#i used to be in an orchestra and a quartet! and i used to attend drama schools! i used to spend all my time in the ocean and sun!

[heirloommtomatoes]

soooo wrong how the arts are so inaccessible as a career like. wydm i can't be an actor and a musician and a producer and an event planner for music festivals forever and and and ???

[myargalargan]

A Classical Polinalysis: Ep. 2

Hello friends, Polin stans, and classical music nerds!

Picking up from my episode 1 analysis, I am back with the second installment in the series of episode-by-episode analyses I mentioned when I shared the playlist I made of all the Classical pieces used in Bridgerton season 3.

The tracks on the playlist are all in order of when they appear in the show, and here are all the pieces that were used in episode 2: 

Beethoven’s String Quartet No. 13 in B-Flat Major, Op. 130: VI. Finale. Allegro

Bach’s Violin Concerto No. 2 in E Major, BWV 1042: III. Allegro assai

Mozart’s String Quartet No. 8 in F Major, "Viennese", No. 1, K. 168: IV. Allegro

Mozart’s String Quartet No. 3 in G Major, "Milanese", No. 2, K. 156/134b: I. Presto

Mozart’s String Quartet No. 23 in F Major, "Prussian", No. 3, K. 590: IV. Allegro

Joseph Schuster’s String Quartet No. 2 in B-flat Major: I. Allegro di molto (formerly attributed to Mozart as the "Milanese" (or Paduan) String Quartet No. 2, K. 210)

Beethoven’s Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata”: II. Andante con moto 

All of this music is used over the course of the Full Moon ball, and the choice of music and the scenes each piece of music is paired with turns the ball something of a microcosm for the entire episode. What the hell do I mean by that? 

This episode is all about flirtation, fertility, and passion, and the action in this episode sets into motion some of the major conflicts of the season. We have the Mondriches settling into their new home and attending society events for the first time, the Featherington sisters getting a healthy dose of Sex Ed, Francesca being granted the Queen’s favor, and—of course—Colin and Penelope beginning their lessons and all the tension and drama that brings. So let’s get into how the Classical soundtrack compliments this very meaty episode…

Looking at the track list in order, we’ve got a bit of a composer sandwich (get it? meaty episode? ha-ha-ha?) with Beethoven bread, Mozart filling, and Bach and Schuster toppings. The allegro finale of Beethoven’s String Quartet No. 13, which starts as Colin and Eloise’s conversation about Penelope in the carriage ends, welcomes us to the ball. The second movement of Beethoven’s “Appassionata,” which Francesca is playing when Lady Danbury sneakily invites the Queen to observe, concludes the whole event. But I have a lot to say about both Beethoven pieces, so I’m going to save that for later! To start, I want to talk about the flirtatiousness of the other pieces used during this episode. 😏

The next piece after the Beethoven string quartet is the third movement from Bach’s Violin Concerto No. 2, which plays when Benedict asks Miss Stowell to dance. We only hear the very beginning of the concerto in this episode, but the distinguishing characteristic of a concerto—which is also what I find so flirtatious about this piece—is the back-and-forth between a solo instrument (in this case, a solo violin) and an ensemble (in this case, a chamber orchestra). In particular with shorter pieces like this Bach concerto, which is an energetic two minutes long with concise musical verses, you get the feeling of a lively conversation, where the ensemble has their say, the soloist replies, the ensemble adds another musing, then the soloist replies, and so on. 

I also think this concerto is fun for this scene for a couple other reasons. One, the soloist-ensemble dynamic calls to mind Benedict getting cornered by a pack of ladies. But also, this concerto is in what’s called “ritornello” form, which means that the ensemble repeats the same musical theme every time they come back in, and I love this as a funny little musical illustration of Miss Stowell’s persistence with Benedict—she keeps coming back, over and over, just like that repetitive musical theme! 

