Monthly Archives: April 2019

For my final concert journal, I wanted to contribute my experiences at two separate showcases for talent in the community, and ultimately share how these two events have reinforced a sense of appreciation in music for myself and the individual experiences which each of us take away in those moments.

The first event was on Tuesday, March 5^th, at a vibrant bar in Gastown, called Guilt and Co. The event that night was coined “Under the Harlem Moon”, and showcased songs which fit within that theme of music from the 70s’ to 80’s. What made this performance even more special, was that two of my friends (boy and girl) were performing with their band, called ‘Tiffany and the Dreams’. For one of whom, this was a special guest performance. The band playing behind my friends consisted of a lead guitar, bass, drums, keyboard, and a few backup vocalists. Contributing to the theme of this performance, which allows it to stand out compared with any random bar performance, was that my friends and their band chose to interpret these songs in the 70s and 80s, through an R&B lens. This ultimately, added to the experience by detailing and capturing how songs can be re-envisioned and told with different sensations and emotions behind the narrative. A few of the songs performed by the group were; All I Do by Stevie Wonder, Closer I Get to You by Roberta Flack ft. Donny Hathaway, Rock with You by Michael Jackson, and September by Earth Wind and Fire. This performance showcased more modern sounds and elements, through the bands colouring of the tracks.

For the final showcase, I attended a talent-show at the Arts Connection, in Richmond, on Saturday, April 13th. It is an extra-curricular based program for kids, where they can take all forms of lessons in musical instruments, voice, and dance. I was able to hear about this event, as one of my other friends is a vocal and piano instructor there. This performance was special, as not only did several young students share their talents and how they interpret such high-level classical music at an early age, but the instructors performed alongside them, as well as in their own sets. This was done, to illustrate the point that music is for everyone, and at every level of experience, there is always space to grow and share. I was deeply impressed at the level of technique of the kids performing, but was more so astonished at the emotion that was conveyed beyond their skills. Whether through song or instrument, you could feel that they understood the written and unwritten language of their pieces, as it meant something to them. One female vocalist performed Chanson d’Amour, by Gabriel Faure, while another performed A Faded Letter, by William Gillock, on the grand piano. A piece which really stood out was performed on violin, by a young boy, Allegro Brilliante, by Ten Have. I could witness the subtleties in his strokes on the violin, and could only imagine the detail and patience it would take one to acquire such skills. Hearing some of these classical pieces live, rather than on a tape or online, left the listener such as myself, with the appreciation for experiencing it in its truest form, in a hall which is designed to capture the best sound and acoustics.

On Wednesday, March 20^th, I attended Noon Hours at the Barnett Hall at UBC. The performers on stage that day were Mark Takeshi McGregor on the flute, and Adrian Verdejo on guitar. Takeshi McGregor provided a vivid experience on the versatility of the flute and the different voicings it presents. Verdejo, as well presented a style and technique in guitar playing, of which I have never fully witnessed before. It is safe to remark that both of these individuals are world class talents, and together they created a very scenic and moving performance.

An interesting segment of the pieces which they picked, were that each composer/arranger was from a different country. It is evident that these two performers take pride in having knowledge and repertoire from their own respective backgrounds and cultures, and was brilliant that they aimed to provide more cultural repertoire to the audience. The pieces not only take the audience across borders, but across time as well, as we can witness the development of styles within the postmodern classical genre from specific points in history. The composers of the four pieces were Toru Takemistu 1930-96 (Japan), Ignacio Baca-Lobera b. 1957 (Mexico), Jocelyn Marlock b. 1969 (Canada), and Astor Piazzolla 1921-92 (Argentina).

The first piece was Toward the Sea for alto flute and guitar, by Takemistu (1981). The contrast and journey taken between the movements, really painted a picture of a ship or crew’s quiet voyage across the waters, and the moments they interact with their surroundings. A featured technique which Takeshi McGregor utilized on flute, was a breathing a puffing noise, which made replicated water shooting from a wales’ spout. The interaction between the flute and guitar was moving, as they acted like a collective. There seemed to be one line moving in the song, and they would pick up where the other left off, while at times play together. The sound they created was distinct from one another, yet created an image of where they were taking you on the waters, ultimately making it a very visual and interactive piece.

