#atlanta symphony orchestra

[datshitrandom]

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[edithshead]

Jane Little was a bassist with the Atlanta Symphony Orchestra, 1945-2016

upper photo: Dustin Thomas Chambers for The Washington Post, 2016  lower photo:  with husband Warren, c. 1950s

from a radio interview shortly after her death:

Little, who played a rare instrument crafted in 1705, scratched the hell out of the back of it wearing jeans studded with rhinestones. When colleague Michael Kurth asked her if that was a concern she said “no one can see the back of my bass, but everyone can see me.” 

[krispyweiss]

At 75, Bob Weir Continues to “Follow the Muse and do Her Bidding”

- Dead man appears on “CBS Sunday Morning” to discuss symphonic concerts

Bob Weir is 75. And he’s not retiring.

Instead, he plans to “follow the muse and do her bidding.”

The formerly Grateful, still-Dead man was on “CBS Sunday Morning” - the broadcast and a web exclusive - to discuss his long, strange career and his recent and forthcoming collaborations with the National and Atlantic Symphony orchestras, respectively.

Weir said he plans to keep on the muse’s tail.

“I don’t know what I’d do with myself if I didn’t have this … I’d be kind of lost if I didn’t have the music to chase.”

The broadcast segment features footage of the Grateful Dead in the 1960s, ’70s and ’80s; Dead & Company; and the symphonic Wolf Bros. “Playing in the Band” features prominently and viewers get to hear Jane Pauley declare: “What a long, strange trip it’s been.”

While Weir cops to being concerned with what people 300 years hence will think of Grateful Dead music, he’s also trying to wrap up some of Jerry Garcia’s “unfinished business.”

“I’m going to do my best to tidy some things up for him,” Weir said. “He was a dear friend of mine. That’s what you do for your friends.”

In the meantime, Weir’ll “be stir fried” if he misses opportunities to keep the Dead’s music alive.

The songs, he said, “stand up to considerable scrutiny.” And it doesn’t hurt that Dead & Company had the fifth-highest-grossing tour of 2022.

“I’m delighted that people like the music that we have to offer because it rings my lofty bells,” he said.

11/27/22

[rexymcrexface11]

I've only been a big Sonic fan for about a year but being in the middle of a crowd, on their feet, screaming LIVE AND LEARN is literally hypest thing ever.

[ourshadowstallerthanoursoul]

An audience with... John Paul Jones

(from Uncut, April 2010 - link)

You’re stuck on a deserted island, you have one instrument you can bring. It is: a) piano, b) bass or c) mandolin? (Gary Attersley, Ontario, Canada)

Oh… that’s horrible! I’ll probably get Hugh Manson – the guy who builds all my bass guitars – to build me some monstrous instrument that encapsulated all three! Hugh and his brother Andy Manson once actually designed me a triple-necked guitar with 12-string guitar, six-string guitar and mandolin on it! Andy also designed a triple-necked mandolin. But I guess if it really came down to it on a desert island, it would have to be the piano, because you can do so much on it. You’re a whole band. The bass is not much fun on your own.

John, it’s so good to see you so engaged with today. Any advice for old farts who can’t move on? (Andrew Loog Oldham)

Who are you calling an old fart? I dunno, Andy, you tell me! Ha ha. He’s done a good job of staying up to date. Andrew, of course, gave me the name John Paul Jones. I was John Baldwin, until Andrew saw a poster for the French film version of John Paul Jones. I thought it ’d look great in CinemaScope, as I wanted to do music for films. I imagined it saying “Music By John Paul Jones”, over the whole screen. I never realised then that he was the Horatio Nelson of America!

I know that you’ve been getting heavily into bluegrass lately – who are some of your favourite bluegrass artists of all time? (Ryan Godek, Wilmington, Delaware)

Apart from Bill Monroe, you mean? Oh, there’s loads. I’m friends with the Del McCoury band, I love that style of classic bluegrass. I love Sam Bush’s Newgrass stuff. And of course there’s Nickel Creek, Chris Feely, Mike Marshall. I love it all, really. One thing I like about bluegrass is that you don’t require amplifiers, drums and trucks. You can pull an instrument out of a box and get on with some instant music making. I carry a mandolin around wherever I go. I also like the fact bluegrass musicians play more than one instrument. There’s a tradition of them swapping instruments. In bluegrass bands I swap between double bass, fiddle and banjo.

