tag:blogger.com,1999:blog-55142516752907489632024-03-12T23:58:43.042-07:00Classics DeClassified.Evaluating classics and demystifying the world of classical music and arts.Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.comBlogger28125tag:blogger.com,1999:blog-5514251675290748963.post-70260777414511451362011-11-28T14:26:00.000-08:002011-11-28T14:26:57.917-08:00Concert Announcement<span class="Apple-style-span" style="color: #990000; font-family: Georgia, 'Times New Roman', serif;">André Watts, Piano</span><br />
<span class="Apple-style-span" style="color: #990000; font-family: Georgia, 'Times New Roman', serif;">Duke University</span><br />
<span class="Apple-style-span" style="color: #990000; font-family: Georgia, 'Times New Roman', serif;">Saturday, December 3, 2011 at 8:00 pm</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Ticket prices are $46, $38, $22, $5 for Duke Students</span><br />
<span class="Apple-style-span" style="color: #0d0600; font-size: 14px; line-height: 21px;"><i><a href="http://www.blogger.com/Andr%C3%A9%20Watts%20was%20born%20just%20after%20the%20second%20world%20war%20to%20an%20American%20father%20and%20a%20Hungarian%20mother,%20the%20latter%20of%20whom%20famously%20used%20stories%20of%20Liszt%E2%80%99s%20work%20ethic%20to%20inspire%20Watts%20to%20practice%20as%20a%20child.%20It%20paid%20off%20handsomely%20when%20he%20filled%20in%20for%20Glenn%20Gould%20with%20the%20New%20York%20Philharmonic%20in%201963,%20where%20his%20preternatural%20command%20of%20Liszt%E2%80%99s%20first%20concerto%20brought%20down%20the%20house%20and%20launched%20a%20distinguished%20career.%20In%20Durham,%20the%20Avery%20Fisher%20Prize%20recipient%20trains%20his%20finely%20honed%20expertise%20on%20an%20all-Liszt%20program%20in%20honor%20of%20the%20master%E2%80%99s%20bicentennial,%20including%20the%20Sonata%20in%20B%20Minor%20%E2%80%94%20that%20deathless%20ode%20to%20Schumann%20%E2%80%94%20and%20the%20sublimely%20darkening%20later%20work%20Nuages%20Gris.%20%20PROGRAM:%20LISZT:%20%C3%89tude%20de%20Concert%20No.%203,%20%E2%80%9CUn%20Sospiro%E2%80%9D%20LISZT:%20Les%20Jeux%20d'eau%20a%20la%20Villa%20d'Este%20LISZT:%20Piano%20Sonata%20in%20B%20Minor%20LISZT:%20Bagatelle%20ohne%20Tonart%20LISZT:%20Nuages%20Gris%20LISZT:%20En%20R%C3%AAve%20LISZT:%20La%20Lugubre%20Gondola%20No.%202%20LISZT:%20Schlaflos,%20Frage%20und%20Antwort%20LISZT:%20%C3%89tude%20No.%205,%20%E2%80%9CLa%20Chasse,%E2%80%9D%20from%20Six%20Grand%20%C3%89tudes%20de%20Paganini%20LISZT:%20Transcendental%20%C3%89tude%20No.%2010%20in%20F%20Minor%20LISZT:%20Hungarian%20Rhapsody%20No.%2013%20in%20A%20Minor%20AT%2011:19%20AM%200%20COMMENTS%20%20%20%20LABELS:%20BICENTENNIAL,%20DUKE%20UNIVERSITY,%20FRANZ%20LISZT,%20PERFORMANCES%20%20Imani%20Winds%20Performs%20Wayne%20Shorter's%20'Terra%20Incognita'%20Nov.%2026%20at%20Salle%20Athena%20de%20l'Acropolis,%20Nice,%20France%20%20%20%20[Imani%20Winds:%20Terra%20Incognita;%20E1%20Music%20CD%207782%20(2010)]%20%20Imani%20Winds%20has%20a%20European%20tour%20date%20tomorrow,%20at%20a%20huge%20festival%20in%20Nice,%20France:%20%20C'est%20pas%20classique%C3%A9%20festival%20Salle%20Athena%20de%20l'Acropolis%20NICE,%20FRANCE%20November%2026,%202011%206:00%20PM%20%20%20Program%20%20Scherzo%20from%20A%20Midsummer%20Night's%20Dream%20-%20Mendelssohn/Gabler%20%20Terra%20Incognita%20-%20Wayne%20Shorter%20%20Le%20Sacre%20du%20Printemps%20-%20Stravinsky/Russell%20%20Klezmer%20Suite%20-%20Gene%20Kavadlo%20AT%2010:39%20AM%200%20COMMENTS%20%20%20%20LABELS:%20FORT%20DE%20FRANCE,%20IMANI%20WINDS,%20NICE,%20TERRA%20INCOGNITA,%20WAYNE%20SHORTER%20%20Ulysses%20Kay:%20'The%20interplay%20of%20these%20musical%20materials%20is%20what%20led%20me%20to%20call%20the%20piece%20'Fantasy%20Variations.'%20%20%20%20[ABOVE:%20Norman%20Dello%20Joio:%20New%20York%20Profiles;%20Citadel%2088124%20(1997)%20BELOW:%20Ulysses%20S.%20Kay]%20%20The%20prolific%20composer%20Ulysses%20Simpson%20Kay%20(1917-1995)%20composed%20Fantasy%20Variations%20(15:00),%20which%20is%20Track%209%20on%20the%20CD%20Norman%20Dello%20Joio:%20New%20York%20Profiles;%20Citadel%2088124%20(1997).%20The%20original%20recording%20is%20an%20LP%20made%20by%20the%20Oslo%20Philharmonic%20and%20conductor%20Arthur%20Bennett%20Lipkin,%20in%201963.%20Ulysses%20S.%20Kay%20is%20profiled%20at%20AfriClassical.com,%20which%20features%20a%20comprehensive%20Works%20List%20by%20Prof.%20Dominique-Ren%C3%A9%20de%20Lerma,%20http://www.CasaMusicaledeLerma.com.%20Here%20is%20the%20entry%20for%20Fantasy%20Variations:%20%20%E2%80%9CFantasy%20variations,%20W89,%20for%20orchestra%20(1963).%20New%20York:%20MCA%20Music,%201966%20(#11093-044). 76p. Commission: Arthur Bennett Lipkin and the Portland (ME) Symphony Orchestra. Instrumentation: 2222 (p), 4331, timp, perc, strings. Premi%C3%A8re: 1963/XI/19; Portland [ME]; Portland Symphony Orchestra; Arthur Bennett Lipkin, conductor. Duration: 15:00. LP: Oslo Philharmonic: Arthur Bennett Lipkin, conductor. Remington Musirama R-199-173 (1963). LP: Oslo Philharmonic: Arthur Bennett Lipkin, conductor. CRI SD-209 (1963).%E2%80%9D The liner notes for Citadel 88124 (1997) tell us, in part: %E2%80%9CUlysses Kay (1917-1995) came from his native Tucson, Arizona, after graduation from the University of Arizona, to study at the Eastman School of Music. He also worked at the Tanglewood Berkshire Music Center, Yale and Columbia University %E2%80%93 and the roster of his teachers has included Bernard Rogers, Howard Hanson, Paul Hindemith, and Otto Luening. %E2%80%9CFollowing completion of wartime service in the Navy, Kay over the following years garnered just about every fellowship and award available to an up-and-coming young American composer %E2%80%93 these including the Columbia University Alice M. Ditson Award, the Broadcast Music, Inc. Award, the Prix de Rome, a Fulbright Grant to Italy, and an American Academy/Institute of Arts and Letters grant.%E2%80%9D The liner notes also quote Ulysses Kay: %E2%80%9COver the years musical ideas or materials occur to a composer as he works from day to day.Most often these ideas are fragmentary motives, distinctive rhythms, or merely relationships between notes. In themselves the import of these ideas is negligible, but they are important for the composer, for they are the raw material out of which a composition grows. %E2%80%9CJust such an experience happened to me, beginning in 1958, with the materials used in my Fantasy Variations. The opening horn motive was jotted down then in my sketchbook, and other related ideas came to me from time to time. Though I had no idea what kind of piece these ideas night make, they stayed on my mind until Mr. Lipkin commissioned an orchestral piece from me. Then their purpose became clear, and I wrote the work between March and July of 1963. %E2%80%9CThe piece consists of an introduction and thirteen variations, followed by the theme. Motivic ideas are stated in the introduction and fused for development in the succeeding variations. Then specific elements from this material are unified to form the theme, which, I feel, provides a noble and fitting conclusion to the work. The interplay of these musical materials is what led me to call the piece Fantasy Variations.%E2%80%9D The liner notes add: %E2%80%9CConductor Arthur Bennett Lipkin premiered the work on November 19, 1963 with the Portland, Maine, Symphony Orchestra." We have been able to purchase this CD from www.FoothillRecords.com/cita-classical.html for $8.99 plus shipping. AT 8:46 AM 0 COMMENTS LABELS: CITADEL RECORDS, FANTASY VARIATIONS, ULYSSES SIMPSON KAY THURSDAY, NOVEMBER 24, 2011 'I Play For Peace,' New Roy Eaton CD '25% off Black Friday only at CDBaby.com' [Roy Eaton, Piano: I Play For Peace] Pianist Roy F. Eaton tells AfriClassical of a one-day special price on his new CD I Play For Peace: %E2%80%9CNow Only $15.00!!! Black Friday Only. Order Xmas Quantities Now!!! %E2%80%9CThis music is for those seeking to find their spiritual center. The place where everything is ONE. The place where Peace and Love reign. The music chosen for this CD offers a gateway to the personal experience of this magic place. NEW CD buy now online at http://cdbaby.com/cd/royeaton5 or in Roosevelt Island Video Store Till Xmas. I Play For Peace 1) Peace Piece: Bill Evans (7:39) 2) Prelude and Fugue in Eb minor from the Well Tempered Clavier: J. S. Bach (9:17) 3) Gymnopedie #1: Erik Satie (3:22) 4) RaviAri: Roy Eaton (2:36) 5) Organ Choral Prelude %E2%80%9CNow Comes the Gentiles Savior%E2%80%9D: Bach-Busoni (4:45) 6) 2nd Movement Concerto in G Major: Maurice Ravel (7:05) 7) Prelude in Ab Major(Melody #17): George Gershwin(2:02) 8) Prelude #17 in Ab Major: Frederic Chopin (4:09) 9) Mazurka Opus 68 #4 in f minor: Frederic Chiopin (5:34) 10) Berceuse Opus 57 in Db Major: Frederic Chopin (5:00) 11) En Reve %E2%80%93 Nocturne: Franz Liszt (2:09) 12) Fur Alina: Arvo Part (3:27) AT 9:42 PM 0 COMMENTS LABELS: 25% OFF, BLACK FRIDAY, HOLIDAY SALE, I PLAY FOR PEACE Myron Moss: American Wind Symphony 'afforded Nelson his greatest opportunities in concert-music composition.' [TOP: Out of the Depths: Music by African-American Composers; Keystone Wind Ensemble; Jack Stamp, Conductor; Citadel 88143 (2002)] BOTTOM: Oliver Nelson (AllAboutJazz.com)] Many music websites do not carry Out of the Depths, but we have been able to obtain it from one source, www.FoothillRecords.com/cita-classical.html, for $8.99 plus shipping. Oliver Nelson is composer of the final two tracks on Out of the Depths: Music by African-American Composers, Fugue (3:41) and Bossa (4:03). Dr. Myron D. Moss tells us in the liner notes: %E2%80%9CThis recording concludes with Oliver Nelson's Fugue and Bossa. Nelson (1932-1975) is well known as a jazz saxophonist and composer whose 'Blues and the Abstract Truth' album is commonly included on lists of all-time best jazz recordings. Robert Boudreau, the enterprising creator of the American Wind Symphony, commissioned a wide range of composers to write for the ensemble, and it is Boudreau who afforded Nelson his greatest opportunities in concert-music composition. (Boudreau also commissioned black composers J. J. Johnson, Ulysses Kay, T. J. Anderson, and Hale Smith, all of whom responded with substantial pieces.) Nelson's pieces for the Wind Symphony included a study in 5/4 which featured Dizzy Gillespie, a Concerto for Percussion, Complex City, and the Fugue and Bossa recorded here. %E2%80%9CThe fugue is Contrapunctus 1 from Bach's 'Art of Fugue.' Nelson's sensitive scoring is for double reeds, flute, trumpet, horn, and organ, and includes some discrete doublings and octave couplings. The overall sonority is a new one for the much-played fugue. For a second movement, Nelson writes an original Bossa-Nova to which he adds Bach's 'Art of the Fugue' theme in inversion as a countermelody in lower woodwinds. If jazzing Bach had been done often by the time this was written in 1973, Nelson has nonetheless added both a thoughtful transcription and a fiery original piece to the genre. The jazz solos, improvised at the recording session, reflect Nelson's own practice when playing with Boudreau's Wind Symphony. Without any explicit indication on the score, he simply improvised over the form of the piece. The opening of the saxophone solo on this recording, with its reworkings of Nelson's theme, is especially effective.%E2%80%9D [Ulysses Simpson Kay (1917-1995) and Hale Smith (1925-2009) are profiled at AfriClassical.com, which features comprehensive Works Lists by Prof. Dominique-Ren%C3%A9 de Lerma http://www.CasaMusicaledeLerma.com] AT 7:56 PM 0 COMMENTS LABELS: BOSSA, FUGUE, OLIVER NELSON, OUT OF THE DEPTHS: MUSIC BY AFRICAN-AMERICAN COMPOSERS 'Take A Chance' is a Recorded Work of Hale Smith, Who Passed Away Nov. 24, 2009 [Hale Smith; Out of the Depths: Music by African-American Composers; Keystone Wind Ensemble; Jack Stamp, Conductor; Citadel 88143 (2002)] Today, Nov. 24, 2011, is the second anniversary of the passing of the innovative composer Hale Smith (1925-2009), who is featured at AfriClassical.com, which presents his complete Works List as compiled by Prof. Dominique-Ren%C3%A9 de Lerma, http://www.CasaMusicaledeLerma.com. Hale Smith contributed richly to both Jazz and Classical Music. This seems an appropriate occasion to discuss Take A Chance (10:54), the composition of Hale Smith on the recording Out of the Depths: Music by African-American Composers. Dr. Myron Moss writes the liner notes: %E2%80%9CHale Smith's music puts a less-expressionist, more human face on atonal composition. Born in Cleveland in 1925, he earned Bachelor's and Master's degrees at the Cleveland Institute of Music. He had a single composition teacher, Marcel Dick, whom he credits with evoking the individuality of his students (including Gardner Read and Donald Erb), while conveying the range of twelve-tone and atonal approaches to composition. Smith has focused on songs and choral pieces from early in his career, including the widely-praised In Memoriam Beryl Rubinstein (1953). His orchestral pieces Contours, Ritual and Incantations, and Innerflexions have all been recorded. %E2%80%9CSmith began writing band music while working as an editor at Frank Music for Arnold Broido. In the early 1960s Broido wanted to start a series bringing contemporary compositional techniques to school-music compositions. This 'Adventures in Form' series ultimately included Vaclav Nelhybel's Prelude and Fugue and Don Gillis' Instant Music. Broido had Smith start the series with Somersault, a twelve-tone piece, and Take A Chance, a piece with aleatoric elements. Take A Chance consists of five long statements ('variations') all based on the same warm-sounding but atonal harmonic structure. Variation I may be taken as the initial theme, Smith calls it 'a passionate song.' Variation II is a light-hearted march. Variations III and IV allow individual improvisation on prescribed notes; improvisation is especially necessary in Variation IV, where it provides the only melody. Smith's notes on the score also propose that the performing ensemble combine any two variations simultaneously, and experiment with varying the instrumentation within variations. In the performance recorded here, conductor/composer Jack Stamp has responded to Smith's invitation. His scheme for this performance consists of Variation I, Variation V, Variation II, Variations I and II together, the Variation IV (featuring improvising soloists on flute, oboe, clarinet, saxophone, and trumpet), and finally the combination of Variations I and V. (These segments sometimes follow each other without pause. It may assist listeners in keeping track of the form to know that each segment is about 1:50 long.) What is recorded here is but one realization of a work that reflects not only high craftmanship with atonal materials, but also high confidence, characteristic of the sixties, in the artistic capacity of our youth in public schools.%E2%80%9D AT 3:17 PM 0 COMMENTS LABELS: HALE SMITH, OUT OF THE DEPTHS: MUSIC BY AFRICAN-AMERICAN COMPOSERS, TAKE A CHANCE Izola Collins: Galveston Heritage Chorale is 'singing the original spirituals arranged by noted composers.' [Glenn Burleigh] Izola Collins tells AfriClassical: %E2%80%9CMy Galveston Heritage Chorale has a focus purpose of singing the original spirituals arranged by noted composers. This concert will include two of my own arrangements of Christmas spirituals. The professional who is singing with us, and also adding her support group, called 'A Chosen Few' is Barbara Johnson Tucker. She has always been a great fan of recently deceased Glenn Burleigh. Her group will be singing selections from 'Born to Die', the Christmas Oratorio Glenn Burleigh wrote just a few years before his death. He conducted choirs in the Houston area, performing this well-received oratorio. Our two choirs will conclude the program with his 'Magnificat', which is challenging but well done. This concert will be December 4, Sunday, at 6:00P.M. at the largest church in Galveston, Moody Memorial First Methodist Church, 53rd and Avenue U. Also, my choir, GHC, will do a Christmas selection written from the dial tones of friends by Kene' Arnold, who was a prolific composer who died in his forties. It is called 'Tiny Child.' Izola Collins%E2%80%9D AT 2:45 PM 0 COMMENTS LABELS: BARBARA JOHNSON TUCKER, GLENN BURLEIGH, IZOLA COLLINS SUNY Orange: 'Symphonic Band to Hold Holiday Concert Dec. 10' at Paramount Theatre [Kevin Scott, conductor, SUNY Orange Symphonic Band] Kevin Scott is conductor of the SUNY Orange Symphonic Band. He sends news of the ensemble's Holiday Concert for 2011: %E2%80%9CHello, folks! If you were able to make my last concert, great! And if not, we have another one geared for the holiday season. %E2%80%9CSo...if you want to come up to Middletown on December 10th, the SUNY Orange Symphonic Band is going to offer some wonderful seasonal selections, as well as some very interesting pieces. Beacon-based composer Joseph Bertolozzi, renowned for his best-selling CD Bridge Music, will be represented by Trances & Visions, a sublime meditation for horn and concert band, with Christine Sacchi, the band's principal horn, as soloist. %E2%80%9CAlso on the roster is Robert Longfield's retelling of the origins of Longfellow's poem The Bells of Christmas, narrated by Frances Backofen, who has been a member of the band since 2006. Our performance of this work will be dedicated to the memory of her husband George, who performed it with me back in December of 2006.%E2%80%9D SUNYOrange.edu %E2%80%9CThe program will also include the following: Larry Clark%E2%80%99s symphonic selections of Albert Hague and Eugene Poddany%E2%80%99s music from the classic 1966 TV cartoon version of Dr. Seuss%E2%80%99 %E2%80%9CHow the Grinch Stole Christmas%E2%80%9D; Alfred Reed%E2%80%99s arrangement of the English folksong %E2%80%9CGreensleeves%E2%80%9D; Larry Kerchner%E2%80%99s adaptation of Michael Praetorius%E2%80%99 %E2%80%9CLo, How a Rose E%E2%80%99er Blooming%E2%80%9D; Tom Wallace%E2%80%99s orchestration of John Jacob Niles%E2%80%99s %E2%80%9CI Wonder as I Wander%E2%80%9D; the spiritual %E2%80%9CGo Tell It On the Mountain%E2%80%9D in a stirring arrangement by Jay Dawson; and additional selections by Hawley Ades, Steve Knight and Hugh M. Stuart.