After attending each event in its entirety, the student will submit to the instructor a formal written review of the concert. Each report should include a title page that clearly identifies it as the first, second, or third (or another) report and as an instrumental or vocal/choral event. The report should be in the student’s best prose and should include: 1) basic information about the event attended (what?, who?, when?, where?, etc.; 2) a description of at least three of the performed pieces, including the first and last; and 3) the student’s impressions of the pieces performed, the concert as a whole, the atmosphere of the event, etc. The body of the report should be no less than 750 words in length, and students are encouraged to have someone proofread their reports for them. Concert reports must be submitted in electronic format to LiveText. Assignments must be submitted by 11:59 p.m. CD/ST on the due date to be considered on time. ALEXANDRA BILLHARTZ, SOPRANO KRISTIN JONES, PIANOhttps://www.youtube.com/watch?v=ITVKf0P7uVIhttps://www.youtube.com/watch?v=v5C11w4VsSghttps://www.youtube.com/watch?v=wxLpC9uSM2MELIZABETH LONG, PIANOhttps://www.youtube.com/watch?v=eN2YgGUkmeEhttps://www.youtube.com/watch?v=uuPnGLEJgy0IAN MURRELL, BARITONE KRISTIN JONES, PIANOhttps://www.youtube.com/watch?v=pUn0UQusj9Mhttps://www.youtube.com/watch?v=iYFJoT5Kj0shttps://www.youtube.com/watch?v=AX06TI1uxdQhttps://www.youtube.com/watch?v=xVzBo7yUFYE
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Instrumental Faculty Recital:
Cara Dailey – Flute
Ross Erickson – Percussion
September 22, 2015
Wheeler Concert Hall
Cara Dailey and Ross Erickson drew a large crowd on September 22nd with over 75
percent of Wheeler Concert Hall filled with an eager and supportive crowd. In the spirit of a true
performer, Cara Dailey showed off her virtuoso flute in a lovely gown, winning over the crowd
with a spectacular rendition of a 20th century composition, Andante et Scherzo by Louis Ganne,
to start off the concert. The concert progressed with renditions of Tambourin Chinois by Fritz
Kreisler, Variations on Japanese Children’s Songs by Keiko Abe, and Lute Suite in E minor
Allemande by Johanne Sebastian Bach, which were performed by Ross Erickson on various
percussion instruments. Dailey introduced the crowd to Antonio Vivaldi’s Concerto in C Major,
RV. 444 on the piccolo in-between percussion performances. The concert finished with a unique
collaboration between the two performers as they tackled a very complex composition by Inglof
Dahl, entitled Duetttino Concertante.
In Andante et Scherzo, Dailey showed off both the broad dynamic range of the flute and
transitioned between octaves throughout the piece. The crowd admired her virtuosity, as she
started slowly accompanied by the piano with the distinct timber of a well-played flute. The
accompaniment was in accordance with the flute as the dynamic changes were often similar.
The piece had a pleasant, positive feel before it transitioned to a more reflective section, which
could have been attributed to some modulation in the piece. Nonetheless, a pleasant section that
was rather similar to the start resolved the piece.
In her next piece, Concerto in C Major, RV. 444 by Antonio Vivaldi, Cara demonstrated
her piccolo proficiency throughout three movements. The piece was intended for floutino which
may or may not be a piccolo, but you wouldn’t be able to tell by the flawless rendition. The
piccolo had a higher pitch than the flute and was also accompanied by the piano, likely a stand-in
for the orchestra which was meant to play along side the soloist virtuoso. The movement ranged
from a twilight feel with waiting to a potential celebration feeling. The melody was traded back
and forth between accompaniment and the piano. The second movement “Largo” had a
different, more mysterious and contemplative mode with a minor feel. The third movement,
“Allegro Molto” had an accompaniment that almost reminded me of a horn cadence repeated in
the background. One phrase was best described as a a feeling where you were sneaking through
a house. Near the end, the piccolo gained some momentum and excitement right before a sudden
modulation-type change that reminded me of rejection before returning to the celebratory type
However, Erickson’s performance of Keiko Abe’s Variations on Japanese children’s
songs on marimba is also something to celebrate. The low/bass notes of the marimba start the
piece with vibrations that elude to mystery/intrigue that morphs into a feeling of curiosity. He
creates broad dynamic changes on the marimba as well as purposeful dissonance which is easily
created by the use of four mallets and the broad pitches produced across the instrument. His
movements up and down scales with the dynamic changes and curious melody almost leave the
listener stuck in a time warp. Overall the piece was very rhythmic, and made me wonder if the
children’s songs were telling stories about dragons and magic.
At the end of the concert Erickson and Dailey combined their talents to master the
rhythmically complex, polyphonic, and dissonant piece Duettino concertante written by Ingolf
Dahl. The piece had four movements that were tied together in such a manner that the start of
one was difficult to tell from the end of another. However, the piece included 87 key meter
changes and a compound meter. Dailey played her part on flute while Erickson used a slew of
percussion instruments from snare to symbols and a range of mallets. His part was acrobatic in
nature but he still managed to master it beautifully. The piece itself sounded like a conversation
between the flute and the percussion with the rhythm repeated imitatively. Certain sections
reminded me of sibling banter in a “ya-huh” “na-uh” imitative style. The mood changes
throughout with playful banter and arguing between “sides” turning to woeful reflections where
an argument is settled. Then, once again the banter resumes with what appears to be taunting
between the two. Overall, the piece was well done.
The musicians did a wonderful job, and it was obvious that Dailey, Erickson, and Anne
Fielder (the accompaniment) put a great amount of effort into bringing the concert together.
The pieces displayed a range of feelings and overall intrigued the audience. The appreciation of
the audience for each piece was clear as applause rang out across the concert hall. While I would
listen to most pieces again, I would not recommend using Duettino Concerante by Ingolf Dahl as
running music because the rampant alterations in compound meters and key changes would not
be appropriate. However, if one has time to sit down and listen, they will find appreciation in the
amount of work Dailey and Erickson spent preparing this concert.
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