addressalign-toparrow-leftarrow-rightbackbellblockcalendarcameraccwcheckchevron-downchevron-leftchevron-rightchevron-small-downchevron-small-leftchevron-small-rightchevron-small-upchevron-upcircle-with-checkcircle-with-crosscircle-with-pluscontroller-playcredit-cardcrossdots-three-verticaleditemptyheartexporteye-with-lineeyefacebookfolderfullheartglobe--smallglobegmailgooglegroupshelp-with-circleimageimagesinstagramFill 1launch-new-window--smalllight-bulblinklocation-pinm-swarmSearchmailmessagesminusmoremuplabelShape 3 + Rectangle 1ShapeoutlookpersonJoin Group on CardStartprice-ribbonprintShapeShapeShapeShapeImported LayersImported LayersImported Layersshieldstartickettrashtriangle-downtriangle-uptwitteruserwarningyahoo

New Meetup: 2009 ACMA Concert Final Open Rehearsal

From: Alberto
Sent on: Wednesday, September 2, 2009 11:31 PM
Announcing a new Meetup for Amateur Classical Musician's Association!

What: 2009 ACMA Concert Final Open Rehearsal

When: September 25,[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

Here are details regarding ACMA's September 25th, 2009 recital (8:00-10:00 p.m.), the last of two open rehearsals for the October concert at Carnegie Hall:

1. Trois Marches Militaires, Op. 51 Nos. 2 and 1 (F. Schubert): Altary Sherman (Piano), Martin Berlin (Piano)
2. Suite for Flute and Marimba (A. Wilder): Tim Heckman (Marimba), Trish Carroll (Flute)
3. Endless Pleasure, Endless Love (G. Handel): Paulette Coppin (Vocal), Shelley Hartman (Piano)
4. Legends, Op. 59/ Slavonic Dance No. 8 in G minor, Op. 46 (A. Dvorak): Jane Dechongkit (Piano), Mayumi Lehr (Piano)
5. Oblivion (A. Piazzolla): Celeste Chau (Piano), Joshua Davidovitz (Violin), Pearl Gray (Cello), Dick LaVine (Tango Dance), Serena LaVine (Tango Dance)

6. Dolly Suite, Op. 56 (G. Faure): Peter Laurens (Piano), Lili Beneda (Piano)
7. Piano Sonata No. 14 in C sharp minor, Op. 27 No.2 (L.V. Beethoven): Franklin Yanchapaxi (Zampona, Quena), Geovanni Suquillo (Charango), D. Margarita Rojas (Piano)
8. Sonata for Cello & Piano in E minor, Op. 38 -1st movement (J. Brahms): Shirley Gruenhut (Piano), Richard Beales (Cello)
9. Sunshine Over Tashkorgan (G. Chen): Jia-Yi He (Harmonica), Jenny He (Piano)
10. West Side Story Suite (L. Bernstein, J. Robbins): Tyson Mao (Violin), Alberto De Salas (Piano)

Recital Location Details
Friday, September 25th, 2009
8:00 p.m.-10:00 p.m.
Turtle Bay Music School*
Em Lee Concert Hall
244 East 52nd Street (bet. 2nd and 3rd Avenues)
Manhattan, New York City
*Upon entering the school, please go to the bottom floor, located 1 flight below the school entrance.

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 Musician's Association
e-mail: [address removed]

Learn more here:

Sign up

Meetup members, Log in

By clicking "Sign up" or "Sign up using Facebook", you confirm that you accept our Terms of Service & Privacy Policy