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hongkongartman-mlee · 1 year

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Music Is Never Just Music. It Is Bound Up With A Heart-to-heart Infiltration Between Music And A Man/Woman―The Well-liked ‘Slashie’ Music Conductor Stephen Lam(林屴汧)’s Comments On The Missing Part Of Music Education In Hong Kong

The world trend of ‘fusion’ can be fascinating. Taking different philosophies, rationales, cultures and styles and putting them together, yet mixing without absorption, create uniqueness and surprise. Many music fusion projects sadly fail simply because artists do not really understand the music of the other side and just conscript deviating musicians or compose awkward pieces to play discordant backdrops to their acts.

There is nothing new under the sun but can we try to turn the sun upside down? The popular and young orchestra conductor Stephen Lam(林屴汧), always treating people with great deference, laughed, “Okay, music can be a fusion. Let us walk into the sun, fly to the moon and carry ourselves to the stars on a music journey!”

I laughed too, “Can we?” Stephen replied, “Not only eyes can reflect the truth. Our music souls can also reflect the truth of mixed feelings. Music, of human and cultural differences, is a wonderful vehicle. I call it a ‘space shift’. Music conveys our imagination from one place to another. Different people have different emotional destinations and associations.” I said, “When I listened to Autumn Song of Tchaikovsky, I felt like being on Lamma Island with my old classmates. How about you?” Stephen smiled, “My ‘space shift’ for that piece of music is that I suddenly walked on a path in Beethovengang in Vienna. Beethoven once lived there when he discovered that he, a great musician, was about to become deaf.”

Born in Hong Kong, Stephen Lam was recently selected by the renowned conductor Riccardo Muti to participate in the opera production of his Italian Opera Academy. Stephen is currently the Artistic Director and Principal Conductor of Ponte Orchestra & Singers, as well as the Associate Conductor of the Macao Youth Symphony Orchestra. He has worked with orchestras around the world, including the Vienna Radio Orchestra and St. Petersburg Chamber Philharmonic etc. Stephen is placid but responsive reply is his forte.

Stephen said, “Music creates forest out of rocks. I want to inspire toddlers and youngsters with music.” He is a dedicated music educator and ardent advocate of community outreach. His collaborations with young musicians have been widely praised. He is currently the lecturer and conductor of United International College between Beijing Normal University-Hong Kong Baptist University, as well as regular guest conductor in Sichuan Music Conservatory.

Stephen continued, “When I was a boy, I studied in St. Paul’s College. I was active in music. I took part in music events in and out of Hong Kong. Idealism often lost to pragmatism when it came to selecting subjects in university. In the 2000s, I obtained a bachelor’s degree of Environmental Science from the Chinese University of Hong Kong, and a Master of Arts from the University of Hong Kong. After that, I seriously challenged myself: there would be no dream in my life without action to make it become reality. So, I packed my things and left Hong Kong for Vienna. I studied conducting at the prestigious University for Music and Performing Arts Vienna, where I was one of the last students of Uros Lajovic, Ordner Edwin, and Konrad Leitner. I also worked in music events there. I loved Hong Kong and wanted to do something for it. In 2017, I returned to my city and pursued a music career!”

I asked, “How do you find the music education in Hong Kong?” He gave it a thought, “The approach at the moment is not bad but not good enough. We give a lot of information about music to kids and ask them to sing, practise music and go to concerts. Do we really teach them how to appreciate music and I mean, how to go beyond knowledge and experience; and connect the ‘heart’ of a kid with the ‘heart’ of a music piece? In other words, we should teach a kid how to emotionally respond to and interact with the music with his own feelings and stories. The other problem is that parents do not really want their kids to enjoy music or make music a soulful refuge from the life. For them, music is just a means to get a certificate so that the kid can go to a good school.” I lamented, “Teachers may think such an approach for students is a burdensome duty and parents may think a good future is more discernible than the spiritual wellness of a kid.”

I switched to a new topic, “Any advice for those who wish to choose music as a career?” Stephen threw his hands in the air, “Ha! Receive formal music training in your university days or as early as possible! There are many people who practise music in other industries like pop music in the entertainment world. Trust me! Western classical music or traditional Chinese music tutoring will give them the solid and rich foundation on which their music career can be built. The complicated but necessary music education will let them be able to combine sounds to produce beauty of form, harmony and emotion well for the long term. Inspirations will not easily dry up!” I nodded, “I am glad to see more pop singers like Gin Lee(李幸倪) & Gareth T(湯令山) who had serious music training become popular and hot. They bring new thoughts and strength to the music industry.”

To succeed in any creative career, one must possess the importance of a solid foundation in the intricate basics of constructing and expressing skills.

