Final Concert Reflection This year's final concert was an emotional farewell to four amazing years in Central's music

program. For many students, it would be the last concert they ever played on the auditorium stage, and the passion students had for music was unmistakeably obvious through the repertoire performed. Although the auditorium was hot (as is the norm), the act changes loud, and the lighting awkward as always, these were the small attributes that are so easily overlooked, yet, have become an integral and memorable part of our concerts. With time, they have become just as defining as the music we play. As for the performance, it was, undoubtedly, breathtaking. Indeed, I could sing our praises for our flawless tuning, exquisite execution of runs, et cetera, et cetera. No, rather I wish to bestow the sense of accomplishment and sentiment these concerts, and especially this final one, have had on me. It is almost prosaic to state that music is my life; but how does one word such a statement .... The symphonic orchestra opened the concert with March to the Scaffold. The wind section and cellos began the piece with a subdued and tense introduction that started the piece perfectly; the sotto voce ... The amalgamation of string and wind sound blended in very well with each other, and the strings never overpowered the interesting wind line. The challenging sections in the orchestra parts were well rehearsed and thus were performed quite accurately. While the attention to detail made during Monday morning rehearsals and at home contributed to the fluidity of our performance, it was the complete energy brought the piece during the concert that made it so fun and satisfying to play. Shortly after, we revealed Mr. Haq's masterpiece coalition of technology and euphony with the Firebird Suite from Fantasia. Undeniably, this piece was grandiose and magnificent. Although the performers on stage were not able to see the screen, our intense coordination with the conductor and delicate handling of the score resulted in a successful and memorable experience. An honourable mention is due to Emily Kim (on the bassoon) and Davidson Marshall (on the horn). Their solos in the Firebird Suite are very well-known and their execution did not disappoint. There was one slight hesitation in rhythm during the middle, however, due to our diligent following of conduction, we were able to overcome the minor error. Being part of

the second violin section, there were many adjustments made to make our part as musical as possible, such as certain bowings and fingerings which made the music more comfortable to play. Due to the nature of the dynamics in the wind solos, several modifications had to be made in order for the orchestra not to take away from the fineness of the melody line. A performance of such high calibre is not easy to achieve.... The orchestra later played Meditation and Frolicsome Finale. Both were well-played, albeit some modest slips. Once again, Alyssa's solo for Meditation was performed beautifully, and I felt that as an orchestra, we could have enhanced her playing by diminishing our strength of sound so that her line could have truly permeated the piece. The Frolicsome Finale brimmed with animation and liveliness; at times, perhaps due to the complexity and pace of the runs or lack of complete coordination, we were not quite together. The violin sections could have benefited from more practice of the passages at home. In addition, .... Following a short set change, the chamber orchestra performed the Elgar, followed by the Bruch Double Concerto. the Elgar, your concerto,