One Butthole Surfers anecdote, please? (Dave Grohl)

Ha! I was brought in to produce the Butthole Surfers’ 1993 album, Independent Worm Saloon. I guess it was to give it a heavy rock vibe, but it didn’t work like that. They were actually incredibly hard-working in the studio, but I do recall running up a phenomenal bar-bill at the San Rafael studio. And then there was Gibby [Haynes, Butthole Surfers’ frontman] and his… eccentric studio behaviour. Gibby did one vocal take shouting into his guitar. He held it out in front of his face and screamed at it. Ha! He was trying to find out if it picked up through the pick-ups, which it kind of did. And that was pretty good.

How’s the violin coming along? (Sean, Berkshire)

I started about three years ago. With the guitar, or the piano, you can sound OK quite quickly. With the violin, it takes much longer. Once you get past the first six months of scraping, of muttering to yourself, “What is this fucking horrible noise on my shoulder?” you get the odd musical bit, and you think, ‘Oh, this is starting to get good.’ And you continue with it for a while. I’m getting into country fiddle playing, Celtic folk songs, a bit of swing. Basic stuff, but very satisfying.

Why not record a second ‘Automatic For The People’ with REM? (Franz Greul, Austria)

They haven’t asked me! But doing the string arrangements for that album was a great experience, actually. They sent me the demos of their songs, and we went into a studio in Atlanta, with members of the Atlanta Symphony Orchestra. They were great songs, something you can really get your teeth into as an arranger. And I’ve been good friends with them ever since.

How did you first meet Josh Homme? And is he still a notorious party monster? (Rob Hirst, Kippax, Leeds)

Well, I think we’ve all calmed down rather a lot. Dave introduced me to Josh at his 40th birthday party. It was a ridiculous themed place where they have jousting with knights. As Dave said, it was like somewhere you’d have your 14th birthday party. Or maybe even your 4th. Anyway, Dave sat Josh and I together for a blind date. Which was reasonably embarrassing for both of us, surrounded by people going “prithee this” and challenging each other to duels. But we survived the trauma and went into the studio the next day, and just started jamming. And I knew immediately it was going to be something special.

If Them Crooked Vultures had Spice Girls-like nicknames what would they be? (Paul Jones, Liverpool)

Dave would be Smiley Vulture. He can’t stop grinning. Josh would be Slinky Vulture. He’s a slinky kinda guy. And I’d be Speedy, I guess. Or Jumpy. So there you go. Smiley, Slinky and Speedy. Or does that sound more like the dwarfs?

I remember you being a pretty funky bass genius back in the day! What memories do you have of those sessions? (Donovan)

The sessions with Don and Mickie Most were great, because we were given a free hand. I usually got leeway, because I was the sort of Motown/Stax specialist, so producers in the mid ’60s would get me in for cover versions of American records, and none of them could write bass parts convincingly enough, so I was London’s answer to James Jamerson, I guess! And I was certainly encouraged to get kinda… funky when I worked with Donovan.

How did it feel to see Jimmy Page and Robert Plant venture off in their own project in the ‘90s without mentioning a word of it to you? (Danny Luscombe, Hull)

Oh yeah, I was pissed off about it. The surprise was in not being told. It’s ancient history now, but it was a bit annoying to find out about it while reading the papers. It came just after Robert and I had been discussing the idea of doing an Unplugged project. Then I’m on tour in Germany with Diamanda Galás, I turn on the TV and see Robert and Jimmy doing it, with someone else playing all my parts! I was pissed off at the time. You would be, woudn’t you? But… it’s all in the past, isn’t it?

Did you listen to much work by Josh Homme or Dave Grohl before you were contacted in relation to joining Them Crooked Vultures, and if so, how did you honestly rate it? (Ralph Ryan, Lisronagh, County Tipperary)

I did like the Foo Fighters and Queens Of The Stone Age, before I’d met either of them. There’s a tendency for people – especially musicians from my generation – to say that there has been this terrible decline in musicianship, that today’s bands haven’t got the chops, blah blah blah. But that’s not true at all. There’s always some people for whom technique on an instrument isn’t necessary. They can get their ideas across without being able to have the chops. But Josh really does have the chops, he just doesn’t feel the need to flash them about all the time. In fact, there were a few riffs he gave me that I had to simplify, because they were bloody difficult to play. I really had to work at it, where he could just flick it off. He is an astonishing musician.

