This past Wednesday, December 14th was the last choral concert of the fall semester. I participated in this concert as part of the Women’s Chorus, but due to our spot on the program (after intermission), I took the opportunity to watch the first half of the show.

The repertoire was almost all Baroque/sacred music, and I’m sorry to say that the selection of music disappointed me a bit. Yet again, I am not the biggest fan of Baroque music or the mind-numbingly repetitive “agnus dei, gloria in excelsis deo” Latin stuff either, so I don’t know if I have the authority to say that the lineup wasn’t impressive. Whether I liked the music or not, though, I can’t deny that the concert was an excellent display of the marvelous vocal abilities of the students and adults who are part of this school.

The vocal ensemble is a perfect example. They performed every other act, alternating between the instrumental Baroque ensemble. The harmonies were beautiful and lush, which is extremely hard to do considering that much of the music was a cappella. I did particularly like a funeral piece that the group performed, which had very sentimental lyrics. They also performed the music with a lot of passion and feeling- even if it was repetitive Latin blessings, they sang the music as if it was the most personal work.

I also was looking forward to hearing the Concerto for Recorder- as someone who has played the recorder since the third grade (and succeeded in getting very good at it), I couldn’t wait to hear it performed on a collegiate level. I soon remembered why I stopped playing, however. Though the piece was very technically difficult, the sound of the recorder quickly got annoying and began to resemble the sound of a pan flute- I learned that night that I can only handle a little bit of recorder- not a full concerto’s worth.

The Women’s Chorus definitely added a fun, modern touch to the concert. We did perform a couple of Baroque pieces: “Gloria” and “Lauda Jerusalem”, which utilized a group of string players, but my favorites to perform had to have been our modern pieces, the gospel song “Music Down In My Soul” in particular. Performing that song and getting the whole audience to clap along was wonderfully fulfilling. Hearing them giggle along to our Portuguese folk song “Rosa Amarela” was also fun too 🙂 Overall, I’d say we ended the semester on a wonderful note! (get it?)

As I am writing this, I am listening to Beethoven’s 3rd Symphony, “Eroica”, studying for the listening section of the Music 101 Final Exam. It just so happens, that there is an article about Beethoven in the New York Times Art section. This article discusses the evolution of Beethoven, comparing what he once meant to American’s to what he means now. There was a time when Beethoven’s music was associated with Nationalism, however, after his music was performed (and videotaped) for Nazi audiences, it lost this sentiment. As time has gone by, Beethoven’s music has meant less and less to American’s, as by now it is can basically be summarized by excerpts from his fifth symphony, his ninth symphony, Fur Elise, and his Moonlight Sonata. Most people do not know more than a few seconds from these amazing pieces.

I listen to mostly jazz music–though I know a wide variety of jazz artists and I have read the biographies of a few artists and am constantly researching information on jazz and the evolution of jazz. However, I never really became immersed in classical movement to the same level, because I didn’t know who to listen to. Of course, there are a multitude of songs that I can look up on youtube and listen to, however, I did not know what artists to listen to. I did not want to listen to somebody playing a song in the wrong style, as these versions are abundant all over the web. Just recently, I heard the entirety of Beethoven’s fifth symphony, and could not stop listening. The power of the symphony–particularly the trombones in the first movement–is just amazing. Yesterday, I had the first movement on repeat for four hours. It is strange, though, to think that people would consider me a musician, and yet I had never heard this amazing song in full until recently. I am glad that college is exposing me to new music–and this is just the VERY beginning. However, I truly wish that most people heard this music at some point in their life, and listened to it with an open mind. Not with the idea that “oh yeah, that’s the song that was in the background of this movie”.

Here is the article: http://www.nytimes.com/2011/12/19/books/beethoven-in-america-by-michael-broyles-review.html?_r=1&ref=arts

What a way to end off the Arts in NYC seminar – hearing Mozart’s “Sinfonia Concertante”, perhaps his “crowning achievement in the field of the violin concerto” (Alfred Einstein, not to be confused with Albert Einstein)! I hardly feel qualified to talk about such an extraordinary piece, but I will nonetheless attempt to do it justice.