The next piece is the fourth movement from Mozart’s String Quartet No. 8, which starts playing right as Portia tells Mr. Finch that his wife is a pastry and continues as Penelope talks with Colin about his writing. This piece actually elides seamlessly into the track from the season 3 OST called “Attempts to Flirt” the moment Colin says he’ll consider letting Pen read more of his writing if she talks to at least one lord that night, which is a fun little tie-in to our theme. And the string quartet is great for this moment between Colin and Pen because of its fugal quality. A fugue—such as Bach’s famous Toccata and Fugue in D Minor, which is used in a ton of films including the original Fantasia—refers to a structure where the musical theme is introduced in different voices or instruments one after another. (Kind of similar to a musical round, like “Row, Row, Row Your Boat,” but not as simplistic.) Like the concerto, there’s a repetition of musical ideas, and those ideas bounce around from instrument to instrument, again creating a sense of lively conversation. Almost as if one person starts to tell a story to a group of friends, and then another person jumps in to say, “Oh, yes, I know what that’s like!” and tells their own anecdote, and so on around the group as the conversation feeds on everyone’s enthusiasm. 

I love this for Pen and Colin’s interaction because it has a similarly flirtatious energy as the concerto, but at the same time it’s more complex than a simple back-and-forth. There’s a layering aspect to a fugue—when a subsequent instrument picks up the theme, that doesn’t mean the first instrument stops playing. I think this has a similar energy to the way good friends who are comfortable and excited together might end up talking over one another or picking up the ends of each other’s sentences. I think it’s also illustrative of the complexity of Colin and Penelope’s relationship, especially at this phase. They’re friends, yes, but other feelings are starting to get all mixed in. They flirt quite easily with each other, but that makes things more complicated. A playful but multi-layered fugue illustrates this pretty well, I think.

Then we have our second Mozart string quartet of the episode, the first movement of Mozart’s String Quartet No. 3, when Eloise inadvertently lets it slip to Cressida that Colin is helping Penelope find a husband. This piece isn’t a concerto or a fugue, but it does still have an interplay between the instruments that, to me, creates a similar effect. There are several moments within this movement where the violin will start the musical line and one of the other instruments will finish it, like passing a baton. Or, again, like lively and comfortable conversation! To me, it feels a little bit like two people winking at one another as they catch each other’s meaning. 

There’s also a fun little bit about two-thirds of the way through the piece where, for not even 30 seconds, the tone of the music changes entirely, to something darker and more dramatic. Musically this part is known as the “development,” which is where the music meanders and does a bunch of interesting things before it returns to the main theme that was introduced in the beginning. This is a very common musical technique, but it doesn’t appear quite so starkly in any of the other pieces used in ep. 2. Since this piece plays during an Eloise and Cressida scene, we could take this darker interlude to be a reflection of Eloise’s relationship with Penelope—how it has taken a dramatic turn but will be righted again before long. We can also look at it through a Polin lens, since Penelope and Colin’s relationship takes a similar trajectory. Either way, I like the idea that there’s a bit of dark foreshadowing in this otherwise playful, flirtatious piece of music.

From there, we have the fourth movement of Mozart’s String Quartet No. 23, which plays as the Mondriches enter the scene. Other than the Beethoven pieces, this is the longest piece used during this episode, and it gets the most airtime. It plays for the entire duration of Benedict’s spiel about how married couples are free from the rules of society because they have already fulfilled their duty. And I love this piece for this moment because it really goes places. This movement has some fugal passages, giving it that same flirtatious quality as the other pieces used this episode, but there’s also moments where the tone gets much more dramatic, moments when the tempo seems to slow or get interrupted, syncopated sections that almost feel cartoonish… The character of the piece is surprising, and it evolves over time, and—I think—it reflects the journey the Mondriches have been on since season 1 and the surprising evolution their life has taken in season 3. And will continue to take! As they figure out how to navigate this new world and learn that it’s not as simple as Benedict made it seem.

Okay, now onto the last bit of sandwich filling, the first movement of Joseph Schuster’s String Quartet No. 2 in B-flat Major, which plays while Lady Danbury leads the Queen away from the main ball and while Eloise’s group of debutantes lament their chance to show off. Is this piece also flirtatious? Yes, I think this piece has a similar quality to Mozart’s String Quartet No. 3, where sometimes musical lines started by one instrument get picked up and finished by another. But another thing I find really interesting about this piece is that it’s a case of mistaken identity. This piece was composed around 1780, but until the 1960s music scholars attributed the piece to Mozart. And to use this piece during this scene is particularly compelling, because it’s the moment that Cressida denies having any good gossip, but also the moment when the gossip about Penelope and Colin begins to spread throughout the ball anyway, which Eloise (and Colin) mistakenly blames Cressida for. There’s also maybe a deeper meta here about mistaken identities that could tie into Cressida’s false claims to the Lady Whistledown name, which is interesting to consider in contrast to this moment at the ball where Cressida—unlike later in the season—chooses to be the bigger person and renounces the lure of gossip in favor of protecting her new friendship with Eloise. 