%E2%80%9D AT 10:46 AM 0 COMMENTS LABELS: KEVIN SCOTT, PARAMOUNT THEATRE, SUNY ORANGE SYMPHONIC BAND WEDNESDAY, NOVEMBER 23, 2011 'Three Silhouettes for Piano, Op. 38' of Samuel Coleridge-Taylor Uploaded to International Music Score Project [Samuel Coleridge-Taylor at 23] Samuel Coleridge-Taylor (1875-1912) was an Afro-British composer and conductor featured at AfriClassical.com. The Centennial of his death will be in 2012. Major observances are being planned by organizations including the Samuel Coleridge-Taylor Foundation, http://www.sctf.org.uk/. The International Music Score Project (IMSLP), Petrucci Library, describes its mission as %E2%80%9CSharing the World's Public Domain Music.%E2%80%9D On Sept. 23, 2011, AfriClassical posted: %E2%80%9CSamuel Coleridge-Taylor's 'Life and Death' and 'A King There Lived in Thule' Uploaded to IMSLP.%E2%80%9D We have since learned of another recent upload by Adam Ramet on November 16, 2011: General Information Work Title: 3 Silhouettes for piano, Op. 38 Composer: Coleridge-Taylor, Samuel Opus/Catalogue Number: Op. 38 Movements/Sections: 3 pieces 1. Tambourine 2. Lament 3. Valse First Publication: 1904 Piece Style: Romantic Instrumentation: Piano The IMSLP maintains a Category Page on Samuel Coleridge-Taylor, including 45 pages beginning with these: African Suite, Op. 35 Five and Twenty Sailormen The Atonement AT 9:04 PM 0 COMMENTS LABELS: IMSLP, OP. 38, SAMUEL COLERIDGE-TAYLOR, THREE SILHOUETTES FOR PIANO Older Posts Home Subscribe to: Posts (Atom) William J. 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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4KE8KOihip1BGU0BhIaA1C8iszUUaYQew2b9LjWMMKEF4D2D6eoETSfVI_Z6UTBkRC54aKYGHuzNTSbAH78g4BQzz2jkQ7b8YjyZtjHbdpaPOb9hC_clZSnHGXV9xz2cnTBzT0fen55k/s1600/AndreWattsLarge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF4KE8KOihip1BGU0BhIaA1C8iszUUaYQew2b9LjWMMKEF4D2D6eoETSfVI_Z6UTBkRC54aKYGHuzNTSbAH78g4BQzz2jkQ7b8YjyZtjHbdpaPOb9hC_clZSnHGXV9xz2cnTBzT0fen55k/s320/AndreWattsLarge.jpg" width="213" /></a></div><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">André Watts was born to an American father and a Hungarian mother, the latter of whom famously used stories of Liszt's work ethic to inspire Watts to practice as a child. This paid off when he was selected to fill in for Glenn Gould with the New York Philharmonic in 1963, where he did a outstanding performance of Liszt's first concerto. In Durham, the Avery Fisher Prize recipient trains an all-Liszt program in honor of Liszts bicentennial. </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">During my internship with the Atlanta Symphony Orchestra, I had the opportunity to work and spend time with Watts. He is one of the most humble and outstanding musicians of our generation. </span><br />
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<div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">PROGRAM:</span></b></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Étude de Concert No. 3, “Un Sospiro”</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Les Jeux d'eau a la Villa d'Este</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Piano Sonata in B Minor</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Bagatelle ohne Tonart</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Nuages Gris</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT:<i> En Rêve</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>La Lugubre Gondola No. 2</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Schlaflos, Frage und Antwort</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Étude No. 5, “La Chasse,” from Six Grand Études de Paganini</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Transcendental Étude No. 10 in F Minor</i></span></span></div><div style="color: #0d0600; font-size: 14px; line-height: 21px; text-align: justify;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">LISZT: <i>Hungarian Rhapsody No. 13 in A Minor</i></span></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-22290656062183556022011-11-28T06:45:00.000-08:002011-11-28T06:45:19.384-08:00CD of the Week: Diamond MusicThis week I'm playing <i>Palladio</i> by Welsh composer Karl Jenkins.. This work has been used in a television commercial from the De Beers diamond corporation. This work has a special place in my heart because I played this work with a quartet during my 8th grade promotion ceremony.<br />
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/4vXHm8TzLzE?feature=player_embedded' frameborder='0'></iframe></div>Also here is a video of famous pop group, "Escala" playing their version of the work. Which version do you like the most?<br />
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/GBy7R8QNQSY?feature=player_embedded' frameborder='0'></iframe></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-26452533666395445322011-11-17T06:41:00.000-08:002011-11-17T06:41:02.456-08:00Glass Harmonica<div class="separator" style="clear: both; text-align: center;"><br />
</div>Check out this guy dressed like Benjamin Franklin, the creator of the glass harmonica....<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv4n6M6U3i5WcgAVbfPZmbtNpd_SZ20fAWc6Htef6wUEKE0gup2pvVahC4WSIMq9eKjj39zR57DB-J7ETyegFu8ZNRui6jt1gWIaSxbyDxSy95f-Cd7cr6yOQR7Dz8FlYMM-srmeZPAIad/s1600/ArmonicaPlaying.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv4n6M6U3i5WcgAVbfPZmbtNpd_SZ20fAWc6Htef6wUEKE0gup2pvVahC4WSIMq9eKjj39zR57DB-J7ETyegFu8ZNRui6jt1gWIaSxbyDxSy95f-Cd7cr6yOQR7Dz8FlYMM-srmeZPAIad/s320/ArmonicaPlaying.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/YJF-YODZ_ZI/0.jpg"><param name="movie" value="http://www.youtube.com/v/YJF-YODZ_ZI&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/YJF-YODZ_ZI&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com1tag:blogger.com,1999:blog-5514251675290748963.post-50818317344418293062011-11-16T08:49:00.000-08:002011-11-16T08:49:53.080-08:00Funk isn't Classical<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb2h6q-peYoNQ1hEwtFRau4CW8WwlX_vY8CIm511GJES_BvnfpM4hNKTvQxpRNne-_M-NiGFxKlwsAfJp0zId2_Y_Il-7BExQplwrM6RAcXTtIRd9jFoPey0ls7Z4uYeVclffpVzoQ2Prt/s1600/black-violin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb2h6q-peYoNQ1hEwtFRau4CW8WwlX_vY8CIm511GJES_BvnfpM4hNKTvQxpRNne-_M-NiGFxKlwsAfJp0zId2_Y_Il-7BExQplwrM6RAcXTtIRd9jFoPey0ls7Z4uYeVclffpVzoQ2Prt/s400/black-violin.jpg" width="400" /></a></div>Nothing bothers me more than these instrumentalists on YouTube who take famous classical works and translate them into upbeat and funky music. While I understand that everyone doesn't enjoy standard classical music, I don't think it is appropriate to alter music. The first problem with this is that the performer is sacrificing and downing musicianship. They are playing more for audience appeal so they loose the structure of the music -must I add that classical composers work extremely hard to establish and maintain structure through music. And secondly they are loosing the style and ultimately the history behind the music. There is no way that you can keep the Baroque style while sliding up and down the finger board of a violin and adding drum beats behind it. I wonder how Bach or Haydn would feel if they heard their music being portrayed in this way.<br />
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Talking about this, the image that I always have in my mind is Joshua Bell, VERY famous violinists, dressed as a normal person standing in the New York subway playing his violin and not making a dime. But the man across from him playing hip music on the guitar received a lot of money and attention. Why is this? Im pretty sure Bell was playing some works that even half of today's symphony musicians couldn't play. I just don't understand. Talking about Joshua Bell, this leads me to the next point about artists having to play contemporary music to stay interesting and appealing to artists. Why can't they continue to play standard music and develop new interpretations of standard classical music?<br />
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As I looked on YouTube its a shame that people who have altered classical music into funk receive more hits than standard musicians playing music -and pretty well I must add. As I looked at the people who commented and liked these video's I did find that more often, minorities especially African American's commented on the funk interpretations rather than the standard classical pieces. I also got upset when I look at the McDonalds commercial and there are two African-American hip hop violinists. Why does it have to be this way to appeal to a certain audience. What do we have to do to expose minorities to this new world? I just want to be able to a classical concert and see people who look like me sitting on the stage and sitting next to me on the concert.<br />
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Check out this video to see this guy playing a 'Hip-Hop' version of a Paganini Caprice. What can we do to end this?<br />
