#Milan Conservatory

[opera-ghosts]

Aureliano Pertile (1885-1952) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company.

By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks.

Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s.

[alldancersaretalented]

Teen Solos NYCDA

Thanks to @thedancefan22 for recording and sharing the link!!

7th place and higher scored 297 or higher!

1st place above 298!

1st Maceo Paras-Mangrobang (Westlake) - In Plain Sight

2nd: Eva Jimmerson (Renner) - Mischievous Waltz

3rd: Trey Diaz (Tucson Dance Academy) - Dracula

3rd: Francesca O'Brien (Prestige) - One Moment in Time

4th: Jazlyn Quintero (Dance Town) - Evolving

5th: Gracelyn Weber (Dallas Conservatory) - Erosion

6th: Makeila Bartlett (P21) - Red Shadow

7th: Arouche (Premier Dance Center) - Another One Bites The Dust

8th: Jack Schofield (Elite Academy of Dance) - Becoming

9th: Zoe McDonald (Dallas Conservatory) - Girl from

9th: Milan Deng (Dance Inc) - Bitter Earth

9th: Alivya Alfonso (Elite Dance Pro) - Fleur

10th: Zachary Roy (Dance Town) - After A Dream

11th: Sloane Adams (N10) - Worn Thin

12th: Stella Stephenson (Dallas Conservatory) - Affliction

12th: Jazmine Werner (Dance Enthusiasm) - Ville Morose

13th: Victoria Russo (A3 District) - Depth

14: Ava (Studio West) - Movement Chapter 14

15: Sophia Chin (Texas Academy of Dance Arts) - Ineffable

16th: Brooklyn Ladia (P21) - Sing It Back

17th: Claire Kingston (N10) - Is That All There Is

18th: Allegra Post (Sweatshop) - A Dream Within A Dream

19th: Lauren Batuna (Dallas Conservatory) - Impermanence

20th: Addison Haggerty (MÜV) - Core

21st: Isabelle 7(Utah Arts Collective) - If I Be Wrong

22nd: Mason Gallenero (Dance Inc) - Man Or Machine

23rd: Harper Sherrard (Dallas Conservatory) - Natalie Don't

24th: Ally Choi (P21) - Echoes

24th: Kasey Blackmon (Collective PHX) - Lost Religion

25th: Savannah Wilkes (Dance Colony) - Immediately

26th: Cassidy (Tucson Dance Academy) - Echoes Emerging

27th: Lilly Hill (Collective Phoenix) - Final Waltz

28th: Johnny Gray (Nevada Ballet) - What Happened

29th: Journey Dye (Dyn'2Dance) - Plunder

29th: Matthias (A3 District) - It's All Right

30th: Sophia (Dance Unlimited) - Hypnosis

[justforbooks]

The Italian pianist Maurizio Pollini, who has died aged 82, was one of the giants of the keyboard in the second half of the 20th century, and yet for all the respect he commanded, his playing was criticised throughout his career for being excessively cool and cerebral. When he took first prize at the 1960 Chopin competition in Warsaw, the chairman of the jury, Artur Rubinstein, declared: “That boy plays better than any of us jurors.” But that success proved to be only the prelude to the first controversial event of his career. He withdrew from the international concert circuit for 18 months to broaden his repertoire and develop other cultural interests. It was not until nearly the end of the decade that his performance schedule achieved a normal rhythm, but his full return in 1968, coinciding with a contract signed with the Deutsche Grammophon (DG) label, launched a series of triumphs on the concert platform and in the recording studio.

Classic recordings of Chopin Etudes, of music by Schumann and Beethoven, and of modernist repertoire such as Pierre Boulez’s Second Sonata consolidated his reputation and, at its best, Pollini’s playing combined expressive but unsentimental intimacy, tonal beauty, textural clarity and a formidable technique. Particularly in his later years, Pollini’s breathless, impatient delivery of Beethoven’s sonatas often seemed to deny their rhetoric, as though he was embarrassed by large romantic gestures or overt emotionalism.

Pollini’s cerebral instincts appeared to deprive him of the ability to live in the moment: romantic subjectivity, it seemed, had constantly to be interrogated.

