#sfcm

[alexanderrogge]

The National Tenor Trombone Solo Competition Finals featured Darren Brady, Austin Murray, and Austin Talbot playing Concerto for Trombone by Henri Tomasi in Division II at The U.S. Army Band 2024 American Trombone Workshop. #EastmanSchool #Eastman #URochester #GoJackets #ColumbusState #SchwobTrombone #Schwob #SanFrancisco #SFCM #TenorTrombone #Trombone #ATW2024 #ATW #Music

[hartshorn-and-isinglass]

Finally got to see the campus tonight because we went out to see the university's symphony orchestra. Ah, nostalgia! The conductor chose repertoire that was kinda punching above these kids' weight class but they gave it a valiant effort. Incidentally, I found out they do invite members of the community to audition, but I'm not really jonesing for orchestral repertoire anymore and their violin sections are plenty full; that small stage was practically groaning under the weight of everyone on it.

I'm aware that my experience of high school orchestra may have been something of an... outlier... (living in SF where a ridiculous number of kids were either taking lessons from former/active members of the SFS or were students at the SFCM), but I didn't quite realize how incredibly fucking spoiled I also was going to a university with such a huge and extremely hardcore music department. I'm glad I got to take advantage of it for music theory and history, and also that I got to attend so many fucking awesome concerts, but I'm sad that I was so burnt out on... life... by that point that I didn't have the energy to commit to the performance side of a music minor. What might have been, had I taken a different path...

One fun thing about watching this orchestra is that I think I spotted some violinists who come from a bluegrass or trad Irish background instead of classical. The way they hold the violin is more forward-facing like a Baroque violin, even though they're on modern instruments. Whereas the classically-trained kids all hold their violins with a very uniform modern left-shoulder grip. If I'm right, I wanna know where I can hear them do some fiddling too.

[albertasdf]

[买美国毕业证成绩单]微信QQ加⑵⑹⑼⑦②⒏⒏⑵⑸⒈，办理旧金山音乐学院本科硕士学位证，“购买SFCM假毕业证书”留信网认证过程，制作旧金山音乐学院研究生学士文凭证书，仿制SFCM录取通知书offer，留信网认证有什么用？代办SFCM国外学历认证，伪造SFCM学历证书学生卡，留学生学历认证官网，办ECE认证多久？雅思托福代考成绩单，学术造假怎么办San Francisco Conservatory of Music diploma Transcript

[importantfurypolice]

哪里买美国毕业证，qq微信加⑵⑹⑼⒎⒉⒏⒏②⑤①，定做旧金山音乐学院学位证成绩单，办SFCM学历认证费用，原版复刻旧金山音乐学院毕业证外壳套，国外大学学历认证，精仿SFCM本科硕士学历证书，办理SFCM文凭证书需要多久？怎么做SFCM录取通知书、学生ID、offer，买托福雅思考试成绩单，仿国外大学学士研究生证书，辍学如何拿证San Francisco Conservatory of Music diploma Transcript

[euro-journal-english-news]

San Francisco Conservatory of Music Spring 2023 Schedule Of Live Performances Is Here!

San Francisco Conservatory of Music Spring 2023 Schedule Of Live Performances Is Here!

As we welcome a new season, the San Francisco Conservatory of Music (SFCM) is pleased to announce its spring 2023 concert series, which includes a combination of in-person and live-streamed events.  As part of SFCM’s ongoing partnership with leading artist management company Opus 3 Artists, the Conservatory will welcome the beloved brass quintet Canadian Brass for a residency in February,…

[kyt998]

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[mystichottubtidalwave]

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[anakin-skywalker]

Favorite Character Meme ✰ [2/4] Relationships: Steve Harrington and Dustin Henderson ↳ That's how this works, Henderson. I give you the advice, you follow through. Not the other way around, all right, pea-brain?

[alexanderrogge]

[nonesuchrecords]

Congratulations to Joshua Redman, who will join the San Francisco Conservatory of Music as Artistic Director of Roots, Jazz, and American Music—a collaboration between SFCM and SFJAZZ. As such, he'll lead one-on-one sessions, studio classes, ensembles, and lectures. Read more here.

