#classical musicias

[opera-ghosts]

OTD in Music History: After nearly a decade of constant touring – an unbelievable endeavor that was almost certainly the single most extensive artistic journey ever undertaken by a single person up to that point – Franz Liszt (1811 - 1886) gives his final public performance as a professional concert pianist in what is now Ukraine in 1847. True to this word, he never again accepts a fee to perform in public. The period from 1839 to 1847 was Liszt's most active period as a pianist. (In later years, he focused much more on composing, conducting, and teaching.) Indeed, in many ways, it was his activity during this period which created the image of Liszt which still persists in the public consciousness to this day. Honors were showered on the young virtuoso as he traveled through Europe and parts of Asia, and Liszt was met with wild public adulation wherever he went. Since he often appeared three or even four times a week in concert, it can safely be assumed that he gave well over a thousand concerts during this period… and he accomplished all of this during an era when travel was still being conducted by stagecoach, and it could easily take hours (if not days) just to bumpily travel from one major city to the next along a series of poorly-maintained dirt roads... Perhaps not surprisingly, “Lisztomania" – a term coined by 19th-century German poet Heinrich Heine (1797 - 1856) – began to sweep Europe in the early 1840s. Women would fight over Liszt’s silk handkerchiefs and velvet gloves, literally ripping them to shreds to stuff away as souvenirs. Contemporaneous written accounts testify that Liszt's mere presence in a room was capable of raising the mood of his (heavily female) audiences to a level of “near-mystical ecstasy”... PICTURED: A large c. 1890s printed copy of a photo portrait of the elderly Liszt (c. 1870s), with a facsimile of his signature and a facsimile autograph musical quotation printed underneath. This photograph was produced by noted Hungarian photographer Kozmata Ferencz (1846 - 1902), for whom Liszt posed on a number of occasions late in his life.

[prakashsuryav]

Article: Ludwig van Beethoven

Ludwig van Beethoven

[soyouwanttoplaytheflute]

The first release from my new album!!! :) Would love it if you gave it a listen! <3

[humanslikeme]

Dream by piano by JovanaRikalo

[lamilanomagazine]

Campobasso, il Duo Fedip in villa De Capoa per “Musica in Villa”

Campobasso, Fulvio Ferrara, al flauto, e Arianna Di Pasquale, fisarmonica, proporranno un programma con musiche di Chistokhina, Bloch, Solotarev, Hermosa, Bartok, Runchak, Bach, Piazzola. Fulvio Ferrara ha iniziato gli studi con Stefano Mammarella, perfezionandosi poi con la guida di Antonio Amenduni, Michele Marasco, Nicola Campitelli e Giampaolo Pretto, non che frequentando numerose masterclasses. Nel 2016 si è diplomato con il massimo dei voti e la lode. Nel 2019 ha conseguito il diploma accademico di primo livello in flauto presso il conservatorio Luisa D’Annunzio di Pescara, ricevendo il massimo dei voti, la lode e la menzione speciale. Attualmente frequenta il Master in Flauto presso la Universität für Musik und darstellende Kunst di Graz (Austria), sotto la guida del M° Matthieu Gauci-Ancelin. Arianna De Pasquale, invece, nel 2020 ha conseguito il Diploma accademico di I livello in fisarmonica con lode sotto la guida del M° Adriano Ranieri presso il Conservatorio di Musica “Luisa D’Annunzio” di Pescara e nel 2015 il Diploma accademico di I livello - Triennio Superiore Sperimentale Multidisciplinare in Musicoterapia presso il medesimo Conservatorio. Prosegue gli studi biennali superiori in fisarmonica con il M° Adriano Ranieri. È stata vincitrice di numerosi concorsi Internazionali e Nazionali a: Termoli (Cb) 2019; Treviso (Tv) 2019; Cremona (Cr) – Classic Artists Online 2019; Castione Andevenno (So) 2018; Roma (Rm) 2018; San Marco in Lamis (Fg) 2018; Ortona (Ch) 2018; Caramanico Terme (Pe) 2018; Mirabbello Sannitico (Cb) 2018; Lanciano (Ch) 2018, 2017 ; S. Giovanni Teatino (Ch) 2018, 2016; Atina (Fr) 2017, 2016; Penne (Pe) 2017, 2016; Catignano (Pe) 2016; San Vittore del Lazio (Fr) 2016; Alanno (Pe) 2016; Loreto (An) 2006, 2005, 2004, 2003; Vestea (Pe) 2005, 2004; Atri (Te) 2003. Svolge attività concertistica in tutta Italia come solista e in ambito cameristico col “Duo Fedip” il trio di fisarmoniche “Play Station” con Adriano Ranieri e Tiziano Cellupica. Ha collaborato con i Solisti dell’Orchestra da Camera di Frosinone. “Musica in Villa”, rientra nel cartellone di “Musica in città”, organizzato dall’Associazione Amici della Musicia W. De Angelis e dal Comune di Campobasso. Di seguito la locandina dell'evento: Read the full article