Moving to their last piece, Histoire du Tango, by Piazzolla (1986), Takeshi McGregor and Verdejo presented the history and development of the tango, through a four-movement spectacle. The opening movement stood out to me the most, as the classical guitar techniques used by Verdejo to explore the rhythms and the tango, truly took me to a visual place, as if I were in the streets of Buenos Aires, at night.

I was fortunate enough to coincidentally run into the both of them at the bus stop later that day, and was able to thank them for their performance, of which they were most appreciative. I expressed to them that their last piece made me envision that I was in the same geography as the country of origin for their pieces. They were both glad to hear that, and commented that this was their hope and wish for how audiences would interpret their set. This concert journal stood out to me the most, as it brought me to a different place musically, than I had experienced before.

On Wednesday, March 13^th, I was able to attend UBC’s high noon hour performance at the Barnet Hall to experience REConnected. Overall, this musical experience was one of the most unique experiences I have had, as it felt truly contemporary and interpretive to the listener. The performers were Daniel Tones, as a percussionist. He is widely known across Canada, the US, Asia, and the UK for his work in this genre of contemporary percussion, and it was a treat to witness someone of his calibre for a performance during a casual day of the week. Unfortunately, I had arrived just under five minutes late to the recital, as I was not able to hear them introduce themselves in the beginning.

            The pieces performed were titled, To the Earth (1985) by Frederic Rzweski, A/Symmetry Ritual (2018) by Owen Underhill, Invisible Cities (1982) by Linda Catlin Smith, and Temazcal (1984) by Javier Alvarez. The piece which blew me away the most from this performance, was A/Symmetry Ritual. I had never previously known the technique and different styles which can be utilized to play all sorts of percussive instruments. The range of instruments used were wind-type whistles, shakers, drums, symbols, and the xylophone. The theme presented was quite contemporary, which is where I was able to understand how this genre can mean so many things, to whomever witnesses it.

In my own interpretation, the separate instruments of which Tones and Underhill kept rotating around, provided a sense of contrast, as if it were a double performance going on. As one would play a part, the other would wait and only join in on a vastly different percussive instrument when it was their turn. In a way, their different instruments could be interpreted as if they complimented each other. Alternatively, I also got the sense that these sounds were completely different and should not belong together. This theme had myself diving into what could have been their bigger message through this piece. Though sounds may appear to have no connection and compatibly with one another, this does not mean they cannot be played together. The only interpretation which matters, could be the listeners.

As a whole, I had never heard sounds being created in the manner which they were on stage. Tones displayed a unique image when he played the xylophone with four sticks, two in each hand. The entire score represented a sense of nature, as the serene setting depicted a therapeutic wall of sound. I also quite enjoyed the humour in these pieces, as the two artists did not take their unique percussive performance too seriously. It was a lighthearted affair with moments of laughter, involving odd sounds, when tension seemed to be built. To understand the way your music will be interpreted by audiences and to be playful with it, is a skill most performers aren’t able to utilize. The foundation of this made me believe that this show could be displayed as Intermezzi, in the early days of theatre and Opera seria, as it was unique and jovial.

On Wednesday march 13 I attended a concert at Roy Barnett Recital Hall.   As soon as I walked into a concert hall I realized this not a usual concert, there were many percussion instruments such as metal and wood, shakers, rattles and a couple more and this ensemble made me very curios since it was my first time to attending a percussion concert. The event featured the composers, Daniel Tones who is an award winning percussionist and Owen Underhill who is a active composer, artistic director and faculty member in the School for the Contemporary Arts at Simon Fraser University.

