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trainingblog238 · 3 years

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Cynthia Freivogel

Cynthia Miller Freivogel received a BA in musicology at Yale University and an MM in violin performance at the San Francisco Conservatory. In addition to being the leader and concertmaster of the Baroque Chamber Orchestra of Colorado, Ms. Freivogel plays with Brandywine Baroque in Wilmington, Delaware, and is a tenured member of Philharmonia Baroque Orchestra, based in the San Francisco Bay Area of California. She is a founding member and second violinist of the Novello Quartet, which is dedicated to the performance of the string quartets of Haydn and his contemporaries on period instruments. Ms. Freivogel frequently performs at Bay Area early-music venues with ensembles such as Magnificat, Voices of Music and American Bach Soloists, and on concert series at Old First, San Francisco Early Music Society and MusicSources. Ms. Freivogel spends summers playing violin in the Colorado Music Festival Orchestra in Boulder. She also played with the Tanglewood Music Center Fellowship Orchestra, San Luis Obispo Mozart Festival, the State Orchestra of Sao Paulo, Brazil, Apollo’s Fire, Portland Baroque, American Russian Young Artist’s Orchestra, and Amerus chamber players. Ms. Freivogel studied principally with Camilla Wicks and Marylou Speaker Churchill, and is a dedicated and certified Suzuki teacher.

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2 records for Cynthia Freivogel. Find Cynthia Freivogel's phone number, address, and email on Spokeo, the leading online directory for contact information. Listen to music by Brandywine Baroque: Cynthia Freivogel, Karen Flint and Douglas McNames on Apple Music. Find top songs and albums by Brandywine Baroque: Cynthia Freivogel, Karen Flint and Douglas McNames including Sonata in D major, Op. 1: Grave-Allegro-Adagio, Sonata in D major, Op. 1: Allegro and more.

Known Locations: Jamaica Plain MA, 02130, Berkeley CA 94705, Oakland CA 94610 Possible Relatives: Benjamin W Freivogel, Bill Hein Freivogel, Elizabeth D Freivogel Cynthia L Freyvogel, age 44, Pittsburgh, PA 15243 View Full Report.

Cynthia Freivogel Voices Of Music Youtube

Alberto Miguélez Rouco, Arttu Kataja, Collegium Vocale Gent, Combattimento Consort, Cynthia Miller Freivogel, Daniel Johannsen, Florian Just, Johannes Kammler, Klaas Stok, Maarten Engeltjes, Marc Pantus, Netherlands Bach Society, Philippe Herreweghe, Pieter Dirksen, Renate Arends, Rene Jacobs, Robin Johannsen, St. John Passion, St. Matthew Passion, Thomas Hobbs

A little over 22 years ago, my husband and I moved from the Netherlands to California. My husband is a Jazz bass player in his spare time, so for him the music was another aspect to “living in Paradise.” There are many more Jazz performances and festivals here than in Europe, and there are lots of people here to do jam sessions with.

Cynthia Freivogel Telemann

But for me it was a different story. I found a wonderful voice teacher and a good choir to sing in, but I missed the strong Dutch tradition of hearing and performing Bach’s Passions in the weeks before Easter. I used to have my biggest bouts of homesickness around that time of year. The heartache was softened only by it being my most favorite blooming season in California: the few weeks when two native trees, the purple Western Redbud (Cercis Occidentalis) and the blue-violet wild lilac (Ceanothus) bloom at the same time. The photos here don’t really capture how beautiful those colors are and how stunning it is when you see them together in the landscape, but it is something that makes me very happy.

Last year I didn’t have any homesickness, because all Passions in the Netherlands or Belgium I could have attended or participated in were canceled, so I didn’t feel I was missing anything. And while the world locked down, at the same time it became more accessible to me, because performances were now being moved to the internet. This meant I could watch the dress rehearsal of Herreweghe’s St. John Passion without the 11-hour plane ride or the struggle with jet lag. (That video registration is still available: find it here – scroll a bit down to where it says “Passions 2020”).

This year there were so many online St. Matthew or St. John Passion offerings from the Netherlands it was almost overwhelming. I didn’t have time to listen to all of them before writing this today, because most of the videos didn’t go live until yesterday, Good Friday. So I’ll just focus on a few that stood out to me.

Cynthia Freivogel Wikipedia

Find the English translations of the St. John Passion here; the St. Matthew Passion here.

Cynthia Freivogel Vivaldi Four

In the category “most interactive creation” I would like to mention the St. John Passion by Zing als vanZelf. An initiative of online singing instructor Bert van de Wetering, this organization invited thousands of singers to record themselves singing the chorales at home in the weeks leading up to Good Friday. They then recorded a performance with professional soloists singing the arias and the choruses with the excellent Combattimento Consort (Cynthia Miller Freivogel, concertmaster) as the orchestra, this all under the direction of Pieter Dirksen. Then they edited all this together into a video where you see the performance from a pretty church in a small town in the Netherlands, but every time there is a chorale you see the “choir” of individual volunteer singers pieced together on the screen. A really clever and touching solution. Watch it here. If you enjoy it, please consider making a donation, similar to what you would have paid if you would have attended this in person. The link for that is right there under the video.

For readers who understand Dutch and would like to learn more about the St. Matthew Passion, I highly recommend the video program from the organization that every year brings performances of this masterpiece to the beautiful Bergkerk in the city of Deventer. This year they recorded four arias from the St. Matthew Passion, in the order they appear in the second half of the work: “Erbarme dich” (sung by countertenor Maarten Engeltjes), “Aus Liebe” (sung by soprano Renate Arends), “Komm, süßes Kreuz” (sung by bass Florian Just), and “Mache dich, mein Herze, rein” (sung by bass Marc Pantus). What I liked best about this video is the conversations director Klaas Stok has with each soloist before they sing their aria. Through these conversations, I gained a lot of new insights into the meaning of the different arias. I especially loved what Klaas Stok had to say about the architecture of the piece, the role each aria plays in the overall structure, and how different movements are connected. Of all the talks, I particularly enjoyed bass Marc Pantus’ take on “Mache dich, mein Herze, rein,” the final aria on the program. You can watch this until April 14. Just click here. But please note, it is all in Dutch. Again, a link to donate is right there under the video.

Last but not least, the most impressive performance I listened to yesterday and today: The St. John Passion (1725 version) by the Netherlands Bach Society under the direction of René Jacobs. This was shown on Dutch television on Good Friday, so if you don’t understand Dutch, you’ll have to sit through a confusing excerpt from the St. Matthew Passion and a few ads at first, but then you can forward the video 14 minutes, to skip the pre-concert interview with René Jacobs. Soloists are Daniel Johannsen, tenor (Evangelist); Johannes Kammler, bass (Christ); Robin Johannsen, soprano; Alberto Miguélez Rouco, countertenor; Thomas Hobbs, tenor; and Arttu Kataja, bass. There is so much fluidity and phrasing in the orchestra, such a good blend in the choir, as well as excellent enunciation from the choir, it is extraordinary. All the choral movements are extremely transparent, I enjoyed that very much. Jacobs takes some risks with considerably slower tempi in the chorales than is usual in the Historical Performance Practice world, stretching out the pauses in the Evangelist’s recitatives, and taking long fermatas on ending notes, but it is never old-fashioned or too Romantic. It makes for a very engaging, one of a kind performance. All soloists are wonderful, but I would like to give a shout-out to the two tenors: Daniel Johannsen for being an excellent Evangelist, and Thomas Hobbs for his fabulous “Zerschmettert mich” aria (one of the arias that is not in the better known, 1724 version). Donate to the Netherlands Bach Society here.

Cynthia Freivogel Youtube

If you don’t feel like listening to any Passion music anymore, please find my three Easter blog posts from previous years through the following links:

Cynthia Freivogel Voices Of Music

Wieneke Gorter, April 3, 2021.

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michael-weinstein · 4 years

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Leave me alone!

WARNING: This post is a venting-out of boiling anger, which can amount to mental illness. Maybe not for those weak of heart, but for sure for those who caused me so much anxiety, and contrarily, those who want to help me out of this. As for everyone else, read and suffer.

Well, corona, the world is practically on fire, and what else... Oh yes. Things in the relatively more intimate world (that is, for me) - namely, school, my followings on Instagram, YouTube and email subscriptions - keep bothering me to an incredible extent. I was wanting to write this blog post since March honestly, but I didn't find the time and the need to vent everything out. Now, though, that I am really mad, I'm somewhat thankful for the opportunity, because I'm making my opinions known, and merely hoping that they get more circulation than before.