[megarockradio]

10 years ago today, we lost Dan Fogelberg. Dan was an immensely talented musicia...

10 years ago today, we lost Dan Fogelberg. Dan was an immensely talented musicia…

[ad_1] 10 years ago today, we lost Dan Fogelberg. Dan was an immensely talented musician, songwriter, composer, and multi-instrumentalist whose music was inspired by sources as diverse as folk, pop, rock, classical, jazz, and bluegrass. He is best known for his early 1980s hits, including “Longer”, “Leader of the Band”, and “Same Old Lang Syne” and “Part of the Plan”. In May 2004, Fogelberg was…

[thefusionmanagement-blog]

How to Choose the Best Musician for Your Event

Hiring a musician is probably one of the most daunting experiences for anyone to go through. Whether it's an advertisement, television show, film or an event, you want to ensure you hire the best musician that will provide you with the best results.

What Type of Music?

There are a few things to focus on when it comes to hiring the best musician, this includes knowing your audience. Knowing who you are appealing to will help you with the first step in your musician selection process. If you are dealing with an older audience, then you know that classical or even music from the sixties and seventies will be a better option than modern-day rap. Dealing with a younger audience? Consider rap or country, depending on the genre, you choose the music. Based on the type of music, you can find the right musician.

Event Type

The next step is to identify the type of event. If your event is a day time event then you don't want the same music you would have if you were hosting an evening event, for example. Your advertisement or film, whichever you are making, will have different requirements. Knowing the type of event can help you choose between gentle background music and heart-pumping dance music.

Set a Budget

The next big step to choosing a musician for your event is to set a realistic budget. The budget should be based on what you want to pay. If you hire a good agent, they will be able to work with your budget, discuss your needs and secure you the right musicians. Remember your budget may have to be flexible, you may find you pay slightly more or less than anticipated to secure the musicians that you want.

Interview All Musicians

It's a good idea to take the time to interview each of the musicians you are thinking of hiring. Meeting with the artist, discussing your requirements and listening to their experience and their expectations for the event can help you make up your mind and choose the most professional talent that you know you can trust on the day.

Have a Genre in Mind

Have a genre in mind before you start looking around for musicians. The genre is very important in making your final decisions. If you know you want country music, then you can focus on a country musician. If you know you want soft background classical music, then focus on a classical musician. This can save you valuable time, energy and money in the long run.

Reputation

The musicians' reputation is just as important and not something to be ignored. The reputation of the musician speaks a thousand words. A musician with a good following and glowing online reputation is probably a better bet than the musician with barely any following and bad reviews.

Things to Remember

In addition to following the steps above when it comes to hiring a musician for your event, you may also want to consider using an agency. Talent agencies operate throughout the world and can make your life so much easier when it comes to hiring any talent, whether models, musicians, extras or actors.

Choose a few companies you can learn about online. Identify how long they have been in business and the type of talents they represent. Do your research and review each company in detail, taking advantage of the honest feedback from past and present clients.

Finally, compare the agencies to find the one you feel is the right match to help you find the best musicians moving forward.