Were you serious when you told Peter Grant that you wanted to jack it in to become choirmaster at Winchester Cathedral? (Brian Fisher, Manchester)

Ha! That was a tongue-in-cheek joke, although I was serious about leaving Led Zeppelin in 1973 unless things changed. But Peter did sort things out pretty quickly. What kind of choirmaster would I have made? A bloody good one! Listen, any way that they’ll pay you for making music is just the best situation in the world. I’d do it for nothing. I don’t care what music it is. I just love it all. The rubbing of notes together. I love it all. I would be very passionate about whatever I decided to do.

What was the worst session you ever did as a jobbing session player? (Adam Burns, Castleford, West Yorkshire)

I generally have fun memories of that time. I’d criss-cross London playing two or three sessions a day, going between Trident and Olympic and Abbey Road and Philips in Marble Arch, you know. You’d be backing Shirley Bassey, Cat Stevens, Lulu, whoever was paying you. The worst experience was a Muzak session. With Muzak sessions, the music was deliberately boring. I distinctly remember one session where I embellished the bass part a little bit, just so that it wasn’t so boring for me to play. They said, “No, you can’t do that. Any interest in the music will distract people’s attention from when they’re meant to be eating.” Or standing in a fucking lift. For fuck’s sake! So I was like, “OK, thanks, bye!”

[shewhoworshipscarlin]

Walter Franklin Anderson

The grandson of formerly enslaved people, Walter Franklin Anderson, classical pianist, organist, composer, jazz musician, community activist, and academician, was born on May 12, 1915, in segregated Zanesville, Ohio. Walter was the sixth of nine children of humble beginnings.

Information regarding his parents is not available. Anderson, a child prodigy, began piano studies at age seven, and by 12, he was playing piano and organ professionally while still in elementary school. He was the only Black student to graduate from William D. Lash High School in Zanesville in 1932. Although a talented musician, Anderson was not a member of any of the school’s music ensembles, including the Glee Club or orchestra. Afterward, he enrolled in the Oberlin Conservatory of Music in Oberlin, Ohio, 100 miles north of his hometown, and received a Bachelor of Music in piano and organ in 1936. Anderson continued his studies at Berkshire (Tanglewood, the summer home of the Boston Symphony Orchestra) and the Cleveland Institute of Music in Cleveland, Ohio.

From 1939 to 1942, Anderson taught Applied Piano, Voice Pedagogy, and music theory at the Kentucky State College for Negroes (now Kentucky State University) in Frankfort. In 1943, Anderson married Dorothy Eleanor Ross (Cheeks) from Atlanta, Georgia. They parented two children, Sandra Elaine Anderson Mastin and David Ross Anderson, before the marriage ended in a divorce in 1945.

In 1946, Anderson was appointed the head of the music department at Antioch College in Yellow Springs, Ohio, thus becoming the first African American named to chair a department outside of the nation’s historically black colleges. Two years later, Anderson was a Rosenwald Fellow in composition from 1948 to 1949, where his variations on the Negro Spiritual, “Lord, Lord, Lord,” was performed by the Cleveland Orchestra. Moreover, John Sebastian, the conductor of the Orchestra, commissioned him to write “Concerto for Harmonica and Orchestra” for a performance with the same orchestra. In 1950, Anderson’s composition, “D-Day Prayer Cantata,” for the sixth anniversary of the World War II invasion, was performed on a national CBS telecast. In 1952, Anderson received the equivalent of a doctoral degree as a fellow of the American Guild of Organists. He left his administrative post at Antioch College in 1965.

In 1969, Anderson was named director of music programs at the National Endowment for the Arts, where he created model funding guidelines and pioneered the concept of the challenge grant. In addition, he spearheaded numerous projects and developed ideas at the then-new agency for supporting music creation and performance, specifically for orchestras, operas, jazz, and choral ensembles and conservatories.

Anderson was the recipient of four honorary doctorates in music over his professional career, including one from Berea College in Berea, Kentucky, in 1970. He retired from NEA in 1983. During this period, he became a presidential fellow at the Aspen Institute for Humanistic Studies and a recipient of the Cleveland Arts Prize for Distinguished Service to the Arts. In 1993, the American Symphony Orchestra League recognized Anderson as one of 50 people whose talents and efforts significantly touched the lives of numerous musicians and orchestras. He was also a member of the Advisory Council to the Institute of the Black World at the Martin Luther King, Jr. Memorial Center.

https://www.blackpast.org/african-american-history/people-african-american-history/walter-franklin-anderson-1915-2003/

[psychopomperanian]

i got to go to the sonic symphony orchestra show in atlanta last month, and am glad to report that Our Boy ian jr. is still a part of the show

[halberdierminister]

Shuffle your favorite playlist and post the first five songs that come up. Then copy/ paste this ask to your favorite mutuals 💌

Yay okay!!! 💖💖💖 I'm going with my spotify liked songs.