Pollini was born in Milan. His father, Gino Pollini, was one of Italy’s leading architects of the interwar period; his mother, Renata (nee Melotti), who had studied singing and piano, was the sister of the modernist sculptor Fausto Melotti. Such a background, in which “old works and modern works co-existed together as part of life”, as Pollini later put it, was to have a formative influence on his own approach to art. The discovery of his musical talent led to lessons with Carlo Lonati and Carlo Vidusso (from 1955 at the Milan conservatory) and various competition successes prior to Warsaw. His 1963 London debut, playing Beethoven’s Third Piano Concerto with the LSO under Colin Davis, was criticised by the Times as “rushed” and over-impetuous.

Peter Andry, the responsible executive at EMI in the early 1960s, told in his autobiography, Inside the Recording Studio (2008), of the pursuit of the 19-year-old who had just won the prestigious Warsaw competition: “We quickly signed the young Italian, a slender, bespectacled young man with an elongated brow but a very pleasant manner.” One of their first (and only) projects together was a recording of the two sets of Chopin Etudes, Opp 10 and 25. It was not long after this that Pollini appeared to suffer a crisis of confidence. EMI sent him off to study for two years with the pianist Arturo Benedetti Michelangeli, but even as his musicality deepened, and reviews were often complimentary, Pollini retreated from the spotlight. He refused to allow the Etudes to be released – though this was in part because DG, shortly to sign Pollini as an exclusive artist, wanted to make their own version. The EMI sets were finally released only in 2011 (on Testament), winning plaudits for their spontaneity and freshness.

It was also in the 60s that music and politics first became intertwined in Pollini’s career. A friendship with a fellow-student, Claudio Abbado, a like-minded leftwing idealist, led them to seek radical ways of bringing classical music to factory workers, including a cycle of concerts at La Scala for employees and students. Another friendship, with the Marxist avant garde composer Luigi Nono, was equally important, resulting in the commission of two pieces for Pollini, including one for piano, voice and tapes, commemorating an assassinated Chilean revolutionary. Pollini’s radical outlook remained with him throughout his career, as did his intellectual approach to art and life. If too often that cerebralism seemed at odds with the heroic or passionate romantic sensibility of the music he played, there were compensations: the visionary gleam in a Chopin miniature; the anticipation of modernism in the ghostly finale of the same composer’s Second Piano Sonata.

Even when declining physical stamina took its toll in later recitals, Pollini commanded admiration of a sort for his continued willingness to pit himself against some of the most demanding works in the repertoire. The breathless impatience of his foreshortened phrases was unsettling, but glimpses of the old magic were still in evidence. The programming of his five-concert series The Pollini Project at the Royal Festival Hall, spread over five months in 2011 – which moved from Bach, through late Beethoven and Schubert to Chopin, Schumann, Liszt and Debussy to modernists such as Stockhausen and Boulez – represented a personal statement about landmarks in the history of piano music.

His interpretation of Boulez’s Second Sonata, notable for its precision and explosive energy, but also for its lyricism and Debussy-influenced pointillism, remains without peer. Stravinsky’s Petrushka likewise drew from him an incomparable muscularity coupled with tonal clarity that was ideally incisive rather than brutal. If Pollini’s playing was controversial, it was so because it explored the dichotomy of intellect and emotion fundamental to music-making.

He is survived by his wife, Marilisa (nee Marzotto), whom he married in 1968, and their son, Daniele.

🔔 Maurizio Pollini, pianist, born 5 January 1942; died 23 March 2024

Daily inspiration. Discover more photos at Just for Books…?

[mybeingthere]

Elisabeth Boehm or Böhm (1843–1914) was a Russian painter and illustrator.

She was born in Saint Petersburg to a noble family of Endaurov (of Tatar origin). She spent her childhood in the estate of her parents: village Schiptsy, near Yaroslavl. At the age of 14 she entered the School of Painting where she studied under Ivan Kramskoi and Pavel Chistyakov. In 1865 she graduated with a Silver Medal.

She married a prominent Russian-Hungarian violinist Ludwig Boehm, professor of the Saint Petersburg Conservatory. Elisabeth painted watercolours, illustrated children books for the Folk Library, a series founded by Leo Tolstoy. She also experimented with glass and ceramics. For her silhouettes, etchings and glass she received medals of the World Fairs in Chicago of 1893, Paris of 1900, Munich of 1902 and Milan of 1906 (a gold medal).