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/PGN05yOkVkw?feature=player_embedded' frameborder='0'></iframe></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com1tag:blogger.com,1999:blog-5514251675290748963.post-12000269524652725542011-11-04T18:59:00.000-07:002011-11-16T19:01:29.682-08:00The Downward Spiral of the Ladies Man<div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifYYMsxLGHvpmIqfhkLFkr_95_1uTpipkBpPYvg4suUM7eL0vuOfE2YxV2PAHnrjUy5un_OQ0Y4zRLXOlvNr1ARXScgct4_PdYqoBWKVMx33N2iXAUGKJCL3YU8SmVSqfu4fnNrKhzN_1f/s1600/dongiovanni2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifYYMsxLGHvpmIqfhkLFkr_95_1uTpipkBpPYvg4suUM7eL0vuOfE2YxV2PAHnrjUy5un_OQ0Y4zRLXOlvNr1ARXScgct4_PdYqoBWKVMx33N2iXAUGKJCL3YU8SmVSqfu4fnNrKhzN_1f/s400/dongiovanni2.jpg" width="400" /></a></div><br />
<div class="MsoNormal" style="line-height: 200%; text-align: center; text-indent: 0.5in;"><span style="font-family: Times;"> <b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 12pt;">Opera Review of the Metropolitan Opera’s Production of Don Giovanni</span></b> </span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: Times;">The Metropolitan Opera presented a dark and erotic interpretation of the new production of Wolfgang Amadeus Mozart’s <i style="mso-bidi-font-style: normal;">Don Giovanni</i>. The production premiered on October 29, 2011 at 12: 55 in New York City with a HD simulcast that took place in theatres throughout the country. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Times;">Don Giovanni, </span></i><span style="font-family: Times;">which is separated into two acts,<i style="mso-bidi-font-style: normal;"> </i>is named after a nobleman and seducer Don Giovanni, who is said to have affairs with women all throughout Europe. The first act begins with Fabio Luisi entering the stage and conducting the mysterious and vivid “Overture.” The orchestra and Luisi exaggerated the drastic dynamic changes to emphasize the changing moods throughout the work. Additionally, Luisi took liberty during the whole note passages and sped up during the moving note passages, I believe to reveal the rise and demise of Giovanni. Despite that Luisi never conducted <i style="mso-bidi-font-style: normal;">Don Giovanni </i>prior to this performance, he was very meticulous in regaining the tempo whenever he slowed down. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: Times;">The “Overture” seemingly moved to Leporello, a servant to Don Giovanni, standing outside the Commendateore’s palace complaining about his duties to Giovanni. During this production of <i style="mso-bidi-font-style: normal;">Don Giovanni </i>it’s clear that Michael Grandage, producer of the opera, wanted to emphasize the fact that ‘Giovanni’ is a comic opera. In the first act, especially during Leporello’s first aria, his frustration of working for Don Giovanni is presented in a very exaggerated and comical way. Additionally, Don Giovanni tries to seduce Donna Anna and kills her father who is the Commendatore during a duel. It’s obvious that from this point forward is the beginning of the end of Don Giovanni and the rest of his seduction attempts only placed him in worse predicaments. Don Ottavio, who is engaged to Don Anna, then promises her that he will seek revenge on the person who has murdered her father. “Ah, vendicar, se il puoi, giura quell sangue ognor.” Don Ottavio had a very beautiful tone and phrased and used dynamic contrast to create a memorable performance during his two arias. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: Times;">Giovanni later goes to a tavern where he flirts with Donna Elvira who is also a woman that he once attempted to seduce in the past. Giovanni has Leporello distract Elvira as he escapes from the tavern. Giovanni then runs into a set of his friends, Zerlina and Masetto, who are planning to exchange their vows. Masetto sings with richness that helps to set the dark and pensive mood. Giovanni flirts with Zerlina until Don Elvira breaks her away. Despite that Giovanni knows that he is getting deeper into trouble, he still remains very smooth and charming while he flirts with women. Although Don Elvira removes Zerlina from the situation, Giovanni is most suave and elegant at this point as he attempts to ‘woo’ her. As Donna Elvira returns to tell everyone that Giovanni attempts to flirt and seduce a lot of women, he runs into Donna Anna and she recognizes his voice as the person who killed her father. Don Elvira was breathtaking during this scene. She presented a sensual performance that makes it clear that although she wants Giovanni punished it is clear that she loves him.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: Times;">Everyone who is at the feast in celebration of Zerlina and Masetto overindulge in champagne as Zerlina is outside trying to convince Masetto to forgive her for her infidelity with Giovanni. Giovanni appears and convinces everyone to wear mask to the festivities. Eventually, Donna Elvira, Donna Anna and Don Ottavio recognize Giovanni. At this point of the opera, it becomes very confusing to keep up with all of the characters and everything going on. At times it becomes overwhelming to even watch the performers because they are each over exaggerating both their singing, their acting and motions: partly for the fact that this is a peak of the opera and mostly because the performers have to produce in a massive hall. Also, there were moments when the soprano Donna Anna seemed as though she was straining to be heard over the orchestra. The act ends with Ottavio and Giovanni sword fighting and Giovanni escaping. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: Times;">The second act opened up with Leporello and Giovanni underneath Elvira’s balcony exchanging coats. Giovanni has Leporello to distract Donna Elvira as the Don attempts to flirt with Elvira’s maid. I was hoping for Donna Elvira to be more assertive during this portion of the scene, rather she was just very submissive and didn’t take control. Masetto passes with a group of peasants that want to help bring down Giovanni but Masetto is eventually beaten up. Elvira and the disguised Leporello end up running into Masetto, Zerlina, Anna and Ottavio. They all think that Leporello is Giovanni and threaten to punish him. Leporello reveals his true identity and breaks away to tell Giovanni what has happened and the two return home. Leporello was an impressive singer. He had to walk a fine line between being a servant, friend and peasant and in combination with his singing, his acting really helped to distinguish between each of these personas. As Leporello serves dinner the Commendatore’s statue is announced at the door. He gives Giovanni the opportunity to repent for all of his sins but because he is too proud, Giovanni refuses. Giovanni’s house catches on fire and he is dragged to hell. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: Times;">I found the last scene to be the most melodramatic of the entire opera. Especially at the point when the Don grabs onto Donna Elvira, he held on so tightly that it was apparent that she was unable to move. I really liked when the flames burst as Don Giovanni was dragged to hell. Although I was watching the opera through a movie screen, it added to the fact that Don Giovanni was to be tortured and live a life of pain and despair. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><span style="font-family: Times;">I absolutely loved the set and that fact that there was a lot of attention placed on detail during each of the scenes. Although there was a lot of materials towards the back of the stage, it was still constructed and strategically placed in a way that pushed all of the action downstage while still allowing the opportunity for things to take place behind the singers. I also liked how the lighting was placed that supported the mood of each of the scenes, for example the gloomy street scenes. Although the production didn’t seem to take many risk from the other productions that I have seen of <i style="mso-bidi-font-style: normal;">Don Giovanni </i>every single thing from the choreography to the music to the committed cast seemed to have a clear point of view. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 200%; text-indent: .5in;"><br />
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</div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com3tag:blogger.com,1999:blog-5514251675290748963.post-29201184493579605782011-10-28T06:23:00.000-07:002011-11-16T08:59:19.795-08:00Don Giovanni is Coming<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUKNCCzOgBil8fBVaLEkabR5dFpX1ZviIwJl86NcjV-oGZODIZgmPRDM9NMRgW-yBuw9lUEm1vjo6Ou0eGs04sLIM735biPSMjrbW_dZP_4Fk6IP7eCVOidSIqkwAItzz-Uis8kdABRCw/s1600/images.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUKNCCzOgBil8fBVaLEkabR5dFpX1ZviIwJl86NcjV-oGZODIZgmPRDM9NMRgW-yBuw9lUEm1vjo6Ou0eGs04sLIM735biPSMjrbW_dZP_4Fk6IP7eCVOidSIqkwAItzz-Uis8kdABRCw/s400/images.jpeg" width="311" /></a></div><br />
<div style="text-align: center;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Georgia, 'Times New Roman', serif; line-height: 19px;"><b><i>Non si picca – se sia ricca,</i></b></span></div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Georgia, 'Times New Roman', serif; line-height: 19px;"><b><i>Se sia brutta, se sia bella;</i></b></span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b><i> Purché porti la gonnella,</i></b></span></span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b><i> Voi sapete quel che fa.</i></b></span></span><br />