My main classical music following had been Deutsche Grammophon and Decca (through email and Instagram, and - in the case of the latter - 2 YouTube channel subscriptions), the Berlin and Vienna Philharmonic Orchestras (Instagram), Norman Lebrecht's Slipped Disc (email) and the ClassicsToday.com editor David Hurwitz (YouTube viewing). All of the following had, to a certain extent, drive me insane in the past few months, in ways that I can't describe (one time with Hurwitz, it was so much so I needed to vent my anger in this very outlet). To a certain extent, for those who remember, the same happened with the Mahler Foundation in May, but since writing that post, I've come to realize that not only this is pretty much not important (at least much less than it seemed at the time), there are far worse issues that I'll need to address (I won't yet, perhaps to get more reading and get the image fixed, but I'm hoping I will address this important issue relatively soon). My great bane with the BPO and VPO, but especially with DG, came around the time of the Salzburg Festival in August, which was itself a bane all by itself, but by having these 3 leading musical institutions being an important part of the Festival just made me go bonkers. I don't really had a problem with the Festival being held at the time, when corona cases where relatively low, as long as the Festival was being sensitive, and did things on a much smaller scale as they had said at the beginning that they would. But the moment that they do Elektra and Mahler's 6th, whatever social distancing there would occur in the audience, with so many people onstage and/or in the pit, they're just calling for trouble. It is indeed something of a miracle that there were no casualties during the Festival, but I really think it would have been smarter not to take the risk, whatever the need for culture (besides, probably only those who would attend are those who are "jet-set" and are in Salzburg every year for the wrong reasons, but I will maybe discuss that sometime). The Vienna Philharmonic were therefore one of the major partners in the crime, more so than their Berliner counterparts. But, and this is the important part, I would very much in my hoped-for career as probable pianist and maybe composer, but most as conductor, want to collaborate with the Berliners and the Viennese. They are orchestras that I maybe don't need, but I do want to make music with. The same thing can't really be said for Decca and, more importantly, DG. Interestingly, Decca almost seems dead in the way that they rarely post on Instagram, sent a newsletter or upload on YouTube, while DG is excessive beyond normal human standards. I think they post on Instagram averagely 3 times a day, upload on YouTube twice, and send a newsletter each weekend. How the hell can you bear such a thing?! There are more adventurous labels with pretty "big names" (Alpha, Chandos and Hyperion, to name just three), that I would feel more comfortable to record with, than DG, Decca and probably also Warner (I don't follow them anywhere, which is probably just as good, considering the pervious sentences).

In addition, throughout the Festival the Karajan institue also helped to bring in their own click-baiting and "martyring" of their namesake. My attitude to Karajan as man and conductor is more mixed than it was in the past (most of which can be attributed to Lebrecht), but ever since then they made me emotionally sick with statements to the effect that Karajan was the greatest conductor ever. I have to admit that I'm much more of a Bernstein fan, and that I had barely listened to Karajan recently, but the Bernstein Offices never, apart from the centenary, did interviews of the Karajan kind, and even I'm going to admit that some Bernstein interpretations are less well than some others, maybe even than Karajan's!

So now with the Salzburg band-wagoning out of the way, there are two other culprits: Hurwitz and Lebrecht. I've encountered Hurwitz fairly recently, and I should add, that I have rather mixed relations towards him. One day in the morning, I see a video he uploaded and it makes me absolutely mad (see the link above), and then in the evening he uploads a humorous roast with which I completely agree. But generally, I'm just mixed with him. My relation to Lebrecht is also mixed, though generally positive. He has just finished a survey of most of Beethoven's output. However, his behavior regarding the "Schenker storms" is either complete misunderstanding or just outright conservative foolery.

There are 2 other "classical music" personalities which I have to mention. My relation with Mark Berry is very mixed, but he hasn't bothered me as much since March, as the main activity on his blog Boulezian (shows pretty much where he is heading) is concert and opera reviews, and he didn't have much of a chance to that, so I'm thankful for that. I will give him credit though that he is actually one of 2 people whose blogs gave me the impetus to start mine.

The other one is the other "classical music" personality I want to talk about briefly, Kenneth Woods. He is music director of the Colorado MahlerFest, the English Symphony Orchestra, and writer for his blog View from the Podium. I like him very much, as I share a lot of his musical affinities - Mahler and Shostakovich, to begin with - as well as professional insights into music of (among many others) Strauss and - perhaps more importantly from an interpetive point of view these days - Beethoven. I kind of just happen to agree with many of his opinions, and even those which I didn't think of before, I agree with them because they make sense to me. I think that the reason he appeals to me, is because he's a conductor and a cellist (also used to be a guitarist, and does it in his free time!). With the exception of Hurwitz, who was a percussionist in local orchestras, everyone else I mentioned above are scholar-critics. Woods appeals to me because he's a practical musician (and he keeps a rule not to talk about any living conductors, or at least not mentioning them by name). He was an orchestral cellist, as well as a soloist and chamber music partner as well, so he experiences the actual music world of making music from both sides, as cellist and conductor. Hurwitz, Lebrecht and Berry all might have interesting observations, but their ultimate test is in the performance lab, and that is why I like Woods so much.

So far, I've dealt with classical music's personalities and industry. Now I have to deal with my friends and other Instagram followings. It's more irritating, because even though they are dishonest like the "establishment-industry", they are closer in my world in a sense. Yom Kippur was recently, and I can still remember everyone around just going "I'm sorry, God" and all the other standard things one says before Yom Kippur. WHO THE HELL ARE YOU KIDDING!!! Everyone, especially yourselves, know that we promise never to do these things again, and barely an hour has passed since Yom Kippur is out, and we come back to do those things again. Every year it happens. Everyone knows it, it is simply an open secret that nobody either needs or wants to say. I say the same on myself, by the way. Yom Kippur is a complete lie for us, because neither me, you, and even the most just and Mitzvah-keeping person on Earth, are able to keep the promises that we will get better than this. It never happens. Why do we get flodded with this? It's absolutely no worth. You say that you're "sorry about the way I insulted you"? Complete rubbish. Unless you found out that the entire situation was so stupid you can laugh about it, nobody is sorry about anything they said. The king is naked, and as the meme says, "always has been".

My classmates start growing on my nerves sometimes. The way people just ask for answers so immediately and lazily, without having tried to answer things themselves just makes me go mad. I don't have a problem if they try to do it, or if they're in a rush at the last moment, and ask some guys for answers. But when as soon as the assignment is sent, they ask for someone to do the job for practically 10 other classmates (if not more!), that's too annoying.

My teachers, however, go on a different way of making my life difficult. They don't really annoy me by poking their selfish faces at me as much as expecting me to do everything perfectly. Even those who are kinder (in a sense, since I'm one of the good boys, so kinder practically means that they teach better or are more interesting) make me mad. There are only 2 teachers (another comes close) in the entire school I'm able not only to appreciate, but also to love learning with them. Fortunately, one of them is my homeroom teacher. Without these few teachers, I wouldn't care about school at all. It could just go to hell. We currently have a shutdown, but I still remember a few weeks ago that during a math class, I needed to read my score of Shostakovich's 4th just to keep myself from making my mental health even worse than it was (and probably still is). And even during shutdown, things are not improving. Zoom calls were to be a complete waste of time, were it not for my piano lessons and (sometimes) therapist sessions. History class is especially badly taught. The teacher of that class is of the kind of "the smaller the group - the better", because when I was with her in smaller groups she truly was better. Mind you, I'm the nerd guy who loves history (though I'm probably not the only one in our class), and she managed to make history boring. That's a complete failure. Sports class is a complete waste of time in ways I can't really describe. You can only feel it.

I have though been somewhat fortunate since May and June. Because of my critique of the Mahler Foundation and its online Festival, I've got in touch with a 8th-grader (they/them) from Canada, an a college sophomore in English literature from Florida. We three formed an online gang of just us, getting together on the basis of our love for Mahler and Shostakovich. With their advice, having understood that I will need some really fitting music to get me through the year, I've decided that I will listen on my way to and back from school, as well as during breaks, to listen to nothing but Shostakovich. That plan sort of fell through pretty quickly (by which I mean, only 3 days), but Shostakovich was a great part of my phone repertoire in these first 3 weeks of the school-year. In the last week, however, Henze's Fantasia for Strings took over, and it was somewhat fitting, given that the music began its life as Henze's score for Young Törless, an adaptation of the novel by the fairly similar name of Robert Musil, by Volker Schlöndorff (his directorial debut). These two, the 8th-grader and the sophomore, are practically my main lights these times, when we sometimes meet for a call on Discord at night.

However, these few lights are still engulfed by the complete darkness and hypocrisy that surrounds me now. I've had enough! My complaints go out now especially to the education system in this country which is just reacting horribly to the situation! I can simply go crazy from that! All the Instagram personalities, do me a favor, and please do consider those who are probably less well mentally than you are, and stop showing the way you're enjoying yourselves in pools and parties. And cut the "no filter" crap! If something would have really been with no filter, it would be ordinary and dull. To quote Alex Ross, who in turn paraphrases Nietzsche, I'm done with "the lie of the grand style". Less Wagner (in his conservative bits) and his idiotic imitators, Brahms, Mendelssohn, and all those who thought that music stopped with Beethoven, more Mussorgsky, Scriabin, Schoenberg, Berg, Webern, Satie, Stravinsky, Bartok, Shostakovich, Weill, Hindemith, Weinberg, Bernstein, Britten, Nono, Berio, Henze, Messiaen, Lutoslawski, Ligeti, Penderecki, Schnittke, even Boulez and Cage. And please do more meaningful Bach, Vivaldi, Mozart, Haydn, Beethoven, Schubert, Schumann, Berlioz, Liszt, Bruckner, Tchaikovsky, Mahler, Richard Strauss, Debussy, Ravel and Sibelius.

