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New Meetup: Amateur Classical Musicians Association February Recital

From: Alberto
Sent on: Tuesday, January 19, 2010 11:04 PM
Announcing a new Meetup for Amateur Classical Musicians Association!

What: Amateur Classical Musicians Association February Recital

When: Saturday, February 13,[masked]:00 PM

Price: $5.00 per person

Turtle Bay Music School
244 E 52nd St between 2nd and 3rd Ave
New York, NY 10022

Hello all,
Here are the details regarding ACMA's next recital, scheduled for Saturday February 13th, 2010, from 4:00-6:00 p.m.:

1. David Crossley (Piano): Piano Sonata No. 15 in F major, KV.494 (Rondeau Allegro)- W.A. Mozart

2. Joe Castelli (Piano), Tatiana Viscun (Piano): Barcarolle (from Tales of Hoffman)- J. Offenbach, Valse (from Eugene Onegin)- P.I. Tchaikovsky

3. D. Margarita Rojas (Piano): Etude in C minor, Op. 10 No. 12 ("Revolutionary")- F. Chopin

4. Tyson Mao (Violin), Mayumi Lehr (Piano): Sonata for Violin and Piano in A major (Allegretto ben moderato)- C. Franck

5. Peter Laurens (Piano) Jasbo Brown Blues (from Porgy and Bess)- G. Gershwin, Prelude No. 2- G. Gershwin, Crazy Top (from Syncopated Impressions)- L. Perl

6. Celeste Chau (Soprano), Michael Peng (Bari tenor), Simon Yau (Piano): La Ci Darem La Mano (from Don Giovanni)- W.A. Mozart

7. Andrea Hollandt (Piano): Invention No. 1 in C major, BWV 772- J.S. Bach

8. Eugene Dushkin (Guitar): Canon in D major- J. Pachelbel

9. Shirley Gruenhut (Piano): Bach Goes To Town (Prelude and Fugue in Swing)- A. Templeton, Sonata No. 9 for Keyboard in A minor (K. 54)- D. Scarlatti

10. Kyle Wiggins (Cello): Cello Suite No. 6 in D major, BWV 1012 (Prelude)- J.S. Bach

11. Aya Y (Piano): Caf? 1930 (from Histoire du Tango)- A. Piazzolla

12. Paulette Coppin (Soprano), Kurt Daisley (Piano): Agnus Dei- W. McCoy, Stars- H. Davison, A Birthday Song- V. Lowe, The Pledge- B. King

Recital Location Details
Saturday, February 13th, 2010
4:00 p.m.-6:00 p.m.
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 ? 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 a
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.

Best regards,
Alberto De Salas
Amateur Classical Musicians Association
e-mail: [address removed]

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