Cosmos ended the work with a performance of "A Columbus Triptych" by Stephen Main, which it premiered in 2007. Main often makes use of Christian iconography in his work, and one of his most noted compositions is a reinterpretation of "Pie Jesus." ("Stephen Main," Official Website, 2008). The setting of the performance in St. John's Evangelical Church of Columbus seemed fitting for the work. The "Columbus Triptych" tries to render religious iconography into a contemporary argot. Columbus refers to Columbus Ohio, the group's and Main's geographical base, while a triptych, most notably deployed in Hieronymus Bosch's "The Garden of Earthly Delights," is a form of Christian medieval altar, with three hinged wooden panels where the artist paints different visual interpretation of the same scriptural theme. The images contained on each panel relate to the content displayed on the other panels. The three panels viewed together are supposed to suggest that the whole is greater than the sum of its parts. The Columbus Triptych is supposed to be a musical, tonal painting in three parts, as the first part is cheerful, the second is calm and spiritually grounding because of its cautious, reflective quality, and the third brighter and less plaintive than the second, but filled with a new sense of religious awakening ("Stephen Main," Official Website, 2008).
The performance, although all works were commissioned by Cosmos Trio, featured a variety of different tones and approaches to contemporary classical music, although all of them had a similar, gentle, and delicate quality, perhaps because of the limited number of instruments and the relatively narrow tonal range of the flute, harp, and viola. Delicacy and a lack of a sense of urgency permeated...
Classical Symphony Music, like other forms of art, evolved from numerous traditions that, when taken together, formed a new way of thinking about, and performing, certain types of works. Audiences change over time, and certain musical compositions that sound odd or strange to one audience are often accepted by others (e.g. The rioting during the premier of Stravinsky's Rite of Spring). When people think of classical music, for instance, they tend
Introduction This paper will briefly review the opening night concerts/performances hosted on September 17, 2016, beginning 7.30 pm, by the Houston Symphony Orchestra at the Jones Hall, Houston, Texas (more precisely, the Jesse H. Jones Hall for the Performing Arts). The concert was conducted by Andrés Orozco-Estrada, the Houston Symphony’s music director. The performance venue is the Orchestra’s as well as the Houston Society for the Performing Arts’ permanent home (Houston
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Thad Johnson/Music Dallas Symphony Review What an absolute dual treat to attend the Dallas Symphony's "Tchaikovsky Night" at the Morton Myerson Symphony Center on March 31, 2011. Not only was I privileged to hear two great works, but as an added benefit, proceeds from the Tchaikovsky concerts will benefit Sendai, Dallas's International Friendship City in Japan (DSO Public Relations Office). The conductor for this concert was Jaap van Zweden, music director of
Music or Musical Theatre Like the Rising Sun Although in conventional times and among younger people jazz music is disparaged as boring 'elevator music', true jazz music is anything but. I reached this conclusion after listening to some excellent concert jazz albums of live music. The work of jazz that I am largely basing the aforementioned thesis on is Charles Lloyd's Forest Flower, which was released in 1966 when jazz music was
Concert Review The Philadelphia Inquirer warned that Asphalt Orchestra is "not your mother's marching band" (www.asphaltorchestra.com). Those who entered Keene State College's Redfern Arts Center on the evening of October 5, 2011, were in for a surprise if they had hoped to hear "Louie, Louie" or other high school halftime standards. From the opening notes, it was clear Asphalt Orchestra was on stage to bring innovative musical entertainment to an enthusiastic
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