(Quick sidenote: I have to admit, that this post was written in turns, I wasn't commited to write it. Sometimes I got super angry and vented.)

A few days ago, my sophomore friend sent me a link to a Discord server, where she, the 8th-grader and a couple other friends were part of, and asked me if I would join in. I said I would join gladly. This is my first Discord server, and therefore I've got 4 other friends. This is where I feel at home, where I belong (not in terms of family, thank God, but in terms of friends). I really do prefer being with them than with my classmates.

Our educational system is either a joke, or a gulag. What is the point to have being taught the material on Zoom, for averagely 6 and a half hours a day, 5 days a week, and putting even more workload on us than we had been in school physically, and even more than when we studied online from March to June! And then they expect us to ace through the final exams that we have in the next 2 years! Once in the past few months, I've once wondered about a question: would I prefer to ace my exams, but thereafter being so mentally and emotionally shocked that I will need psychaitric treatment? Or should I not do them at all, but still being able to do what I love doing and be happy with myself? After thinking about it for several seconds, I answered that I would prefer the latter, and ever since then I've been saying this to certain people around me unhesitatingly.

Leave me alone! I'm not able to cope with all of this! I'm feeling so empty, I don't even want to eat a whole ton, sleep a lot, or even die! I'm just empty! I'm barely able to play the piano (that is mentally), I just get tired of it almost immediately! I don't want this to happen! Everything loses its appeal to me!

Over the past few weeks, I've come to know Shostakovich's 8th String Quartet, one of the most autobiographical and depressive pieces ever written. It was composed in 1960, when he had just returned from bombed-out Dresden, where there was a movie filmed about the last days of World War II to which Shostakovich composed the music, but more importantly, it was not long after he had suddenly joined the Soviet Communist Party (probably forced to). These 20 minutes of the quartet feature throughout a musical motif - the pitches D, E-flat, C, B-natural. In German notation they are D, S (in German it's actually Es, but the pronounciation is the same), C, H (B is used in German for B-flat). The composer's name, as rendered in German is: Dmitri Schostakowitsch. This is not the first time he has been consciously using this motif (he had already been doing so for nearly a decade), but this is the most extensive use he has ever made of it. It's as if he is obsessed with himself. Shostakovich, as a result of joining the party, was obsessed with suicide, and most of his works from there on consider death, in a way he rarely did previously, death for completely fatalistic reasons, nothing to do with the authorities. The 15th String Quartet, his last, is even bleaker.

The basic point is that ever since I came to know this piece and the school year started, I've used the slogan DSCH as a symbol of protest. I can still remember having half-done math homework, and before scanning them and sending, I scribbled DSCH clearly and furiously across the top of the first page.

The last movement of Shostakovich's 8th String Quartet, a slow fugue on a theme beginning with the DSCH motif, is the movement in which Shostakovich seems to obsessed with this motif the most. And all I can say is that for the past two months, if not even more, I've been wanting to just say "Leave me alone!" for eternity, like DSCH in that movement. Leave me alone! Leave me alone! Leave me alone! Leave me alone! Leave me alone! Leave me alone! Leave me alone! Leave me alone! Leave me alone! Leave me alone! Leave me alone. Leave me alone. Leave me alone. Leave me alone. Leave me alone. Leave me alone. Leave me alone. Leave me alone. Leave me alone. Leave me alone....leave me alone...leave me alone....leave me alone....leave me alone.....leave me alone..... leave me alone..... leave me alone..... leave me alone....... leave........... me.......... alone......... leave......... me........ alone....... leave....... me....... alone............ leave............ me............. alone................ leave.............................. me.............................. alone..............................

leave me alone

#vent #salzburg festival #david hurwitz #classicstoday #norman lebrecht #slippeddisc #mark berry #boulezian #kenneth woods #mahler foundation #henze #shostakovich string quartet 8 #dsch #coronatime #corona time #gustav mahler #dmitri shostakovich

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caribouv · 4 years

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Best of 2020

If it's not first it's last, unless I write otherwise. Subjective to me not what's objectively good. Like how fast I am on a bike.

ALBUM

Dogleg - Melee Record Setter - I Owe You Nothing Daniel Avery - Love + Light Caspian - On Circles Soccer Mommy - Color Theory Age Sixteen - Discography Gabriel & Dresden - Remedy Ratboys - Printer's Devil Kill Lincoln - Can't Complaint Touche Amore - Lament

SONG

Soccer Mommy - Royal Screw Up Dogleg - Wartortle Georgia - Never Let You Go Le Youth - Waves Mild Minds - EMBRACER + FORMATIONS Lane 8 - Shatter + Don't Let Me Go ATTLAS - Shatter (Yes they're both called Shatter) Washed Out - Paralyzed + Reckless Desires Caribou - You and I Gulfer - Nature Kids

RECORD/COVER

Worst Party Ever - Ganon Main [Dogleg] 3LAU feat. XIRA - Tokyo [Le Youth] No Mana & Eddie - Fragile Human [mau5trap] A*S*Y*S - The Acid [T78] Technotronic - Pump Up The Jam [NightFunk] Ellen Allien - Bowie In Harmony [FJAAK]

SET/MIX/SHOW

The year of fucking sets. No one can play shows, so endless streams. Without exaggeration I listened to like 8 streams per week and bookmarked probably 70 of them for keeps.

Solarstone's 303+808+909=2020 mix. Once you get past Voodoo Ray, every song on this is a banger. It's a great historical primer of the god-tier Roland instruments.

After listening to this I spent an entire weekend reading about the 303 and the other Roland instruments. About Detroit Techno and Juan Atkins and Derrick May. About drum machines and synths and Aphex Twin. About Richie Hawtin, Plastikman, and acid. About electronic music genres from Techno to House to Trance and all the sub-genres within each.

I've got this whole new appreciation and foundation with which to enjoy the music that makes up 60% of my listening time, and it's all and only because Solarstone put together this mix.

Lane 8's Guest Mix from Group Therapy 370.

Lane 8's Sunrise Set at Grand Lake, CO. Really fun to watch, even better to listen to, but best is my boy's on point totally awkward dancing. After this set Lane 8's instagram was full of selfies bike riding around Colorado. Hella.

Really just further cements my appreciation for Lane 8. While you've got all these Euro Trash DJs doing sets in plush Miami beach side mansions pushing the money money bling bling brand, Lane 8 is floating around in the middle of a fucking mountain lake.

Caspian with The Losander Chamber Orchestra. SAX MAN CENTER STAGE.

Goldfinger at The Roxy Theatre. I love punk ska. Thank you for reminding me I love punk ska.

Anything Paula Temple did this year tbh.

Anjunabeats 692 with Amy Wiles: Classic Mix. Simple and straight forward classic bangers. All the Connected vinyl classic mixes with the Thrillseekers were good too.

HOR mix by Courtesy.

Sol Ortega + E110101 did a bedroom mix. Really good music on a simple mixer. No dumb fuck twisting of knobs or any of that horseshit. Just a great selection of chill music to listen to. Also, relationship goals.

BEST MOVIE

All of like ten movies came out this year, soooo seems silly. And yet, Another Round and Nocturne were phenomenal. So yes, those two. If I had to pick a third maybe The Devil All the Time. I don't think anyone is allowed to like that movie though. Maybe I'm Thinking of Ending Things?

TV SHOWS

UTOPIA except the end was just atrocious. Bly Manor except I didn't understand why everyone was the same character. The Good Lord Bird except why is everyone a buffoon?

So I don't know. Either Locke and Key or Lovecraft County. Probably Lovecraft Country.

ACTOR

Mikkelsen. Without a doubt.

VIDEO GAME

Dead By Daylight. I think in time Night in the Woods will eventually pass this, but this was the year of Dead By Daylight for me. I played so much of this game.

Night in the Woods. I can't stop thinking about how perfect this game is. Gregg rulz ok.

Pillars of Eternity 2. I hated the ship combat, but the game is still so good. Having the entire cast of Critical Role for voice acting is an insane addition. Yet another timeless masterpiece from Obsidian.

Phasmophobia. Still one of the most insane video game experiences I've ever had.

Enemy on Board. I ended up getting banned for impersonating another player... in a werewolf style game where deception is the primary mechanic... I had such a blast with this game. It's too bad the developers are such tools.

BOOK

I read more literature this year than the last seven years combined.

Lightbringer by Brent Weeks. Really hard to get into because of how complicated the magic system is, and whole thing seems like Catholics v. MLK with magical Navy Seals thrown in... Which, okay... but the writing is so fucking remarkable. I don't have the literary knowledge or vocabulary to properly articulate the credit these books are due other than simply say the author is a poet. Also... I'm the FUCKING TURTLE BEAR.

I actually ended up reading some Dean Koontz book after finishing these. And just fucking lol. It really demonstrates how good Brent Weeks' writing is or how bad Dean Koontz's writing is. Or both.

