Leighton
Cooper
The Shasta
college Spring Symphony Orchestra held their concert on Sunday, April 26, at 3
p.m.
It was
really three concerts in one. The
conductor was Richard Fiske.
Dressed in his tuxedo, he conducted all three groups.
The first
piece Austrian Peasent dance was played by the Shasta Youth Symphony. It was as if a moving with
distinguished through a group of friends.
It left you with a feeling of restful charm.
After the
performance the youth symphony members left and the Shasta symphony played Serenade No 1 in D Major having
five movements. Allegro moldo
Another famous Composer Michael Tilton Thomas also directed it and became the
person who conducted the First-ever You Tube Orchestra. Dr. Fisk began the Allegro Moto section
(in my way of thinking) manners to
be paid attention to, take from this example to create a feeling of calm
comfortableness with a cup about to be picked up. The molto feeling persisted the influence of restful charm. It contained self-contained deliberate
self-assured control of compositional technique. Some parts having
two separate instrument ranges were interwoven creating two shades of
feeling overlapping.
Onto the
second movement Scherzo Allegro non troppo instead of a cup, the water spilled out moving. It was still a puddle, moving with a
calm movement. All of the drops together created an
easy elegance of intimacy. Puddles
are intimate donÕt you think?. A
stroll on a street stepping in puddles.
I think we have all done that. Eventually the puddle morphed into each
side going its separate route.
With a few drops from both sides replacing each other. The feeling was walking through a store
looking down the aisles. Very regular To fulfill certain expectations. Very predictable movement.
On familiar
ground every way I look. I
replaced a calm certain pleasant rather than a creative surprised or
experimental mood swing. I felt like I was sitting though over-produced
comfortableness.
The third
movement Adagio non troppo is moving at a browsing speed. Slow enough to be involved and capture
a moment of musical taste and in certain areas to want to be a hero rather than
just an observer. This adagio
blended sad tragedy with heroism A common structure that Brahms produced. It had a spotty and motley characters
entering and exiting at various times.
Built through all of these was a river of familiar ground so one never
encountered any challenge whatsoever.
This grand orchestra quality that was produced sounded dramatic and
grand. Some stones thrown from a
galloping horse in a little back yard dimensioned these little notes of
gracefulness into a nice stone path.
Pleasant to walk across.
With a pleasant breeze a plane descends while I mow my lawn. With the mower and the opening of my
trashcan to organize my yard.
The fourth
movement Scherzo allegro brought some action Between the machinary in Heaven
and the maintenance on earth. This
scene moved to more of an industrial zone. With some spat between the manufacturers and
environmentalists to force a sanitized piping system between different
industries that produced clean breathable air at the end of the day. By
stripping out useable industry components and refining into a breath of
breathable air..
The two
remaining movements reticulate by a perpetual repetition into napping
melody. Back to a calm regularity.
The second
half featured a special guest.
Fredrick Moyer has been a full-time concert pianist for 25 years. He has played in 41 countries Suntory
Hall in Tokyo, Sidney Australia, Windsor England.
He has also
played with full orchestras including the London Symphony Orchesta,
Philharmonic, and many National Orchestras. He has played on 23 recordings and he is a true champion of
the musical experience.
He also has
been happy to try new sounds. One
of the favorite piano's that he use the Bosendorf 290 SE was pioneered with
him. He recorded and wrote software for quite a lot of musical training. Probably on the Atari ST, for 15 years
that was considered the midi computer while the graphics and video side had
moved over to the Amiga. Before
1998 when for 7 or eight years everything got complicated because the actual
chassi for plugins had not been standardized. Pre PCI you had about 10 choices for a plug in system in
your computer and trying to understand which one you wanted and why; got you
confused. He is also considered a
respectable jazz pianist and a member of the Jazz Arts Trio.
He also
feels that the National Endowment for Arts and Humanities is important to check
out. Organizations that promote a
shared community of thoughtful influence for everyone to try to be a part of.