Which brings us to the final piece of music featured at this ball, the second movement from Beethoven’s Piano Sonata No. 23, the “Appassionata.” Which is of course relevant because Francesca earlier admits to loving it so much during her abbreviated conversation with Lord Petri. Petri describes Francesca’s favorite pieces as “expressive music,” which is fitting for a musical work nicknamed “Passionate.” Francesca also says, “I mostly enjoy the chord progressions,” in response to Petri getting all “can’t you feel it in the music?” and although Petri was talking about the Ries Piano Trios, I like thinking about Francesca’s response in relation to the second movement of the “Appassionata” because that movement is one big theme-and-variation—there’s a musical theme introduced at the beginning, and then that theme is repeated two more times with variations in the melodic structure but always with the same chord progressions.

One thing I love about this piece as the close-out to the ball is the way, with each subsequent variation on the theme, the music builds and builds. It starts out slow and in a low register, and it gets faster and higher pitched as it goes (the part we hear Francesca playing is the fast high part). There’s a really obvious analogy to sex here, which is clear in Petri’s reaction and Francesca’s discomfort with his reaction—which is appropriate because sex is such a major motif in this episode (“Inserts himself? Inserts himself where?”). But there’s also the analogy to the build-up that we’re about to experience at the end of the episode, the way everything Penelope has been through the past couple episodes (couple seasons, really) culminates in that first unbelievably passionate kiss between her and Colin. 

But, more than that! The second movement of the “Appassionata” doesn’t have a true ending—it’s through-composed with the third movement, so that the two are meant to be listened to back-to-back. If you listen to the end of the second movement by itself, you’ll hear a chord that sounds like it’s supposed to resolve to a nice clear ending, but then instead of resolving, that chord is followed by an intriguing, dissonant, kinda jazzy-sounding musical lick. If you didn’t proceed to the third movement right away, musically, you’d be left hanging. (And even once you’re into the third movement, it takes a while for the music to properly resolve.) And I love this! Why do I love this? A while back, I did an analysis of Polin’s theme (from the original score) and wrote a bunch of stuff about how their musical theme, the way we hear it in part 1 of the season, feels unresolved, suspending us in the tension of their uncertain relationship status. We only get proper musical resolution in their theme in part 2, after they’re engaged. So using the second movement from the “Appassionata,” with its false ending, at the conclusion of the Full Moon ball—a ball which encapsulates so much of what’s going on in the episode overall—is such a great way to foreshadow the end of the episode: the build-build-build to the passionate kiss and then—! Leave us hanging as Penelope runs away and Colin’s life starts falling apart around him.  

Speaking of endings…! It’s time to circle back around to the first piece of bread in our Beethoven sandwich, the sixth movement from Beethoven’s String Quartet No. 13…

If you’ve stuck with me this far, hang in there for just bit longer! Maybe take a quick break and grab a snack. ;) 

I thought a lot about the usage of the allegro finale from Beethoven’s Op. 130 in this episode. It’s such an interesting choice, not necessarily because of the music itself, but because of the history of the entire quartet. See, when Beethoven first composed String Quartet No. 13, it had a different final movement. However, at the first performance, that movement received such a negative reaction that Beethoven’s publisher convinced him to write a replacement. The replacement is what’s used in the show. And it has an entirely different character from the original. The new finale is light and cheery, while the original was dense and complicated. The original was panned by critics as being incomprehensible, inaccessible, and difficult to both listen to and play. (Give it a listen. You may find that it makes you deeply uncomfortable 😅 but it’s definitely an experience!) The new finale, on the other hand, is…a dance! It’s bouncy and positively Haydnesque, and completely uncontroversial.

The original was ultimately published as its own work under the title “Grosse Fugue,” as Beethoven’s Op. 133. However, some Beethoven enthusiasts and music scholars will argue that the correct way to play String Quartet No. 13 is with the original ending, the way Beethoven intended. Preferences vary, though, and what this means is…there are two possible, perfectly valid, endings to this piece of music. And each ending has a completely different vibe. 