Ascendant by Craig Alanson. Stereotypical and predictable and written for teenagers - which is everything I wanted from a medieval fantasy book this year.

Prisoner of Azkabananas. This book is good book. JK Rowling is a cunt.

Dungeon Born. Trash fantasy with surface value themes and motifs, but still enjoyed it.

Kingdoms and Chaos. Fun low fantasy though not much more to it no matter how serious it tries to be.

Society of the Sword Trilogy. So many things wrong with this series. Damsel in distress, enemies have inconsitent challeges which make no sense, why the fuck is he worshipping the society that would've had him dead at age 16 but for a random stroke of luck? Yet... I still enjoyed it.

POLITICIAN

No one. Not a single one. They all get the fucking guillotine.

Instead, I think Michael Osterholm from CIDRAP takes it. He always strove to tell the truth about what he knew about covid and, more importantly: what he didn't know. Anytime he ended up wrong about something he would own it, wouldn't make excuses, and moved on. The honesty was super fucking refreshing given all the bullshit (from both scientists and Republicans) surrounding covid this year.

FOOD

Every single thing my friend made for me back in August/September.

Buddha bowls. No restaurants from like March to June and so... I made a buddha bowl board with with endless combinations written on it and choosing from to make same became my nightly routine.

TRIP

I went fucking absolutely nowhere this year.

MOMENT

June's BLM riots.

General catch-all for my cats.

Iran not retaliating after Trump tried to start WW3 back in January.

Trump losing the election.

Trump's wild corona ride.

It's funny how almost all of these have nothing to do with me. I legit lived vicariously through outside events. What a fucking wasted year.

ATHLETE: I think I watched all of like two sporting events this year, both NWSL games. Soooo, Jane Campbell.

BIGGEST LETDOWN: Covid. Just fucking covid. I joke about how I'm never going to leave the house and it rocks, but it sucks. It really sucks. I miss going to restaurants with friends and I miss going to the movies with friends and I miss doing group rides with friends.

So many moments this year I felt like all I am doing is staying alive so I can work. That my entire existence is solely for legal analysis with everything else: food, sleep, etc. goes only to make sure I keep doing that.

I broke my lumbar spine amongst many other general fuckeries and I'm lucky to be alive. Excruciating pain for a month straight, but I'll take that shit again without question over covid loneliness. Easily. No debate.

THEME OF THE YEAR: Don't suck coughs. And remember to cook your raw kidney beans.

Goals for 2021: Same shit, different year. Keep on keeping on. Setting specific goals proved more effective than general ideals. I wrote a bunch of shit to accomplish month to month.

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iowamusicshowcase · 6 years

Photo

JAZZMAN JOE VIDEOS - Tommy Boynton and Robert Espe at Noce in Des Moines on Jan 17, 2019 http://bit.ly/2FHLb2z

Tommy Boynton

"Singing 1st tenor and playing bass, Tommy grew up in Aurora, Colorado. His musical journey began in the 3rd grade, singing in a children’s chorus, and studying piano and drums. Tommy’s love for music lead him to Phil Mattson’s prestigious School for Music Vocations in Creston, Iowa. He then graduated from the New England Conservatory in Boston, Massachusetts in 2012, where he studied with Dominique Eade and Ran Blake. Boynton continued to share his love and passion for music by returning to SMV where he taught for the three years until he joined the Freshmen. Tommy has shared the stage with several Grammy nominated musicians, including jazz pianist Fred Hersch, and critically acclaimed jazz vocalist Kate McGarry. He is an avid soccer player and cyclist and has toured across the midwest and around the Pacific Northwest on his bicycle, and believes there is no better way to explore an area or the world than on a bicycle. He currently resides in Des Moines, IA. While on the road, he misses his kitties, Alice and Little Brother, more than anything." - from the Four Freshman website "Robert Espe currently plays violin full-time with Des Moines Symphony as well as the wcfsymphony. He is a member of the Metro Chamber Ensemble and a regular sub with Quartet 515. He plays with several area ensembles ranging from folk and rock to klezmer and tango and is an experienced pit orchestra musician. Robert grew up in Independence, IA and began his violin studies at the age of three with the UNI Suzuki School in Cedar Falls, IA. He was briefly concertmaster of the UNI Symphony Orchestra during his undergraduate studies, before earning a B.S. in Bioinformatics, Minor in Music in 2011. In addition to his work as a violinist, he is also a professional freelance saxophonist, regularly appearing with Turner Center Jazz Ensemble and the Des Moines Big Band, and is an on-call sideman for local and visiting artists at Des Moines’ jazz cabaret, Noce. He is also a semi-regular horn section member of the Colorado-based, modern funk, roots, and vintage soul band Euforquestra. He has also performed with numerous musical icons including pop superstar Katy Perry and Motown legends The Temptations. As a mandolinist, he is a founding member of Choro Moingona, Des Moines’ premier choro ensemble." - from his entry on the Des Moines Symphony website Jazzman Joe for the videos' YouTube page: "NOCE JAZZ CABARET PRESENTED A JAZZ ON THE HOUSE EVENT FEATURING TOMMY BOYNTON, PIANO AND VOCALS (MEMBER OF FOUR FRESHMAN GROUP), AND ROBERT ESPE ON TENOR SAXOPHONE IN A VARIED CONCERT OF BALLADS." The Four Freshmen home page: https://fourfreshmen.com/home Jazzman Joe's YouTube channel: https://www.youtube.com/user/jazzmanjoe100 Jazzman Joe videos on IMSC: http://iowamusicshowcase.blogspot.com/search/label/JAZZMAN%20JOE%20VIDEOS Other IMSC posts featuring jazz: http://iowamusicshowcase.blogspot.com/search/label/jazz Other IMSC posts featuring live performances: http://iowamusicshowcase.blogspot.com/search/label/live%20performance PREVIOUSLY ON IOWA MUSIC SHOWCASE: AUDIBLE FARM - Episode 18: Emery Brown http://iowamusicshowcase.blogspot.com/2019/01/audible-farm-episode-18-emery-brown.html IOWA BLOCK RADIO - Live https://iowamusicshowcase.blogspot.com/2019/01/iowa-block-radio-live.html IHEARIC PODCAST - Episode 57: Justin's Modal Exploration (01/13/2018) https://iowamusicshowcase.blogspot.com/2019/01/ihearic-podcast-episode-57-justins.html LIVE FROM KURE - Elizabeth Arynn (aka Arin Eaton aka Karen Meat) https://iowamusicshowcasesongs.blogspot.com/2019/01/live-from-kure-elizabeth-arynn-aka-arin.html YOUR OWN PRIVATE IOWA - Episode 43: Dan DeGeest https://iowamusicshowcase.blogspot.com/2019/01/your-own-private-iowa-episode-43-dan.html THREE RANDOMLY PICKED PREVIOUS POSTS.... JAZZMAN JOE VIDEOS - The CJC Big Band at Java Joe's in Des Moines on May 20, 2018 https://iowamusicshowcase.blogspot.com/2018/05/jazzman-joe-videos-cjc-big-band-at-java.html IOWA BLUES SHOWCASE PODCAST - Jimmy Pryor at the Hull Ave 1999 Clarence Key Jr. and John Woody Wood https://iowamusicshowcase.blogspot.com/2018/05/iowa-blues-showcase-podcast-jimmy-pryor.html IHEARIC VIDEOS - Three Classical Pieces: Flute, Horn, and Violin https://iowamusicshowcase.blogspot.com/2018/04/ihearic-videos-three-classical-pieces.html OTHER IMSC WEBSITES AND LINKS: Feed: http://feeds.feedburner.com/IowaMusicShowcase Facebook: https://www.facebook.com/pages/Iowa-Music-Showcase/364796883703114 Twitter: https://twitter.com/iamusicshowcase Instagram: https://instagram.com/iowamusicshowcase

#IFTTT #Blogger #Iowa #Iowa Music #Iowa Artists #Iowa Bands #Music of Iowa #Midwest #The Midwest #Mid

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burlveneer-music · 6 years

Audio

Medeski Martin & Wood and Alarm Will Sound - End Of The World Party

Medeski Martin & Wood and Alarm Will Sound have announced the release of a new collaborative album, 'Omnisphere,' due September 14 via MMW's own imprint, Indirecto Records. The collection poses a compelling question: What would happen if one of the most adventurous groups to emerge in jazz and improvised music in the last three decades were to join up with an orchestra that counts among the boldest forces in contemporary classical? The results are both expected, in the peerless level of the musicianship, and stunning, in the sweeping stylistic range of the program. But more than anything, 'Omnisphere' speaks to the respect and creative kinship shared between these two trailblazing ensembles.

Recorded live at The Newman Center in Denver, Colorado in February 2015, 'Omnisphere' fulfills a long-held aspiration for Medeski, drummer-percussionist Billy Martin and bassist Chris Wood. In the earliest days of the band, they would often listen to classical and chamber music as a source of musical inspiration, conceptualizing the idea of how to merge their freewheeling improvisational jazz explorations with the more composed approach of orchestral music.