 About Us: Fusion MNG is a leading talent and model management specialist agency that operates from its base in London in the United Kingdom. This very well established company brings more than ten years of industry knowledge and experience to the table, catering to clients in television, commercials, fashion, and theatre. They have a wide number of models and talents on their books including actors, models, dancers, extras and more. This agency offers the highest quality services with a wide range of models and jobs on their site, which is updated daily. Their passionate team is results-driven to ensure the best match and result. To find out more, visit https://fusionmng.com/

[plusorminuscongress]

Inquiring Minds: Aaron Diehl. Jazz Scholar, Keyboard Professor

Inquiring Minds: Aaron Diehl. Jazz Scholar, Keyboard Professor By Neely Tucker Published April 09, 2019 at 10:00AM

Aaron Diehl is the most recent virtuoso to play the Coolidge Auditorium as one of the Library’s 2018-2019 Jazz Scholars, taking the stage March 23. He also spent some time researching the archives.

The 32-year-old has put together a stellar career, leaping into the spotlight by making the finals of the Jazz at Lincoln Center’s Essentially Ellington competition when he was 17. His rolling, New Orleans-inflected chops, mixed with classical scholarship, caught the attention of Wynton Marsalis. Diehl, born in Columbus, Ohio, was the grandson of a pianist and started studying classical piano when he was seven. After Marsalis took note of him, he studied at The Julliard School, learning under heavyweights such as Kenny Barron and Eric Reed. In 2011, he won the American Pianists Association Cole Porter Jazz Fellowship — $50,000 and a recording contract.

He’s recorded four albums, the most recent of which is  “Space Time Continuum” (2015), and his career continues to blossom.

We caught up with him as his research at the Library was wrapping up, a few days after his concert.

Photo credit: John Abbott

The term “jazz scholar” almost sounds like a professorial term, which I suppose is fine if we’re talking about Professor Longhair. How did you decide to use your time at the Library, what to look up, and what to dive into?

I had visited the Library of Congress for the first time at the end of 2016, when I was preparing for a touring program called “Jelly and George,” featuring the music of George Gershwin and Jelly Roll Morton. Larry Appelbaum was gracious in giving an introduction to the collection of both composers, but with my schedule in D.C. being limited to a few hours, I could barely scratch the surface. Fast-forward to my formal visit as a “jazz scholar” and it was even more overwhelming because I had two days of tours by various curators. Some of the highlights:

A 16th century book on Euclid (housed in the rare book collection)

A sketch and final manuscript of Ludwig Van Beethoven’s Piano Sonata No. 30 in E Major (Opus 109)

George Gershwin’s manuscript of Concerto in F and Rhapsody in Blue

A viola made by Antonio Stradivari

This was a general overview of the entire library, which gave me the chance to understand more about the scope of the collections so I can return for specific research.

Mozart and Beethoven: In looking at their scores, as a working musician now, what strikes you as most different (if anything) about how they worked and composed then?

I’ve seen facsimiles of Mozart’s scores. Very clear and neat. Same with Gershwin—you could basically hand those manuscripts to a musician and they could read it right off the page. Beethoven is another story. The sketch of Op. 109 was barely legible, and in final version I could maybe read the first 4 bars. Genius comes in all forms. He was the greatest of them, no doubt.

What were the surprises? What touched you the most?

The Guttenberg Bible. That changed the game for the dissemination of written text, sacred and otherwise.

Early jazz is mythologized so much. It’s easy to do, because the music is so fresh, so original. What parts of that music, those traditions, do you pull on in your own playing?

What first drew me to the music of early stride pianists like James P. Johnson, Luckey Roberts, et al, is the feeling of their left hands against a syncopated right hand. I somehow try to incorporate an underlying sense of momentum and groove in my own playing, even if it isn’t directly tied in to the stylistic language of early American piano.

Quick, without thinking: Five favorite New Orleans’ songs. 

“Do You Know What It Means to Miss New Orleans?”

“New Orleans”

“Big Chief”

“Whistle Stop”

“The Pearls”

You actually got to play the Gershwin piano in the Gershwin Room. Wow.

