John Anthony Theatre Concert Analysis

The Collin College Spring Creek Campus was fortunate due to the Department of Music’s Faculty Recital on Thursday, October 29, 2015, at 7:30 pm in the John Anthony Theatre. The four performers at this recital were Brian Allison on piano, Garry Evans on clarinet, Natalya Pitts on piano, and Alicja Usarek on violin. The music program that night was comprised of five works, including: “Fantasy for Two Pianos in A Minor”, “Six Studies in English Folksong”, “Melody in A Minor”, “Dance Preludes”, and “Suite for Violin, Clarinet and Piano Op. 157b.” After listening to each of the musical compositions in person, I formed my initial opinions, researched their historical backgrounds and characteristics to provide an informative concert review. Furthermore,
the recital began with “Fantasy for Two Pianos in A Minor” (1889) composed by Alexander Scriabin (1872-1915). As the title implies, the instrumentation is for two pianos and the key is in A minor. This piece only has one movement that lasted approximately six minutes, and it is from the Romantic period. The characteristics of Romanticism (1820-1900), incorporated: program music, expressive tone color, colorful harmony, and expanded range of dynamics, pitch and tempo (Kamien 257). Scriabin utilized all of these characteristics in this particular piece; he demonstrated the use of expanded range of dynamics by producing new sounds with significantly high and low pitches included. When Allison and Pitts performed this listening example, I noticed colorful harmony because the chords were constructed with notes not in customary keys. Program music was evident during my experience while listening as if the instruments were conveying a scene; I envisioned a couple dancing together in a ballroom. Expressive tone color was displayed when the two pianos were mixed together to produce a distinctive sound; the tempo was getting quicker as the first movement progressed similar to if the pianos were competing with one each other. Overall, Allison and Pitts executed a fine job performing Scriabin’s work because of how well all the Romantic period characteristics were presented, and I enjoyed listening to the whole piece from start to finish. Next, the recital moved onto “Six Studies in English Folksong” (1926) composed by Ralph Vaughan Williams (1872-1958).
As the title suggests, there are six movements. The instrumentation for this piece was for clarinet and piano with a total duration of roughly seven minutes. The movements are in the following order: Adagio, Andante Sostenuto, Larghetto, Lento, Andante Tranquillo, and Allegro Vivace (Bum 1). Williams’ work is from the twentieth century with each movement having its own special meaning. Adagio means slow in tempo; andante sostenuto means a moderately slow sustained tempo (Italian Musical Terms 1). Larghetto means a rather slow tempo; lento means slow in tempo as well (Italian Musical Terms 1). Andante Tranquillo means a moderately slow calm tempo; allegro vivace means a fast lively tempo (Italian Musical Terms 1). When Evans and Pitts performed this musical work, I observed how each movement differed in tempos which added meaning to Williams’ piece. I appreciated the superb sounds the clarinet and piano assembled when paired together; the high pitched clarinet sounds and low pitched piano sounds grabbed my attention throughout the listening example. Altogether, Evans and Pitts achieved a momentous feat performing Williams’ work because of how accurately all the movements were portrayed, and I was thrilled to listen to the entire piece from beginning to
end. Then, the recital proceeded with “Melody in A Minor” (1982) composed by Myroslav Skoryk (b. 1938). As the title indicates, the key is in A minor, but there is only one movement. The instrumentation for this work was for piano and violin which spanned imprecisely three minutes total, and it is from the twentieth century. The characteristics of the twentieth century, encompassed: harmony, melody, rhythm, and tone color (Kamien 361). Skoryk used all of these attributes in this specific piece; he exhibited the utilization of harmony by displaying various levels of dissonance. The high pitched sounds of the violin being played vigorously were quite irritating at some points while the sounds of the piano were frightening. When Pitts and Usarek performed this musical composition, I perceived a dark tone color because of the uncommon playing procedures for sound effects. The melody and rhythm seemed to cast a shadow when the violin overpowered the piano throughout the listening example. I assumed Skoryk was going for a dark tone color as the work progressed, and I began to understand why this piece is popular for its time period and now. For the most part, Pitts and Usarek accomplished an amazing task performing Skoryk’s work because of how relevant the twentieth century characteristics were represented, and I was pleased to listen to the whole work. Afterwards, the recital advanced with “Dance Preludes” (1954) composed by Witold Lutoslawski (1913-1994).
The work depends on folksongs from Northern Poland, the component with the composer's standard expertise, bringing about five little movements of impressive appeal, going on for around seven minutes (Witold Lutoslawski 1). This piece is from the twentieth century; the instrumentation was for clarinet and piano. The movements are in the following sequence: Allegro Molto, Andantino, Allegro Giocoso, Andante, and Allegro Molto (Witold Lutoslawski 1). Lutoslawski’s piece is from the twentieth century with each movement having its own unique characteristics. Allegro Molto means a very fast tempo; andantino means a walking speed tempo (Italian Musical Terms 1). Allegro Giocoso means a fast humorous or playful tempo; andante means a moderately slow tempo (Italian Musical Terms 1). When Evans and Pitts performed this musical composition, I detected how each movement was distinctive due to the different tempos which further enhanced Lutoslawski’s work. I admired the magnificent sounds the clarinet and piano gathered when coupled together; the pleasantly pitched clarinet sounds and perfectly pitched piano sounds sparked my curiosity all throughout the listening example. All in all, Evans and Pitts completed an important mission by performing Lutoslawski’s work because of how well the movements reflected their respective tempos, and I was cheerful to listen to the entire
work. Lastly, the recital concluded with “Suite for Violin, Clarinet and Piano Op. 157b” (1936) composed by Darius Milhaud (1892-1974). As the title signals, the instrumentation is for violin, clarinet, and piano. This work is from the twentieth century, and it has four movements in total. The movements are in the following arrangement: Ouverture, Divertissement, Jeu, and Introduction et Final (Lamoreaux 1). The tone color of this piece was mainly uplifting and positive because the three instruments blended well together. The melody and rhythm appeared to play favorites when the clarinet and violin dominated the piano; I could barely hear the piano during the performance because of the powerful combination formed with the clarinet and violin. However, the sounds of the piano were mostly relaxing whereas the clarinet and violin were more upbeat. The harmony was balanced when all three of the instruments were simultaneously playing together. When Allison, Evans, and Usarek performed this musical work, I viewed the harmony as a junction where all three instruments could unite. I valued the beautiful sounds of the clarinet, the fine sounds of the violin, and the honest sounds of the piano. In total, the performers all collaborated well, and I was happy to listen to the final piece. Moreover, the recital was an hour well spent because of how well each musical work was performed. The Romantic and twentieth century periods were both well depicted from my perspective because of harmony, melody, rhythm, and tone color. The tempos of the different movements equally added to a better depiction of the musical compositions. I am certain Scriabin, Williams, Skoryk, Lutoslawski, and Milhaud would all be proud to see the extent of their music. All four performers endeavored for the best possible recital that evening which made the overall experience exhilarating. Therefore, the Collin College Spring Creek Campus was lucky because of the Department of Music's Faculty Recital on Thursday, October 29, 2015, at 7:30 pm in the John Anthony Theater.