The album's seven-track program strikes an ideal balance, with original music by members of both groups, plus new AWS arrangements of two cuts off MMW's 'End of the World Party (Just in Case)'—the title track for which was is the album's first single premiered today at DownBeat (listen and share here).

Medeski Martin & Wood w/ Alarm Will Sound's 'Omnisphere' is out September 17, 2018 on limited edition 2-LP vinyl and digital formats.

#SoundCloud #music #MMW #jazz #funk #groove #2018

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contrabassconversations · 6 years

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541: Sean Conly on being a working jazz musician

I had a great time chatting with bassist, composer, and educator Sean Conly during my recent trip to New York City. Sean studied with Rufus Reid and Todd Coolman at William Paterson University and has worked with Freddie Hubbard, Regina Carter, Nicholas Payton, and many other prominent jazz artists.

Sean also teaches for The Bass Collective in New York, which emphasizes learning by doing and faculty performing alongside students. We talk about this approach to education and its benefits, life on the road, Sean’s path from Colorado and Kansas to New York City, how he established himself in NYC, and much more!

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An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools.

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Upton Bass String Instrument Company

Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.

D'Addario Strings

This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.

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Contrabass Conversations production team:

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#doublebass #bass #music #interview #orchestra #teaching

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burningpainterface · 3 years

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Devin Patrick Hughes And His Contribution To The Symphony Orchestra

The conductor and concert conductor of the New York Philharmonic are Devin Patrick Hughes. He was born and raised in Southern California. He received a bachelor's degree at the University of Southern California, a master's degree from the University of Utah and a PhD from Harvard University where he pursued the study of musicological phenomena with an interest in voice and instrumentation. In addition to his professional music conducting work, he has served as a staff musician and studio conductor for numerous ensembles ranging from chamber music to large-group concerts.

Since completing an undergraduate degree at the University of Colorado at Boulder, Devin Patrick Hughes has pursued a master's degree in music education at the University of Nevada, Las Vegas. From there he was employed by the United States National Symphony Orchestra, where he served as conductor/ conductor instructor for a full season. Finally, from 2021 to 2021 he served as the principal conductor of the New York Philharmonic from 2021 to 2021. While this period of time was particularly successful for Devin Patrick Hughes, it was not without its struggles as he struggled to find work as a professional conductor and player.

After working with the Colorado State University Choral Union, Hughes decided that he wanted to pursue a graduate program in music theory and composition. He enrolled at the University of Southern California, desiring to explore multiple styles of playing including chamber music, operatic, choral, and world class contemporary compositions. However, despite his high academic success, Hughes struggled to find work as a professional conductor. This led him to continue his search for larger and more prestigious collaborations, hoping to find a conductor who shared his vision for composing symphonies.

In 2021, Devin Patrick Hughes Arapahoe received his degree in Music Theory from the University of Nevada. During his years at the university, he formed several influential collaborations including The College of Arts and Sciences with Robert Kappauch and Annemann Schmidberger-Heinemann; The Academy of Art University with Philip Johnson; and the Manhattan School of Music with Lin-Manuel Miranda. This year he will be celebrating his 25th year as a member of the Manhattan school's faculty. This experience has also enabled Patrick Hughes to develop his own highly successful business, connecting him with local composers who are interested in working with him. This business partnership between local composers and a famous university professor has resulted in the formation of Devon Bridges Musicological Consulting. Using his successful business connections, Devin Patrick Hughes is able to connect with composers and conductors who may have previously been unable to pursue their dream careers due to insufficient opportunities.

Apart from his direct involvement as a composer and conductor, Devin Patrick Hughes has also conducted numerous symphonic music compositions. These have performed all over the world, including the New York Philharmonic, Seattle Philharmonium, South Africa's Cape Town Symphony Orchestra, and Leningrad's Moscow Philharmonik Musical Theatre. He is currently completing a Mozart Piano Course with conductor Andree Fagen. As a result of his extensive teaching experience and innovative teaching methods, Mr. Hughes has developed his own personal teaching method that enables him to engage students through his unique and powerful method of visualising each musician's hand movement in a symphonic composition. This methodology is based on the theories of Daniel Liebig, which has been proven to be extremely effective in teaching many students.

Mr. Hughes has also conducted numerous string quartet, chamber music, and vocal ensembles, creating a reputation as an accomplished master of all genres. Mr. Hughes is a highly regarded teacher and mentor, having taught at both the college and university levels. He is well known for his outstanding teaching skills, his innovative teaching methods, and for winning many awards for his professional conductorship. As a result of these achievements, Mr. Patrick Hughes has become one of the most sought-after performers and educators in the conducting industry. His travels around the world have also brought him to some of the most beautiful and serene places on earth, inspiring many of his students with his passion for presenting the world with the beauty of nature.

For anyone who wants to pursue a career as a symphonic conductor, the auditioning process might seem daunting. However, there are many professionals who will help you get a foothold in this exciting profession. If you want to know more about conducting, or if you simply want to get started with conducting, it is important to connect with a professional symphony conductor. It is always recommended that you meet with local conductors before enrolling in a training course. There are many local symphony clubs and organizations where you can find a suitable music director.

You should also take a look at the list of accolades that Devin Patrick Hughes has garnered. He is listed among the best American selected Conductors throughout the years. If you would like to learn more about conducting, check out Toscanini international conducting competition.

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growhunter407 · 3 years

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Alcina Handel

French soprano Patricia Petibon sings one of the biggest handelian arias. Her voice in this recording is just amazing, and she adds a lot of dramatism. Handel’s Alcina Handel’s Alcina ● by Chris Lynch This February, Indiana University Opera will present Handel’s fantasy opera Alcina in a new production designed by Robert Perdziola, directed by Chas Rader-Shieber, and conducted by Arthur Fagen. On musical grounds, this is a more-than-competent reading of Handel's classic opera, with some fine singing throughout. Naglestad is a lovely Alcina, and other principles are strong (notable standout is Mahnke's Oberto). Conductor Hacker coaxes a good reading out of the Stuttgart forces. Handel: Alcina / Curtis, DiDonato, Rensburg, Beaumont Release Date: Label: Archiv Produktion (Dg) Catalog #: 4777374 Spars Code: n/a Composer: George Frideric Handel Performer: Kobie van Rensburg, Vito Priante, Joyce DiDonato, Sonia Prina.

Mio Bel Tesoro Handel Pdf

Quite possibly Handel's most magnificent opera, Alcina is filled with extraordinary musical riches & a lot of magnificent magic. Two exceptional women lie at the heart of the story: Alcina is a potent sorceress, which Bradamante counters with her self-confidence and determination on her quest to rescue her lover Ruggiero from Alcina's spells. If she succeeds, they will escape and no doubt live happily ever after. However, if not, Ruggiero will be transformed into the newest trophy in Alcina's enormous gallery of former lovers. Which will it be? Can he resist her magic?

Now in his fourth season as music director of Orchestra Seattle and the Seattle Chamber Singers, Clinton Smith also maintains a position on the music staff of Santa Fe Opera, where he most recently served as cover conductor for Leonard Slatkin on a production of Samuel Barber’s Vanessa. During the 2017–2018 season, he will make three company debuts, conducting Il barbieri de Siviglia at Dayton Opera, Le nozze di Figaro at Tacoma Opera and Alcina at Fargo-Moorhead Opera. He will also return to Pacific Northwest Opera to conduct Turandot, and to Atlanta Opera to prepare The Seven Deadly Sins. Clinton’s recent conducting credits include The Mikado for Kentucky Opera, Hansel und Gretel and Norma for Pacfic Northwest Opera, Il barbieri di Sivigliafor the University of Michigan Opera Theater, and La finta giardiniera for Baldwin Wallace University.

He has served on the music staff of Santa Fe Opera, Juilliard Opera, Minnesota Opera, Atltanta Opera, Portland Opera, Kentucky Opera and Ash Lawn Opera. Other recent posts include four seasons as artistic director and principal conductor of the St. Cloud Symphony, assistant conductor and chorus master for San Francisco Opera’s Merola Opera Program, assistant conductor for Glimmerglass Opera’s productions of Tolomeo and The Tender Land, music director of Western Ontario University’s Canadian Operatic Arts Academy, and guest coach at the National University of Taiwan.

For four seasons, Minnesota Opera engaged Clinton as cover conductor and chorus master, where he led mainstage performances of La traviata and Madama Butterfly and covered the St. Paul Chamber Orchestra and Minnesota Opera Orchestra in over 20 productions. During 2011, Clinton conducted a workshop and prepared the world premiere of Kevin Puts’ opera Silent Night, which subsequently won the 2012 Pulitzer Prize in Music. For Minnesota Opera’s New Works Initiative, and as an avid fan of new music, Clinton prepared workshops of Douglas J. Cuomo’s Doubt, Ricky Ian Gordon’s The Garden of the Finzi-Continis and the North American premiere of Jonathan Dove’s The Adventures of Pinocchio, as well as Dominick Argento’s Casanova’s Homecoming and Bernard Herrmann’s Wuthering Heights.

