#the philadelphia orchestra

[garadinervi]

The Music of Arnold Schönberg, Vol. VII, Columbia Masterworks / Columbia Records, 1969

[officialyourdailyinspiration]

A Christmas Festival (1964) Eugene Ormandy conducting The Philadelphia Orchestra | Runtime: 34mins 32secs

[musicwithoutborders]

Gabriel Fauré /The Philadelphia Orchestra , Pavane. Andante Molto Moderato, Op. 50, 1972

[badmovieihave]

Bad movie I have Fantasia 1940

[randomrichards]

FANTASIA:

Disney’s masterpiece

Music and animation

Make movie magic

[iww-gnv]

Angry and frustrated, the members of the Philadelphia Orchestra have voted to authorize a strike if they don’t see more progress in their negotiations for a new contract and better pay. In a vote that ended Saturday night and was announced Sunday morning, the musicians put their bosses with the Philadelphia Orchestra and Kimmel Center Inc. (POKC) on notice they are prepared to walk out after their current contract expires Sept. 10. The strike authorization, agreed to by 95% of the members who voted, doesn’t guarantee a strike but is a necessary step to calling a walkout if there is still no agreement when their contract expires. The Philadelphia musicians are seeking wage increases that they say would raise their pay to within the average of the other orchestras of their caliber, along with improved retirement benefits, pay parity for their substitute musicians who now make less than full-time orchestra members, and the filling of 15 vacant positions in the orchestra, among other requests. Union leaders contend management has been unresponsive to their proposals.

[Read the rest]

[piratewithvigor]

I timed it. From the start of the video package to the moment they actually touched to start the match.

[doctorwhoisadhd]

philadelphia is a dumb city that makes me mad Not Least because they called their orchestra "the philadelphia orchestra" whEN THEY HAD THE DAMN CHANCE RIGHT THERE TO CALL IT. THE PHILADELPHIA PHILHARMONIC. I HAVE NO RESPECT FOR THOSE CLOWNS

[garadinervi]

Elgar – Cello Concerto. "Enigma" Variations, Jacqueline du Pré (cello), London Philharmonic Orchestra (tracks: 1, 2, 7 to 21), Philadelphia Orchestra (tracks: 3 to 6), Daniel Barenboim (conductor), The Philadelphia Orchestra, «Sony Classical Great Performances», SK 92763, Sony Classical, 2004, Reissue, Remastered

[soundgrammar]

Cellist Leonard Rose with the Philadelphia Orchestra, conducted by Eugene Ormandy - Antonín Dvořák's Cello Concerto in B Minor, Op. 104

[tuckerbingo]

New lp available in bandcamp!

[sweetsmellosuccess]

Black Panther Live: Philadelphia Orchestra

Five thoughts on a fabulous Sunday afternoon with the orchestra at the Kimmel Center in downtown Philadelphia

The Kimmel Center is a wonderful place to hear the orchestra, but needs a larger movie screen. So much was wonderful about the experience of seeing Ryan Coogler’s 2018 film, which remains one of the high-water marks of the entire MCU, accompanied by the Philadelphia Orchestra, one of the world’s finest ensembles, along with world-renowned tama “living drum” master, Massamba Diop, that the one glaring downside  —  the Kimmel’s movie screen feels more than a tad small for the space its filling  — stood out. The acoustics are grand, the seats comfortable, the space itself inviting and spectacular, so the lone weak link in the production was the screen, dwarfed, as it was, by everything else around it. It certainly wasn’t a deal-breaker by any means, but one could easily see how much more impact a larger image might have on the whole enterprise. I understand it’s not something the Kimmel does on a very regular basis, but still well worth looking into. 