The concert start with a great hook that draw all my attention.  Daniel Tones performed the piece called To the Earth by Frederic Rzewski where he played four flowerpots while he speaks.  In this piece the musical and vocal text move simple parallel motion. Calming tunes there were created from the flowerpots and the percussionist speak like storytelling creates a very ritual atmosphere. Next, both performers, played the one the recent works of Owen Underhill and it was called A Symmetry Ritual. This piece was very fascinating because it does not look like anything I have seen before. In left side of the concert hall there were percussion instruments and on the right side there are some other percussion instruments symmetric the each other. Left side instruments were played by Owen Underhill and right side instruments played by Daniel Tones. In nine parts, it utilizes a variety of percussion instruments including frame drum and bongos, alto melodica, bells, whistles, ocarinas, toys and noisemakers. The work plays with symmetries and asymmetries, beginning with both players offstage, progressively moving to meet in the middle and then gradually moving apart again. Third piece was Invisible Cities by Linda Catlin Smith played with the vibraphone. In my opinion this piece, connections in melodic and harmonic material are presented very well, obscured, and again realized through subtle changes in color, texture, and density. And the last piece was Temazcal by Javier Alvarez. This is a piece which include traditional rhythmic patterns found in most Latin America music. In this piece the maracas were used in a accompanimental manner to a type that is played on the background. The sound sources on tape include harp, a folk guitar and double bass pizzicatti for the tape’s attacks, the transformation of bamboo rods being struck together for the rhythmic passages and rattling sounds created with the maracas themselves for other gestures.

Overall, I am very glad that I have attended to this concert and made new experiences. Also had the change of seeing two well know artist performing live. Besides the spiritual setting of the concert help to relaxed during the stressful exam period.

Last Monday, on March 4 I attendant a Spring Concert of the Early Music Chamber Ensembles There were five group of performers each were performing different piece of work mostly from Baroque era. And each group have different number of performers and were using different kind of instruments. I wouldn’t image myself that I would enjoy so much from a concert of vocal and instrumental chamber music. The think I like the most about this concerts is that the chamber ensemble creates very intimate and warm atmosphere. It feels like group of close friends are playing instruments and having a good time.

First group performed the piece called Trio Sonata in B Minor, TWV 42:h6 by Georg Philpp Teleman who is a composer from Baroque era.  This performance was consisted of three parts. One violin, one viola and a harpsichord. It was a very typical trio sonata genre with two melody instruments and a continuo. Harpsichordist was performing continuo part where as violin and viola were used for the melody part.  Listening this piece was a great change for me listen with a critical mind and compare with the elements that I learned in the class. Second group performed the Trio Sonata in D, FaWV N:D1 Minor by Johann Friedrich Fasch. This time, violin and viola replace with two oboes and harpsichord still providing the basso continuo. What attracts my attention the most is that both oboes are being played by one player (mouth), so intimate is their ensemble playing; this suggests a selfless devotion to musical performance, as well a clear stand on baroque performance practice. Next group performed Concerto in G minor by another great composer of Baroque era, Antonio Vivaldi. They performed this song with a flute, oboe, two violin and a harpsichord. My first relation in this song there were more performers than the first two performances. Listening this piece help me to understand characters of Late-Baruque concerto. Fourth group performed Sonata corellisante VI, TWV 42:D8 by again George Philipp Telemann. This time there were four performers, two of them were using flutes, other two were playing gamba and harpsichord. I think this was the performance I enjoyed the most. All the performers were playing passionate and with a harmony which creates a very good chemistry between them. Finally, the last group performed Quartetto in F Major, Op.8, No.3 by Carl Stamitz. This time there were five performers and they were playing oboe, horn, violin, cello and harpsichord. My initial expectation was there should be four performance because there is a usually four performance on Quartetto. And I realized that Quartetto form is very similar to trio sonata only difference is that four music parts performed by their solo melodic instrument and basso continuo.

Overall, this concert was a new experience to me and I did not think that I would enjoy this much. Besides, listening different instruments throughout the concert was very interesting. This concert increased my curiosity to this type of performance. I can’t wait to see an another concert.

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April 11, 2019: 8pm

This concert is by far the most crazy and different concert I’ve been to in a long time. I decided to attend because I have little to no background in bagpipes. In fact, I had no idea there were different kinds! Cristina Pato plays the Galician gaita, which is the traditional bagpipe played in Galicia, alongside a bass player, an accordion player and a drummer. The first piece they played began without Cristina on stage. She walked in halfway through. They played with silence in this piece, creating space for expectancy, which I thought was great. The style of their music ranged from jazz to solos to folkloric music from many different places. Honestly, I don’t know how to write about this concert.

