On Sunday, September 11th, I attended Morehouse’s Department of Music’s Piano Recital. It was the first time that I had the pleasure of sitting in on a piano recital in the Ray Charles Performing Arts Center. The concert was held by Hyunjung Rachel Chung, a young lady from South Korea, performing eleven extensive pieces of music, including five vocal appearances from a virtuosic and lyrical tenor, Sungbae Kim. I was fortunate enough to be present to watch this piece of budding master at work. Of the pieces that she played, I was fascinated with Bach’s “Concerto nach Italienischem Gusto BWV 971”, Chopin’s “Fantasie in f minor, Op.49”, Totsi’s “non t’amo piu”, “Intermezzo No.1” by Leon, “Cancion al arbol del olvido” by Ginastera, Sorozabal’s
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As the recital commenced within the third reoccurrence of the song, Chung’s hands appeared as if they were flying, but only in this instance was it across the keys with a quick tempo being “presto.” Presto is defined as having a rapid tempo, with this idea in mind, I was reminded of how it evoked a sort of Tom and Jerry-esque image in my mind; The mischievous cat Tom chasing after the mouse Jerry. Of course, having did some research, I understood this piece of Bach’s was written in a twofold task of stimulating the contrasting ensemble forces of concerto grosso and concertino. Bach provided numerous indications of softs and louds in contrast of dynamics and pitch, and it also seemed to have a repeated dominant key. There was more of a rhapsodically melody of vibrancies and tones carried throughout this piece, thus being my favorite. The appeal of presto allowed for the mood to be very high-spirited, combining all Bach’s brilliance at the keyboard with a sense of fun. The most striking was the range of dynamics that was produced, from the most profound louds of thunder and striking notes to the quietest of a pin dropping. Chung had seemed to play the melodic material to where it jumps from one hand to the other and after
As the recital commenced within the third reoccurrence of the song, Chung’s hands appeared as if they were flying, but only in this instance was it across the keys with a quick tempo being “presto.” Presto is defined as having a rapid tempo, with this idea in mind, I was reminded of how it evoked a sort of Tom and Jerry-esque image in my mind; The mischievous cat Tom chasing after the mouse Jerry. Of course, having did some research, I understood this piece of Bach’s was written in a twofold task of stimulating the contrasting ensemble forces of concerto grosso and concertino. Bach provided numerous indications of softs and louds in contrast of dynamics and pitch, and it also seemed to have a repeated dominant key. There was more of a rhapsodically melody of vibrancies and tones carried throughout this piece, thus being my favorite. The appeal of presto allowed for the mood to be very high-spirited, combining all Bach’s brilliance at the keyboard with a sense of fun. The most striking was the range of dynamics that was produced, from the most profound louds of thunder and striking notes to the quietest of a pin dropping. Chung had seemed to play the melodic material to where it jumps from one hand to the other and after