By Erik Bravo
On March 15, I was able to attend a performance titled “Always and Forever”, which was performed at Carnegie Hall. It was a great experience and helped me understand the popularity of classical music and even become more curious about the history of some of the pieces that were performed. I also had the chance to see two great conductors by the names of J.D Frizzell and Jeffery Redding, who with University of Central Florida (UCF) Singers and the National Masterwork Chorus and Orchestra, joined together to make an amazing experience.
The artists are all considered world class in their role, and after reading the program and checking out the UCF website it made me realize that the University of Central Florida is no exception. They are known for their flexible repertoire covering classical, contemporary and world music. They are also very consistent performers, attending many state and local venues, partnering with several orchestras and performing works from many influential composers such as Haydn, Brahms and Mozart. Coincidently I had the chance to see them reach yet another milestone in their long history, since this was their debut at Carnegie Hall. But no ensemble is great without a great conductor and Jeffery Redding covers that role perfectly. He took the helm in 2020. When it comes to his accolades they are endless. He received top awards from several festivals and was named top director in the International Music Festival. In 2019 he was awarded the Grammy Music Educator Award, which is only given if the winner is viewed as someone who shows commitment to maintaining music education in school and has left a lasting contribution in music. J.D Frizzell is the director of vocal music at Briarcrest Christian school in Tennessee, and just like Jefferey Redding was included in the top ten national finalists for the Grammy Music Educators Award. Even though he didn’t win, he still was awarded the Dr Clair E Cox award for teaching excellence in 2011 and 2023. These accolades that both conductors have received shows that they really value the future in music, investing their time in conserving the passion for music when it comes to the next generation.
When it came to the day of the performance, I was nervous as I didn’t know what to expect. When I arrived, there was already a line formed anxiously waiting to get in, and as I entered the Isaac Stern Auditorium, I realized how big the stage was. As more people entered, I started to realize this was a big show, as the orchestra seats were already filled and the first tier was as well. The second tier, where I was seated, was modestly filled with a few late comers soon filling up the empty seats scattered around. Coming in I had a feeling I would stick out due to how I was dressed; I had these oversized pants with a black hoodie but the dress code wasn’t what I expected. People were mostly casually dressed wearing clothes that you would wear outside on a chilly day. The atmosphere once the show started was a little out of my comfort zone. The crowd clapped every time it went quiet, believing the performance was over even if it wasn’t. If someone so much as sneezed during the performance, people would mutter or make a stabbing glance. Luckily, I didn’t get that treatment due to the fact I was scared to even move. But you notice those things for a split second because as soon as the conductor gets the show on the road you become focused on the performance and nothing catches your attention more than Mozart’s Requiem.
When it came to the performance itself it was interesting because it felt the songs were telling a story. The show starts with Kestutis Daugirdas “Plaudite, Psallite” and Elaine Hagenbergs “Measure My Sky!” Both are very uplifting songs and had me feeling warm inside. They also had a projector play these visuals that I can’t quite describe, but I can say they invoked this sense of spirituality due to the vibrant colors they used. This was a great way to start performance. It got the crowd cheering and whistling and just had people awake. Then came the world premiere of J.D Frizzell’s “You Are”, which I realized was a premiere later as there’s no recording of it. It it sounded amazing and felt like I was taking a trip on a mountain. It goes with what we had heard in the prior two titles it motivates you to keep going when the choir sang “wear existence like a badge of honor upon your chest. Breathe this air it belongs to you, a birthright” it’s like he’s telling you to grasp the idea you’re here and try to make the best of it.
But then intermission came and things changed. I came back and sat down and then the Requiem began. It started with the same tempo as the other pieces but then gradually rises and soon the tone has completely changed from the previous works to when the third movement, the Sequentia starts and the mood shifts as well which became a trend in this piece. I say this because as it progresses there’s parts where I sort of relax but then it ends and the next part starts and its completely different then the part, we heard prior. Offertorium was probably my favorite part just because it sounds intense and that’s probably thanks to the choir and their placement. After intermission, some the choir people came to the second tier towards the ends of each side and sang from there. Since the theater is shaped like a U it felt like it was a back in forth during Offertorium.
After leaving the show I became curious about the piece and its background and I discovered that Wolfgang Amadeus Mozart. who lived during 1756 till 1791, which is considered the Classical Period, was visited by a hooded man who requested a requiem. Intrigued by all the mystery, Mozart accepted it and as he began to work on it he progressively started to believe he was making this for himself due to his rapidly declining health and it seems Mozart was right, as he passed away before he was able to finish it. I found it very interesting how they decided what piece came first and what went after the intermission because the contrast between both is night and day.
In conclusion the experience was new and is something I would be interested in doing again and the venue looked amazing. No matter where you would be seated you will still have a good view. I went in not knowing if I would even stay the whole way but once it started, I was hooked by the crowd and how focused they were and how lively it was with the whistling and the woos. I assumed it was going to be more clapping then anything, I was hooked by the emotions or the thoughts that came rushing to my head as each piece went by. This form of art is something that should be preserved and shared with your friends and family that’s something I’m most definitely going to do.
Works Cited
“Always and Forever.” National Concerts, www.nationalconcerts.com/blogs/past-performances/always-and-forever. Accessed 12 May 2025.
“Jeffery Redding Announced as Recipient of 2019 Music Educator AwardTM Presented by The Recording AcademyTM and Grammy Museum®.” Recording Academy, www.recordingacademy.com/press-releases/jeffery-redding-announced-recipient-2019-music-educator-award-presented-recording. Accessed 13May 2025.
“The History of Mozart’s Requiem.” Concert Vienna, concert-vienna.com/blogs/viennese-things/the-history-of-mozart-s-requiem?srsltid=AfmBOop5ENOynTkDpk1b8F8xVFsd9SC2tB53smaevj5LjUP6XaMotV89. Accessed 13 May 2025.
“Music Appreciation 1.” W. A. Mozart: His Works | Music Appreciation 1, courses.lumenlearning.com/suny-musicappreciationtheory/chapter/w-a-mozart-his-works/. Accessed 13 May 2025.
Redding, Jeffery. “Always & Forever.” 13 May 2025, Carnegie Hall.
“Choirs.” UCF School of Performing Arts, 9 July 2024, cah.ucf.edu/performingarts/ensemble/choirs/.