[bml89]

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A post shared by Brandon LePage (@brandonlepageflute)

Ending the practice day with some older etudes. My SFCM flute peeps will recognize this one! #SFCM #Flute #fluteplayer #flutelife #flutemusic #flutelove #flutistsofinstagram #musiciansofinstagram #etude (at Madison, Wisconsin)

[leftbananacandy]

办SFCM硕士毕业证成绩单Q/薇280137 1829办旧金山音乐学院（毕业证.成绩单.资格证.学生卡.结业证.录取通知书.在读证明等相关材料）.SFCM在读毕业证书成绩单.办理SFCM硕士在读文凭认证.定制SFCM精仿原版1：1毕业证、成绩单、offer录取通知书、学生卡、雅思成绩单、托福成绩单do San Francisco Conservatory of Music Diploma

[anakin-skywalker]

Favorite Character Meme ✰ [1/1] One Character: Steve Harrington ↳ I may be a pretty shitty boyfriend, but turns out I'm actually a pretty damn good babysitter.

[intoxicatingimmediacy]

Hey, just wanted to mention that the clipping SFCM livestream is up on youtube now! It's not on the SFCM channel but if you search for 'sfcm clipping' it's on the Technology and Applied Composition at SFCM channel, titled 'TAC Online Festival: clipping. Masterclass'. You probably saw it live but it's there online now for anyone who missed it :)

Awesome, THANK YOU! I wonder why they didn’t upload it to the sfcmmedia channel, that's where both of Jonathan’s solo masterclasses are. 

So here now for anyone who didn’t see it live, HIGHLY RECOMMENDED: clipping. take apart Run For Your Life and answer questions on their process for two hours.

[sfcmreviews-blog]

A Stunning, Contemporary “Elektra”

by Evan Pengra Sult

A woman locks herself in a museum and from her disturbed psyche, conjures up vengeful wraiths whose murderous, incestuous intent drives her to the brink of madness. The plot of a tawdry summer B-movie? No — rather, the concept behind the visceral, revelatory Elektra now playing at San Francisco Opera, a production which shows definitively how contemporary reimaginings can both enliven and deepen our understanding of classic works.

Central to the success of any opera are its stars, and SF Opera has assembled a high-wattage cast more than adequately equipped to handle Strauss’ brilliant, protean score. Christine Goerke, in the title role, is alternately cunning, mournful, innocent, vengeful, anguished. She brings a new coloration to each phrase, crafting a multi-layered Elektra in whom we see sides of ourselves. If only we could sing so well, too! Goerke’s voice is as versatile as her acting, from the chocolatey low register to the crystalline heights of her instrument, and her effortless control draws the audience in far better than the SimulCast screens in the upper reaches of the balcony.

Though it is her show, Goerke is not the lone star; she is part of a larger constellation. Adrianne Pieczonka brings a poignant naïveté and bell-like vocal clarity to the role of Chrysothemis, so often played as the pitiable lone figure of sanity but here given a far more convincing backstory as a developmentally stunted victim of sexual abuse. There is equal nuance to Michaela Martens’ Klytemnestra, no stereotypical dragon mother but instead a searing portrait of whiskey-drenched pathos, as much a victim of circumstance as her daughters.

Circumstance comes in the form of the men in her life: Robert Brubaker’s slimy Aegisth and Alfred Walker’s bullying, brooding Orest, both sung with sinister brilliance. In this family, the menfolk dominate, the women self-destruct in their struggle to cope, and history repeats itself — Sophocles by way of Tennessee Williams. It’s no longer a revenge story, it’s a piercing family drama. And really, it’s two: the ancient Greek tragedy of the House of Atreus and a midcentury military family’s uncomfortably parallel storyline, whose central player conjures these images from the relics of an antiquities museum.

At the risk of spoiling everything, the final moments of this one-act tour de force contain one of the most brilliant directorial decisions I’ve ever seen: Agamemnon, seated in his bath, is revealed to be not the victim of his murderous wife, but a suicide. Suddenly everything makes sense. Of course Elektra blames her mother for taking up with the abusive Aegisth, for she cannot bring herself to blame the man she never got to love. And it’s not hard to see why Klytemnestra would have been desperate for a strong masculine presence around the house, nor why she might have banished her son, at the very least a painful reminder of the life she used to have (or perhaps even the living proof of a previous infidelity?). The most outlandish aspects of the plot suddenly become the most accessible; almost no one is above compassion.

In a traditional staging, Elektra dances herself to death at her father’s gravesite; here she collapses into the arms of her concerned siblings. Perhaps now, having exorcised her demons, she might begin the process of recovery.

[knaportfolio]

SFCM at SFMOMA. TAC Students & Trombonist.