The film has aged powerfully, if not steeped in the tragic. There is much to love about Coogler’s film  —  so many scenes one could look forward to with anticipatory glee  — but every scene, even the goofy camaraderie between T’Challa (Chadwick Boseman) and his kid sister, Shuri (Letitia Wright)  —  becomes shaded in somber tones due to Boseman’s tragic death back in 2020. It’s difficult to watch the film, even as joyful an expression of multiculturalism as it is, and not feel the weight of that loss (very much well-covered in the film’s sequel, Wakanda Forever, in which the loss of Boseman permeates every moment). All leading roles are designed to be central to a film’s focus, but Boseman’s generous warmth and decency powers the entire operation in such a way that you can’t imagine anyone else in the role (as evidenced in the sequel’s difficulty in trying to fill the Panther’s be-clawed boots). As good as Coogler’s film is  —  and, in the writing and storytelling, specifically, it’s among the very best of the MCU  —  it doesn’t work half as well without Boseman’s presence. I spent much of the film’s first act with tears welling in my eyes. He remains a tremendous loss. 

Andy Serkis’ Ulysses Klaue is a fabulous villain, but Killmonger remains king. If the MCU indeed has a #villainproblem, Panther managed to offer not one great baddie, but two, and for totally different reasons. It’s easy to hate Klaue  —  a gregarious mercenary, filled with evil bonhomie and ruthless skullduggery (helpful that Serkis himself appears to be having such a blast in the role), who makes his nefarious living stealing precious items and selling them to the highest bidder, the world be damned  —  but Michael B. Jordan’s Killmonger is a whole other story. Ruthless, brutal, and terrifyingly focused, he is, as Martin Freeman’s character Agent Ross informs us, doing things exactly as he’s been trained to by the U.S. military black ops division. Killmonger’s point, that after centuries of suffering, it’s time for the racial hierarchy to be upended with black people on top, actually makes perfect sense, in any sort of just world, even if his methodology is aggressively savage. He’s such a compelling character, in fact, with pride, menace, and swag veritably dripping off of Jordan’s skin, it’s pretty clear Coogler, along with co-writer Joe Robert Cole, had to tip the morality scales a wee bit with Killmonger (having him threaten an innocent gardener, burn the sacred flowers to the ground so there can’t be any more panthers, and gut Forest Whitaker’s Zuri in cold blood, all while sneering contempt for the ancient ways of the Wakandans), in order to make the audience actually want him to lose at the end. To balance that balance, the screenwriters see fit to give him a hero’s sort of death, defiant, significant, and on his own terms. A lot of other actors would have withered against the powerhouse charisma of Jordan, but Boseman is well up to the task, which creates a spectacular dynamic between the two dedicated actors. 

Having the live orchestra, along with Massamba Diop, adds an element to the excellent soundtrack. Honestly, I’m not normally one who terribly much notices a film’s score  —  at least, at first listen  —  unless it’s dramatically amazing or frustratingly distracting, even one as solid as Ludwig Göransson’s work for Panther, but having it performed as a separate entity, in harmony with the film, but not directly of it, sets it off from the screen just enough to allow iit hit with that much more force, enhancing the entire experience. On top of that, with the master showman Diop front and center of the orchestra, set off in his own booth, facing the audience, and leaping to his feet at key orchestral moments, it sort of bridges the gap between film and theater. It’s a spectacle that crackles with energy. 

Seeing the film with a packed house of rabid devotees was a singular experience. The crowd was amped for this event, and I mean, they were loud, hype, and effusive. They cheered when the orchestra sat down, they cheered when the first violinist took the stage, they cheered when conductor Damon Gupton swung out, and they cheered wildly when Gupton introduced Diop, who came out in a shimmering orange robe/pants ensemble. They kept cheering throughout the film  —  when Okoye (Danai Gurira) answers as to whether she would cut down even her beloved (Daniel Kaluuya) in defense of her country by hissing “Without question!” the audience erupted in thunderous approval  —  and they kept a deep, respectful silence during Killmonger’s death scene. You didn’t hear any chattering. You didn’t see people checking their texts, or basketball scores. Everyone was there in respectful reverence to the film, which made for a glorious communal experience. This is why having an 85” flatscreen still can’t compare to watching a huge film in an enormous setting, amongst a throng of equally devoted true believers. There’s simply nothing else like it. 

[butchniqabi]

another thing i liked about nope is how the credits include every musician and choir singer like i deeply love that...

[infinitelytheheartexpands]

i cannot believe this is a real thing but i LOVE it