Cristina also used the breaks between pieces to share about the pieces as they played, introducing each member of the quartet and their background, and expressing the inspirations of the pieces. It was a type of music that I have never experienced before, as I’ve never been to Galicia or Spain or Peru or any of the other places their music was inspired by. As the Galician gaita is used in traditional music, much of the pieces that they played were inspired by the traditional rhythms and styles of different places. As each member of the quartet originated from different places, they played with the styles of each of their homelands. Their performance was done with so much ease and enjoyment that the audience was immediately pulled into the performance.

The way they organized the night was as a journey through cultures. They started with Galicia, because that is where Cristina is from, and played their take on the folkloric music from that area. This included vocals that were fascinating and also solos from the quartet members. The interesting thing about this concert is that it wasn’t about watching the members and just applauding. They wanted to interact with the audience and create a space where people could enjoy themselves while listening to the music.

As they moved from place to place, I could hear how the rhythms and melodies changed and it was fascinating. Although I am not familiar with the original rhythms and melodies, I could hear that they were distinct and different from those that I have heard before. As the drums and the bass played together, I could hear how they played off of each other, improvising and creating on the spot. They knew where they were going and went together in different ways. This is the kind of jazz that I’d wanted to hear and experience. The most interesting part is that the way in which they improvised didn’t come off as wanting to “show off,” as many times it appears as such, but rather of pure enjoyment of making music together. Their music came not from a desire to perform so much as a desire to have fun. I think this made all the difference in how memorable to concert was.

In fact, when asked for an encore, Cristina invited everyone to learn to dance a Galician dance. It was an experience I won’t forget. If you ever have a chance, go to one of their concerts and experience the world!

April 6, 2019: 8pm

I attended this concert because jazz is something that I’m interested in.

The first piece that was played was Rimsky-Korsakov’s “The Snow Maiden: Dance of the Buffoons.” It sounded like a soundtrack when I heard it. The piece used quick moving lines which I felt sounded kind of like a cold rushing wind. This, with the melodic lines inter-dispersed throughout the piece made it feel very fun and intense. The theme was quite a jolly sounding one and reflected the feel of “buffoons”. Often it was played by the oboe or a small woodwind, which gave it a light feel. Around this was the intense moving line which, to me, set the scene of being in the cold. However, I have not read this story, so I wasn’t entirely sure what was happening.

The second piece was the Piano Concerto in F Major by Gershwin. This was a weird piece to my ears… Perhaps I am not in-tune with jazz, but it was a confusing piece. Overall it was interesting and drew my attention, but the piano sections seemed to sound a bit out of place. This may have just been my lack of experience with piano concertos and with jazz, but the piano seemed to interrupt everything in the piece. In the middle of a rhythmic section, the piano would enter with a slow melodic line. It was always a very interesting line, but I would feel a bit off put by it. There also didn’t really seem to follow the rules of major and minor, which was also very interesting. The melody just flowed here and there. And then suddenly, rhythmic section. It was really interesting because one would randomly show up in the midst of the other. Perhaps I was just very tired, and my brain was unable to process it, but I was very thrown off by the changes…

The last piece by Rachmaninoff (Symphony No. 2 in E minor, Op. 27) was much easier for my brain to process. The first movement was very emotional and lyrical, creating a tension of longing. The lines were stretched out amongst the strings and created a feeling of continuity that made me feel like it was a longing for something lost. The solo oboe line in the middle of this piece was used with pure silence, creating a sense of loneliness and which leads to a section of restlessness. The second movement created a tension that was really fun to sit in and listen to. And then, from within the tension came the clarinet, pulling the entire movement into a contented melody. From which it slowly builds up and the restlessness of the constant movement returns. I found it fascinating to also hear how silence played a part in increasing the intensity of the piece. In the middle of the second movement, there is a moment of silence, and then it jumps right back into the fast-paced movement of the strings. The end of this movement slows down and leads into the third movement, where there is suddenly a beautiful melodic line of contentment. The clarinet leads this and creates a sense of peace and rest where there was previously restlessness. In the last movement, the clarinet again was used to call the piece back to the main theme as the orchestra played around with the other themes. It was really interesting to hear the movement building up and then, with the clarinet’s entrance, return to the most familiar theme. Overall, this piece was very expressive and lyrical. It ended with an intense finale and, as with the previous VSO concert I attended, allowed for a firm and impressive closure.