[themuseumwithoutwalls]

MWW Artwork of the Day (12/8/23) Luigi Russolo (Italian, 1885–1947) Music (1911) Oil on canvas, 100 x 65 cm. Estorick Collection of Modern Italian Art, London

An iconic figure of early Futurism, Russolo (1885-1947) was born into a musical family. His father was the organist of Portogruaro Cathedral and both his brothers studied at the Milan Conservatory. Russolo was also gifted musically, but decided to embark on a career as a painter at an early age. In 1909 he exhibited a group of etchings at the city’s Famiglia Artistica, where he met Umberto Boccioni and Carlo Carrà. Together they persuaded F.T. Marinetti of the need to extend Futurism’s programme of cultural renewal to the visual arts. Ironically, however, Russolo’s most important contribution to the movement was made in the musical sphere. This painting here, for instance, is the artist's futuristic vision of a pianist and his audience.

[theoriginalblackwoman]

Matilda Sissieretta Joyner Jones, known as Sissieretta Jones, (January 5, 1868 or 1869[1] – June 24, 1933[2]) was an African-American soprano. She sometimes was called “The Black Patti” in reference to Italian opera singerAdelina Patti. Jones’ repertoire included grand opera, light opera, and popular music.[3]

Matilda Sissieretta Joyner was born in Portsmouth, Virginia, United States, to Jeremiah Malachi Joyner, an African Methodist Episcopal minister, and Henrietta Beale.[2] By 1876 her family moved to Providence, Rhode Island,[4]where she began singing at an early age in her father’s Pond Street Baptist Church.[2]

In 1883, Joyner began the formal study of music at the Providence Academy of Music. The same year she married David Richard Jones, a news dealer and hotel bellman. In the late 1880s, Jones was accepted at the New England Conservatory of Music.[1] On October 29, 1885, Jones gave a solo performance in Providence as an opening act to a production of Richard IIIput on by John A. Arneaux‘s theatre troupe.[5] In 1887, she performed at Boston’s Music Hall before an audience of 5,000.[2]

Jones made her New York debut on April 5, 1888, at Steinway Hall.[1] During a performance at Wallack’s Theater in New York, Jones came to the attention of Adelina Patti’s manager, who recommended that Jones tour the West Indies with the Fisk Jubilee Singers.[2] Jones made successful tours of the Caribbean in 1888 and 1892.[1]

In February 1892, Jones performed at the White House for PresidentBenjamin Harrison.[2] She eventually sang for four consecutive presidents — Harrison, Grover Cleveland, William McKinley, and Theodore Roosevelt— and the British royal family.[1][2][3]

Jones performed at the Grand Negro Jubilee at New York’s Madison Square Garden in April 1892 before an audience of 75,000. She sang the song “Swanee River” and selections from La traviata.[3] She was so popular that she was invited to perform at the Pittsburgh Exposition (1892) and the World’s Columbian Exposition in Chicago (1893).[4]

In June 1892, Jones became the first African-American to sing at the Music Hall in New York (renamed Carnegie Hall the following year).[1][7] Among the selections in her program were Charles Gounod‘s “Ave Maria” and Giuseppe Verdi‘s “Sempre libera” (from La traviata).[1] The New York Echowrote of her performance at the Music Hall: “If Mme Jones is not the equal of Adelina Patti, she at least can come nearer it than anything the American public has heard. Her notes are as clear as a mockingbird’s and her annunciation perfect.”[1] On June 8, 1892, her career elevated beyond primary ethnic communities, and was furthered when she received a contract, with the possibility of a two-year extension, for $150 per week (plus expenses) with Mayor James B. Pond, who had meaningful affiliations to many authors and musicians.[8] The company Troubadours made an important statement about the capabilities of black performers, that besides minstrelsy, there were other areas of genre and style.[8]

In 1893, Jones met composer Antonín Dvořák, and in January 1894 she performed parts of his Symphony No. 9 at Madison Square Garden. Dvořák wrote a solo part for Jones.[1]

Jones met with international success. Besides the United States and the West Indies, Jones toured in South America, Australia, India, and southern Africa.[1] During a European tour in 1895 and 1896, Jones performed in London, Paris, Berlin, Cologne, Munich, Milan, and Saint Petersburg.[9]