1. Pretty Donna (Live) -- Collective Soul -- Home: A Live Concert Recording featuring the Atlanta Symphony Youth Orchestra

2. Laser Beam (Live ver.) -- Lotus Juice -- Persona Super Live P-Sound Bomb!!!! 2017

3. Caroline -- Sub-Radio -- Same Train // Different Station

4. Death by Glamour -- Toby Fox -- Undertale Original Soundtrack

5. Rhapsody in Blue -- George Gershwin, Leonard Bernstein, Columbia Symphony Orchestra -- Sony Classical Great Performances Leonard Bernstein Rhapsody In Blue and An American in Paris

GOOD HEAVENS I'M A DWEEB

[lesser-known-composers]

Miklós Rózsa (1907-1995) - Violin Concerto, Op. 24: I. Allegro non troppo ma passionato ·

Robert McDuffie · violin

Yoel Levi · Atlanta Symphony Orchestra

[datshitrandom]

Darren Criss at the Atlanta Symphony Hall | Christmas Dance | November 21, 2023 | 📸 via Atlanta Symphony Hall

[strangefable]

can i get micah for the oc questions please~?

thank you, verb! <3 <3

01. Full name: Micah Hale Duncan

02. Best friend: Nick Rye, Boomer. formerly it was various dogs she's had throughout her life, as well as a few other wild critter friends. Nick's the only human she's ever counted as anything that close

03. Sexuality: Bisexual

04. Favorite color: Blue, specifically the exact blue of John's eyes

05. Relationship status: It's Complicated™ (That's an understatement of the situation, tbh)

06. Ideal mate: John Duncan Seed

07. Turn-ons: confidence, vulnerability, swagger, blue eyes, beards, aggressiveness, intelligence, wit, being swept off her feet, romance, single-minded focus, being the center of her lover's attention, (one might say someone who's obsessed with her), violence, being desperately wanted and needed

08. Favorite food: she's not really that particular, food is fuel first and foremost, taste isn't something she puts much thought to. that said, her favorite meals are the intimate ones she and John cooked alone together in Atlanta

09. Crushes: John. Joey Hudson. she felt a jolt of attraction to Kim the first time she saw her, but shut it out for Nick's sake. she low key thinks Faith is cute too

10. Favorite music: country, gospel, folk, general backwoods vibes. she was raised in Hope County, after all. she also learned to like some hiphop and R&B in Atlanta, as well as jazz and orchestra/symphony. but she mostly likes a simple tune

11. Biggest fear: being unloved and misunderstood forever; anything bad happening to John, or his being mistreated

12. Biggest fantasy: the life she and John had planned in Atlanta, before Joseph showed up (she didn't know about Joe at the time). they were getting married, and she was going to move up to being John's socialite wife as he became a partner at his firm. they were going to conquer the world together. the truth is, being John's is still the thing she wants most

13. Bad habits: loving John is probably her worst one, otherwise it's her sleeplessness, her restlessness, her determination to carry every burden alone, to trust no one, to be so fiercely independent and aloof. she's also got a temper and a stubborn streak

14. Biggest regret: when John disappeared, she didn't do anything. she knew something was up, but she let him keep his secrets instead of forcing it out of him. she wishes she fought harder back then, but she was too young to know how at the time

15. Best kept secrets: her past with John from the resistance, the resistance's plans from John

16. Last thought: her last thought is always about John

17. Worst romantic experience: every date she attempted to go on after John disappeared; she couldn't stand anyone else for very long. she could've made a real go with Joey, if the woman hadn't shot her down point-blank

18. Biggest insecurity: oh she's a bundle of them; she knows she doesn't fit in, doesn't really understand normal social customs. her education is inconsistent and weird, her competencies in normal things are low. she also thinks she's not very pretty, too hawkish and masculine and muscular and tall and the resting bitch face.