Performed by our very own Queens College Orchestra, the piece consists of three movements: Allegro Maestoso (moderately fast), Andante (walking pace; not too fast, but not too slow), and Presto (faster than allegro maestoso). This last movement was my personal favorite. In this performance, there was a violin soloist and a viola soloist, both of whom were fabulous. A viola is slightly larger and has a lower key than a violin, and taken together the two complemented each other very nicely. The vibrato of the violins was also a very distinguishable and praiseworthy characteristic of the concert, adding to the emotion and feeling of such classic and inspiring music. Even though there were defined movements, some parts didn’t fit in to the given movement; as an example, while the presto was pretty fast, there were some slower parts embedded in it as well.

It tends to be taken for granted that Mozart and other famous European composers were the “great” composers. However, actually going to a concert that performs their music gives me a MUCH greater appreciation for just how great they were; there is something so mesmerizing about going to a famous classical music concert and hearing the music played live. For me, it gave a taste of the emotion, depth, and energy of classical music. It now seems readily apparent to me what the people in 18th century Europe loved so much about this type of concert. If only more young people would go to these concerts, they may very well add classical music to their list of favorites.

On Saturday, December 10th, I was lucky enough to be able to see Itzhak Perlman (violin) and Rohan De Silva (piano) perform at the Tilles Center. The show was absolutely amazing. On the program, there were only four songs that he was going to perform (Schuberts Rondo for Violin and Piano in B minor, Brahms Sonata No. 2 for Violin and Piano in A major, Op. 100, Brahms Three Hungarian Dances, and Saint-Saens Sonata No. 1 for Violin and Piano in D minor, Op. 75). Of course, he performed all of these songs wonderfully, all the more impressive because he is now retired. Though my friend said that a few of Mr. Perlman’s sixteenth notes were out of tune, there was only one note I heard that was a little off.
Out of the the four songs on the program, the Brahms Three Hungarian Dances was the flashiest. He played some of the highest notes I have ever hear on violin, and performed–with ease–insane sixteenth note passages. As to be expected, the overall quality of the performance was nothing less than spectacular.

After Mr. Perlman finished playing the songs on the program, he took a list out of his pocket and randomly picked another four or fives songs off of that list to play. The list was comprised of songs that he performed the last time he played at the Tilles Center (which was a long time ago). I could tell that this was impromptu, because after Mr. Perlman chose a song, the piano player shuffled through his music to find the piece–unlike the first four program pieces that Mr. Silva had ready. I do not recall the names of these songs, but my friend knew most of them. He told me that they were basically the songs that most violinists would play if they wanted to commit musical suicide. And here is Itzhak Perlman just picking these songs on a whim and playing them perfectly after retiring from performing. It was absolutely amazing.

I was privileged to attend the 35th Annual Traditional Japanese Music Recital held at the Aaron Copland School of Music. I thought the music was very authentic, unique, and I suppose, traditional. I kind of felt like I was in Japan. As I’m sure most people are aware, traditional Japanese music is very unique and not at all like the classical music that was produced by the European standards of Beethoven, Mozart, Bach, and others (and certainly not American). The music is very difficult to describe in words. Nonetheless, I will make an attempt by first describing the distinctive Japanese instruments played, and afterward the content of the music.

At the recital, there were three types of instruments: a koto, which is basically a long, wooden piece of wood with strings across it that are plucked; a sangen, which looks kind of like a banjo, except it is played using an object that looks like pliars and has a unique sound to it (not shown in the picture); and the shakuhachi, which are basically Japanese flutes. In the recital, there was a Shakuhachi Ensemble for all the pieces, as well as at least one koto (sometimes two). The sangen appeared in all but one of the pieces.