In 1896, Jones returned to Providence to care for her mother, who had become ill.[1] Jones found that access to most American classical concert halls was limited by racism. She formed the Black Patti Troubadours (later renamed the Black Patti Musical Comedy Company), a musical and acrobatic act made up of 40 jugglers, comedians, dancers and a chorus of 40 trained singers.[2] The Indianapolis Freeman reviewed the “Black Patti Troubadours” with the following: “The rendition which she and the entire company give of this reportorial opera selection is said to be incomparably grand. Not only is the solo singing of the highest order, but the choruses are rendered with a spirit and musical finish which never fail to excite genuine enthusiasm.[10]

The revue paired Jones with rising vaudeville composers Bob Cole and Billy Johnson. The show consisted of a musical skit, followed by a series of short songs and acrobatic performances. During the final third of each show, Jones performed arias and operatic excerpts.[9] The revue provided Jones with a comfortable income, reportedly in excess of $20,000 per year. She led the company with reassurance of a forty-week season that would give her a sustainable income, guaranteed lodging in a well-appointed and stylish Pullman car, and the ability to sing opera and operetta excerpts in the final section of the show.[8] This allowed Jones to be the highest paid African American performer of her time.[8] Jones sung passionately and pursued her career choice of opera and different repertory regardless to her lack of audience attendance.[8] For more than two decades, Jones remained the star of the Famous Troubadours, while they graciously toured every season and established their popularity in the principal cities of the United States and Canada.[11] Although their eventual fame and international tours collected many audiences, they began with a “free-for-all” variety production with plenty of “low” comedy, song and dance, and no pretense of a coherent story line.[12]

Several members of the troupe, such as Bert Williams, went on to become famous.[1] April 1908, at the Avenue Theatre in Louisville, Kentucky, an audience made up mostly of whites (segregated seating was still prevalent), accepted Madam ‘Patti’ after singing ‘My Old Kentucky Home’ with much respect and admiration, and marked “the first time that a colored performer received a bouquet at the theatre in this city”.[12] For almost ten years, racial segregation had kept Jones from the mainstream opera platform, but by singing selections from operas within the context of a hard-traveling minstrel and variety show, she was still able to utilize her gifted voice, that people of all races loved.[12] The Black Patti Troubadours reveled in vernacular music and dance.[12]

Jones retired from performing in 1915 because her mother fell ill, so she moved back to Rhode Island to take care of her. For more than two decades, Jones remained the star of the Famous Troubadours, while they graciously toured every season and established their popularity in the principal cities of the United States and Canada.[12] She devoted the remainder of her life to her church and to caring for her mother. Jones was forced to sell most of her property to survive.[1][2] She died in poverty on June 24, 1933 from cancer. She is buried in her hometown at Grace Church Cemetery.[2]

In 2013 Jones was inducted into the Rhode Island Music Hall of Fame.[13]

Source: https://en.wikipedia.org/wiki/Matilda_Sissieretta_Joyner_Jones

Photos from Wiki Commons

[johnjpuccio]

Review of Chamber Works by Alberto Hemsi on a Chandos CD

Alberto Hemsi (1898-1975) is a composer whose name is doubtless unfamiliar to the vast majority of music lovers; indeed, all of the works on this CD are being given their premier recording. According to the liner notes, “for the greater part of his life, Hemsi lived and composed outside the European mainstream, and researchers and musicians were either unaware of his legacy or unable to access it. This changed in 2004, when the composer’s widow, Miryam Capelluto Hemsi, donated Hemsi’s entire archive to the European Institute of Jewish Music in Paris.” Hemsi was born in what is now Turkey to Sephardic Jewish parents who had recently moved there from Italy. He began to learn music at an early age, then as a teen was sent to live with an uncle in Smyrna, where he studied cantorial music and learned to play flute, clarinet, trombone, and piano. He played in a large wind band run by an Israelite Music Society, the organization which paid his expenses so that he could enroll at the prestigious Verdi Conservatory in Milan, Italy. He then became an Italian citizen, was conscripted into the Italian army, rose to the rank of captain, won medals for bravery, suffering a shrapnel wound to his right arm that diminished his ability to play the piano, and then returned to Milan to complete his musical studies.

