FTC’s Composition Recital—an intimate setting yet grand showcase of student potential

By Jace DeMarco

Five Towns College’s music composition major embodies the school’s origins.  Understanding the intricacies of a complex range of instruments to create original pieces is a sacred art that captivates audiences, whether they are beholding a classical concert or a blockbuster film. Tuesday, December 9th, marked the culmination of the semester-long efforts of three such students, a composition recital that dazzled a small audience of professors and student peers in Room 601.

Beginning in September, Qasim Khan, Tommy Peters, and senior Julia Rounsavall applied their deep music theory expertise to compose original works for instruments of their choice. After three months of planning and execution, they performed a total of five pieces under the watchful eye of acclaimed composer and Five Towns Professor Masatora Goya.

The approximately hour-long presentation began with Khan, who confidently and methodically conducted his work, “Simple Times for Orchestra.” Each instrument in Khan’s ensemble meshed together very nicely to communicate a range of emotions, from whimsical flute and xylophone notes to somber violin and cello passages to dramatic timpani rolls.

Peters’ two-song set began with his solo piano work, “I’m Still Here,” performed by Five Towns Music Professor Felipe Rondon. It is evident that Peters meticulously placed each note and chord of this delicate piece, which could easily fit a romance blockbuster score. Peters followed with “Return to Isolation,” a mournful duet in C minor between Rondon on piano and himself on trumpet.

“[Peters] played some emotional ballads with the trumpet and piano–one solo piano, one with the trumpet,” says Rounsavall. “I thought it was beautiful.”

Finally, Rounsavall, performed a swan song and culmination of studies, a two-composition recital that commenced with “Midnight Mood for Two,” a Baroque-style piece for guitar and cello reminiscent of Bach, Vivaldi, and other 18th-century composers.

“I had a really good time doing a bunch of rhythmic ‘hocketing,’ or bouncing off of the other cello, and [this piece] was a really good time to help create,” says Rounsavall.

The afternoon ended with “A Letter to Mr. M,” a saccharine waltz for four guitars and electric bass. Rounsavall’s writing lets the melody flow beautifully with the rhythm, conjuring visions of a Venetian gondola ride.

While the audience was not composed of external jurors who proctor the final performances of music and theater majors, the attendees were clearly impressed with every performance and responded to each one with equal enthusiasm.

“I think the audience is always supportive, partially because they are fellow classmates and collegemates,” says Goya.  “I really like the warm, welcoming, and supportive atmosphere.”

The heartfelt applause from the audience of around 15 students and faculty clearly indicates that the performers’ months of effort paid off. Each student received the same sincere reception, although Rounsavall’s was slightly louder as Goya commemorated her pending graduation.

Unlike other Five Towns music events, such as Voices of FTC or Jazz Night, the composition recital was held not on the spacious Performing Arts Center stage but in the smaller, equally appealing Room 601. Though the lighting was dim, the glowing daylight provided a lustrous spotlight on the performers. The elaborate, alternating-color wood paneling and giant, convex ceiling boards created a pleasant and formal environment for each instrument, especially Rondon’s piano.

Although the narrow doorway left no choice but to bring the xylophone in from the emergency exit window, there was plenty of room to convey every note of every performance, and plenty of seats to accommodate the loyal audience members. For this more private occasion, Room 601 served as a perfect space for esteemed composition students to present the pieces they had created throughout the semester.