19. Weapon of choice: silent and deadly. sniper rifle, bow and arrows, any gun she has must have a silencer to muffle her shots as much as possible. she likes the distance and taking her time, though she's lethal with a knife or her bare hands as well. she's intensely trained for killing, even before Jake's trials

20. Role Model: her father, whom was a hard and distant man, but who taught her everything he knew and loved her in his silent way. also, John, who taught her almost everything else she ever learned

[krispyweiss]

Quarter Notes: Blurbs & Briefs from Sound Bites

- In this edition: The Steve Martin Banjo Prize; Bobby Weir & Wolf Bros; Chris Thile; Foreigner

STEVE MARTIN BANJO PRIZES AWARDED: Bill Evans and We Banjo 3’s Enda Scahill are the winners of the 2022 Steve Martin Banjo Prize.

Each musician will receive $25,000.

“We are proud to honor all of the multitudes of banjo styles,” Martin said in a statement. “So many great artists, so little time.”

WEIR SYMPHONIC: Bobby Weir & Wolf Bros feat. the Wolfpack will play three concerts - Feb. 17-19, 2023 - with the Atlanta Symphony Orchestra.

“There’s still room for imagination,” Weir said in a statement.

Ticketing info here.

CHRIS THILE TO DEBUT MANDOLIN CONCERTO: Chris Thile will debut his new mandolin concerto during three performances, May 19-21, 2023, with the Virginia Symphony Orchestra.

Ticketing info here.

FAREWELL, FOREIGNER: Foreigner, which features but one original member, who plays with the band on a part-time basis, has dubbed its finale the Historic Farewell tour.

The run will kick off in mid-2023 and extend to the end of 2024, Billboard magazine reports.

“Foreigner is a completely revitalized band with a whole new energy that has won the hearts of our fans all over the world, and I want to go out while the band is still at the top of its game,” band co-founder Mick Jones told the magazine.

Loverboy will support.

11/15/22

[wherewhereare]

Jimmy Carter attends memorial service for wife of 77 years, Rosalynn Carter

The service began shortly at 1 p.m. and featured music from members of the Atlanta Symphony Orchestra. Garth Brooks and Trisha Yearwood performed a rendition of "Imagine." The program was designed in accordance with her wishes, including the songs, scriptures and who would speak.

[lboogie1906]

Julia Amanda Perry (March 25, 1924 – April 29, 1979) was a prolific composer of neoclassical music during her relatively brief life. Born in Lexington, Kentucky, she spent most of her early years in Akron. Her father, Dr. Abe Perry, was a doctor and amateur pianist. Her mother, America Perry, encouraged her children’s musical endeavors. She attended Westminster Choir College, she graduated with a BM and MM. Her master’s thesis, Chicago, inspired by the poetry of Carl Sandberg, was a secular cantata for baritone, narrator, mixed voices, and orchestra. She continued her musical training at the Julliard School of Music and she spent summers at the Berkshire Music Center. Her first major composition, the Stabat Mater, appeared in 1951. Three years later in 1954 her opera, The Cask of Amontillado. She wrote Homage to Vivaldi for performance by symphony orchestras. She received two Guggenheim fellowships to study in Florence and Paris. After spending nearly a decade in Europe studying with several prominent composers, she returned to the US in 1959 to become part of the music faculty at Florida A&M College and took a teaching position at Atlanta University. She returned to Akron in 1960, she wrote Homunuclus C.F. (1960) for piano, harp, and a diverse group of percussion instruments. Her decision to use snare, timpani, and wood blocks, in addition to her frequent and creative changes in rhythm, illustrated her unusual sense of experimentation in her compositions She organized and conducted concerts around the world for the US Information Service. By the late 1960s, her works had received wide acclaim and were performed by the New York Philharmonic and other major orchestras. The classical record label, Composers Recordings, released several of her compositions in 1969; she won awards and accolades from the National Association of Negro Musicians, the Boulanger Grand Prix, and the National Institute of Arts and Letters, among others. She completed 12 symphonies, two concertos, and three operas, in addition to numerous smaller pieces. #africanhistory365 #africanexcellence #womenhistorymonth https://www.instagram.com/p/CqOCklbryAg/?igshid=NGJjMDIxMWI=

[fearofpop]

Ben Folds did a signing at Criminal Records yesterday. I brought my copy of his book for him to sign. He was a real sweetheart. Can’t wait to see him tonight with the Atlanta Symphony Orchestra!

[d-criss-news]

swoodfla: @ darrencriss singing St. Patricks Day last night on Atlanta with the Atlanta Symphony Orchestra. November 21, 2023. #darrencriss