To read the full review, click here:

Karl W. Nehring, Classical Candor

[monkeyssalad-blog]

Hilda Mulligan and student, Sydney, 1946 by State Library of New South Wales Via Flickr: Hilda Mulligan, Sydney, 1946 by Ivan Ive from film negative presented by ACP Magazines Ltd, 2008 ON 388/Box 015/Item 005 Hilda Mulligan, pictured on the right with a student, was the first Australian accepted as a pupil at the Milan Conservatory and the first to become a full-time member of an Italian opera company. She studied under Giacomo Puccini and had a long and successful career as an opera singer, theatre director and producer. She then taught at the New South Wales Conservatorium of Music (now Sydney Conservatorium of Music) for over 20 years. On display in State Library of New South Wales Exhibition 'Shot' www.sl.nsw.gov.au/exhibitions/shot

[impossiblemakerfire]

Alec

Radcliff Alec

Music Composer Berio was born in Oneglia (now part of Imperia). He was taught the piano by his father and grandfather who were both organists. During World War II he was conscripted into the army, but on his first day, he injured his hand while learning how a gun worked, and spent time in a military hospital. Following the war, Berio studied at the Milan Conservatory under Giulio Cesare Paribeni and Giorgio Federico Ghedini. He was unable to continue studying the piano because of his injured hand, so instead concentrated on composition. In 1947 came the first public performance of one of his works, a suite for piano. Berio made a living at this time accompanying singing classes, and it was in doing this that he met the American mezzo-soprano Cathy Berberian, whom he married shortly after graduating (they divorced in 1964). Berio wrote a number of pieces which exploit her distinctive voice. Improvising - Berlin, Germany - May 1987

Where it all started - Toronto, Canada - May 1975 In 1952, Berio went to the United States to study with Luigi Dallapiccola at Tanglewood, from whom he gained an interest in serialism. He later attended the Internationale Ferienkurse für Neue Musik at Darmstadt, where he met Pierre Boulez, Karlheinz Stockhausen, György Ligeti and Mauricio Kagel. He became interested in electronic music, co-founding the Studio di fonologia musicale, an electronic music studio in Milan, with Bruno Maderna in 1955. He invited a number of significant composers to work there, among them Henri Pousseur and John Cage. He also produced an electronic music periodical, Incontri Musicali. In 1960, Berio returned to Tanglewood, this time as Composer in Residence, and in 1962, on an invitation from Darius Milhaud, took a teaching post at Mills College in Oakland, California. From 1960 to 1962 Berio also taught at the Dartington International Summer School. In 1965 he began to teach at the Juilliard School, and there he founded the Juilliard Ensemble, a group dedicated to performances of contemporary music. In 1966, he again married, this time to the noted philosopher of science Susan Oyama (they divorced in 1972). His students included Louis Andriessen, Steven Gellman, Dina Koston, Steve Reich, Luca Francesconi, Giulio Castagnoli, Flavio Emilio Scogna, William Schimmel and Phil Lesh of the Grateful Dead. https://www.youtube.com/watch?v=LqoV4ZW7xTA

Discography

Lost Horizons Elementor records iTunes

Elements Elementor records iTunes

The Form Elementor records iTunes

Events

18 September 2017 Blue Note New York City Get Tickets 21 October 2017 Preservation Hall New Orleans Get Tickets 12 November 2017 Bimhuis Amsterdam Get Tickets 19 December 2017 Tramjazz Rome Get Tickets

Radcliff Alec

Music Composer

alec@cssigniter.com

+1 1234 56789

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[lesser-known-composers]

Miguel Llobet: Five Preludios (1916-1935)

0:00 Preludio "a Maria Luisa Anido" (1916) 0:27 Preludio (1928) 1:21 Preludio "a Rosita Llobet" (1935) 2:16 Preludio "en LA mayor" (1935) 3:49 Preludio "en MI mayor" (1935)

Bruno Giuffredi, guitar. Professor at the Conservatory music of NOVARA "Guido Cantelli" Italy and "Giulio Regondi" guitar academy of Milan.