“Wow” is right! And it’s in good condition!

You’ve played with a lot of great musicians, including Benny Golson. How does playing with a legend like that affect your performance when you’re on stage with him, if at all?

I really feel a connection to the ancestors playing with someone like Mr. Golson. I have only played with him a handful of times, but hearing that signature tone coupled with his illustrative stories about writing tunes like “Stablemates” and “Along Came Betty” is a priceless experience. That’s becoming more rare as great masters are leaving. On stage, I just try to take in the moment and learn as much as I can on the bandstand.

Lastly: It’s a Sunday afternoon. You’re by yourself, the piano is just over there. What would you be most likely to sit down and play?

Whatever comes to mind. Sometimes that’s just free improvisation. Exploration is the first step in creating structure for my practice routine.

Read more on https://loc.gov

[opera-ghosts]

On this original postcard from 1903 we see the German Tenor Adolf Gröbke (1872-1949). He was successful in Frankfurt, Vienna, Berlin and in the Season 1922/23 also in Basel. 1901 he sang Parsifal in Bayreuth.

You have ever heard anything from this singer?

[superbimages]

Dream by piano by JovanaRikalo https://ift.tt/2GuUzDr

[nfdeklerk]

Dream by piano by JovanaRikalo

[ibrahem]

Dream by piano by JovanaRikalo http://bit.ly/2HgH1wA

[workspc04]

Dream by piano

[loishouser]

Twitter

New jazz EP "Hot Damn Romance" by Eva Schubert out Now Worldwide. Featuring "Sweet Man" and 4 other love letters to classic jazz. Highly recommended for Billie Holiday fans. Follow Eva at @evaschubert #Jazz #JazzSongs #JazzMusic #JazzSinger #Musicia…

from Independntmusic's Favorite Links from Diigo https://mobile.twitter.com/urbandisavirus/status/1180212273257705473

[iowamusicshowcase]

Well, in case you didn't hear, yours truly is putting on a live show. It will be at Lefty's Live Music in Des Moines on Sat, Feb 4, starting at 5pm. You can read all the details here - http://buff.ly/2kll3g2 We have ten different acts from ten different genres. And you can hear them all here, representing the wide, diverse, eclectic sound that makes up the Des Moines and Iowa music scenes. We have classical music, jazz, folk, metal, country, indie, funk, and electronic music on this ticket! And you get a preview of them all right here! So sit back, enjoy, and buy your ticket already! - http://buff.ly/2klxjNh "Tired of Disco, Punk Rock, and Lawrence Welk? Well then, you've come to the right place! You're connected to the always popular Java Jews! The world's first Klezmer band to perform at the Iowa State Fair! "** Playing all your Eastern-European favorites from about 1910, along with other stuff in ways you can't even imagine.**... "Java Jews has at its core a 7 -person ensemble that plays highly-caffeinated klezmer music. Led by Abe Goldstien* (accordion) and Mark Finkelstein (trumpet), the remainder of the band includes some of Des Moines' Iowa's finest jazz players. Hence, highly- caffeinated klezmer . In addition to popular klezmer tunes, we also perform klezmer covers of Miles Davis, standards, and Israeli pop. We play at coffee houses, synagogues and churches, bar mitzvahs, parties and art & civic events... "Come on by one of our upcoming performances. 'You're guaranteed a good time -- or your money back!" [Offer not valid in Nevada or in other states ending in 'a']" - from the Java Jews official website "Organized in 2002, the Java Jews play what they refer to as "highly-caffeinated" klezmer music — a mix of Yiddish and Hebrew melodies combined with dixeland, avant-garde jazz, and a touch of Spike Jones. The group has performed throughout the Midwest for festivals, concerts, community events and private parties. "Klezmer music is upbeat. Klezmer music is tender. Klezmer music is hand-clapping. Klezmer music is tear-jerking. In the hands of the Java Jews it’s always fun!" - from their ReverbNation page "The Java Jews, an ensemble of five musicia http://ift.tt/2l0qPE3