I asked Stephen, “Make a wish!” He winked, “Hong Kong will be a music centre for 'East meets West’ and I am part of it. There have been a lot of oriental music embodying the ingredients of western music. I want to contribute more the other way round especially when I can master German and Italian language.”

‘Flower by flower a garden grows’. Some do music for self-esteem. Stephen Lam is determined to be rather a river that feeds thousands of flowers. He pursues multiple music careers including education in lieu of simply holding a traditional full-time job of an orchestra conductor. He said, “Every day is different. Music for every life is different too.”

MLee Chinese Version 中文版: https://www.patreon.com/posts/zhi-shou-ke-re-75006967?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link

Stephen Lam in Concert https://youtu.be/l-zSh46TQVU Acknowledgement – Stephen Lam

Shirley Kwan Song – “Late Night Harbour” https://youtu.be/y6Jg4Z1I8GI Acknowledgement-沿途有你2

Tchaikovsky - Autumn Song https://youtu.be/Aq7TNv7Pbm8 Acknowledgement-Pianushko

Bobby Chen Song – “Keep the Sadness to yourself” https://youtu.be/7f6305MkDsI Acknowledgement – ROCK RECORDS

The Peony Pavilion https://youtu.be/9IScrauecgk Acknowledgement-xiyue1113

Stephen Lam interview https://youtu.be/mzQtTG8iuyA Acknowledgement-time flies 生涯規劃

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drdemonprince · 1 year

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i think a lot of classical music is sexy. the first time i experienced true aesthetic attraction was watching a youtube recording of Renee Fleming singing an aria from Thaïs.

you would have loved the bach concert i caught at st pauls in nyc today. chamber orchestra, four opera singers, lutes, the works. sploosh

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vnewyorku · 2 years

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NEWSBOYS’ ANNUAL FESTIVAL.

After Last Crumb Is Gone They Are Invited to Another Dinner Next Month.

Some two hundred newsboys who live at the Newsboys’ Lodging House, at No. 14 New-Chambers-st., were at the annual festival there last night. After dinner John Paul and his orchestra of thirty pieces accompanied them while they sang Christmas carols. Addresses were made by Evert Jansen Wendell and F. Delano Weekes, who also gave the boys his annual invitation to a Lincoln dinner on February 12.

Superintendent Heig read his annual report, which shows that 1,988 boys came to the home last year, the nightly attendance being 116, and that 1,042 boys had been provided with homes and 171 sent to the Farm School, while 47 other boys had been returned to their friends.

[New York Tribune, Monday, January 8, 1906]

#New York Tribune #Newsies history #newsies #Brace Farm School

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sarahtheflutist · 1 year

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Eve Beglarian (born Ann Arbor, Michigan, U.S., July 22, 1958) is a contemporary American composer, performer and audio producer of Armenian descent. Her music is often characterized as postminimalist.

Her chamber, choral, and orchestral music has been commissioned and widely performed by The Los Angeles Master Chorale, the Bang on a Can All-Stars, The Chamber Music Society of Lincoln Center, The California EAR Unit, The Orchestra of St. Luke's, Relâche, The Paul Dresher Ensemble, Sequitur, and The American Composers Orchestra, among many others. She received a Foundation for Contemporary Arts Robert Rauschenberg Award (2015).

#eve beglarian

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recentlyheardcom · 1 year

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Former SPCO leader Bruce Coppock dies at 71

Bruce Coppock, former president and managing director of the St. Paul Chamber Orchestra, has died at age 71, after a 16-year battle with cancer. “He was a force of nature,” recalled SPCO’s artistic director Kyu-Young Kim. “He had such curiosity, combined with incredible intellect and love of learning.” Kim fondly remembered the way Coppock could inspire people with his creativity and speaking…

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michaelsquillacemusic · 2 years

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Very happy to be playing Clarinet for the Saint Mary's Mozart Festival with their chamber orchestra on Saturday (6/18), at the Saint Mary Roman Catholic Church in South Amboy at 7:30pm! Come on through for a chance to hear me play Clarinet with a really amazing orchestra. It will also be the first time in over ten years that I will be performing with my original band director, Dr. Paul Caruso. 🙏🏼 *FREE* 📸 @evolution.images (at St. Mary Roman Catholic Church, South Amboy) https://www.instagram.com/p/CehOpTrg0OU/?igshid=NGJjMDIxMWI=

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don-lichterman · 2 years

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Full-length concerts, violinist Joshua Bell return

A pair of new artistic partners, the return of full-length concerts and violinist Joshua Bell are on tap for the newly announced 2022-23 St. Paul Chamber Orchestra season. Season ticket packages are on sale now by phone at 651-291-1144 or via thespco.org. Season ticket packages start at $12 per concert for adults and are free for children and students. Individual tickets, priced from $50 to $12,…

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gabrielkahane · 3 years

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Heirloom

Short form:

Heirloom (concerto for piano & chamber orchestra) premieres with Jeffrey Kahane & the Kansas City Symphony under the baton of Michael Stern, September 24-26. Tickets are here.