Do you see where I’m going with this? 😉

This piece plays as we are welcomed into the Full Moon ball, and when I set out to do this analysis, I was originally looking at the allegro finale on its own, trying to find something meaningful in its structure or its harmonies… But I think what’s most interesting about it, in the context of this episode, is that it represents the duality of choice. And there’s a few different layers this could apply to: Eloise and Cressida’s decision whether or not to share the gossip about Colin helping Penelope, Colin’s choice to help Penelope in the first place (and to continue to help her after the journal faux pas)...his choice—at the end of the episode—to kiss her. The Queen's choice of a diamond, even! But if we’re talking about possible endings, then this piece is really setting us up for the ultimate narrative choice between Colin and Lord Debling. And it’s fitting as an introduction to the Full Moon ball because it’s at this ball that Colin gets his first taste of jealousy and competition, and then of course it’s Penelope’s humiliation at this ball that is the catalyst for the kiss that sends Colin into his downward spiral of desperate, all-consuming love. So whereas at the end of ep. 1 Colin may have been able to go about his life acting as though he was unconcerned about whatever feelings he may or may not have had for Penelope at that point, by the end of ep. 2 that’s simply not at all possible anymore. And so the show starts building the foundations of one of Penelope’s possible choices, one of her potential endings. (And I guess whether or not you consider Debling to be a perfectly valid alternative ending depends on what kind of Polin shipper you are. 😉) 

So there you have it: the drama of choice, the sexiness and frustration of building yet unresolved tension, misunderstandings (and, you might even say, the probable pains of friendship), SO much flirting—some easy and straightforward, some ceaseless and unvarying, some deliciously complex… All present at the ball, throughout the episode, and in the Classical soundtrack.

♥

And here's some of the research I did for this post:

Beethoven's String Quartet No. 13: https://www.earsense.org/chamber-music/Ludwig-van-Beethoven-String-Quartet-No-13-in-B-flat-major-Op-130/

Beethoven's String Quartet No. 13: https://www.brentanoquartet.com/notes/beethoven-quartet-opus-130/

Beethoven's String Quartet No. 13: https://www.maramarietta.com/the-arts/music/classical/beethoven/

Bach's Violin Concerto No. 2: https://www.laphil.com/musicdb/pieces/4549/violin-concerto-in-e-major-bwv-1042

Mozart's String Quartet No. 8: https://fugueforthought.de/2018/07/01/mozart-string-quartet-no-8-in-f-k-168/

Mozart's String Quartet No. 3: https://fugueforthought.de/2016/08/27/w-a-mozart-string-quartet-no-3-in-g-k-156/

Mozart's String Quartet No. 23: https://www.talkclassical.com/threads/mozart-string-quartet-23-k590-sq-review.81909/

Schuster's String Quartet No. 2: https://www.earsense.org/chamber-music/Joseph-Schuster-String-Quartet-in-B-flat-major-No-2-KAnh-C2001-K-Anh-210/

Beethoven's "Appassionata": https://www.youtube.com/watch?v=tR706pYvNl0&

[cosmosbeelover]

The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 5/? (Rewrite)

I am quite surprised by the limited information available regarding this male group, which is known by two different names. I will endeavour to clarify the situation; the group in question is referred to as either 'Arirang Boys' (아리랑보이즈는) or 'Joseon Music Troupe' (조선악극단). It remains unclear why they operated under these two names. This situation is reminiscent of the male groups 'Yeonhee Professional Quartet' (연희전문사중창단) and 'Youth Member' (청년회원), where the former has significantly more information available compared to the later.

Before Liberation – 1940s

Prior to delving deeper, I would like to clarify my approach to discussing this male group, which predates the liberation era and thus had limited information available, similar to my previous post regarding the first two male groups (Part 2). I will first outline the group and its members, followed by the company they were associated with. Additionally, I will mention the 'Jeogori Sisters,' who were part of the same company as the 'Arirang Boys,' noting that one member from each group is a married couple. However, I will refrain from providing extensive details about the 'Jeogori Sisters' as they will be addressed in a future post within The History of Korean Girl Groups.

