arakaki, Leslie Kahler, Natalie Boggs, and Meggie Evans played the clarinet. in addition, kyle Przybylski played the bass clarinet and Glenna Boggs with Renee young played Bassoon. The Alto saxophone was played by Rachel Webb and Emily Nicol. Peter Davis, john burton, Austin hood, and Jordan Thomas played
Mike Stern is an American jazz guitarist known presently for his solo work and previously as the guitarist for legendary trumpeter Miles Davis in the early 1980s. Much of Stern’s compositions and improvisations incorporate a variety of musical styles including rock, blues and jazz traditions. Big Neighborhood is Stern’s 14th solo album released in 2009. The album is recognized for its eclectic musical styles and guest artist collaborations. As one reviewer states, “Big Neighborhood’s styles range from blazing jazz-fusion to African tinged exotica and trippy Middle Eastern journeys.” (Widran, 2009). Both reviews incorporate Stern’s diverse musical content and guest artists as the focus for their arguments.
“West End Blues” begins with a 12-second trumpet solo that displayed Armstrong’s wonderful range and demonstrated the syncopated styling unique
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.
...frican American Musicians as Artists, Critics, and Activists. Berkeley, CA: University of California, 2002. 54-100. EBSCOhost. Web. 8 May 2015.
The last Piece of the program was Symphony No1. In g minor, op7 (1891-1892), features the work of the composer Carl Nielsen (18...
premiere of “Verses” for soprano by Vache Sharafyan, recreated for the saxophone and performed by
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...