I’ll play a solo show at Rockwood Music Hall on Tuesday, September 28th. My dear friend and colleague, Johnny Gandelsman, will open with a solo violin set. Johnny’s on at 7pm, I’ll go on around 8pm. Tickets are $20 and are here. This will be my only NYC appearance this year!

Applications for Luna Lab with Oregon Symphony are now open! If you are a female-identifying, non-binary, or gender-nonconforming composer between the ages of 12 and 18, and live in Portland or Southeast Washington, please apply for your chance to study for a year with the incredible Nathalie Joachim!

Long form:

Several years ago, my friend Eric Jacobsen started pestering me about writing a piano concerto for my father, Jeffrey Kahane. It was an intriguing (and natural!) idea, but I kept putting it off in large part because I’ve never felt comfortable with large-scale instrumental composition. I think of myself first and foremost as a songwriter, and while I love to write for instruments in the context of vocal music, I feel almost entirely unmoored when voice & text are taken away. But Eric was persistent, and, well, here we are. Next month, the Kansas City Symphony will open its season with Heirloom, after which the piece will be heard in the coming years in performances presented by the co-commissioners who’ve rounded out the consortium: the Oregon Symphony, the Aspen Music Festival, the Los Angeles Chamber Orchestra, the St. Paul Chamber Orchestra, and Eric’s Brooklyn-based group, The Knights.

Heirloom is an aural family scrapbook, exploring, in its three movements, a series of inheritances. I’m incredibly excited to witness its birth September 24-26 in Kansas City. You can find the program note I’ve written to accompany its premiere at the end of this email.

The following Tuesday, September 28th, I will play my first concert in New York City since our lives were individually and collectively turned upside down by the pandemic. Most of the evening will be devoted to a new slate of songs drawn from thirty-one composed in October of 2020, the final month of a year-long, complete internet hiatus. Johnny Gandelsman, violinist of Brooklyn Rider, opens with what promises to be a ravishing solo set. Tickets are here.

Lastly, in 2019, I took on the position of Creative Chair with the Oregon Symphony. I’m very pleased to announce that this season, we’ve begun a partnership with Luna Lab, the brainchild of composers Missy Mazzoli and Ellen Reid. Luna Composition Lab offers mentorship and professional training to female-identifying, non-binary, and gender-nonconforming composers between the ages of 12 and 18. We at the Oregon Symphony are incredibly grateful to partner with Luna Lab to offer one student a year-long period of mentorship with Grammy-nominated flutist, composer, and songwriter, Nathalie Joachim, who happens to be one of my all-time favorite humans, and who will be giving the world premiere of Suite from Fanm D’ayiti with the Oregon Symphony in the spring of 2022. What makes this even more amazing is that another all-time favorite human, the violinist Pekka Kuusisto, will be playing Nico Muhly’s concerto Shrink, on the same program. Oh, but we were talking about Luna Lab. If you or someone you know wants to apply, you can find more info & the application form here; you just have to submit one score & a recording (MIDI is acceptable). I will be reviewing submissions along with Nathalie. Applications are due on September 7th.

Obligatory capitalism appeal: I know it’s been a while since I’ve put out new music. It’s coming. I promise. In the meantime, may I remind you about this gorgeous limited edition vinyl record?

That’s it for now, folks. Stay safe. Try to lead with love, even when it’s hard.

All my best,

Gabriel

Heirloom program note:

Tucked away in the northernmost reaches of California sits the Bar 717 Ranch, which, each summer, is transformed into a sleep-away camp on 450 acres of wilderness, where, in 1967, two ten-year-old kids named Martha and Jeffrey met. Within a couple of years, they were playing gigs back in L.A. in folk rock bands with names like “Wilderness” and “The American Revelation.” They fell in love, broke up, fell in love again. By the time I was a child, my mom and dad had traded the guitars, flutes, and beaded jackets for careers in clinical psychology and classical music respectively. But they remained devoted listeners of folk music. Growing up, it was routine for dad to put on a Joni Mitchell record when he took a break from practicing a concerto by Mozart or Brahms. That collision of musical worlds might help to explain the creative path I’ve followed, in which songs and storytelling share the road with the Austro-German musical tradition.