March 30, 2019: 8pm

This concert I went to on a whim. I’d heard of classical guitar before and was interested to hear what it sounded like in-person. There was also a guest conductor.

The first piece, Mozart’s Symphony No. 35 in D Major, also known as Haffner, was the opening. The first movement was very exciting, using the theme very openly and clearly. This made it easy to follow and easy to listen to. It was very festive sounding and upbeat. The second movement made a lot of use of double reeds. The oboe and the bassoon were quite prominent at the beginning. In the last movement, one thing I noticed is that the theme was again very festive, but the theme didn’t finish in its entirety until the very end and repeated the beginning and middle many times. I think the reason it was used in the opening was its pretty extensive use of the double reed instruments. It helped to connect with the second piece.

Before the second piece, Rodrigo’s Concierto de Aranjuez, Pablo Sainz Villegas came on stage to share a bit about the piece. He expressed his interpretation of the piece and what he felt the piece spoke of. He also shared a bit of the background of the composer. The second movement was composed after the death of his child. Villegas felt as though this movement reflected Rodrigo’s experience of fighting with God as he struggled with his loss. This was really expressed as he played the movement. The first movement began with the guitar starting with a theme which is repeated by the orchestra. It then continues to a different theme which plays alongside the bassoon. The cello solo in the middle of the movement also creates an interesting change in pace, and this is repeated with the oboe and the guitar. There is a lot of interaction between the melody/theme the guitar plays and that which the orchestra plays. Unlike the Brandenburg concerto we heard in class, rather than having a concertino that plays alone, the guitar is interwoven with the orchestra, creating a mix that reflects interaction and relationship. At the end of the movement, the bassoon (or English horn?) and the guitar play in unison to end. I found this really interesting because Villegas spoke of how the English horn was used by Rodrigo to express the “voice” of God. The second movement began with the guitar strumming as the background to the English horn’s solo, which introduced the main theme. It was a beautifully haunting melody. This theme is then repeated on the guitar with flourishes and more expressive (the tempo is stretched and manipulated). The English horn then responds with another take on the theme. The way the two instruments interact with the same theme in such an expressive way made tears come to my eyes. With a melody that was hauntingly memorable and played with such expression, this movement was very emotional. The solos were used in a way that expressed so much in very little. The final movement was also expressive but the theme itself was more upbeat and the piece itself ended with the guitar playing a final riff that closed with the orchestra and guitar repeating the same note three times, like a farewell. This piece was so good. The theme was passed from guitar to orchestra to guitar etc. Very memorable piece.

After this piece, Villegas played two solo songs, Paganini’s “La Campanella” and Tarrega’s “Recuerdos de la Alhambra.” I never thought the guitar could sound so expressive and melodic until this concert. Would definitely recommend to anyone who’s interested.

The last piece, I felt, was also included because of its prominent oboe/double reed line. In Schumann’s Symphony No. 2 in C Major, the oboe line is used to lead the rising line and creates much of the movement in the piece. The ending is very grand and fanfare-like which lifts the entire mood of the space. By using this, it created a closure for the night and was quite a listen.

February 13, 2019: 12pm

The first piece was very interesting as it started out with only one hand. As the second hand joined, I could hear the same melodic line repeated from one hand to the other which surprised me. Usually, when I listen to music, I don’t notice these sorts of things. The piece then moved to a slower section where both hands played together, creating harmonies. I also didn’t think that the piece would be so slow, as the toccata’s I’ve heard before are usually faster-paced and with a lot of movement. However, it picked up again halfway through. The left hand started with the theme and the right hand repeated the same as the left hand continued. This song was a great pick to start off the program as it pulled the audience in with it’s interesting beginning.

