‘Commitment to harmony and brotherhood’ | School of Music hosts its 2024 ‘Mosaic’ concert | Lifestyle

The Penn State School of Music held its annual “Mosaic” concert from 4-6 p.m. on Sunday evening at the Eisenhower Auditorium.

The show began with the concert’s surprise program unveiled. The first to perform was the Symphonic Wind Ensemble led by conductor Tonya Mitchell-Spradlin. The ensemble performed its rendition of “Re(new)al, II. Wind” by composer Viet Cuong, accompanied by dynamic red lighting effects.

As the Symphonic Wind Ensemble’s performance came to a close, a higher-level box to the right of the auditorium lit in purple to reveal the second set of performers. Michael Holtzapple, Tim McClure, Carla Mendoza Trejo and Isaac McNulty presented “Leyandas: An Andean Walkabout, VI. Coqueteos” by composer Gabriela Lena Frank.

Next on the program was choir Essence of Joy’s “Ave Maria” and the clarinet quartet “Whirlwind” with Michael Dews, Kevin Perez, Andrew Islas and Joshua Rubin. As one piece flowed seamlessly into the next, the positioning of the performers changed to a different part of the auditorium.

According to audience member Eliza Marcovitch, the performers’ changing positions gave the concert an “immersive” atmosphere.

The performances were followed up by Bach’s “Partita No. 3 in E Major for Solo Violin, BWV 1006, I. Preludio” played by Dor Amran. Amran’s tranquil solo was succeeded by a more energetic rendition of “Feelin’ Good” by jazz ensemble Vocal Dimensions, directed by Kathryn Hylton.

The first half of the concert reached its final phase with the three next compositions. “Trois Pâtisseries de Paris, I. Pistachie Oranger” was performed by Abigail Alexander, Julia Leone and Mary Capilitan-Pulanco and was followed by the Concert Choir’s “Stars” by composer Ēriks Ešenvalds, conducted by Christopher Kiver. The production featured lights that flickered across the auditorium, aligned with the song’s tune.

Audience members found these lighting effects added to the sentimentality of the production.

“I think the lighting added to the performances and helped with the mood and emotion of the piece,” Ani Goldman, a first-time audience member of the “Mosaic” concert, said.

Last before intermission was composer Bob Mintzer’s “Mr. Fone Bone” by jazz ensemble Centre Dimensions, who were directed by Joshua Davis. The ensemble received prolonged applause as Kiver called on all the performers of the first half to bow.

Launching the second half of the concert was the composition “Mood Swings” originally written by Michael Stern and arranged for the concert by Alex Mijangos. This performance was followed by the Oriana Singers’ choral rendition of a Philippine Folk Melody, “Salidummay.”

The folk song was replaced by more classical European compositions in the subsequent performances. Some of these include Carl Philipp Emanuel Bach’s “Marcia für Die Arche H. 621, Wq. 133” performed by the Trumpet Ensemble and “Slavonic Dance No. 8 in G Minor, Op. 46” by the Philharmonic Orchestra.

Up next were more upbeat tunes, from the Glee Club’s performance of Indian composer A.R. Rahman’s “Wedding Qawwali” to the Trombone Choir’s performance of “Excerpt from Reflection and Celebration.”

These group performances gave way to a series of instrumental solos by Annie Ziyao Huang on the piano and Paul Robeson on percussion.

Robeson’s textural performance was followed by the concert finale, an exuberant choral production of “The heavens are telling the glory of God from The Creation” by the Philharmonic Orchestra and Combined Choirs.

The performance ended with a long standing ovation from the audience, as the performers walked on stage to take their final bows.

“I feel like this concert was the best way that Penn State shows its commitment to harmony and brotherhood,” Joan Bouchard, a former high school civics teacher and resident in The Village at Penn State, said. “I’ve never been to a concert as good as this.”

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