[nebularsmusic]

MY WORKS:

My Twitter: (N S 🔴) https://twitter.com/nebularsmusic

Hi :)

I'm Nebular S, currently a music producer studying music production and film composition at the Shanghai Conservatory of Music (SHCM) in China🇨🇳. I have produced ambient music, techno, deep house, drum & bass, UK Garage and other experimental genres, as well as some bigger collaboration projects, including original scores for a puppet show, and an experimental short film that premiered at Southbank Centre in London. I'm currently in the process of another visual art project which will be premiered in August :) I share an equal passion for men's and women's football/soccer. Manchester United 1st, Bayern Munich 2nd, and occasionally watch Napoli, Celtic and Inter Milan. Local team: Shanghai Port. A huge enthusiast for Ona Batlle and Sydney Lohmann :)

[edisonblog]

Mario Castelnuovo-Tedesco (1895-1968) was an Italian composer, known mainly for his compositions for guitar and film music.

Was born in Florence and began studying composition at the Florence Conservatory at an early age. He later moved to Milan to continue his studies with the famous composer Ildebrando Pizzetti. In 1939, due to his Jewish ancestry, he had to flee Italy and immigrate to the United States, where he settled in Hollywood and began composing film scores.

Throughout his career, wrote a wide variety of music, including chamber music, opera, ballet, and concertos, but he is best known for his works for guitar. Among his compositions for guitar are two concertos for guitar and orchestra, numerous works for solo guitar, as well as chamber music including guitar.

In the world of cinema, composed music for more than 200 films, including Walt Disney's "Cinderella" and Orson Welles' "The Merchant of Venice." He was also a professor of composition at the Los Angeles Conservatory and had a significant influence on the Los Angeles music scene during his time there.

Mario Castelnuovo-Tedesco's "Capriccio Diabolico" performed by Doris Ćosić on a 2020 Eric Sahlin

source: 10:17min - https://www.youtube.com/watch?v=wPc-1sayNuY

#edisonmariotti

bit.ly/43c0xDX

.br

Mario Castelnuovo-Tedesco (1895-1968) foi um compositor italiano, conhecido principalmente por suas composições para violão e música para cinema.

Nasceu em Florença e começou cedo a estudar composição no Conservatório de Florença. Mais tarde mudou-se para Milão para continuar seus estudos com o famoso compositor Ildebrando Pizzetti. Em 1939, devido à sua ascendência judaica, teve que fugir da Itália e imigrar para os Estados Unidos, onde se estabeleceu em Hollywood e começou a compor trilhas sonoras para filmes.

Ao longo de sua carreira, escreveu uma grande variedade de música, incluindo música de câmara, ópera, balé e concertos, mas é mais conhecido por seus trabalhos para violão. Entre suas composições para violão estão dois concertos para violão e orquestra, numerosas obras para violão solo, bem como música de câmara, incluindo violão.

No mundo do cinema, compôs músicas para mais de 200 filmes, incluindo "Cinderela" de Walt Disney e "O Mercador de Veneza" de Orson Welles. Ele também foi professor de composição no Conservatório de Los Angeles e teve uma influência significativa na cena musical de Los Angeles durante seu tempo lá.

"Capriccio Diabolico" de Mario Castelnuovo-Tedesco interpretada por Doris Ćosić em um Eric Sahlin 2020

[alessandrosiciliani]

An Overview of the Giuseppe Verdi Conservatory in Milan

Maestro Alessandro Siciliani is a world-renowned conductor with a history that extends to the finest music schools in Italy. The artistic and music director for Opera Project Columbus in Columbus, Ohio, Alessandro Siciliani received musical training at the historic Giuseppe Verdi Conservatory in Milan. Established by royal decree in 1807, the Milan Conservatory initially had 18 students. Today, it is the largest center for musical education in Italy. For more than 200 years, the conservatory has served as a launching pad for some of the greatest musical talents in the world, including Alfredo Antonini, Ludovico Einaudi, and Mario Nascimbene. The Milan Conservatory welcomes students from around the globe and offers instruction in numerous instruments, solo singing, choral singing, and orchestra conducting. The conservatory takes part in the Erasmus Programme, which provides opportunities for exchange students to study and work in European countries while they pursue a degree. The conservatory also partners with middle schools and high schools to accept gifted music students at an early age.

[black-is-beautiful18]

Black Opera Singers

Even though there's many more I'm going to highlight 2 great opera singers who made history.

