Recital Fees, Procedures & Program Templates Recital Fee Schedule Revised October 2015 (Effective January 1, 2016) 1. Degree Recital Standard: $90.00 or $135.00 with video For a one hour recital: one stage hand for 2 hours at $15.00/hour and a recording tech for 4 hours at $15.00 per hour. The recording is budgeted for a longer amount of time because of the need for set-up and tear-down, post-recording clean up of the audio, separating the audio into tracks, burning and printing CDs and delivering CDs to the library, students and applied teacher. Video will include a technician for the camera, and 2 hours for editing and DVD production.

Degree Recital with Augmented Set-up: $150 or $195 with video Including drum set, guitar/bass/keyboard amps and vocal or instrumental microphones and 'front of house' (FOH) engineer. One stage hand for 3 hours at $15.00/hour (longer set-up and tear-down), one FOH engineer for 3 hours at 15.00/hour (includes set-up and tear-down of mics, monitors, etc), and one recording tech for 4 hours at $15.00/hour. Video will include a technician for the camera, and 2 hours of editing and DVD production. Non-Degree Recital Standard Set-up: $70 if no recording, $130 includes audio recording, $175 with video As #1 above, but with a $40.00 facility usage charge to help defray janitorial and other expenses.

Non-Degree Recital with Augmented Set-up: $90.00 if no recording, $190 includes audio recording, $235 with video As #2 above, but with a $40.00 facility usage charge to help defray janitorial and other expenses. Text in black stays as is. Text in blue needs to be deleted. (Blue text is instructions.) 3.

Simpson College Department of Music Guidelines for Writing Recital Program Notes Adopted January 15, 2013 This document sets forth guidelines for the writing of.

Text in red needs to be changed to the actual information and then changed to black. IMPORTANT *Print one copy and turn it in to the music office two weeks before your recital. *Pay the appropriate Recital Fee when you submit the program to the office, if not before.

*Voice Students are responsible for producing, printing, and copying translations separately under the supervision of their studio teacher. Plan on bringing those materials to the recital and either insert into your program or place next to your program.

The Violin Channel recently caught up with American violin virtuoso Aaron Rosand, from the Curtis Institute of Music, who provided some fascinating thoughts on the ‘lost art of violin recital programming’. “I feel it’s unfortunate that we have chosen to neglect the great music written expressly for the violin,” Mr Rosand has told VC, “ a recital should be a one man show where you show how well you play your instrument – [and] for my taste, recital programs are a bore these days.” [video_lightbox_youtube video_id=”BKuIoAobigQ” width=”590″ height=”385″ auto_thumb=”1″] AARON ROSAND CURTIS INSTITUTE ‘THE LOST ART OF VIOLIN RECITAL PROGRAMMING’ I’d like to talk today about programming – which has become so radically different from programs that we used to consider ‘standard’ not too many years ago. My personal preference in a recital program is to always begin with something that will immediately show ‘tone’ – and the type of sound that you have. I always felt it will not only warm up the audience – but also warm up yourself. I used to do early Italian works, or a Handel, Bini Pasquale, Corelli or Tartini Sonata – the ‘Devil’s Trill’ Sonata is an old favourite of mine as a concert opener. Then I would plan one of the major sonatas – by Brahms or Beethoven or whoever it might be that I would be featuring. In fact, in my generation, we sometimes played concertos in recitals.

I often programmed Bruch’s ‘Scottish Fantasy’ with piano – which we rarely see any more. The second half I always chose to begin with solo violin, inevitably a solo sonata by Bach or Ysaye or some other solo violin pieces – before then getting into the virtuoso repertoire of Wieniawski, Sarastate or Paganini. I feel a recital is not complete until you show what the music written for the violin can do for the instrument. For me, when I see programs today I often can’t understand how it is written up as a ‘violin recital’, because when I see three or four sonatas for violin and piano, the piano is actually playing the major role – and for me that doesn’t make a lot of sense. And, the thing that actually offends me, is that most of these recitals are being played with the music stand and reading the sonatas from music.

It’s one thing to say that it’s an equal part with piano, but the pianist doesn’t include a violin sonata when they program their own recitals, so I don’t understand why the violinist can’t play the sonata without any music. I used to talk about this with Nathan Milstein, and he would laugh and in simple words say: ‘They don’t know the music!’ The programming I find today is often quit boring for the audiences. Recitals used to be very popular 50 or 60 years ago because of the show pieces that were actually played – not so much for the major work on the program. People couldn’t wait to hear the virtuoso repertoire. For example when Vladimir Horowitz was doing a recital, it didn’t matter if he played Rachmaninoff, Chopin or Scriabin Sonatas, people couldn’t wait for him to play his version of the ‘Stars and Stripes Forever’ – because that was the thing they went home singing. I feel it’s unfortunate that we have chosen to neglect the great music written expressly for the violin. I feel this cannot be just resigned to an encore – the music of Wieniawski or Henri Vieuxtemps deserves to be put on the programme. Pianist don’t neglect their great composers, Liszt and Chopin in recitals – but the violinists have somehow pushed the best repertoire for the instrument onto the back burner and I dont understand the reasons for it.

Free Download 20 Iso Tank Container Dimensions Programs For Single. A recital should be a one man show where you show not only how you play Bach or Beethoven or Brahms but also how well you play your instrument – and this is something that I feel strongly should come back into being, because for my taste recital programs are a bore these days.