That tradition comes to me through the music I heard as a child, but also through ancestry. My paternal grandmother, Hannelore, escaped Germany at the tail end of 1938, arriving in Los Angeles in early 1939 after lengthy stops in Havana and New Orleans. For her, there was an unspeakable tension between, on the one hand, her love of German music and literature, and, on the other, the horror of the Holocaust. In this piece, I ask, how does that complex set of emotions get transmitted across generations? What do we inherit, more broadly, from our forebears? And as a musician caught between two traditions, how do I bring my craft as a songwriter into the more formal setting of the concert hall?

The first movement, “Guitars in the Attic,” wrestles specifically with that last question, the challenge of bringing vernacular song into formal concert music. The two main themes begin on opposite shores: the first theme, poppy, effervescent, and direct, undergoes a series of transformations that render it increasingly unrecognizable as the movement progresses. Meanwhile, a lugubrious second tune, first introduced in disguise by the French horn and accompanied by a wayward English horn, reveals itself only in the coda to be a paraphrase of a song of mine called “Where are the Arms.” That song, in turn, with its hymn-like chord progression, owes a debt to German sacred music. A feedback loop emerges: German art music informs pop song, which then gets fed back into the piano concerto.

“My Grandmother Knew Alban Berg” picks up the thread of intergenerational memory. Grandma didn’t actually know Alban Berg, but she did babysit the children of Arnold Schoenberg, another German-Jewish émigré, who, in addition to having codified the twelve-tone system of composition, was Berg’s teacher. Why make something up when the truth is equally tantalizing? I suppose it has something to do with wanting to evoke the slipperiness of memory while getting at the ways in which cultural inheritance can occur indirectly. When, shortly after college, I began to study Berg’s Piano Sonata, his music— its marriage of lyricism and austerity; its supple, pungent harmonies; the elegiac quality that suffuses nearly every bar—felt eerily familiar to me, even though I was encountering it for the first time. Had a key to this musical language been buried deep in the recesses of my mind through some kind of ancestral magic, only to be unearthed when I sat at the piano and played those prophetic chords, which, to my mind, pointed toward the tragedy that would befall Europe half a dozen years after Berg’s death?

In this central movement, the main theme is introduced by a wounded-sounding trumpet, accompanied by a bed of chromatic harmony that wouldn’t be out of place in Berg’s musical universe. By movement’s end, time has run counterclockwise, and the same tune is heard in a nocturnal, Brahmsian mode, discomfited by interjections from the woodwinds, which inhabit a different, and perhaps less guileless, temporal plane.

To close, we have a kind of fiddle-tune rondo, an unabashed celebration of childhood innocence. In March of 2020, my family and I were marooned in Portland, Oregon, as the world was brought to its knees by the coronavirus pandemic. Separated from our belongings—and thus all of our daughter’s toys, which were back in our apartment in Brooklyn—my ever resourceful partner, Emma, fashioned a “vehicle” out of an empty diaper box, on which she majusculed the words vera’s chicken-powered transit machine. (Vera had by that point developed a strong affinity for chicken and preferred to eat it in some form thrice daily.) We would push her around the floor in her transit machine, resulting in peals of laughter and squeals of delight. In this brief finale, laughter and joy are the prevailing modes, but not without a bit of mystery. I have some idea of what I have inherited from my ancestors. What I will hand down to my daughter remains, for the time being, a wondrous unknown.

Heirloom is dedicated with love, admiration, gratitude, and awe, to my father, Jeffrey Kahane.

#jeffrey kahane #kansas city symphony #piano concerto #pekka kuusisto #nathalie joachim #oregon symphony #st. paul chamber orchestra #los angeles chamber orchestra #aspen music festival #missy mazzoli #ellen reid #rockwood music hall #johnny gandelsman #folk music #classical music #the knights #eric jacobsen

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slightlyrebelliouswriter23 · 2 years

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Could you pls give some classical music recs? Pretty please ? <3

my god, what on earth did i do to deserve this BEAUTIFUL question 😭❤️ i love you nonnie.

TLDR: TOP 3 ALBUMS (i list top tier ones from these albums individually below)

The Four Seasons- Vivaldi, Royal Philharmonic Orchestra

Music for Mindfulness- Various Artists (just look for the album with the mountain/lake scenery)

The 50 Greatest Pieces of Classical Music- London Philharmonic Orchestra & David Parry

STRINGS (my fav)

Adagio for Strings- Samuel Barber, London Philharmonic Orchestra (don't listen to this unless you want to fucking cry at the 4:11-6:15 mark)

THE FOUR FUCKING SEASONS BY FUCKING VIVALDI (listen, i can't help it that every single track on this disc slaps. my favourite season is BY FAR Summer (ironic since that's my second least fav season irl). also listen to the Royal Philharmonic Orchestra version)

