Glasow Fellowship Concerts was one of the most memorable concerts that happened last year. Unlike other fellowship concerts, this classical music concert shares the purpose of celebrating the music of Dr. Glenn Glasow. Dr. Glenn Glasow was a longtime musical player who also became a music scholar. It usually features alumni students, the faculty and students. Besides, the concert usually raises funds for a scholarship to a single student who accords the best performance.
The concert entailed an array of instruments and composers who lined up to give their creations. The instruments included wind instruments, drums, string instruments and other percussion instruments. It was notable that core instruments such as the guitar were electric. The beginning performances had acapella and solo pieces that captured the attention of the audience into the concert.
The acapella pieces represent the era in which Glasow started his performances. Glasow started on trumpets as his instruments would capture the silence of lone halls. This effect reflected in the concert as single performances involved individuals with single wind instruments. In the trumpet performances, there were majorly slightly varied tones that thrived on harmonious beats.
The hall was smaller as compared to standard sizes of halls that classical music concerts normally occur. This was attributable to the theme of the event that strove to celebrate the life of a prominent composer. In addition, the music strove to fit within the theme of charity. In this perspective, there were two players of trombone and violin respectively. The violin stretched into a long howl and moved back and forth to another long howl as the hall echoed. This slow repertoire set a new pace that the trombone followed as the two instruments exchanged notes.
The later theme of the orchestra performances were defined by harmony. In the movement of the notes, there were alternating mild dissonance and harmony that the instruments strove towards.
The first orchestra performance described this attitude in their pieces that reflected the age of 1950’s. The 1950’s described a vital age in the development of classical music since the composers had started breaking rules. The rules were mostly guidelines that strove to define performances and compositions within distinct lines.
In the performances, it was difficult to classify the genres. However, there were considerable solo recitals and performances in individuals who showcased unique talents. It was observable that wind instruments dominated the performances. A unique instrument that the composers gave attention to was the Picasso. The performers could manipulate the Picasso to produce different moods and tones. The players could operate their Picassos to switch the moods of the audience from melancholy to ecstasy. A single player employed the trumpet in producing a limited range of tones and harmonies.
Notably, the performances concluded clarinet and piano performances. The piano made long and winding tones that defined the classical age of Vienna performances. The piano thrived on the harmony of lower and shrill tones that rung across the room and echoed back in wavy tones. The clarinet had the Chinese tone of a market day as it wound within its shrill ranges and tones. This tone failed to conform with the previous harmonious tones.
It is discernible that the performance strove towards distinct themes. The main themes were celebration and charity. While celebration reflected in the harmonious solo performances, charity reflected in the orchestra performances. On the other hand, the African drums reflected the theme of cultural voices as they shared significant dissonance.
