Nerves are felt from afar as Allyson Dawkins’ viola studio class prepares themselves to individually perform their Nov. 22 recital. Rejoicing and applause filled the room when the first performer, Guadalupe Lopez, entered the stage accompanied by Dr. N. Seth Nelson, the recital pianist for the night.
Lopez kickstarts the recital with “Romance in F Major op. 85” by Max Bruch. It is a beautiful piece that soothes the audience with the fleeting sounds of the bow passing through the strings, making one feel as if one is walking by the moonlight in this intricate performance. Lopez bowed to the screaming audience, and alongside Dr. Nelson walked off the stage.
Joaquin Gomez, a Music Education major, described the recital before the show, saying “It’s sort of hodgepodge, so there’s not a theme but…it’s just whatever we found more interesting playing, or maybe [Dawkins] assigned it to us, for us to play. I guess the theme it’s viola…although there would be [a] piano accompanying us.”
Dr. Nelson comes back with Jadyn Dvorak, who played “From Concerto in E Flat Major in Allegro con fuoco” by Carl Friedrich Zelter. Dvorak started the piece prancing through the notes intricately; she was seemingly nervous, yet that did not stop her from continuing the performance after a couple of mishaps. Her eyes go through the music sheet as she catches herself playing faster than what she is reading. It is a very complex piece, yet her performance went through swiftly after she gained composure through the song.
Abraham Abrego was the third performer of the night, arriving with khaki pants and a gray shirt, playing the second movement of C.F. Zelter’s “From Concerto in E Flat Major” in Adagio non troppo. It is interpreted with a somber feeling, not as technically complex as the last performer, yet the vibrancy of the playing and the vibrato is performed exceptionally. Abrego is confident in his playing, smiling at the audience from time to time.
It is the turn of Karyl de Guzman, performing G.P Telemann’s “From Concerto in G Major” in Largo and Allegro. Her concentrated and sometimes confused gaze translated into her playing, she was figuring out the notes as they sounded, making sure they were right. Dr. Nelson’s piano playing was admirable. De Guzman is having fun with the piece, restraining herself from dancing with the notes, making faces at the music sheet.
One cannot help but wonder if musicians’ personalities shine through their instrument, they are so concentrated that their guard is down, swiftly passing the bow through the strings.
Jackson Bosenbark is next. He comes on stage with a blue shirt and white pants, with Dr. Nelson nowhere to be seen. Bosenbark played his solo with a calm demeanor, it is a slow song, yet a wise selection as there is more room for technically correct notes. The audience was watching as he was focusing on the strings, glancing at the music sheet from time to time. It was a long piece, and there was no expression on his face whatsoever due to his responsibility to get every note right.
After the intermission, Tristan Suniga took the stage. His chosen piece is F.A. Hoffmeister’s Allegro of “From Concerto in D Major.” There are no words to describe his flawless technique. Not a single mistake in sight as he was extremely careful and precise while playing really fast. It was an enjoyable piece, with Dr. Nelson’s equally complex piano. Suniga had barely any expression on his face, yet he made it look so easy. When people say the phrase “this is music to my ears” this is what they hear. With the bow passing through the strings as a wave, the audience is discombobulated by his perplexing solo, smirking in the end knowing he killed that performance.
Joaquin Gomez comes next on stage and gives a hauntingly beautiful performance of J. Brahms’ “From Sonata in E Flat Major” in Allegro Amaile. He is confident in his piece and his calm expression said everything there was to say. Gomez was swaying alongside the viola, his hand shaking with the strings, intensifying with the song. In his all-black attire, he was multitasking; changing the page rapidly as a furrowed brow went along the poetry of his playing. Everyone was holding on to their seats as he was almost dancing with his exaggerated theatrics, it was an impressive performance that simmered through the hall after it ended.
Victoria Schneider gave an equally impressive performance of P. Scharwenka’s “From Sonata op. 106” in Fantasia and Allegretto. In her long brown skirt and white blouse, her determined expression aided in delivering the performance as she went through the strings in the complex yet serene piece. Her playing brought chills through the arms of the audience, it was a beautiful piece that she played magnificently.
Sydney Castillo was the second to last performer, who played R. Vaughan Williams’ Prelude of “On Suite 1.” The piece was reminiscent of a prairie during spring, with the notes dancing through the viola as if it was weaving the tune. It is a very relaxing song that the audience enjoyed thoroughly.
The last performance of the night was interpreted by Bryan Echeveste, performing H. Vieuxtemps’ Maestoso – Allegro of “From Sonata in B Flat Major op. 36.” The tranquil first portion of the song brought a peaceful ambiance to the performance hall, quickly transferring into the Allegro with an escalating and complex playing. The song was a great ending to the viola recital, as every performer should be proud of their phenomenal accomplishments from their performances.