The Arirang Boys (아리랑보이즈는), a four-member project group, emerged around 1940 and frequently performed alongside the Jeogori Sisters, a female ensemble featuring Lee Nan-young (이난영), Jang Se-jeong (장세정), Kim Neung-ja (김능자), Lee Jun-hee (이준희), and Seo Bong-hee (서봉희). The group comprised Kim Hae-song (김해송), a singer and composer married to Lee Nan-young, composer Park Si-chun (박시춘), comedian Lee Bok-bon (이복본) known for his jazz performances, and composer-arranger Song Hee-sun (송희선). Additionally, Hyun Kyung-seop (현경섭), a trumpet player for an orchestra record company, occasionally filled in for other members.

In no particular order, members of Arirang Boys: Kim Hae-song (김해송), Park Si-chun (박시춘), Lee Bok-bon (이복본), Song Hee-sun (송희선) and Hyun Kyung-seop (현경섭) who occasionally filled in for other members.

Despite not releasing any albums, they achieved popularity through their use of instruments like the guitar and violin, enhancing their stage performances. According to singer Kim Jeong-gu's (김정구) testimony prior to his death, the Arirang Boys were particularly cherished for their comedic interludes during shows.

The Arirang Boys Members:

I will briefly talk about the ‘Arirang Boys’ members here but will go into detail about them separately in future posts.

Kim Hae-song (김해송)

A few other photos of him here.

Kim Hae-song, whose real name was Kim Song-gyu (金松奎) and Japanese name Kyouya Kobayashi (金山松夫), was born in December 1911 in Gaecheon, Pyeongannam-do, during the Japanese colonial era, and he passed away around 1950 at approximately 39 or 40 years of age. It is believed that he remained in Seoul throughout the Korean War and died while being abducted to North Korea.

A multifaceted artist, he was a composer, singer, lyricist, guitarist, and musical director, active from 1935 to 1950. He graduated from Pyongyang Gwangseong High School in 1933, and although there are unverified claims of his attendance at Sungsil College and Jochi University in Japan, these remain unconfirmed. In 1935, he signed with Okeh Records, marking the beginning of his career as a singer and composer.

Lee Bok-bon (이복본)

Lee Bok-bon (李福本), born in Seoul in 1911 and died around 1950?, he was a singer from Joseon and South Korea . He first appeared on the stage of Joseon Theater Company in 1933 and appeared in director Ahn Jong-hwa's (안종화) film 'Crossroads of Youth' (청춘의 십자로) in 1934. He is also called "Korea's first jazz singer" as a member of the Seoul theater company 'Mooran Rouge'. However, during the Korean War, he was kidnapped by the North Korean People's Army during the Battle of Seoul and disappeared thereafter, and is presumed to have died.

Park Si-chun (박시춘)

A few other photos him and information but nothing new here.

Park Si-chun, real name Park Soon-dong (박순동; 朴順東) was born on October 28, 1913, in Miryang, South Korea, was a versatile artist who passed away on June 30, 1996, at 82. His talents included music composition, guitar, and proficiency in instruments like the trumpet, violin, and saxophone. He also worked in the film industry as an actor, director, producer, and music director.

One of his notable works is the pro-Japanese song "Blood Letter Support," which expresses a desire to serve as a volunteer soldier during the Pacific War. The lyrics, by Jo Myeong-am, reflect strong pro-Japanese sentiments. In 2008, he was recognized as a pro-Japanese figure by the Institute for Research in Collaborationist Activities, and a festival honouring him sparked controversy. He was also listed among 705 pro-Japanese anti-nationalists by the Truth and Reconciliation Commission in 2009.

Song Hee-sun (송희선)

I’m not shore which person in the photo shown above is Song Hee-Sun, but I hope this information that I found on him even though it a lot, is the wright Song Hee-sun.

The birth and death dates of Song Hee-sun remain unknown. He began his music education at Sungsil High School in Pyongyang and later ventured into the Japanese light music scene, establishing himself as a saxophonist and subsequently performing with OK Grand Shodan.

His notable contributions include musical dramas like "Dongyang no Rose" (동양의 장미) and "Golden Come Out Ttuktak," (금 나와라 뚝딱) as well as the song "The Young Days of the Sea" (바다의 젊은 날). Additionally, the arrangements he created for Lee Hwa-ja (이화자) during the Japanese colonial era are featured on the Oke album.

Hyun Kyung-seop (현경섭)

I’m not shore which person in the photo shown above is Hyun Kyung-seop, he might not be in the photo because he was occasionally filled in for other members at the time. While I was looking into Hun Kyung-seop I found this blog about him, that the National Museum of Korean History published a collection of Hyun Kyun-seop. As there is little information that I could find I’m going to add all the information here, but i will post him and other members' information separately in the future.