Most of the musical pieces had some vocal parts to them that are Japanese poems, and the music is generally meant to accompany them. Many of the themes in the vocal parts have to do with nature, such as the Chidori (plover), a migratory shore bird whose erratic flight pattern is captured by the music of “Chidori No Kyoku” (“The Song of the Plovers”). The accompanying music is therefore erratic yet overall slow and natural. Another piece, “Shin Ukifune”, is based on the medieval Japanese story of the beautiful Ukifune who was fought over by two princes to be their lover, but in the end fled to a monastery and became a nun (sound familiar?). This piece, performed in three parts, is also slow and kind of captures the mourning of the princes and the fact that men have caused her to become chaste. For almost all of the pieces, the music was so relaxing I almost fell asleep.

The recital gave me an excellent taste of the Japanese music tradition. All the performers are licensed teachers, as oppose to students. All of them are also members of Ki-Sui-An, which has been the largest and most active shakuhachi dojo (place of learning) outside Japan for the past three decades.

What will you be doing at age 103?  Those who experience an entire century are viewed as rare accomplishers of a great feat.  However, at such an age in which retirement should have begun decade’s prior,  New York’s own Elliot Carter continues to enjoy his occupation.  Cater, who has won two Pulitzer prizes,  is a highly notable composer who progressed from creating neoclassical works to rhythmically convoluted music.  His orchestral, chamber, vocal, and solo instrumental arrangements have even been performed globally. During his eighties, at a time of life when such notable artists as Verdi and Stravinsky finished their final pieces, Carter was as busy as ever. In fact, he published over 40 works between the age of 90 and 100!

During a concert held on Thursday night, cellist director Fred Shelly and other notable musicians played in Caters’ honor. The highlight of the show featured five pieces that Carter wrote himself; among these included “A Sunbeam’s Architecture,” “Bariolage,” “Rigmarole,” “Mnemosyné,” and “Trije Glasbeniki.”  Interestingly enough, Carter’s style was early influenced by both Stravinshky and Copland (who the Queens college music building is named after) but he later created a distinct identity for himself through the use of a stratified rhythm, especially his “structural polyrhythm.”

Ironically, as the world celebrates the continuation of Carter’s life, the music world (especially supporters of the Metropolitan Opera) worries about the health of famous director James Levine.  Italian conductor Fabio Luisi will replace Mr. Levine until 2013.  This must only further annoy the Rome Opera who threw harsh criticisms in September over loosing Luisi when he came to fill in for Levine earlier this fall.  The music world is starting the look like the National Basketball Association.  Regardless, the resilience of Mr. Carter throughout the years is something worth celebrating, especially next year God Willing on his 104^th.  Hopefully one day the same can be said about us.

http://www.nytimes.com/2011/12/10/arts/music/elliott-carter-celebrates-103rd-birthday-at-92nd-street-y-review.html?_r=1&ref=arts

http://artsbeat.blogs.nytimes.com/2011/12/09/james-levine-withdraws-indefinitely-from-conducting-at-the-met/?ref=arts

http://artsbeat.blogs.nytimes.com/2011/09/12/rome-opera-not-happy-about-losing-conductor-to-the-met/

http://en.wikipedia.org/wiki/Elliott_Carter#Style_and_works

Today, I attended the Amerigo Trio concert in Lefrak Hall.  The trio is made up of Glenn Dicterow, Karen Dreyfus, and Inbal Segev.  The trio is a string trio, with Dicterow on violin, Dreyfus on viola, and Segev on cello.  They were introduced to a warm reception, and it appeared as if they thoroughly enjoyed playing in Lefrak Hall.  All three are famous performers who perform all over the world, and it was nice to see the comfortable demeanor when they came to the college.  The concert was well attended, but most of the audience was from outside the Queens College community.  I think it is nice that the general Queens population can come to Lefrak Hall and listen to great music.

The trio played Ludwig van Beethoven’s String Trio in C minor, Opus 9 No. 3 and his Duo for Viola and Cello “with Eyeglasses obligato”, Jean Sibelius’ String Trio in G minor, and Anton Arnesky’s String Quartet in a minor, Opus 35 for Violin, Viola, and Two Cellos.

My favorite piece was Ludwig van Beethoven’s String Trio in C minor, Opus 9 No. 3.  It was the first piece performed, and it grabbed the audience’s attention.  I loved the harmonization of the three instruments.  I do not have a music background, but found myself thoroughly enjoying the works.

