THE BIG BOLD BRASS On Tuesday, November the 3rd, the grade 9 music band went to the Roy Thomson Hall to see the Toronto symphony orchestra: The Big Bold Brass. The first music piece played in the orchestra was the “Festive Overture” composed by Shostakovich. Shostakovich is a Russian pianist and composer and he is well known for his impressive skilled musical talents at a young age. The Second piece presented to us, is called the “Fanfare from la Pe ́rie” by Paul Dukas. It was composed in1911.
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Not choosing a band instrument in middle school was actually one of the best decisions I made. Selecting a rotation of different electives brought to my attention that music had become the spark of my intellectual curiosity. And from then on I was hooked as an “orchdork”. As an orchdork, I would directly relate real-life situations to the lessons and values I learned in orchestra. Especially as I get older I begin to notice the values orchestra and instilled into me through hardwork and dedication
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is the entire essence of that night and Jazz. Playing the music for the sake of the music and craft itself. Until this point I had yet to attend a live music event and didn’t understand what had made it that great but as the music poured out the instruments it became clear that live music this character of vigor and vitality that is impossible to capture on any medium. The entire ensemble played with virtuosity and most important of all passion. There’s this sense of dynamic and improvisational interaction
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It was Thursday, September 25 at 8 P.M. when the St. Lawrence String Quartet came on the stage and blew my mind. The St. Lawrence String Quartet performed an ensemble of classics from Haydn, Verdi and Dvořák at the Twenty-third Annual Souren L. Chamichian Endowment Concert. The ensemble was triumphantly dramatic and emotionally rich with graceful phrasing, smooth transition and beautiful sound. The Staples Family Concert Hall was ecstatic as the St. Lawrence String Quartet showed their passion for
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The next song was called Quincy and the Count. During the song, they put a cap on the trumpets which was different because I had never heard or seen that before. This song was more upbeat and was louder like the first song. Personally, I thought it was too loud at times. After these songs, a different, older group came out to play. This was when the guest player came out and was accompanied by a saxophone. I could tell he had been playing for a long time and he seemed to really enjoy it. For the
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This essay is written about Chapter Seven, “Concentration: The Spirit of the Zone” and Chapter 4, “FUN: The JOY IN MUSIC”, to provide a reader with the opinion of the chapters and the topics discussed in both. Chapter seven explained the state of “the zone”, in which musicians can play music with grace, precision and passion beyond normalcy. In order to achieve this state, a relaxed and focused brain is the key to peak performance, as stated in the chapter itself. Written with meaning and passion
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Ives didn’t have any lessons or classes on music or composing. Ives may not have had early experience with composing but by adding dissonance he began to become a better musician by 1918 (Moore, 2009). Charles Ives’ primary instrument was a piano. Charles spent most of his time studying with his father, learning the way of composing and arts of music. Charles becomes fond of music in 1819. A few of Charles Ives’ pieces were the Symphony No. 2, Piano Cantata “Concord”, and “The
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trade of his father. His father, Charles-Joseph Sax, was a cabinetmaker who was ordered to provide musical instruments
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The concert that I went to was the “Exxon Mobil Summer Symphony Nights: Scottish Fantasy”. It was at the Miller Outdoor Theatre. It was my first time attending a symphony concert. The outdoor theater is set up very nicely because at the bottom section they have seats which if you were able to get tickets early you got to sit there. The top section is on the mountain which people were able to take chairs or blankets to sit on the floor. I really like that. The environment overall was great. The people
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After “Crowded Solitudes”, a commendable album recorded with his trio and released on Clean Feed Records, Eric Revis, a bassist of enormous category, arrived at the Jazz Gallery with his new quartet composed of other three creative musicians who are not afraid to break the ‘rules’ and show their untamed appetite for freedom. They are the sensational Ken Vandermark on tenor saxophone and clarinet, the hyper-inventive Kris Davis on piano (she already had been a member of Revis’ trio in the cited album)
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