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</span></div><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The Mets live production of Mozart's Don Giovanni is premiering tomorrow in theaters. Ive been hearing and reading mixed reviews of the opera but it should be interesting. Im also looking forward to seeing the new staging that caused millions of dollars to design. There is a limited showing of the opera, so check it out and tell me what you think. I will also be posting my review of the concert shortly after the concert.</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Below is James Levine conducting the overture to Don Giovanni</span><br />
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/nemAKvtXL8w?feature=player_embedded' frameborder='0'></iframe></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com2tag:blogger.com,1999:blog-5514251675290748963.post-31024546710764694372011-10-21T06:26:00.000-07:002011-10-21T06:26:36.091-07:00Thought of the Day...<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">With the Met's production of "Don Giovanni" coming out next week I thought that this weeks thought should come from Wolgang Amadeus Mozart:</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>"I pay no attention whatever to anybody's praise or blame. I simply follow my own feelings."</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">This quote has a deep impression on me because I feel that very often we worry so much about other people's ideas of us rather than connecting and meeting the desires of our own feelings. As you embark on your weekend, follow your feelings and have some FUN!</span><br />
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</span>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.comtag:blogger.com,1999:blog-5514251675290748963.post-66302655557278686852011-10-20T10:44:00.000-07:002011-10-20T10:44:33.992-07:00Need a Break- Play a Game<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRA68qDnfLU6Q3YGK8BiuxL1WF-88TvzFB_vhEi1JQWMVaKj998OM1NQSoJvRqzFR5_wfs7sL25pplmWbXPdMyaSveyFphXrmaA-yDX83g5uWESz1ibtzu3a2zJZRlgPvBl-f8ZIL2AZt4/s1600/Unknown-1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRA68qDnfLU6Q3YGK8BiuxL1WF-88TvzFB_vhEi1JQWMVaKj998OM1NQSoJvRqzFR5_wfs7sL25pplmWbXPdMyaSveyFphXrmaA-yDX83g5uWESz1ibtzu3a2zJZRlgPvBl-f8ZIL2AZt4/s400/Unknown-1.jpeg" width="298" /></a></div>If you have some free time play this game sponsored by sporcle.com and test your ability to name the famous composers of these great works. Don't be discouraged... have fun!<br />
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<a href="http://www.sporcle.com/games/snugfoot/classical_essentials">CLASSICAL COMPOSERS</a>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.comtag:blogger.com,1999:blog-5514251675290748963.post-91389681908876658702011-10-20T10:30:00.000-07:002011-11-17T07:07:54.478-08:00CD of the Week: Shostakovich: The String Quartets<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzKwLI55-4MdzNvfyTyzR7pjOwzHxA3btuH_qD468cg6ud5dO4U-0Wl146Qe4-x4tW_nxc0zGOyg0tRy1i-et90NUxV4Z4HSMLjRtYy5BKXAY78emQ0LqrO-cxixy2-hvzfiHckrH0aeh/s1600/07.06.02..emerson.span.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzKwLI55-4MdzNvfyTyzR7pjOwzHxA3btuH_qD468cg6ud5dO4U-0Wl146Qe4-x4tW_nxc0zGOyg0tRy1i-et90NUxV4Z4HSMLjRtYy5BKXAY78emQ0LqrO-cxixy2-hvzfiHckrH0aeh/s400/07.06.02..emerson.span.jpg" width="400" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The CD of the Week *drumroll* everybody's favorite- Shostakovich: The String Quartets by the Emerson String Quartet. I just can't resist the pure anger and distress in all of the quartets. Check out this video of the Emerson String Quartet performing the Shostakovich No. 3. AMAZING!</span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/AGecTrhNzG4?feature=player_embedded' frameborder='0'></iframe></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDf5k7QfHWCyC-WXmIhAyiB2ePupelF377DxmL3REUbO49-uBDiKsGqJH38I2ovFwuZENBm81doDszq0W4912GllqSmmCTp45tLTOZD0lrd5R5lv6yeSYzLF0ErmSn0gd5dFJmDmUDiAk/s1600/chimage.php.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDf5k7QfHWCyC-WXmIhAyiB2ePupelF377DxmL3REUbO49-uBDiKsGqJH38I2ovFwuZENBm81doDszq0W4912GllqSmmCTp45tLTOZD0lrd5R5lv6yeSYzLF0ErmSn0gd5dFJmDmUDiAk/s1600/chimage.php.jpeg" /></a></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Dmitri Shostakovich was born on September 25, 1906 in St. Petersburg, Russia. He immediately stood out as a prodigy and by 1918 he wrote his first funeral march. Shostakovich became famous in the Soviet Union under <span style="color: windowtext;">Leon Trotsky</span>'s chief of staff <span style="color: windowtext;">Mikhail Tukhachevsky</span>, but later had a complex and difficult relationship with the government.</span><br />
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</style> <![endif]--> <!--StartFragment--> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh21-JxAfQ_mcF1uX-kyyCgbkK4akq3d1WjgTQpBcUgK9fyevb8DCfHvjbmv35BsetJNenWsWdt9s3rcOnzXm-GvAjwxPvShLGZFzOmJAxEZHpA6uE2Zb2-ttgbKEKFcAe5kMFr90MINNgw/s1600/chimage-1.php.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh21-JxAfQ_mcF1uX-kyyCgbkK4akq3d1WjgTQpBcUgK9fyevb8DCfHvjbmv35BsetJNenWsWdt9s3rcOnzXm-GvAjwxPvShLGZFzOmJAxEZHpA6uE2Zb2-ttgbKEKFcAe5kMFr90MINNgw/s320/chimage-1.php.jpeg" width="189" /></a></div><div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Being heavily influenced by <span style="color: windowtext;">Sergei Prokofiev</span> and <span style="color: windowtext;">Igor Stravinsky</span>, Shostakovich developed a hybrid style, especially shown through <i><span style="color: windowtext;">Lady Macbeth of the Mtsensk District</span></i>. This single work juxtaposed a wide variety of trends, including the <span style="color: windowtext;">neo-classical</span> style and <span style="color: windowtext;">post-Romanticism</span>.<o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Shostakovich's orchestral works include 15 <span style="color: windowtext;">symphonies</span> and six <span style="color: windowtext;">concerto</span>. His symphonic work is typically complex and requires large scale orchestras. Music for chamber ensembles includes 15 <span style="color: windowtext;">string quartets</span>, a piano quintet, two pieces for a string octet, and two piano trios. For the piano he composed two solo sonatas, a set of <span style="color: windowtext;">preludes</span>, and a later set of <span style="color: windowtext;">24 preludes and fugues</span>. Other works include three operas, and a series of <a href="http://en.wikipedia.org/wiki/Film_score"><span style="color: windowtext;">film music</span></a>.</span><span style="font-family: Times;"><o:p></o:p></span></div><!--EndFragment-->Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.comtag:blogger.com,1999:blog-5514251675290748963.post-50979150118781238862011-10-17T06:44:00.000-07:002011-11-16T19:03:52.218-08:00Celebrating 10 Years<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY6KzFvAPMSLELBI3I0hwxewtT2LEXOPsM7_RzGl1n1ngt379k63C2dv3XL7ggIrDMLJn_2xFO6a1otbar5BU6rQZvWoXpgYfGR7yunp5AoqW4aKXB9ChyphenhyphenH5pyE4zAwNTAYmWlERA3EZCd/s1600/note_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY6KzFvAPMSLELBI3I0hwxewtT2LEXOPsM7_RzGl1n1ngt379k63C2dv3XL7ggIrDMLJn_2xFO6a1otbar5BU6rQZvWoXpgYfGR7yunp5AoqW4aKXB9ChyphenhyphenH5pyE4zAwNTAYmWlERA3EZCd/s320/note_01.jpg" width="320" /></a></div>Congratulations to Atlanta Symphony Orchestra conductor Robert Spano for his 10 years of service with the ASO. During my time interning with the ASO, I had several opportunities to meet and work with Mr. Spano and he is truly a remarkable and genuinely nice person. Click on the video below to watch the ASO's dedication video to Spano.<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/9zZHpA4R0Pg?feature=player_embedded' frameborder='0'></iframe></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com1tag:blogger.com,1999:blog-5514251675290748963.post-11978165680414816642011-10-13T06:59:00.000-07:002011-11-16T19:04:13.689-08:00Race in the Classics<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7wE0TXL_EvOd2uqk7gQDqj4e4TsI5PelNKNAoSMvkDuavZZExY4RGpgURCKJzXPsReMk4j80IqqkRUeWRoKAo4iYkbfNUduRBvocoGcRsXQhGbT0vGrw69ROtMhpgRsM0nz-nFqmDWhrC/s1600/6049863209_edbce4949b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7wE0TXL_EvOd2uqk7gQDqj4e4TsI5PelNKNAoSMvkDuavZZExY4RGpgURCKJzXPsReMk4j80IqqkRUeWRoKAo4iYkbfNUduRBvocoGcRsXQhGbT0vGrw69ROtMhpgRsM0nz-nFqmDWhrC/s400/6049863209_edbce4949b.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>As an African American violinist, I have always been bothered by the fact that there are not a lot of African-Americans and Hispanics within the world of classics (orchestra,opera,dance). Yesterday as I sat in orchestra, I looked around and realized that I AM THE ONLY African-American in the Cornell Symphony Orchestra. In the past, there have been at least one or two other blacks in orchestra but now there are NONE! Now I have to ask everyone, Why is this the case?<br />