Patrick Hansen continues his unique career throughout North American as an operatic stage director, conductor, and vocal coach. His stagings have garnered praise in both Canada and the United States. Opera Canada wrote, ' Patrick Hansen captured the opera's bohemian vitality - the city of Paris itself was the characterful backdrop to the action. When he ran out of space in Act II, the crowd simply spilled down into the auditorium . . the comic business was well handled . . . The acting, indeed, was a strong point throughout.'

Mr. Hansen has been on the musical staffs of the Lyric Opera of Chicago, Pittsburgh Opera, Tulsa Opera, Opera Memphis, Des Moines Metro Opera, Ash Lawn Opera, The Juilliard Opera Center, Fargo-Moorhead Opera, and Glimmerglass Opera as well as being the Director of Artistic Administration for Florida Grand Opera during the opening of the Miami Arts Centre.

At ease in opera and musical theatre, his stage directing credits encompass the entire spectrum of repertoire now being presented in opera companies; Alcina, Orfeo ed Eudridice, Cosi fan tutte, Die Zauberflute, L'elisier d'amore, La traviata, Dialogue des Carmelites, Albert Herring, Hansel and Gretel, La Boheme as well as the musicals Camelot and Trouble in Tahiti.

Alcina Handel Opera

Currently the director of Opera McGill in Montreal at McGill University, Mr. Hansen is the former director of the Young American Artist Program at Glimmerglass Opera, and has presented masterclasses and coachings with the Young Artists of Virginia Opera and for many years served as the stage director at the Kennedy Center with the Washington Chorus' Essential Verdi. Mr. Hansen returns to Fargo-Moorhead after successful stagings of Fille du Regiment, Suor Angelica/Gianni Schicchi, and The Magic Flute in previous seasons.

Miriam Khalil is an acclaimed Lebanese-Canadian soprano specializing in opera and concert performance. She has been lauded as a 'skilled, versatile artist' with a “signature warm lyrical voice” by Musical Toronto and described as 'dark, dangerous and alluring” by Opera Going Toronto. Miriam is a graduate of the prestigious Canadian Opera Company Ensemble Studio, the Steans Institute for Young Artists (Ravinia) and the Britten-Bears Young Artist Programme in England. While in her last year of the COC Ensemble Studio, she advanced to the semi-finals of the Metropolitan Opera Council auditions and represented the Great Lakes Region on the Met stage, during which she was featured in the documentary film The Audition.

Miriam has appeared on numerous opera stages across Canada and Europe, including a stint at the renowned Glyndebourne Festival Opera in the United Kingdom. Notable roles include Mimi in La bohème (Minnesota Opera, Opera Hamilton & Against the Grain Theatre); Musetta in La bohème (Edmonton Opera); Donna Elvira in Don Giovanni (Opera Tampa & Against the Grain Theatre/The Banff Centre/Ottawa International Chamber Music Festival); Mélisande in Pelléas et Mélisande (Against the Grain Theatre); the Governess in The Turn of the Screw (Against the Grain Theatre); Cleopatra in Giulio Cesare (Glyndebourne Festival Opera, U.K.); Almirena in Rinaldo (Glyndebourne Festival Opera, U.K.); and Susanna in Le Nozze di Figaro (Pacific Opera Victoria, Opera Lyra Ottawa & Against the Grain Theatre).

Holly Flack is a coloratura soprano praised for “wielding an impressive range, effortlessly reaching higher than high notes” with her unique vocal extension beyond an octave above high C.

Ms. Flack has performed with the Bel Canto Opera Festival, Astoria Opera Festival, and Operafestival di Roma. She made her debut at the Trentino Music Festival in Mezzano, Italy singing the role of the Vixen in Leos Janacek’s The Cunning Little Vixen. She was most recently seen on the FM Opera stage last season as the Queen of the Night in The Magic Flute.

Additional roles include Serpetta (La Finta Giardiniera), Frasquita (Carmen), Despina (Cosi fan Tutte), and Peep-Bo in The Mikado. In 2015, Holly was part of the Gate City Bank Young Artist program where she covered the role of Marie in Daughter of the Regiment with FM Opera.

Originally from Portland, Oregon, Ms. Flack holds a Bachelors degree in Vocal Performance from St. Olaf College, and a Masters degree in Vocal Performance from The University of Kentucky, where she studied with soprano Cynthia Lawrence.

Lyric mezzo-soprano Holly Janz is a versatile singing actress with a voice that is evenly blended with clarity, richness and warmth. She has performed with opera companies across the country including Skylark Opera, Fargo-Moorhead Opera, Wichita Grand Opera, and Union Avenue Opera Theatre (St. Louis). Past credits comprise a variety of characters from the trouser roles of Cherubino, Hansel and Prince Orlofsky, to the ingénue roles of Nancy (Albert Herring) and Valencienne (The Merry Widow), to the more dramatic roles of Carmen and The Secretary (The Consul).

In addition to her operatic stage credits, Ms. Janz is a compelling concert artist in both oratorio and recital. Orchestral credits include the Indianapolis Chamber Orchestra, the Indianapolis Philharmonic Orchestra, the Greater Grand Forks Symphony, the Fargo-Moorhead Symphony as well as the Central Wisconsin Symphony Orchestra.

Ms. Janz, a native of Marshfield, WI, is an alumna of the University of Wisconsin – Stevens Point (BM). She has also received degrees from the University of Colorado (MM) and the University of Kansas (DMA, with honors), and is an associate professor of voice at Concordia College in Moorhead, MN.

Called “winningly wily and dauntless” by Boston Classical Review, American Mezzo-soprano, Kate Jackman, is multifaceted musician and actress who excels in a variety of musical expression. As a2017 Gate City Bank Young Artist, Kate was seen as the Waitress in “Speed Dating Tonight!” as well as the Sergeant of Police in FM Opera’s recent production of “The Pirates of Penzance”. She also sang the role of Giovanna this summer in Ash Lawn Opera’s production of “Rigoletto”. Other roles that Kate has performed include the lead role in Oliver Knussen’s “Higglety Pigglety Pop” at the Tanglewood Festival of Contemporary Music, Hansel in “Hansel and Gretel”, the title role in “Carmen”, Dorabella in “Cosi fan tutte”, Bloody Mary in “South Pacific”, and Dinah in Bernstein’s “Trouble in Tahiti”.

An avid performer of new works, Kate has premiered roles in “Piecing It Apart” by Paul Matthews and “Lux et Tenebrae” by Douglas Buchanan for The Figaro Project’s Contemporary Opera Trio. She also premiered the role of Megan 2 in Robert Patterson’s “The Whole Truth” with Urban Arias, and Patricia Hutton in Joshua Bornfield’s“Camelot Requiem”, in which she “expressed emotional intensity with the weight of her soothing mezzo-soprano voice” (Maureen L. Mitchell, Opera Today)

Ms. Jackman holds a Master of Music Degree from the Peabody Institute and a Bachelor of Music Degree from the University of North Texas.

Alcina Opera

Tenor Jianghai Ho has appeared most recently as tenor soloist in the DePaul Symphonic Choir’s presentation of Rossini’s Stabat Mater, Rinuccio in Puccini’s Gianni Schicchi, Nerone in Monteverdi’s L'incoronazione di Poppea, Orfeo in Monteverdi’s L’Orfeo, Abraham Kaplan in Kurt Weill’s Street Scene, and Dr. Blind in Johann Strauss Jr’s Die Fledermaus with DePaul Opera Theater. He has also performed with the Duke Vespers Ensemble in Dietrich Buxtehude’s rarely-performed Membra Jesu Nostri at the Boston Early Music Festival, as well as the Chicago Symphony Chorus.

Born in Johor Bahru, Malaysia, Jianghai first discovered his passion for opera under the tutelage of Professor Susan Dunn at Duke University, where he graduated with a B.S. in music and biology. He graduated in vocal performance from DePaul University, where he studied with David Alt and Michael Sylvester.

Mark Billy is a lyric baritone and Native American (Choctaw tribe) from Finley, Oklahoma. Mark’s undergraduate studies in voice at the University of Oklahoma were under the mentorship of baritone Richard Anderson. Mark has also had additional study with the legendary mezzo-soprano Marilyn Horne.

Mark made his operatic debut as IlCommendatore in 2012 with OU Opera Theatre's production of Mozart’s “Don Giovanni”. The following season he appeared as Thoas in Gluck's “Iphigénieen Tauride”. In 2014 Mark appeared as Simon in OU’s choreographed production of Haydn’s oratorio “Die Jahreszeiten” and in 2016 Mark was featured as Moralès in “Carmen” with Indiana University.His graduate studies at Indiana were with soprano Carol Vaness.

Handel Operas Youtube

Mark most recently concluded a traveling production at OU opera theatre of John Davies mash-up children’s opera: “The Billy Goats Gruff” where he played the role of Osmin, the bully billy goat; this brought opera to Norman, OK area schools and carried the important message against bullying. In the Spring of 2017 Mark placed first in the Oklahoma NATS competition graduate level division. This past summer Mark sang Melisso in Handel’s “Alcina” as well as covering the role of Marcello in “La bohème” for the Red River Lyric Opera Festival. As a 2018 Gate City Bank Young Artist with the Fargo Moorhead Opera Mark will be reprising the role of Melisso in Handel’s “Alcina”as well as the role of the bartender in Michael Ching’s comic one act opera “Speed Dating Tonight!”

