Enclosed are details regarding ACMA's next concert, scheduled for Saturday, January 12th, 2013:
1. Andalucia- E. Lecuona: Eugenia Cymballa (Piano)
2. Étude Op. 10, No. 12 in C Minor ("Revolutionary")- F. Chopin: Lilly Li (Piano)
3. Summertime- G. Gershwin: Deserie Betty (Soprano)
4. Three Dream Portraits, A Negro Speaks of Rivers- Margaret Bonds: Barbara Brown (Soprano), Nana Shi (Piano)
5. Nun Komm der Heidan Heiland, BWV 659a, First Sonata for Unaccompanied Violin, BWV 1001 (Presto)- J.S. Bach: Peter Jordan (Violin)
6. Violin Concerto in B Minor, Op.35- O. Rieding: Julia Portnoy (Violin), Dina Dushkin (Piano)
7. Cancion de Cuna- L. Brouwer, Prelude No. 1- H. Villa Lobos: Anthony Purdy (Guitar)
8. Gipsy Airs- P. Sarasate: Jia-Yi He (Harmonica), Alberto De Salas (Piano)
ACMA Concert Location Details
Turtle Bay Music School
Em Lee Concert Hall
244 East 52nd Street (bet. 2nd and 3rd Avenues)
Manhattan, New York City
Please do not contact Turtle Bay Music School for information. If you have any questions, please call[masked]-8565.
We will start as close to 4:00 p.m. as possible. Your punctuality is greatly appreciated.
Turtle Bay Music School is located on 52nd Street between 2nd and 3rd Avenues.
E and V trains to Lexington Avenue (53rd Street station)
6 train to 51st Street (Lexington Avenue station)
M15 on Second Avenue to 52nd Street
M101, M102, and M103 on Third Avenue to 52nd Street
M27 and M50 on 49th and 50th Streets to Second Avenue
We suggest a $5.00 contribution per person, to be directly applied towards payment of the hall rental. Contributions are voluntary, and any amount is greatly appreciated.
For Performers (Please read the Performance Tips page on the ACMA website):
What is the climax (high point) of your piece? Every musical and dramatic work takes its audience on a journey, generally consisting of the following elements:
1-) Introduction and elaboration: The central melodic theme is introduced and often repeated, in identical fashion or with variation. The mood of the piece is presented and established via use of dynamics, tempo and melodic arc.
The performer must draw in the audience at this point, either with a compelling narrative subtext, or strong emotional message. Also, the performer must build gradual tension (when applicable), leading the audience to the musical Climax.
2-) Climax: The highest emotional point of the work, usually occurring 2/3 to ¾ into the piece. Requires maximum expression and melodic emphasis to evoke a desired reaction or response from the audience. Also considered a reward point, or tension release for the audience.
The performer should fully understand the climactic point of the piece, and clearly highlight this point via the use of tone, dynamic expression and musical touch. The importance of the climax for audience understanding and satisfaction cannot be underestimated.
3-) Resolution: The conclusion of the piece, during which all unresolved musical elements are resolved in a decisive manner.
The performer must prepare the audience for the eventual end of the musical journey, a return to reality. Musical cues which aid this transition include:
• gradual decrescendo and diminuendo
• a clear a decisive end point , so as to not leave the audience with an uneasy feeling of something unresolved
Entertain your audience: Great entertainers (actors, singers, etc.) put their unique personality into every performance. If you want to make a memorable impression upon your audience, introduce a new, unique perspective on your piece. Once you truly own your piece, it should carry the inimitable stamp of your personality, but also sound as if it is being performed for the first time.
Select pieces that are personally meaningful to you, and allow for your maximum expression as both performer and entertainer.
Performances do not have to be memorized, or note-perfect. However, as a courtesy to your audience, please present a work that you have studied attentively, and can play to its completion.
If you make a mistake during your performance, please continue to play without stopping. Apologizing, repeating a previously played section, or stopping will only call more attention to your mistake.
If you have any questions, please e-mail or call me at[masked]-8565.
Alberto De Salas
Amateur Classical Musicians Association