It was different from the performance that the class previously attended in Lefrak Hall.  There was a more intimiate feel because of the amount of people.  Before, we saw the orchestra with a soloist, whereas here, the highlight was the trio with no accompaniment.  Also, there was no conductor as there had been in the past.  It was interesting comparing the two performances.  I honestly do not know which one I preferred more.

The trio’s website can be found Here.

A view of the orchestra from my seat.

As a student, I have an option of spending around $40 on a concert at the Metropolitan Museum of Art, or I can spend my lunch at a free Johannes Brahms concerto, hassle free. This past Thursday, I decided to take advantage of the Lefrak Concert Hall, as I sat in the Concert Hall with great expectation to be swept away with a splendid blend of cellos, violins, flutes, and other instruments. The heart of the performance was the Grand Piano, as the piece being played was Johannes Brahm’s Piano Concerto No. 1 in D-minor.

It was very interesting to listen to my second concerto, as the makeup of the concerto become more apparent after already witnessing one, and studying it in class.  Of the three motions, the second motion I found the most affinity to. The second motion was played adagio; the slow, almost quiet, moments, created an intimate feeling. The second motion definitely was emotional; there was at times an escalation in the music and then a return to the softness of the adagio, which brought out a certain fluctuation in emotion. A perfect accompaniment to the intended intimacy of the second motion was the perfect balance between the musing being loud and soft.

Throughout the performance there never seemed to have beeen a struggle for one instrument to outshine the others. Even the piano, the heart of this concerto, was played in the background to enrich the sound of the string instruments. At other times, the string instruments were played to accompany and enhance the sound of the piano.

The emotions felt throughout the concerto were only complemented by the powerful performance of the pianist. Instead of a stoic performance of just playing the proper keying at the proper time, the audience member were able to see the pianist throw his whole body into each key he struck, resonating the feeling meant for each note played.

Maybe its time for people to take advantage of what they have. Instead of making a trek all the way out to the city, maybe you can spend your lunch listening to some of the greatest classics right here on the Queens College campus.

To begin on an aesthetic note as opposed to a musical one, I would like to show my appreciation for the concert hall that we are lucky enough to have such quick access to here at Queens College. Each time I walk into LeFrak Hall, I notice everything from the beautiful woodgrain of the hall to the masterful, sound architecture that enhances the concerts that take place here. I just wanted to share that this does not go unnoticed any time I’m there.

Now to hit that musical note, there are a couple performances that I want to touch on specifically. The first is the two piano solos by Donald Pirone. Of course the sound and style of his playing was delightful, but I was able to relate most with the fact that he was not reading sheet music for the piece “Three scenes from the heartland” or for “Sonata.” A fellow student asked me once both solos finished how he could possibly memorize a complex piece like that. I responded by assuring him that Mr. Pirone has most likely connected with that music far beyond just a simple memorization technique. I’m sure he doesn’t go up to a fellow pianist and ask, “Aren’t you impressed at how I memorized that one?” Rather, he probably comments on his interpretation and speaks of the movements that he finds most moving.

The other performance that captured my undivided attention was the “Piano Trio in B-flat Major, D 898” by F. Schubert. I found this fascinating to watch because it reminded me of a scene from any play between three actors. It’s not enough to just know your own part of the trio. It was clear that each musician knew each other’s parts and how they all came together. I watched closely when the cellist, Miss Rosen, would close her eyes when she played, but she would open them often to look over at the violinist. When I saw them looking at each other, it seemed as if they were having a conversation through the music, which is essentially what they are doing. The violinist, Mr. Phillips, would sing his violin song, and Miss Rosen would respond back either in quick staccato notes or in long sustained ones. If this were a scene in a play, the violin’s character would be small and squeaky, while the cello would be the large and low-registered friend. In both pieces of art, this creates a lovely and well-designed contrast!

Overall, the concert was most enjoyable, and as always, I look forward to attending more events at LeFrak.