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From my personal experience, my parents had to struggle and re-shuffle money to pay for private lessons with top symphony musicians, pay to constantly upgrade and the general maintenance of my instrument and endure travel experiences to different orchestra activities. Is this why we don't see minorities, excluding Asians, in today's classical world? Do minorities not have the resources for their kids to be artists or because of the limited resources provided to minorities in general, they aren't willing to take the risk to invest in the kids as artist.<br />
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Looking in orchestra, its amazing that classic arts is still classified as a privileged and wealthy craft. But what is most surprising is how orchestra especially is dominated by Asians. A lot of my friends are first generation Asians however, they are still preserving to become the top musicians. I think that it goes far beyond cultural differences and perspectives and basically boils down to expectations. From my experience, in the black community we are not expected to become top artists because it sooo out of the norm. There is no stride to become classical artists. My entire life I have always been asked, "Why not Jazz." My question back is Why not Classical? Because jazz derived from African origins, I guess it is more familiar and seems more 'normal' for minorities to engage in jazz music.<br />
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Classical music is simply something that is not taken serious in minority communities and now it is really starting to become a big issue. Although competitive, there are several values, lessons and skills that are embedded within classical music and I really think that minorities need to start exploring these options. I am very familiar with the big outreach programs to encourage minority artists to become more engage in their craft but this clearly an issue that needs to start at the root -our community and our homes.Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com4tag:blogger.com,1999:blog-5514251675290748963.post-63198016300513279622011-10-12T11:25:00.000-07:002011-10-12T11:25:51.680-07:00Book: The Healthy Dancer<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH87J9TJpGyGNo5jLCqBCDRD7UrBgY5USnlld02xUhuRyNvB-UerieDw10mCpCCS_dVeavPQkBMrIxrQ2eZNCqJYNmYwip2rGYurGUblHkWkrxHq-UzsVRV3tpz5CvrRDmhCdr0rMF0JSS/s1600/Unknown.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH87J9TJpGyGNo5jLCqBCDRD7UrBgY5USnlld02xUhuRyNvB-UerieDw10mCpCCS_dVeavPQkBMrIxrQ2eZNCqJYNmYwip2rGYurGUblHkWkrxHq-UzsVRV3tpz5CvrRDmhCdr0rMF0JSS/s400/Unknown.jpeg" width="268" /></a><br />
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The American Ballet Theatre just released a book, "The Healthy Dancer: ABT Guidelines for Dancers Health." The book gives easy-to-follow guidelines for teachers, parents, students and trainers. The book is broken into three parts:<br />
Part 1- The Anatomy of a Dancers Body<br />
Part 2-Advice for a Young Dancer<br />
Part 3- Risk Management and Advice for Teachers and how to handle stress<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkQOczHsIGwjlDHWIYlNoPpJbASEE2z1mRose40eaOlX6I3aN9MWTobCPi1LK1OBkT-JabEoDLFRjlhyv2SIiQf-eg2_0BvjJPnp-hG09J_CQdJE5CQIGbIxIfSpG2wq03wyvlqmsVbAGs/s1600/Unknown-1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkQOczHsIGwjlDHWIYlNoPpJbASEE2z1mRose40eaOlX6I3aN9MWTobCPi1LK1OBkT-JabEoDLFRjlhyv2SIiQf-eg2_0BvjJPnp-hG09J_CQdJE5CQIGbIxIfSpG2wq03wyvlqmsVbAGs/s1600/Unknown-1.jpeg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>The Academy Award Winner, "Black Swan" is one of my favorite movies, however it brought up a lot of issues that dancers have to face so I am really happy that ABT has released this book. Click on the link below to learn more information and to order a copy. This is a great book to give away for the Holidays! <a href="http://www.abt.org/education/healthydancer.asp">ABT Book Link</a>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-31540392376287145412011-10-12T11:15:00.000-07:002011-10-12T11:15:24.190-07:00CD of the Week: Reverse Thread<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6k6CZ1vNLRu-D_dDlPbi-c9UDNdPZSXNyGFz-T92FeMcFVhKB1sjPdPbC_DE4xHSuY9en9JmqxKmnc6k7ShyphenhyphenKZXD6WKXtrlcTSKvVndcfOISuLZx_6-zl9y-STgDdn2GtoolsRTAjUgjc/s1600/images.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6k6CZ1vNLRu-D_dDlPbi-c9UDNdPZSXNyGFz-T92FeMcFVhKB1sjPdPbC_DE4xHSuY9en9JmqxKmnc6k7ShyphenhyphenKZXD6WKXtrlcTSKvVndcfOISuLZx_6-zl9y-STgDdn2GtoolsRTAjUgjc/s400/images.jpeg" width="400" /></a></div><br />
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Jazz Violinist Regina Carter released her latest album, "Reverse Thread." This is a great album to keep your spirits high as it starts to get cold outside. Carter is currently on tour visiting cities throughout the country. The album plays on familiar themes with a twist. I saw Carter perform a few years ago and she and her accompanying band have a very distinctive sound. That distinction is very clear in Reverse Thread. Click on <a href="http://reginacarter.fanbridge.com/downloads/file.php?file_id=8797&anon=1&conf_code=f6135e45cb769ac49bd9a8c76e032a84&sid=0&cid=0&download=1">Free Download</a> to get a free download from the album, visit iTunes to purchase the album and below is a video of Carter performing excerpts from "Reverse Thread."<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/nQWKCpn3sFs?feature=player_embedded' frameborder='0'></iframe></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com1tag:blogger.com,1999:blog-5514251675290748963.post-21790404604565351092011-10-12T06:25:00.000-07:002011-10-12T06:26:17.847-07:00Joshua Bell and the ASOViolinist Joshua Bell is performing the Tchaikovsky Violin Concerto this weekend with the Atlanta Symphony Orchestra. Tickets start at $26.00.<br />
This is defiantly going to be a magical performance. If you are in Atlanta during the time go and check it out!!!<br />
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<a href="http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2011-2012/Joshua-Bell-Tchaikovsky.aspx">Joshua Bell and the ASO Tickets and Program Notes</a><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6M-vVv0hSgy5i6KanTzgcMr2IdHtyoYF3iYqhxrxatjU5ZNOkyVYf_h7FlWLSw61K-GWaCiR0PD1DfW3l02rFAV5txOi9QuUGC8iNBWlazKtaA8Sf34HI3V82LU84mH4kffx3YyygZqGq/s1600/Unknown.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6M-vVv0hSgy5i6KanTzgcMr2IdHtyoYF3iYqhxrxatjU5ZNOkyVYf_h7FlWLSw61K-GWaCiR0PD1DfW3l02rFAV5txOi9QuUGC8iNBWlazKtaA8Sf34HI3V82LU84mH4kffx3YyygZqGq/s320/Unknown.jpeg" width="320" /></a></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-61335997823186204462011-10-12T06:17:00.000-07:002011-10-12T06:17:00.725-07:00Sounds of a New CenturyCheck out this cool website for the Sonic Festival. The festival is targeted for composers under forty. The first concert is this Friday. Even if you can't make the actual concert the website includes a lot of information for aspiring composers and musicians. <a href="http://sonicfestival.org/">SONiC FESTIVAL</a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB66Q98Zyxi_sxxQZqzxccWYRVKCSjWNFb2PJFnLL4ty1SLr4SryD0RRVX9-6vSoGpEG1yK7SkH7cwIEIgBYzXASLmrVPCfR1sB3qsVfJURyxP6ikFiYZMMmkJ5EhNWzVtz5HvytOHtUt5/s1600/images.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB66Q98Zyxi_sxxQZqzxccWYRVKCSjWNFb2PJFnLL4ty1SLr4SryD0RRVX9-6vSoGpEG1yK7SkH7cwIEIgBYzXASLmrVPCfR1sB3qsVfJURyxP6ikFiYZMMmkJ5EhNWzVtz5HvytOHtUt5/s400/images.jpeg" width="400" /></a></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-37220036784571070632011-10-09T19:00:00.000-07:002011-10-09T19:00:24.080-07:00Quote of the Day...<span class="Apple-style-span" style="color: #333333; font-family: Verdana; font-size: 12px; line-height: 16px;">“Music is born out of the inner sounds within a soul; all the music that was ever heard came from the inner silence in every musician.” </span><span class="Apple-style-span" style="color: #333333; font-family: Verdana; font-size: 12px; line-height: 16px;"><strong>John McLaughlin</strong></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKm9DyJ4VfPqUEFR-pjZK2hrXuoqtZQfkiUxrcLH9K5PkN-mIxCifsJSSy2qRVibL2AHzpknsG09nzasRdJRIqvvqwBkNZ1sdzb7CUPVws0EkrP-XG8DJjR3zZeaRwsCpHKTd8cBLNuJtE/s1600/img_3208.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKm9DyJ4VfPqUEFR-pjZK2hrXuoqtZQfkiUxrcLH9K5PkN-mIxCifsJSSy2qRVibL2AHzpknsG09nzasRdJRIqvvqwBkNZ1sdzb7CUPVws0EkrP-XG8DJjR3zZeaRwsCpHKTd8cBLNuJtE/s400/img_3208.jpg" width="400" /></a></div><span class="Apple-style-span" style="color: #333333; font-family: Verdana; font-size: 12px; line-height: 16px;"><strong><br />
</strong></span>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-35309620175999846422011-10-06T07:31:00.000-07:002011-10-06T07:31:51.429-07:00'Face to Face' Exhibit Now at the Johnson Museum<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRrcQaJGSBsA3bUprRifx8uvhF6CVxI3GmVMudLCYBi4hnA58U2FER0xe87hwWhGYhCyiiaj6DBXnjtjHx5fj-SFZ0w8oN_TvGmdI5EOnMvRp4fRRw272Zr2RO1ZzK8T7WYLdyOOAG6RGx/s1600/hfj-f2f-schielebanner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRrcQaJGSBsA3bUprRifx8uvhF6CVxI3GmVMudLCYBi4hnA58U2FER0xe87hwWhGYhCyiiaj6DBXnjtjHx5fj-SFZ0w8oN_TvGmdI5EOnMvRp4fRRw272Zr2RO1ZzK8T7WYLdyOOAG6RGx/s640/hfj-f2f-schielebanner.jpg" width="640" /></a></div><div style="text-align: center;"><br />