Symphony No. 3 "Symphony of Sorrowful Songs" II. Lento e largo- Henryck Górecki, Kazomierz Kord, Warsaw Philharmonic Orchestra

Concerto for Flute and Strings in G Minor, Op. 10, No. 2, RV 439 "La notte": 5. Il sonno (Largo)- Vivaldi, Aurèle Nicolet & I Musici

Schlusshymne- Luke Howard

Good Night, Day- Jóhann Jóhannsson, Anthony Weeden, Air Lyndhurst String Orchestra & Hildur Guðnadóttir

Appalachian Spring 1945 Suite: 1. Very slowly- Aaron Copland, Los Angeles Philharmonic & Zubin Mehta (there's some wind instruments in here too)

Spiegel im Spiegel- Arvo Pärt, Nicola Benedetti & Alexei Grynyuk

Suite for Solo Cello No. 1 in G Major, BWV 1007: I. Prélude- Johann Sebastian Bach, Yo-Yo Ma

Concerto No. 21 in C Major for Piano and Orchestra, K. 467: Andante- Mozart

Symphony No. 40 in G Minor, K. 550: I. Allegro Molto- Mozart, London Philharmonic Orchestra

Violin Concerto No. 1 in G Minor, Op. 26: I. Vorspiel. Allegro moderato- Max Bruch, Joshua Bell & Academy of St Martin in the Fields

CHORAL (my second fav)

The Spheres- Ola Gjeilo, Tenebrae & The Chamber Orchestra of London

Te Lucis ante terminum- Helen Tunstall, Edward Higginbottom & Choir of New College Oxford

Ubi Caritas- Paul Mealor & Tenebrae

Oculi omnium- Eric Whitacre

Serenity (O magnum mysterium)- Ola Gjeilo, Tenebrae, Matthew Sharp & Kristian Kvalvaag (this one SLAPS cos it's got strings in it too 😭✌️)

Es ist ein Ros entsprungen- Michael Praetorius & Jan Sandström, VOCES8

PIANO

Gnossienne No. 1- Erik Satie

Gnossienne No. 3, Lent- Erik Satie

Stay in the Dark- Lambert

Nocturne No. 2 In e Flat Op 9 No.2- Frédéric Chopin, Emile Pandolfi

Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto

Comptine d'un autre été, l'après-midi- Yann Tiersen

Gymnopédie No. 1- Erik Satie

Any Other Name- Thomas Newman, Music Lab Collective

Vladimir's Blues- Max Richter

Nuvole Bianche- Ludovico Einaudi

Fairytale- Ludovico Einaudi & Marco Decimo (this one got a cello in there too, the flavour 🤌)

The Earth Prelude- Ludovico Einaudi (the spice of the strings in here too *chef's kiss*)

I giorni- Ludovico Einaudi

Echo- Helen Jane Long

Porcelain- Helen Jane Long

Eclipse- Helen Jane Long

Benedictus- Karl Jenkins, Music Lab Collective

ORCHESTRA

Symphony No. 9 in D Minor- Beethoven, Berlin Philharmonic Orchestra

Carmen Suite No. 2: II. Habanera- Georges Bizet, David Parry, London Philharmonic Orchestra

Danse macabre, Op. 40- Camille Saint-Saëns, Philharmonia Orchestra

NEW AGE

One Last Bar Then Joe Can Sing: (Bar 238) Freely- Gavin Bryars, Nexus

First Day of Spring- Secret Garden

Steps- Secret Garden

Moving- Secret Garden

Sleepsong- Secret Garden

Nocturne- Secret Garden

Windancer- Secret Garden

Arrival of the Birds of Transformation- The Cinematic Orchestra

Eclipse- Suzanne Ciani

Sargasso Sea- Suzanne Ciani

#honestly if y'all want me to make this into a spotify playlist i will #thanks for the ask nonnie!! 💜#asked and answered #nonnie #playlist #classical music #dark academia

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sleeplessincairo · 4 years

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[ playlists <333 ]

note: don’t shuffle any of them.