1. Mary Violet Leontyne Price was born Feb 10, 1927. Ms. Price is an American soprano who was raised in Laurel, Mississippi. Her rise to international fame was during the 50s and 60s. Leontyne was the first African American to perform at the Metropolitan Opera and she is one of the most popular classical singers of her time. Leontyne was also considered to be a lirico spinto soprano. In Italian that means "pushed lyric" which made her perfect for many heroine roles in operas such as Aida which also happened to be her farewell performance. She appeared in recitals and concerts up until 1977. Ms. Price also won many awards such as the Presidential Medal of Freedom (1964), the National Medal of Arts (1985), Lifetime Achievement Award, and many more including 19 Grammys for operatic and song recitals as well as full operas. She has many more awards but she is the most awarded classical singer. She also was awarded an honorary doctorate from Boston Conservatory at Berklee.

2. Jessye Norman (September 15, 1945-September 30, 2019) was an American opera singer and recitalist. She was known for her dramatic soprano roles but refused to be put in a box. Jessye had a commanding presence on stage and even did operas and recitals such as Beethoven's Leonore, Wagner's Sieglinde and Kundry, & many more. Edward Rothstein, a music critic with The New York Times, described her voice as a "grand mansion of sound." Ms. Norman trained at Howard University, the Peabody Institute, and the University of Michigan. She started her career is Europe and it's there that she won the ARD International Music Competition in Munich in 1968. This led to her getting a contract with the Duetsche Oper Berlin. Her operat debut was in Wagner's Tannhäuser and next sang in Verdi's Aida at La Scala in Milan. She made her debut in America in 1982 with the Opera Company of Philadelphia when cast as Jocasta in Stravinsky's Oedipus rex, and as Dido in Dido and Aeneas. She went on singing in places like the Metropolitan Opera, the Paris Opera, the Royal Opera in London and even the Lyric Opera of Chicago. She sang at Ronald Reagan's second inauguration, Queen Elizabeth ll's 60th birthday celebration in 1986 and opened the 1996 Summer Olympics in Atlanta. Norman has won the Grammy for Best Classical Vocal Solo, Grammy Lifetime Achievement Award, and the National Medal of Arts to name a few. Ms. Jessye also has her own school, The Jessye Norman School of the Arts.

[yesterdaysanswers]

Ciao 2001 (1973)

translation:

GENRE: classic-symphonic rock.

BRIEF HISTORY OF THE GROUP: P.F.M. was born in October 1970 from the meeting between the band "Quelli" (including Di Cioccio, Mussida, Piazza, Premoli) and Mauro Pagani (ex-Dalton), one of those musicians always traveling around Italy. Their initial activity is to act as a shoulder to foreign groups such as Procol Harum, Black Widow, Yes, Deep Purple, Genesis. In this period they cover the most interesting and complex songs of the avant-garde groups (King Crimson, Jethro Tull, Blood Sweat and Tears). In 1971, they took part in the Viareggio Avant-Garde Festival.

Their first single, "Impressioni di Settembre”, is released and their first LP, "Storia di un minuto" (1972). The second LP, "Per un Amico”, is followed by the engagement with Manticore who is preparing to record the English version, with words by Pete Sinfield.

PRODUCER: Claudio Fabi and P.F.M.; for England Pete Sinfield and P.F.M.

LABEL: Numero Uno (Italy); Manticore (England).

DISCOGRAPHY: Impressioni di Settembre (45), Storia di un Minuto (LP), Per un Amico. By the first or second week of April the new single should be out.

MEMBERS:

FLAVIO PREMOLI: Instruments: piano, harpsichord, Hammond and Pari organs, spinet, mellotron, mini-moog, moog mod.12.

MUSICAL EDUCATION: he left the Conservatory shortly before graduating. He is intent on giving the exam to graduate in harmony and composition.

MAIN COMPOSITIONS: in general he takes care of the basic orchestration and arrangement of all the pieces. His is the piece “Per un amico" and the whole orchestral part of the “Banchetto".

FAVORITE MUSICIANS: Stravinsky, Mahler, Mozart, Vivaldi.

FRANCO MUSSIDA: Instruments: Ovation acoustic guitar, Fender Telecaster and Gibson Les Paul electric guitars.