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</div><div style="text-align: center;">There is a pretty cool exhibit going on right now at the Cornell University Johnson Museum called Face to Face. A range of haunting and intimate faces from Ancient Egypt and Persia, the exhibit celebrates faces and the pain and joy faces can display. The exhibit is going on until October 30th and would be a great Halloween activity so check it out. </div><div style="text-align: center;"><br />
</div><div><div style="text-align: center;">Below is a link to the Johnson Museum if you want more information. </div><div style="text-align: center;"><a href="http://museum.cornell.edu/exhibitions/face-to-face.html">Face to Face at the Johnson Museum</a></div></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-86445574512160420032011-10-06T07:17:00.000-07:002011-10-06T15:05:14.594-07:00CD of the Week: New to Classics DeClassifiedMy friends always ask me, "What are you listening to today." So I thought I would share with you my weekly favorites.<br />
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</div><div>Log in every week to see which CD's I just can't seem to stop listening to. </div><div><br />
</div><div>This week's CD is "<b>Valery Gergiev and Mariinsky Orchestra: Tchaikovsky: Symphony No. 4</b>"</div><div>I have listened to several different works by Tchaikovsky by the orchestra and by far this is the best interpretation that I have heard thus far. Check out this video to hear and see the orchestra and if you like it, purchase it on iTunes. </div><div><br />
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</div><div class="separator" style="clear: both; text-align: center;">Here is a video with an interview with Gergiev talking about all of Tchaikovsky's Symphonies. <object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://0.gvt0.com/vi/_2zCP74nM4A/0.jpg"><param name="movie" value="http://www.youtube.com/v/_2zCP74nM4A&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/_2zCP74nM4A&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div><br />
</div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-89731480656635718572011-10-06T06:20:00.000-07:002011-11-30T21:26:19.067-08:00Lang Lang: Liszt-My Piano Hero Review<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkxjKleep1ezYt60ztSu8iJZDIk4yGUF9UYPIbp1ndvlmj9J30efoXkHdmir5z8EbNArmFtpexqH_0rCyXCGCl5RWksdCOAc-05seEa40I_9OaG-yEMSJg4wgro548FemNpGDvMLFBVn-r/s1600/Unknown-1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkxjKleep1ezYt60ztSu8iJZDIk4yGUF9UYPIbp1ndvlmj9J30efoXkHdmir5z8EbNArmFtpexqH_0rCyXCGCl5RWksdCOAc-05seEa40I_9OaG-yEMSJg4wgro548FemNpGDvMLFBVn-r/s400/Unknown-1.jpeg" width="400" /></a></div><br />
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</div>In his new album "Liszt: My Piano Hero," Lang Lang presents one of the most ire performances of Liszt that I have heard. Although Liszt is most popular among pianists, everyone can really appreciate every work on this entire album. As I have been reading some other reviews about the album, several people have been arguing that his choice of pieces are pinched, he plays the works at a third rate and he is playing on the piano way too hard and it is taking away from the works in general. I totally have to disagree with this. It is already very clear that Lang Lang is one of the great pianist of our time and he adores Liszt, so I think that his selection choice especially, was well chosen. Every little aspect is taken into consideration with him presenting a cohesive and innovative interpretation of Liszt.<br />
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Check it out online and/or purchase it on iTunes and tell me what you think. Also watch and listen to Lang Lang perform Liszt.<br />
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Lang Lang is a chinese american pianist who grew up in New York studying at the Julliard School. His studies and talent gave him world recognition and he has been touring the world since he was five years old. Lang Lang has done several recordings of Liszt. Liszt was born in 1811 and became extremely popular for his virtuosic skills as a pianist. As he began to write his own compositions, he model his style after the great composers like Wagner, Saint-Saens, Grieg and Borodin. Through his piano compositions, Liszt helped to expand the knowledge of musical form and ultimately he coined the term 'symphonic poem' which allows a certain movement in a symphony a picture, dance or emotion is evoked on the stage.<br />
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<div class="separator" style="clear: both; text-align: center;">Check out this video with clips of Liszt's music and some other composers that were mentioned above. <iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/MZ9FgtZ0ZU0?feature=player_embedded' frameborder='0'></iframe></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-86253139323873803942011-09-26T12:14:00.000-07:002011-11-30T21:07:32.034-08:00SHES BACCKKKK!!!!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyHzl44FylLz3Gu45e8xoH60sA9_HMXhAsRdgUflBlrRogsermjcApBqxfLqRGFg6wyKrufOp0MzR3rMFuBdW0QKAXFTPgIIqwBklNXE_DeeO_YuDMuCQmZ9e3YOK7Khy1n5Q2DjW88Xwt/s1600/lrzp84-b78849044z.120110923120718000gtg129n8a.1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyHzl44FylLz3Gu45e8xoH60sA9_HMXhAsRdgUflBlrRogsermjcApBqxfLqRGFg6wyKrufOp0MzR3rMFuBdW0QKAXFTPgIIqwBklNXE_DeeO_YuDMuCQmZ9e3YOK7Khy1n5Q2DjW88Xwt/s400/lrzp84-b78849044z.120110923120718000gtg129n8a.1.jpg" width="400" /></a></div>Words can't express how excited I am that my ABSOLUTE FAVORITE violinist is back on the stage. After taking a break from her 175 World Concert Tour, Sarah Chang performed with the Pacific Symphony this week. Chang played Felix Mendelssohn's Violin Concerto in E Minor. The orchestra played to bring awareness to global warming; they played a series of works inspired by sustainability such as James N. Howard's "I Will Plant a Tree" under the direction of Carl St. Clair. While walking on the red carpet, Chang announced that she is working on a new album that will be coming out in the beginnning of next year. I CANT WAIT!!!!!<br />
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Child prodigy Sarah Chang made her first debut with the New York Philharmonic and Philadelphia Orchestra in 1989. By age ten she was enrolled in the Juilliard School of Music where she studied with popular teacher, Dororthy Delay. With Delay's help Chang was performing throughout the world by eleven years old. Born in Philadelphia to Korean immigrant parents, Chang worked to develop her skills and by age fifteen she was signed EMG records. Chang has been signed to them since and now at only thirty years old she is one of the most popular violinist and most recognize musician in the world. Check out this video of Chang at her finest.<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Q8s5SZSS1tI?feature=player_embedded' frameborder='0'></iframe></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com1tag:blogger.com,1999:blog-5514251675290748963.post-88749341175945298372011-09-26T11:55:00.000-07:002011-11-30T20:56:27.767-08:00All of the WHITE Lights!October 20th till November 19th, the Lincoln Center in New York City will be hosting the White Light Festival. Tickets start at $35 (which isn't too bad). Performers will include members from the London Symphony Orchestra, Huelgas Ensemble and speakers like Toni Morrison. I wished I was in the city for this because one of my favorite chorals, "Lux Aeterna" is being performed :( But Check it out and tell me how it goes!<br />
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For additional information, check out the link below:</div><div><br />
</div><div><a href="http://WhiteLightFestival.org/">WhiteLightFestival</a> </div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-67838070206171242132011-09-26T11:36:00.000-07:002011-11-30T20:55:07.097-08:00Personal Note<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-CFS84NOEuYofme4Gh9yQzx7QKQhzPXO1qqytygTPYXdjmrlBQRsV1NsEs6O0APCLinkeMIH9sWAwYM2G-BZnw3HkXqEe3kaEQ-xVDb3LXLS3d6zil6hR7e1GwLYpbv0rveSBG9IgKkT6/s1600/troy_davis_AP090624148343_fullwidth_620x350.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-CFS84NOEuYofme4Gh9yQzx7QKQhzPXO1qqytygTPYXdjmrlBQRsV1NsEs6O0APCLinkeMIH9sWAwYM2G-BZnw3HkXqEe3kaEQ-xVDb3LXLS3d6zil6hR7e1GwLYpbv0rveSBG9IgKkT6/s400/troy_davis_AP090624148343_fullwidth_620x350.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I will like to send my condolences to the family of Troy Davis and Mark MacPhail (the officer who Davis was accused of killing)... Rather Innocent or not this is defiantly a sad case for both families. Hopefully, one day the truth will be revealed...</span></div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-1601075243135520582011-09-26T11:30:00.000-07:002011-11-30T20:47:39.571-08:00Piano-Rific: Bilson Concert Review<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvervF0773E16wShtusOZwsi-reAhrzzGCOA2-0lslwpn0n3gT8us3LGHqKUhgSetnrOXIHr90GDGqtWdPNY7xAUuv4GwrFPcIQn5LQmfgUPHHH5EuaXkuqq1lW58vw_rO25YUbiJtw95/s1600/www.filharmoniabp.hu.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvervF0773E16wShtusOZwsi-reAhrzzGCOA2-0lslwpn0n3gT8us3LGHqKUhgSetnrOXIHr90GDGqtWdPNY7xAUuv4GwrFPcIQn5LQmfgUPHHH5EuaXkuqq1lW58vw_rO25YUbiJtw95/s400/www.filharmoniabp.hu.jpeg" /></a></div><br />