1. dark academia: a playlist inspired by the dark academia aesthetic, consists of classical music that features bryce dessner, abel korzeniowaski, philip glass, the chamber orchestra of london, etc.

https://open.spotify.com/playlist/5pwVkt5xwjLUAiWqT5RK2M?si=g6AeKha4QoCHKGRKeouB7w

2. the sound of heaven: a playlist that consists of my favorite guitar insurumentals and guitar features. its mostly blues and (slight rock) and features gary moore, jeff beck, eric clapton, led zeppelin, snowy white, pink floyd, etc.

https://open.spotify.com/playlist/0O18cwB4xPr31vBdo6nTE0?si=7idnri9xQEu0OBkYoRnLtg

3. mid90s: just like the movie, it’s just straight up vibes. its (indie) pop and is inspired by the ‘sk8ter babie dreamerz’ typa aesthetic, and features clairo, still woozy, rex orange country, girl in red, no vacation, sports, wallows, mild orange, summer salt, boy pablo, etc. you get the gist.

https://open.spotify.com/playlist/2RRW6buy8LQpXkxPccRxk0?si=7pSg9z4wTQugUTY93_h91w

4. pacific blue | summer yellow: it’s my summer playlist (?) or at least it transports me to somewhere bright, sunny, and overall paradise-like. these are the songs playing in the back of mind during good acid trips and it generally sets me in a dream-like state. it features palace, summer salt, fleetwood mac, skinshape, mild orange, khruangbin, etc.

https://open.spotify.com/playlist/2GshMQ3C7dPPPmB9VLBoU9?si=fMePg4O2RTGaRP_YTphFCw

5. helens of troye | moderation: an art pop and indie rock playlist featuring my favorite women raging about sorrow, yearning, bad love, and madness. the songs ended up forming somewhat of a loosely made story about toxic love (?) so that’s pretty cool. it features florence + the machine, mitski, fiona apple. alice phoebe lou, nai palm, japanese breakfast, fka twigs, daughter, lana del rey, etc.

https://open.spotify.com/playlist/1WA8zqnJGfcDHJL06ZbfGM?si=VNmxeSXhT8CIwhh3tTdvGg

6. freaky: this playlist is pretty much a r&b sex playlist, deadass songs to get freaky to or to get you in the mood for a lil’ frick frack. it features h.e.r., syd, sza, raveena, daniel caesar, fka twigs, sabrina claudio, etc.

https://open.spotify.com/playlist/48ktBxfVmGXH8dBqtScU5v?si=EYo_tJUUS2yQFMgP2EL_mw

7. late’s not better: this is a (modern) soul and r&b playlist that was actually kinda inspired by high fidelity to an extent, and it features durand jones and the indications, st paul and the broken bones, the temptations, marvin gaye, black pumas, etc.

https://open.spotify.com/playlist/7KlnSEhsbndcyy5zlxEsbL?si=jTQ_tvqLQnClgHeFVXqGoA

8. in my feelings: this is kind of a random playlist (?) its just a playlist of songs that put me in my feelings and i honestly blame it on all the sad angsty fan fictions and movies i associate them with. it features sleeping at last, keaton henson, tom odell, snow patrol, troye sivan, vancouver sleep clinic, amber run, sufjan stevens, etc.

https://open.spotify.com/playlist/75ZR8rSec9DbAzu3rBLp7M?si=bRHwLX0kTM22vu-t0QNDkA

9. silence prevention: this is a jazz playlist that i really enjoy playing while working or doing something in general, its meant to be soothing and relaxing. it features chet baker, nels cline, john coltrane, duke ellington, scott hamilton, etc.

https://open.spotify.com/playlist/0ORo8gfRJb3vIAs7uJnIc1?si=PcRjqGwcR_Wcgbl0t_z4Fg

10. closure, sine die: yessir another classical music playlist that features dario marianelli, bryce dessner, philip glass, david arnold, craig armstrong, abel korzeniowski, etc.

https://open.spotify.com/playlist/0PQ9oVjwekVz7YSw226Fag?si=uWirWOlLRj2zysVXMRmI4Q

11. immeasurable firsts: this is also a random playlist that includes songs i associate with the simplicity of my youth and the milestones i’ve passed by over the years, but it also works for car rides (?) a coming of age typa ting that features sodus, jungle, many voices speak, palace, hollow coves, yellow days, sports, etc.

https://open.spotify.com/playlist/6BcCjfwZXrsiSPnoetJaiO?si=dTnPivIPSi-NSLwSreHa5Q

12. cinnamon sweet: a r&b playlist that consists of most of my favorite (female) vocalists whose voices just overwhelm me with bliss (?). it features willow, raveena, fkj, hope tala, shay lia, sza, solange, etc.

https://open.spotify.com/playlist/3emQpQU8FAfVeA4lgAJR5x?si=4DrlUxByRYOp-ItOp8vi4A

13. saving grace: a contemporary r&b playlist that features my favorite male vocalists whose voices have saved me day after day, and features hozier, moses sumney, daniel caesar, sampha, frank ocean, vancouver sleep clinic, etc.

https://open.spotify.com/playlist/3emQpQU8FAfVeA4lgAJR5x?si=4DrlUxByRYOp-ItOp8vi4A

