Brief Observations of the Upper Learning Unstrumental Concert from a Humble Aficionado of Culture
I have followed the progress of the Band, Orchestra, and Guitar Ensemble, and despite my disappointment that they weren’t joined by Chorus (previously known as Kaleidoscope), I still relished my visit to the conservatory. Each division of the ensemble displayed marked growth in their respective fields but their cross-disciplinary nature resulted in my greatest jubilance. The amalgamation of the groups traversed a wealth of different genres. This versatility brought the groups’ greatest achievement to the forefront: the quality of their pieces.
The UL Guitar Ensemble comprised of three young prodigies, and their five different pieces illuminated their ability to engage and excite. Their rendition of “Wonderful Tonight” included members of the UL Orchestra, and even employed the Guitar Ensemble’s dignitary, Mr. Brian Mitchell. This fusion of musicians was particularly pleasant, and their rendition of “Someday” by the Stokes was similarly enjoyable. Some parts of the piece were difficult to hear, but it failed to impede the quality of performance.The inclusion of the 7/8th grade Guitar Ensemble was also a welcome addition, despite my previous reservations regarding the group due to their nscency. “Frankenstein” in particular was a pleasure to behold, and warmed the heart of the elderly man behind me who took great satisfaction in air-drumming along.
The Orchestra began with Legend of Zelda’s, “Gerudo Valley.” This caused much casual head bobbing from the veteran gamers in the audience. Seeing such prominent representation for this endlessly oppressed group of couch-capers captivated the heart of this connoisseur. The UL Orchestra’s rendition of, “Enchanted Garden,” included elements of visual art, which was an interesting incorporation that I hope is continued. The final three pieces, “Star Trek,” “Star Wars,” and “Bohemian Rhapsody,” grandously concluded their contribution. “Bohemian Rhapsody’s” inclusion of piano and drums invoked a myriad of colorful intensity. Each piece was well executed, and there was much goosing of the bumps.
The black sheep of the conservatory was Mr. Alex Panovka’s original composition, “The Postmodern Epimetheus.” Mr. Panovka has distinguished himself as a highly regarded composer, previously working in Digital Music Production. I had the honor of personally working alongside him, and his remarkable work in the “Lazer Tag” genre served as the foundations for his newest and greatest opus. In all earnesty, his piece was a proper demonstration of his virtuosity, and his mix of ambition and talent truly stole the show.
The band has faced difficulty following the departure of Ms. Erin Moore. However, the quality of the UL Band has only improved, and the new selection of pieces mirrors that of Mr. Jim Gray, Galloway’s band conductor before Ms. Moore. The jazz selections perfectly emphasize the specific talents of the band’s players, as each piece included improvisational solos from brave souls. Despite the varying levels of quality of solos, every player exhibited soul, which is a much more vital aspect of the craft. This specific sense of soul was exhibited strongest in their ardent adaptation of Talking Heads, “The Great Curve.”
My conservatory outing reminded me of the versatility of the ensemble. Each piece emphasized the strengths of this group while also respecting the material in which it was based upon. The Fine Arts Department should pride themselves in their achievement that was the UL Instrumental Concert.
By Chris Nieves