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Malcolm Bilson, a fortepiano specialists and Cornell University professor, performed a collection of freewheeling works by Haydn, Mozart and Beethoven on September 18th at the Cornell University Barnes Hall. Playing each of the works on the standard fortepiano, an attentive listener could easily pick up on not only Bilson’s attention to minor details but also the creative liberties that he took to personalize each work in the performance. <br />
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The three movement opener, “Sonata in E Minor” (1784), by Joseph Haydn, involved fluid and light piano melodies. The work begins in E minor with a motive that includes an eight-note arpeggio. The first phrase ends in a half cadence with and then transitions into G major and ends in a half cadence. The main phrase is repeated and then ends in G major until the end of the section. The beginning section returns and modulates to the development that continues to modulate between C major and E minor until the end, when the work moves back to E minor with a small development section. <br />
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I enjoyed Bilson’s interpretation of this work. One major characteristic that I found interesting was that each time that he returned to the main theme he exaggerated the dynamics, which helped to shape the melodic lines and to contrast the different textures within the melody. The first movement was my favorite. As the downbeat began in the bass, Bilson intertwined each component of the accompaniment and melody making it clear that he is gearing towards the end of the phrase. Also in the first movement, there were several fermatas that Bilson tended to hold longer than other recordings that I have heard, however, he regained his original tempo throughout the rest of the piece. <br />
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Second on the program was “12 Variations on ‘Ah, vous dirari-je, Maman’” (1783), a series of variations on a melody from a French folk song by W.A. Mozart. Today the melody of the work is the same to many children’s works such as “Twinkle Twinkle Little Star.” Apart from the fact that the beginning variations, due to their familiarity, caused laughter among the audience, Bilson managed to give an amusing and spirited interpretation of each variation. Originally composed for solo piano, the first section is the theme and the subsequent sections are variations. <br />
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In the variations, I felt that Bilson worked to show some differences that Mozart made between each one. For example, in variation 2, there is a series of non-harmonic tones. In variations 2, 3 and 4 there is a series of cadences. In variation 5 the two voices go back and forth. And in variations 10 and 12 there is a series of diminished sevenths. Although the melody is something that each member of the audience heard since they were children, I felt that it was one of the most important works in the concert because Bilson performed each variation completely different from one another –with its own energy. Ultimately, depending on what sounds and textures a person likes to hear, there was at least one variation that adhered to that. <br />
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Third on the program was Mozart’s “Sonata in F Major” (1783), in which, the first movement especially, was my favorite work on the program. Mozart puts few chromatics and suspensions throughout the work to transition the listener into the non-chord tones that come later in the work. Although there is a smooth and continuous melody in the beginning, there is a grand crescendo that transition into the second phrase. Their dynamics then drop back and returns to the first phrase. What I find most interesting is that during the second phrase there is a rhythmic contrast, arpeggios in the accompaniment while the melody continues, that is not found any where else in the piece. I liked that although the melody is an important factor in any piece, Bilson managed to incorporate the accompaniment nicely with the melody in way that they were complementing each other rather than supporting. <br />
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Throughout each of the movements, especially in the first movement, Bilson took several repeats. I was appreciative for the fact that he continued to return to the main theme, because although I have heard this piece several times, it was beneficial to hear the melody and the transitions between them each time. Also, each time that Bilson returned to the first phrase, he emphasized the melody in a different way –rather it be emphasis on the dynamics or the small details such as the grace notes. What I noticed most about Bilson’s playing was that during the second and third movements, he continued to mute the fortepiano to play certain sections. Not only did I not realize that the work called for this alteration in sound, but it was interesting to see how it is done on the fortepiano. <br />
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Beethoven’s “Sonata in D Minor” (1802) opened up the second half and reinforced Bilson’s commitment to detail. The development began very slow and mellow and then build up to the exposition. Then modulates to the recapitulation until the end, which is fast and very suspenseful. The second movement begins in B flat major and resembles the largo section of the first movement. It continues to stay very steady with lots of rising melodic ideas. The third movement is the climax of the entire work. It re-emphasizes the main melody in the first movement and then transitions into the recapitulation, which has a cadenza in the melody. The melody continues to build up to the climax and then slowly returns to the beginning phrase. <br />
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A distinguishing factor of the work is how Beethoven developed the first part, which contains both Largo and Allegro. Due to the two tempos during the first movement, I think that of all of the works on the program, Bilson did an excellent job at distinguishing between the two tempos. I really liked how he used the dynamics to add a more dramatic effect to the tempo change. During the slower passages, the mood was more peaceful rather, during the allegro sections; there were extensive passages of rage and havoc. <br />
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Bilson closed the program with “Sonata in E-Flat Major” by Beethoven. The first movement consisted of lots of harmonic color throughout the introduction. The main melody is constantly repeated and then transitions to the development. During the second movement, although common of a scherzo, there were several unexpected playful pauses. Also as the melody carried on, the accompaniment included staccato which added a very interesting texture to the piece. The very serious yet sweet third movement consists of a minuet and trio and the fourth movement is filled with energy and spirited. <br />
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I think that during the fourth movement especially, Bilson took full advantage of the lively nature of the work. Although it was fast and upbeat, I liked that Bilson didn’t allow the notes to over power the total character of the work, rather it was clear that he had full control of every aspect of the work. Overall, I really enjoyed the concert. In each of the works, I really felt that Bilson seemed very knowledge about the history behind each of the works. Through his thorough knowledge he was able to produce a very insightful and enjoyable concert.</div>Briana Fullwoodhttp://www.blogger.com/profile/03586095268918866518noreply@blogger.com0tag:blogger.com,1999:blog-5514251675290748963.post-55271050551992854992011-09-15T16:13:00.000-07:002011-09-15T18:32:31.003-07:00Free Concert Announcement<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghV2oQFFE_7Oq_DtKlzvZHWsjg24vsNQfG_eUf24Zq2v7FXmU2oRCHJjrGRZDT9C8hcIDk4NPAiACxNvH1qXJ_PaXwb6e0W7vMNOuwC15Y6WRSkn6joya9Zxy6jcsCiw-tkn-lzQCedtoG/s1600/bilson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghV2oQFFE_7Oq_DtKlzvZHWsjg24vsNQfG_eUf24Zq2v7FXmU2oRCHJjrGRZDT9C8hcIDk4NPAiACxNvH1qXJ_PaXwb6e0W7vMNOuwC15Y6WRSkn6joya9Zxy6jcsCiw-tkn-lzQCedtoG/s200/bilson.jpg" width="200" /></a></div>This Sunday September 18th, Malcolm Bilson will be playing the fortepiano at Barnes Hall at Cornell University. The concert will feature works of Haydn, Mozart and Beethoven. And best of all... its FREE!!! Bilson is known across the world for his knowledge and study of the fortepiano. So come and check him out!<br />
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