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musicainextenso · 2 years

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Nothing is more revealing than the composer's own description of his work, and so is the case of Michael Daugherty: “Dead Elvis (1993) was commissioned by Boston Musica Viva and Chuck Ullery, principal bassoonist with the St. Paul Chamber Orchestra. It is more than a coincidence that it is scored for the same instrumentation as Stravinsky's L'Histoire du Soldat (1918) in which a soldier sells his violin and his soul to the devil for a magic book. In Dead Elvis, the bassoon is Elvis (or perhaps an Elvis impersonator). Does this rock star sell out his Southern folk authenticity to the sophisticated professionalism of Hollywood movies, Colonel Parker and Las Vegas in order to attain great wealth and fame? Dead Elvisgoes far beyond this romantic Faustian scenario. For me, the two clashing Elvis images (the hip, beautiful, genius, thin, rock-and-roll Elvis versus the vulgar, cheesy, fat, stoned, Las Vegas Elvis) serve as a Sturm und Drang compositional algorithm. Further, my use of the “dies irae” (a Medieval Latin chant for the Day of Judgment) as the principal musical theme of Dead Elvis signifies yet another aspect of the Elvis myth: some people believe Elvis is dead, while others believe he is alive and well in Kalamazoo. Perhaps the question is not whether Elvis is alive or dead, but why the phenomenon of Elvis endures beyond the grave of Graceland. Elvis, for better or worse, is part of American culture, history and mythology. If you want to understand America and all its riddles, sooner or later you will have to deal with (Dead) Elvis.” – Michael Daugherty

From Russian folklore to Faust and beyond, the tale of an every-man selling his soul to the Devil for riches and subsequently suffering eternal damnation remains one of humanity's greatest paradoxes – simultaneously a greatest wish and a most dreaded nightmare. Daugherty clearly states that Elvis fell prey to the Faustian trap, and as a consequence lost his artistic essence. But even more profane than questioning the infallibility of an American pop icon is another question: is Elvis America's Christ figure? As an exceptional boy raised by a single mother in poverty, he was propelled into stardom by embodying in a pelvis-swinging, dreamy white boy the soul of Negro songs. Elvis' meteoric career eventually sapped the young singer of his authenticity, leading to his inevitable fall from grace and into a dangerous cocktail of drugs, alcohol and debauchery. Forsaken by all but his most ardent fans, the destroyed singer's death is mysteriously unclear – and many continue to believe in his continued life beyond Graceland.

(Elisabeth Askren, source: ligetifestival.ro)

Gottfried Rabl - conductor Cristian Avram - bassoon Ensemble Ad-HOC ”and Friends”

Enjoy! 🎃 - Editor-in-Chief

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lesser-known-composers · 2 years

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Charles Gounod: Petite Symphonie in B flat for 9 Wind Instruments -

2. Andante Cantabile (Andante, quasi adagio) ·

St. Paul Chamber Orchestra · Christopher Hogwood

#Charles Gounod

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893thecurrent · 4 years

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After a years-long effort, the Minneapolis recording studio formerly known as Sound 80 has been listed on the National Register of Historic Places, joining the ranks of New Ulm’s Hermann Monument, F. Scott Fitzgerald’s row house in St. Paul, and the Aerial Lift Bridge in Duluth.

Located at 2709 E. 25th St., the studio was the site of recordings for Bob Dylan’s Blood on the Tracks and “Funkytown” by Lipps, Inc., one of Minnesota’s all-time bestselling singles and the first Hot 100 chart-topper to come out of the Gopher State. It’s also where, in 1978, the Saint Paul Chamber Orchestra recorded music by composers Aaron Copland and Charles Ives, in what would become the first digital recording of any kind to win a Grammy.

The studio is best known, though, for its association with Prince: he recorded demo tapes for his debut album For You at Sound 80 in 1977.

#Minneapolis #Minnesota #Prince #Bob Dylan

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thedarkoutside · 4 years

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THE DA-DARK INSIDE NOT OUTSIDE AND ONLINE (or something)

in true last minute fashion, the postponed Da-Dark Outside meant for last weekend (28th March) is now going ahead online via furtherin.live on Saturday 4th April from 12 noon UK time and finishing whenever it runs out of things to play that have been sent in. Here is the list of everyone who sent in something ( not including the ones I don’t have artist names for yet ) If your name is missing, let me know I might have missed that in the folders. In alphabetical order ( not order of play ) There will not be a tracklist, no listen again function, no archive. It’s playing once only.