The main
theme is introduced with a horn solo, with the piano interceding. The woodwind
instruments proceed to introduce a small motif before an unusually placed
cadenza appears. The full
orchestra repeats the theme and introduces more motifs in the orchestral
exposition. The piano and
orchestra work together to develop these themes in the piano exposition before
the key changes to F Minor (from F Major, the dominant) and the piano plays a
powerful and difficult section before the next orchestral tutti appears. The development, like many such
sections in the Classical period, works its way from the dominant key back to
the tonic while heavily developing themes. At the beginning of the recapitulation, the theme is
replayed before a differing transition is heard, returning to the music heard
in the piano exposition (this time in B-flat major / Bb minor) A coda appears
after the minor key section finishing off this movement.
The horn
plays a solo in the dominant key, the piano climbs up a major scale, the
woodwind descend the piano climbs then makes a romantic turn.
After about
40 seconds the full orchestra joins in.
The piano climbs like a sneak thief climbing over several chain link
fences. This thief knows how to
use what he is trying to steal. He has the college vocabulary to deal with
every aspect involved. he threw a
party on Bernie Madoff's yacht.
His guarded
craftsmanship he shares with others who bother to come close. It isn't easy, but they are willing to
struggle to wrap their heads around large concepts. The piano quiets to a church thankful part. The strings and piano play off on intamacy. The piano acting like the scout to the
orchestra. But sometimes be a
deviant love child and defying the stepness of the orchestra. Most of the time the pianist is a good
scout. This scout is so healthy he
decides to become a marathon runner.
The strings machine themselves as a Goodyear photography blimp tracking
the marathon pianist. But some of
the folks in the blimp want to join in the race so they skydive onto the
marathon track. Put into a corner somewhere the stolen plans sit, being
digested by an illiterate person with a doctorate. They have to write new plans to lay out extended logic and
expose more variations and reissue a larger case of technological wonders. The people respond by joining in
gladness of Thankfulness each owning a part in the creative process. They
decide to create an ad campaign featuring a carnival with the Phantom of the
Opera in the Mirror chamber of the Merry Go round. But he
enjoys
watching kids and people ride up and down on ponies.
In the
second movement, Allegro Appassionto The piano plays a tumultuous melody
followed by the full orchestra as the woodwinds set up the sails and the sail
boat takes off as the waves crest and ebb and flow pushing the boat in short
spurts between waves checking out the coasts of several nearby channels. The piano repeats with white water
expansion expressing a small reflection as short skips of a violin bow skip
rocks across this little reflective passage coming through the full glory of
fun praises this little outing.
Keeping the fun going on steady turns are required every so often. Maybe a little sewing of a broken sail.
The arpeggiated string parts remind me of a mending for a sail to capture and
propel a journey again.
The mood in
the 3rd part is very indoors, Adanto tends to be more indoors and processional
music. It caters to leisure. During our time it is too slow but when the
woodwinds top the strings as if connecting together thought filled geometrical
spaces. This is pure architectural
leisure. It is not image
drive. More abstract for pure
listening, more introverted. Maybe
doing algebra to this might work.
Exploring geometrical principles might work. Through the center it is more abstract more psychological with
semi randomness produced within.
Maybe making a sail with a new form of calculus opening up odd spaces
every once in a while being interrupted by a descending question describing
scales based off of rational instead of real numbers (equal temperament) That
hints that a conference door will open tomorrow to take a personal taste of
line with discussions and incorporate it into an environmental page that shares
creativity. Creativity can move
slowly. Although I am a bad
example I work overly fast craftsmanship generally does not. This piece changes to a pottery wheel
of building up from below midway through it. Adding the ornamentation from a dancing chandelier throwing
off colored lights against light reflecting wall paper builds a peaceful lovely
leisurely piece. The counterpoint is experimental.
The fourth part sounds very much in the vein of Ragtime music. Allegretto grazias. It is joy making practical music. You could do chores to this music and the fast melodies are like throwing the different ingredients into a pot while racing around a large cutting board. It's choppy fragmented textures are ripe for bringing happiness and participating in a happy process. This is easy does it dreams of maintenance and just enjoying the day to dayness. Very ordinary, very fresh. Very happy and a nice way to kick off the salivation which the end strings are pangs of a rapturous appetite. They suggest deboning for a lovely dinner. This is excellent kitchen cooking music. The quick bursts of piano suggest the aroma from freshly cooked meat.