The second piece, a nocturne, began with a beautiful and slow melodic section. However, it changed to a really fast-paced arpeggio-like section, which surprised me and confused me at first. But as the song continued, the first melodic section fused with the faster section, creating a very aurally interesting piece. There was a guy sitting in front of me who fell asleep during this piece, which made me laugh. The piece had a really interesting shape to it and seemed to be always morphing as it went on. It seemed to me to be quite unregulated with its rhythms and melodic shape. Overall it is a song that I enjoyed. The slower sections were melodic and expressive, while the faster sections created intensity and complexity. It was cool to hear the mix of the two.

The third piece, Légende No. 2 “St-François de Paule: marchant sur les flots” seemed to tell a story to me. I felt like I heard water flowing and rushing around as the piece went on. It was like an experience with turmoil and fear while a sense of consistency was underlying the tension. The piece seemed to have an ongoing melody in one hand as the other created a lot of intensity and movement. Halfway through, it sounded to me like there was some sort of transformation to calmness. I felt as though it was like the feelings left behind by a sunset. Where there is an intensity of emotion as the sun is setting because it’s beautiful and breath-taking but after it’s gone, there’s a sense of contentment and reflection. That there was beauty and now, after enjoying it, it is time to return.

The last piece that Jalbert played was the Sonata No. 3 in C minor, Op. 29 “After old notebooks.” I thought it a really interesting piece because the melody was beautiful but inter-dispersed was many a deep growl of bass. As I saw the title of the piece before I heard it, I felt like these were like the parts of the notebooks that were aged. The Andante assai section had a beautiful melody but kept these growls throughout the piece as well. It ended softly and gently but the growl was still there. The last movement, the Allegro con brio, ma non leggiere was very intense. I struggled to find a continuous melodic line at the beginning, but there were certain melodic lines that appeared here and there. It was such a fascinating piece. As the song continued, there was so much to hear that I was quite overwhelmed. However, because it was such a piece, it ended the program beautifully as an intense finale.

February 2, 2019: 7:30pm

This opera was the first that I have ever attended, so I did not know what to expect as I entered the hall. As I sat down and looked at the stage, there was a set; two risers on either sides and a structure in the centre that had the appearance of pillars with multiple ramps. Again, I had no idea what to expect. Before the first act, I perused the program. Finding the synopsis, I read it quietly as the rest of the audience filled the room. Looking back, having read the synopsis really helped me to understand what was going on as I watched. Anyways, there I was, sitting there on the edge of my seat awaiting the first notes of an orchestra I couldn’t see. The lights dimmed as the orchestra struck the first chords…

The overture began with such force that I was immediately drawn into the intensity of the music. I noticed that the piece included a lot of quick, moving parts which I think increased the tension and expectancy that I felt as it began. The first piece began, with intensity and movement, creating a sense of urgency and drawing me into the story. When the three ladies appeared, I was struck by their stage costumes. Each one wearing a different colour with very different styles, I found it fascinating and beautiful. As each entered (singing), they each had a slightly different colour of performance which helped me understand why they’d each been given their own colour. It was also very fun when they physically expressed their desires to stay with Tamino and to not allow the others to stay. They would pull each other away and looked at each other with intensity. Another thing I noticed is Papageno’s pieces often included him literally playing his pipes, which created a very light feel to the song. The young man who played Papageno was on the smaller side and this, plus his costume, created a wonderful representation of the character. His expressions of wanting to find a girl were paired with a group of bird ladies, which flitted around him as he sang. It was a great way to reflect the way in which he desired to catch a woman but was unable to take hold. As the Queen of the Night arrived, I was struck by the strength of her song. It was intense and emotional from her longing to see her daughter. Yet, suddenly, as she declared Tamino as the hero who would rescue Pamina, her song began to have intense runs in a very high register. I was a bit confused but also fascinated by the way her song changed.

The other piece I noticed was very interesting was Papagena and Papageno’s song. As they sang together, the song itself moved with their emotions and interactions, which I thought was cool. Another thing I noticed was that there was one melodic line that was repeated many times throughout the piece. It created something very memorable for me and whenever I heard it, I felt like it lightened the overall story.

Overall, when I left the hall after the opera ended, I was left feeling very overwhelmed by the entire show. It was so intense and beautiful that I was left in wonder by the skill of the singers and the creativity of the opera and its story. This was the first opera I’ve attended but it definitely won’t be the last.