1 of 100 A Farewell to Hexes Accursed Volts Adrian Carter Aet Airspace aLTERkRANKERmANN Andrew Lagowski Apta Art_no Assassin of Sound Atomluft Audio Obscura Ave Grave Avebury Sounds Bastard Flower Beatman Bev Craddock Bipolar Explorer Bit Cloudy Bleep Eater Blood Everywhere Bloody Mountain BMH Bobby Horseshoe Boodlam Boy Called Crow Braintape Bridget Hayden and Conny Prantera Cahn Ingold Prelog Cath Holland Catrin Perry Choke Chris Carter Cliver Clutchdaisy Coffin Warehouse Colony Recording Club Concretism Corporal Tofulung Correlations Cosey Fanni Tutti Cowboy Flying Saucer Cowp Cromlech Shadow CTE Curxes DAAM Daniel Crompton Danny McCann Dave Salsbury / Dr Jolly Dea Karina Dead Sea Apes Deathwatch Headband Debord DFF Sound System Douglas Deep Edith A Graves Eduards Ozoliņš Elf and Stacy Elizabeth Joan Kelly Eric Schaming Famished for Blonds Fantasy Sequence Four Italian Pep Pills Four Minute Warning Flexagon Forever Friday Night Weird Dreams Fushimi Inari 5 Futile Axe Garden of Surreal Dreams Gareth Blazey Gary Finnegan Gavin Inglis Giants of Discovery Gingerbread Master Ginnel Grey Frequency Gusset Hairs Abyss Half Headstart Heidi Holstad Hermann Holsgr Hinder Corp Hotgem HPL HyMettus Woods I Start Counting Ian Heustice Ian Taylor Ihcilon IK Joyce In the Long Summer Interstitia Ivy Nostrum Jack Jackdaw Jah Wobble Vs Megaheadphoneboy James Sandford James Weaver James Yuill Jane Pitt Janet Philo Jarvis Probes JD Twitch Jean-Paul Bondy Jeremy Tuck Jim Jarmo Jim King Jimmy Kipple Sound John Chambers John Kerridge John Scanlan John316 Jonathan Willoughby Juju Junklight Juxtagon Kat Five Kate Arnold Kenny Inglis Kevin Maynard KR Hide L'Incal Noir Lament Configuration Lark Lee Rosevere Leiyun Lepton Lespectre Liberty X Lippy Kid & Metis Luisa Stucchi Luke Jordan Luki Defacto M*A*R*Y M-Orchestra Macerator Manfred Hamil Mark Goodwin Matthew McCourt Max Worgan Megalophobe Melony Klien Metrix Michael Barnes-Wynters Mike Smalle Mike Tupling Moray Newlands Mothership Museleon My Pleasure Nad Spiro Nalepa & Tony Bevilacqua Nat Lyon Nathan David Smith Naturist Space Jazz Society Neil Garvey New Gold Dream Nigel Ayers Night Monitor Nitemirror / Strident Weasel Nonalogue Nunn O))) o_S_k_m Ogham Oma Outside Other Owen Sound Palm Tree Tetsuya Panamint Manse Particledots Paul Hood Payton Black Pete Warren Pinochio Possible Area Presidiomodelo Pulselovers Quadraphonic Stylus Ensemble Qualchan Quarriers R Tenevall Raen Arthur Random Dander Rangga Purnama Aji readyStateFail Redwood Drift Revbjelde Ria Bagley Richard Smith Richard Turner Robert Ellmer Robert Shaw Roberta Fidora Robin Davies Rogue Sector Rupert Lally Rusty Sheriff Rysiek/Rysiunio SABW Sacred Oak Salford Electronics Sarah Sharp Sascha Müller & Abstracto Concreto' Scanner Scumbag Radio Secret Nuclear Security Shaun Malone Sheer Zed Si Woods Signal Jammer Simon Klee Simon Tucker SK123 and T.Brixson Skeleton Worm Sol Rezza Sophie Cooper Sonic Noir Spaceship Squirrel Natkin St James Infirmary Stephanie Merchak Steve Cobby Subject to Change Sunday Fascination Sunken Foal SVR Szuumm Telagasunyi The Dissonace Collective The Great Indoors The Guelph Basin The Heartwood Institute The Last Ambient Hero The Magus Project The Revenant Sea There Are No Birds Here Time Destroys All Things Toby Warren Todd Snow Tomoroh Hidari Tony Ferodo Tuatha TVO Ubu King UltraLux Ultraterrestrials Unknown Rockstar Usue vdof Void Theory Von Heuser Warrior Bob Whalt Thisney Whettman Chelmets Wig William Wild & Stuart Wray Xixada Xtro YOL meets DEATHWATCH HEADBAND Yumasef

artist names for the following are currently unknown : *******203 JL *******fields *******piano angel demo *******The Keep ******aud65 ******dark outside ******in search of something concrete pt 2 ******patterns for merzbarn ******radio ******raspberry something ******SV1003 ******The Nameless City ******we dun a dibeit

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