MUSICAL EDUCATION: privately studied classical guitar.

FAVORITE MUSICIANS: Gentle Giant, Yes, King Crimson, John McLaughlin, classical music in general.

MAIN COMPOSITIONS: generally composes the basic melodies of all their pieces.

FRANZ DI CIOCCIO: Instruments: Slingerland drums, various percussion.

MUSICAL EDUCATION: Self-taught; he studied music with his father who is a qualified oboe player at the Scala in Milan.

MAIN COMPOSITIONS: contributes together with the others to the creation of the pieces.

FAVORITE MUSICIANS: the same as Franco.

GIORGIO PIAZZA: Instruments: Fender Precision bass (given to him by Greg Lake at the Bologna concert).

MUSICAL EDUCATION: self-taught.

MAIN COMPOSITIONS: competes together with the others...

FAVORITE MUSICIANS. like the others.

MAURO PAGANI: Instruments: Heinz flute, alto flute, bass, piccolo, violin (copy of the antique Stradivarius), guitar (initially he played in a guitar and bass ensemble), piano.

MUSICAL EDUCATION: fifth year of violin at the conservatory, he will graduate soon; self-taught in flute (which his father taught him). Piano was the complementary teaching he chose at the Conservatory.

FAVORITE MUSICIANS: like Flavio

[morbidlongings]

ABOUT.

hey! I'm cece, pronouns she/they, (my main is @pergaias​​​, so I follow back from there) and sometimes I fancy myself a writer. when I'm not writing my main wip, glass shard, you might find me working on shitty prose poetry and unrelated drabbles that might find their way here. or procrastinating. probably procrastinating. always procrastinating.

I tag my poetry with #cece writes poetry, my wip snippets with #*snippets, and anything else with #cece writes! 

WIPS.

— glass shard (ya fantasy)

The kingdom of Evora teeters on the brink of collapse. 

Vengeful, untrusting Valentijn Farren had been many things: a daughter, a prisoner, an experiment, a pawn, a princess, and now Evora's fallen queen. Hellbent on regaining her long-fought-for throne from her power-hungry aunt, she sets off accompanied by an unlikely band who remain loyal to the true queen of Evora, including her loyal guard, her former jailer, a girl with an uncanny knack for mechanics, a boy with a stolen youth, a traitor prince, and a wayward-daughter-turned-pirate.

Power only belongs to those heartless enough to wield it, and Valentijn's own power with its own price starts to take its toll. As she loses more and more of her humanity and her aunt pushes the nations of Altairra closer and closer to war, a question inevitably awaits answering:

What happens when you become the very thing you swore to destroy?

blog | wip page | wip tag 

— some kind of stardust (na sapphic dark academia)

The first lesson that any Chosen learned within the Conservatory’s halls was this; magic is selfish.

But after a murder, a freak accident, and the disappearance of magic as anyone knew it, selfless, Chosen Theia Bowen was left with all the power in magic’s once-bottomless well. With it, she was also left the power—and the impossible decision—of whether to save her world or damn it.

But saving her world mean damning Evie Xiao, the girl she loves, convicted of being a witch and bringing witchcraft’s corruptive darkness to magic’s hallowed halls itself. And Theia, who had once shunned her magic because it was poison in her veins, well. She wonders. 

And dreaming can be a dangerous thing for selfish girls.

wip tag 

— aron, not aphrodite (ya teen fiction)

Why should we show the world how we feel when it's not about them anyways?

Aron Rucyznski constantly walks a tightrope, caught in a battle between her crippling anxiety and her internal demons. Maia Milan is having a crisis, coming to terms with her identity, her place in the world, and her recent move. Aaron Taylor is free—but his freedom comes with a deadline, and he soon learns that growing up isn’t all it was cracked up to be. Mara Milan is caged, slowly vanishing between the conflicting ideals of who they are and who everyone  expects them to be. 

In a story of queer identity, self discovery, and first love, four teenagers learn that in the end, they only have each other, Aron’s untrusty Volkswagen Beetle, and a single year before it all comes crashing down again. Because how can you find your place in the world if you don’t fall out of love with it? 

blog | wip tag

note: (a,na is currently on hiatus and stardust is being slowly written, as glass shard is taking up the remainder of my barely functioning braincell)