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orbemnews · 3 years

Link

Tanglewood Will Have a Summer, With Beethoven and Yo-Yo Ma There won’t be the traditional, grand closing-night performance of Beethoven’s Ninth Symphony, with its stage full of singers. In fact, to reduce the risk of aerosol transmission of the coronavirus, there will be no vocal music at all at Tanglewood this summer. But there will still be a lot of Beethoven, along with crowd-pleasing tributes to the composer John Williams and familiar guests like Emanuel Ax, Anne-Sophie Mutter, Joshua Bell and Yo-Yo Ma. Tanglewood, the Boston Symphony Orchestra’s warm-weather home in the Berkshires, announced in March that after remaining closed last year because of the pandemic, it would open this summer for a six-week season — about half the usual length — with limited crowds and distancing requirements. On Thursday, the orchestra filled in the programming: heavy on appearances by its music director, Andris Nelsons, and with a focus on Beethoven, whose 250th birthday last year was muted because of widespread concert cancellations. Nelsons will lead eight orchestral programs, including a Beethoven opener on July 10 featuring the “Emperor” Piano Concerto, with Ax as soloist, and the Fifth Symphony. On July 23, the Boston Pops will honor Williams, who turns 90 next year and is the Pops’ laureate conductor; the following evening, Mutter gives the premiere of his Violin Concerto No. 2, and on Aug. 13 Williams shares the podium for a night of film music. On July 30, the violinist Leonidas Kavakos does Beethoven trios with Ax and Ma, who also plays with the Boston Symphony under Karina Canellakis on Aug. 8. (Details are available at bso.org.) Throughout the summer, performances will last no longer than 80 minutes, without intermissions, and all concerts will take place in the Koussevitzky Music Shed, which is open on the sides. The space, which usually holds thousands, will have a reduced capacity, as will the lawn that surrounds it — a favorite spot for picnicking. Tanglewood is waiting to announce what might go forward in late summer of its well-loved series of pop performers like James Taylor. Students at the Tanglewood Music Center, the orchestra’s prestigious summer academy, will play chamber concerts on Sunday mornings and Monday afternoons, and programs are planned for the Tanglewood Learning Institute, a series of lectures, talks and master classes that began with great fanfare in 2019. The orchestra will host a two-day version of its annual Festival of Contemporary Music, July 25-26. The Knights, a chamber orchestra, will be joined on July 9 by the jazz and classical pianist Aaron Diehl for Gershwin’s “Rhapsody in Blue” and selections from Mary Lou Williams’s “Zodiac Suite.” Among the Boston Symphony’s guest conductors will be Thomas Adès (the orchestra’s artistic partner), Alan Gilbert, Anna Rakitina and Herbert Blomstedt; soloists include the pianists Daniil Trifonov, Jean-Yves Thibaudet and Kirill Gerstein, and the violinists Baiba Skride and Lisa Batiashvili. The Tanglewood season is part of the nationwide thawing planned for this summer of a performing arts scene that has been largely frozen for over a year. The Public Theater has announced that its venerable Shakespeare in the Park will go forward, as will Santa Fe Opera and the Glimmerglass Festival in upstate New York. On Thursday, the Aspen Music Festival and School in Colorado said it would move forward with a nearly two-month season. But as they reopen, institutions are reckoning with sharp losses. As it celebrated the return of Tanglewood, the Boston Symphony said its current operating budget was $57.7 million, down from its prepandemic budget of over $100 million. The orchestra estimated that it has lost over $50 million in revenue in the last year. Source link Orbem News #Beethoven #summer #Tanglewood #YoYo

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eineuve · 5 years

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Michaela Paetsch: Music is my home, everywhere

Acclaimed as one of the finest concert violinists of today and living nearby in Ligerz, Michaela Paetsch grew up in a musical family on a high mountain in Colorado Springs, making her solo debut at the age of twelve with the Colorado Springs Symphony while studying with her parents, Priscilla and Gunther Paetsch. Later she went to study with Szymon Goldberg at Yale University and the Curtis Institute of Music.

“Making music and performing with my family chamber ensemble was the most important part of my development as a performing artist.”

This tradition has continued with different Paetsch Family reunion concerts in America and Europe. Starting in August 2016 the two Swiss Paetsch Families, the Paetsch Family Ensemble from Ligerz and Melide performed for the Bourgkonzert Series and then for CAN in La Neuveville in February 2018. These two successful appearances brought the family ensemble a special Christmas event in Bellmund at the Kulturzentrum La Prairie on 15. December 2019 which is sold out since March.

Michaela also performs often with her (Chicago-Paris-Berlin) cellist nephew, Johannes Gray in the area, (Ligerz, Ins, Biel-Pasquart Church, Chappeli-Grenchen and Bolligen) in the Schubert Quintet Project with the Transatlantic Quintet.

With her newer ensemble Pilgerweg Strings in the Bielersee area Michaela plays chamber music concerts in different formations. The most recent event was at the Catholic Church in Ins, for a Mothers Day concert on 12. May 2019 with Haydn’s Quartet No. 1 in G Op. 77 and Beethoven’s Quartet No. 15 in A-minor Op. 132.

Winning top prizes in the Queen Elisabeth and the Tchaikovsky International Competitions brought her to Europe while performing as soloist, recitalist, and chamber musician in the major musical centers of the world, including New York’s Carnegie Hall. She has also participated in major festivals such as Kultur-Bühne Rhein-Sieg, Marlboro, Davos, Banff, Boulder-Bach, and “Mostly Mozart” in New York. She has performed as soloist with the Berner Symphonieorchester, TOBS in Biel, Orchestra della Svizzera Italiana in Lugano, NHK Symphony Orchestra in Tokyo, the Philharmonics of Osaka and Seoul, Liége and Bergen, the National Orchestra of Belgium, the Leipzig Gewandhaus Orchestra, the Frankfurt Radio Symphony, the Residentie Orchestra, the Orchestre de la Suisse Romande, and the BBC Symphony, among others. She has collaborated with conductors such as Kent Nagano, Kaspar Zehnder, Dmitrij Kitajenko, Horst Stein, Howard Griffith and Myung-Whun Chung.

Her extensive discography includes the 24 Caprices by Niccolo Paganini – the first recording by a woman violinist. Die Zeit described the disc as a “sensation in the history of record-making.” Her world premiere CD with the two Concertos by Joachim Raff and the Bamberger Symphoniker (TUDOR 7086) enjoyed great critical success, and Michaela has been acclaimed as the reference player of Raff’s music. The TUDOR CD “Extase” made with her husband, Klaus Neftel and their ensemble Prima Carezza, won a Grand Prix du Disque in Paris. Prima Carezza recently played anniversary concerts in Biel and in Ligerz.

Michaela plays a Gaetano Pasta Violin from Brescia, made in 1704.

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seathose2-blog · 5 years

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The Philadelphia Orchestra Appoints Two New Musicians to Flute Section for 2018-19 Season

(Philadelphia, August 21, 2018)—The Philadelphia Orchestra is pleased to announce the addition of two new musicians to the roster beginning in the 2018-19 season: Patrick Williams, associate principal flute, and Olivia Staton, flute.

“The start of a new season is always thrilling and made even more so when we have new friends and colleagues joining us,” said Music Director Yannick Nézet-Séguin. “Patrick and Olivia are both extraordinary musicians. I am excited to work with them and hear all they will bring to our flute section.”

Hailed for his artistry in concert performances with the Curtis Symphony, Music at Angel Fire, and the Steamboat Orchestra, Associate Principal Flute Patrick Williams complements his passion for orchestral performance with concerto, chamber music, and recital performance. He was previously principal flute of the Louisiana Philharmonic and co-principal flute of the Hyogo Performing Arts Center Orchestra in Nishinomiya, Japan. He has also performed in such ensembles as the Chicago Symphony, the Pittsburgh Symphony, the Columbus Symphony, the Fort Worth Symphony, the Princeton Symphony, and the Pacific Music Festival Orchestra in Sapporo, Japan. During the 2010 and 2011 seasons, Williams was mentored by Mark Sparks as a Flute Fellowship recipient at the Aspen Music Festival. He has collaborated with Maestros Simon Rattle, Vladimir Jurowski, Fabio Luisi, Neville Marriner, Robert Spano, Michael Stern, Rossen Milanov, and Otto-Werner Mueller.

Williams served as adjunct professor of flute at Xavier University of Louisiana in New Orleans and has been a clinician at the Interlochen Arts Academy, Loyola University of New Orleans, and Louisiana State University. He has regularly participated in youth concerts and outreach programs for the Louisiana Philharmonic, the Hyogo Performing Arts Center, the New York Pops, Music at Angel Fire, and the Curtis Institute of Music.

