Concert Report revised 2
Name Instructor’s name Course Date dueConcert Report
On Saturday, November 07, at 7:30 p.m. till 9:00 p.m., I attended this concert at the Fort Bend Music Studio, where the performances included the American Sketches, composed by Jefferson Todd Frazier, movements I-IV. The other performance of the evening was Phantasy and Toccata, composed by David Ashley White, both performed by Makiko Hirata. I was a bit anxious to attend the event because this was going to be my first time to listen to this kind of music, and I could not wait to get there.
The first work performed was Jefferson’s American Sketches, which comprised of four Basic movements, movement I-IV. Jefferson Todd Frazier is an educator, composer, and a non-profit leader. He is the Founder of the “American Festival for the Arts” as well as the Houston Arts Partners and works at the Center for Performing Arts Medicine at the Houston Methodist Hospital, where he is the director. He is a classical esteemed prolific composer, with some important advances in music credited to his name, including the American sketches. In 2000, the American sketches were commissioned by pianist Sharon Ley, as a dedication to the memory of her father, an act that gave it more prominence. The commissioning led to a growth in popularity of the American sketches. The performance, by Makiko Hirata, who played the piano solo, quite honestly, was beautiful. This performance did not stray from the principles of lyrical elegance, symmetrical melodies, emotional restraint and balanced phrases, as the principles of good American sketches (Hess 53). It began in low tones, and as she progressed through the performance, the crowed became more electrified because of the way the performance swayed them. The performance was quite lively, with a fast tempo at the beginning coupled with a soothing rhythm, which they blended to come up with a unique performance.
The following piece was Phantasy and Toccata, as composed by David Ashley White. Toccata is my favorite type of music, and it appeared for the first time in the late Renaissance period, originally from northern Italy (Naumann and Ouseley 255). The piece as performed again by Makiko Hirata conveyed a sense of crispness and lightness. Every note through the performance felt deliberately picked and placed, reflecting a simplistically elegant masterpiece architectural. The accessible satisfaction of the audio was derived from, in part, its pleasing predictability. In the performance, the first section of the Phantasy part was well balanced with the English Romantic style by the middle section, and a more relaxed third section was presented in a well-executed transition. Makiko, quit professional, acquitted herself well with the piano, especially in the maintaining of balance in the louder, intense passages. She is an outstanding pianist, and no one could imagine that she was not the composer, because of her confidence while performing. She maintained a relatively relaxed mood among the audience, an action attributed to the slow tempo throughout the performance.
When the event came to a close, I was happy I had attended. The concert was an entertaining and interesting one. Each of the works was represented a distinct moment in the history of music. While each of them possessed a unique style, there was a similarity in the form. These performances took the audience on a journey back to history. The demonstration of evolving intimate form of such music was clear, right from the conception point to the modern versions. The concert proved the amazingly rich variety that is available in the world of music, a variety so vast that everyone has something for them.
Hess, Carol A. Representing the Good Neighbour: Music, Difference, and the Pan American
Dream. Oxford: Oxford UP, 2013. Print.
Naumann, Emil, and F. A. Gore Ouseley. The History of Music. Vol. 1. Cambridge: Cambridge
UP, 2013. Print.
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