A proud Colorado native, Williams began studying the Suzuki flute method in Steamboat Springs. After just one year of study, he traveled to Nagano, Japan, to perform with thousands of Suzuki students in a multicultural celebration during the 1998 Olympics. He attended the Interlochen Arts Academy High School, studying with Nancy Stagnitta, and graduated with a distinguished award for excellence in flute performance. At the Oberlin College and Conservatory of Music, he studied with Michel Debost while pursuing a double degree in flute performance and environmental studies. Williams received his performance degree at the Curtis Institute of Music under the tutelage of Philadelphia Orchestra Principal Flute Jeffrey Khaner.

Olivia Staton is a recent graduate of the Juilliard School, where she studied with Philadelphia Orchestra Principal Flute Jeffrey Khaner. Upon graduating, she was awarded the prestigious Peter Mennin Prize. This past summer she was a fellow at the Tanglewood Music Center in Lenox, Massachusetts, and for three previous summers she attended the Aspen Music Festival and School, where she served as principal flute of the Aspen Conducting Academy for two summers.

Staton has substituted with the National Symphony and the New World Symphony in addition to participating in the New York Philharmonic Biennial as a member of the Aspen Contemporary Ensemble. During her time at Juilliard, she performed as a member of the Juilliard Orchestra, AXIOM, and the New Juilliard Ensemble. In 2017 she was selected as one of two flutes to represent Juilliard in a collaboration with the Sibelius Academy in Helsinki to celebrate the centenary of Finnish independence.

Born and raised overseas, Staton began studying the flute while living in Italy. After moving to Virginia, she was principal flute of the American Youth Philharmonic for three years and served as principal flute of the New York Youth Symphony for her first year in New York. She has also won first prizes in the Richmond Flute Competition and the Flute Society of Washington Competition. Before moving to New York, she was a National Symphony Youth Fellow and studied with Aaron Goldman of the National Symphony. Staton is a Yahama Performing Artist.

About The Philadelphia Orchestra

Source: https://www.philorch.org/press-room/news/philadelphia-orchestra-appoints-two-new-musicians-flute-section-2018-19-season

#read more #see more #check it out #interesting #learn more

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iowamusicshowcase · 6 years

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JAZZMAN JOE VIDEOS - Tommy Boynton and Robert Espe at Noce in Des Moines on Jan 17, 2019 - http://bit.ly/2FHLb2z Tommy Boynton "Singing 1st tenor and playing bass, Tommy grew up in Aurora, Colorado. His musical journey began in the 3rd grade, singing in a children’s chorus, and studying piano and drums. Tommy’s love for music lead him to Phil Mattson’s prestigious School for Music Vocations in Creston, Iowa. He then graduated from the New England Conservatory in Boston, Massachusetts in 2012, where he studied with Dominique Eade and Ran Blake. Boynton continued to share his love and passion for music by returning to SMV where he taught for the three years until he joined the Freshmen. Tommy has shared the stage with several Grammy nominated musicians, including jazz pianist Fred Hersch, and critically acclaimed jazz vocalist Kate McGarry. He is an avid soccer player and cyclist and has toured across the midwest and around the Pacific Northwest on his bicycle, and believes there is no better way to explore an area or the world than on a bicycle. He currently resides in Des Moines, IA. While on the road, he misses his kitties, Alice and Little Brother, more than anything." - from the Four Freshman website "Robert Espe currently plays violin full-time with Des Moines Symphony as well as the wcfsymphony. He is a member of the Metro Chamber Ensemble and a regular sub with Quartet 515. He plays with several area ensembles ranging from folk and rock to klezmer and tango and is an experienced pit orchestra musician. Robert grew up in Independence, IA and began his violin studies at the age of three with the UNI Suzuki School in Cedar Falls, IA. He was briefly concertmaster of the UNI Symphony Orchestra during his undergraduate studies, before earning a B.S. in Bioinformatics, Minor in Music in 2011. In addition to his work as a violinist, he is also a professional freelance saxophonist, regularly appearing with Turner Center Jazz Ensemble and the Des Moines Big Band, and is an on-call sideman for local and visiting artists at Des Moines’ jazz cabaret, Noce. http://bit.ly/2Dx2tgn

#IFTTT #Instagram #Iowa #Iowa music #music #iowa bands #iowa band #iowa musician #iowa musicians #mid

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todayclassical · 7 years

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May 11 in Music History

1728 Birth of French composer and violinist Pierre Gavines in Bordeaux.

1731 Birth of composer Johann Gottfried Seyfert.

1738 FP of Hasse's "Alfonso" Dresden.

1772 Birth of composer Henri-Jean Rigel.

1791 Birth of Bohemian composer Jan Vaclav Hugo Vorisek in Wamberg.

1797 FP of Dalayrac's "La Maison isolée" Paris.

1811 Birth of Italian baritone Filippo Coletti in Anagni Italy.

1827 Birth of American composer Septimus Winner in Philadelphia, PA.

1830 FP of Herold and Carafa's "L'Auberge d'Aurey" Paris.

1840 Birth of composer Filippo Capocci.

1849 Death of German composer Otto Nicolai at age 38, in Berlin.

1855 Russian composer Anatoly Liadov.

1864 FP of Guiraud's "Sylvie" Paris.

1877 Birth of soprano Anna Slavikova-Jordanova.

1881 Birth of composer Jan van Gilse.

1882 Birth of Austrian composer Joseph Marx in Graz.

1884 Birth of Romanian soprano Alma Gluck in Bucarest.

1885 Birth of Dutch bass-baritone Joseph Groenen in Waalwijk, Holland.

1888 Birth of Belgian tenor Louis Morrison in Antwerp.

1888 Birth of American popular music composer Irving Berlin.

1895 Birth of American composer William Grant Still.

1896 Birth of composer Josip Slavenski.

1898 Birth of Swedish bass Sven Nilsson in Gafla Gäfle, Sweden.

1902 Birth of Brazilian soprano Bidu Sayao.

1905 Birth of American soprano Agnes Davis in Colorado Springs.

1905 Birth of tenor Paul-Henry Vergnes in Lagrasse.

1906 Death of baritone Gottardo Aldighieri.

1909 Birth of composer Herbert Murrill.

1913 Birth of American composer Clare Grundman.

1916 Death of German composer Max Reger.

1917 FP of Ferrucio Busoni's operas Arlecchino 'Harlequin' and Turandot at the Stadttheater in Zurich.

1928 Birth of German soprano Ingeborg Reichelt in Frankfurt.

1931 Birth of American bass Arnold Voketaitis in East Haven, CT.

1938 Birth of American composer Harvey Sollberger in Cedar Rapids, Iowa.

1940 Birth of American visualist-music composer Ron Pellegrino.

1940 Birth of American baritone Ron Bottcher in Sandpoint, ID.

1941 FP of Henry Cowell´s Tales of the Countryside for piano and orchestra in Atlantic City, NJ.

1942 Death of German soprano Helena Forti.

1944 Birth of American soprano Elaine Cormany in Clifton, TX.

1945 Birth of New Zealand cellist and conductor Ross Pople.

1945 FP of Leonard Bernstein's Hashkiveinu with text from the Sabbath Evening Service for Cantor, Choir and Organ, at Park Avenue Synagogue in NYC.

1946 Birth of American composer Lenore von Stein.

1947 Death of Swedish composer Ture Rangström.

1948 FP of Henry Cowell's Hymn, Chorale, and Fuguing Tune No. 8 for strings, at Florida State University Recital Hall. School of Music Faculty String Quartet.

1950 Death of tenor Charles Rousseliere.

1953 Birth of American experimental-music composer Steed Cowart.

1954 Birth of Scottish composer Judith Weir in Aberdeen.

1954 FP of Matyas Seiber´s Concertino for Clarinet and Strings in London.

1955 FP of Sir Arthur Bliss' Violin Concerto, in London.

1956 Birth of American composer Jane Ellen in CA.

1956 Birth of Belgian composer Marc Achille Matthys in Gehnt.

1957 Birth of Italian tenor Giuseppe Sabbatini in Rome.

1960 FP of Chailly's "Il mantello" Florence.

1960 FP of Bucchi's "Una notte in Paradiso" Florence.

1961 Birth of Filipino pianist Cecile Licad in Manila.

1963 Death of Italian tenor Guido Ciccolini in Rome.

1963 FP of William Grant Still's opera A Southern Interlude. University of Miami Opera. It was later revised as Highway 1, U.S.A.

1966 FP of Andrew Imbrie's Symphony No. San Francisco Symphony.

1976 Death of mezzo-soprano Enid Cruickshank.

1984 FP of John Harbison's Ulysses' Bow. New Haven Symphony, Murray Sidlin conducting.

1995 FP of John Adams' musical I Was Looking at the Ceiling and Then I Saw the Sky with the Paul Dresher Ensemble conducted by Grant Gershon in Berkeley, CA.

2000 FP of Colin Matthews' Pluto - The Renewer. Composed as an addition to Gustav Holst's The Planets. The Hallé Orchestra, Kent Nagano conducting, in Manchester England.

2002 FP of Kenneth Frazelle's Concerto for Chamber Orchestra. Los Angeles Chamber Orchestra, Jeffrey Kahane conducting in Glendale, CA.

#classicalmusic #today in music history #musichistory #todayclassical #onthisday

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