The National Museum of Korean History has published a collection featuring 267 artifacts related to Hyun Kyung-seop, a prominent trumpet player associated with Oke Records during the Japanese colonial era. This collection encompasses photographs of Hyun Kyung-seop and his personal diaries, providing insight into his life during this tumultuous period. Despite his significant contributions to music, particularly as a key member of the Joseon Music Troupe, Hyun Kyung-seop remains largely unremembered by contemporary audiences.

Beginning his career at the age of 22 in 1935, Hyun Kyung-seop gained recognition for his performances in Japan and China, with media outlets even comparing him to the legendary Louis Armstrong. His versatility extended beyond trumpet playing to include arranging, acting, dancing, and singing. However, his life took a tragic turn during the Korean War when he was abducted by North Korean soldiers in Seoul, leading to a prolonged absence that left his family in distress. Despite efforts by his son, Hyun-won, to locate him, including a DNA test through the Red Cross, the family faced numerous hardships due to the stigma associated with his disappearance, which severely restricted their opportunities and freedoms.

Hyun Kyun-seop playing the trumpet in the middle.

This compilation encompasses original images from each day of Hyun Kyung-seop’s diary, a variety of identification documents, photographs of his music colleagues, and all phonograph records he possessed, which have been digitally restored and compiled onto a DVD.

However, these DVDs are currently unavailable for access to my knowledge.

The once-obscure trumpet player Hyun Kyung-seop, who nearly faded from historical memory following his performance at the Seoul Geukdo Theatre in June 1950, has been immortalized through a collection published by the National Museum of Korean History. Transitioning from anonymity to becoming a symbol of the Japanese colonial era and the post-liberation music scene, this collection, made possible by the contributions of his family and the museum's restoration efforts, serves as a crucial resource for understanding the evolution of popular music in Korea.

Okeh Records (오케레코드):

Oke and Okeh Records are the same company. The photos shown below are people that worked for or with Okeh Records, and were attached with the information that I found of the company.

Founded in the early 1930s, Okeh Records highlighted diverse talents from Korea and Japan. Despite facing censorship and limitations, the label effectively developed around six notable groups, producing music films and establishing the Orchestration Team, Orchestra Music 'n Dance Research Institute, while managing Okestudio and theatres both domestically and internationally. The label also toured extensively across Korea, Japan, and Northern Asia, and created military songs. Although Okeh ceased its activities due to the Pacific War, its substantial yet often overlooked influence laid an essential groundwork for future artists following liberation.

Oke Records, a South Korean record label, was operational both prior to and following the country's liberation. The name "Okeh" derives from the Japanese pronunciation of the English term "Okay," and it is represented in the alphabet as 'Okeh.'

Founded in 1932, the exact date and conditions of its inception are not well-documented; however, the celebration of the '15th Anniversary of the Joseon Musical Troupe' (조선악극단) in April 1947 implies that the organization may have been established around April 1932.

Okeh Records was the latest addition to the five major record companies active during the Japanese colonial period, which included Columbia Records, Victor Records, Polydol Records, and Taepyeong Records, all of which ceased operations by 1943, coinciding with the end of the Pacific War. Despite being the last to enter the market, Okeh Records achieved notable success, becoming the second-largest producer of records and playing a crucial role in promoting many of the era's most prominent artists and songs.

Initially, the company was known as the Japanese Okeh Gramophone Company Gyeongseong Temporary Sales Office, later rebranded as the Gyeongseong Branch. The management was overseen by a Korean named Lee Cheol, although information regarding the company's financial structure is scarce. It is clear that Okeh Records depended on Japan's Teichiku Records for its recording and pressing operations, indicating a significant initial partnership with Teichiku. A theory suggests that Lee Cheol's wife, Hyeon Song-ja, had a school friend whose father was an executive at Teichiku Records, which may have aided in the branch's establishment; however, this connection remains unverified.

Okeh Records launched its first album in February 1933 and maintained an active production schedule for approximately 11 years, concluding around late 1943 or early 1944. It ranked second in the volume of new album releases, following Columbia Records, and played a pivotal role in the popular music industry, significantly outpacing its rivals. Initially, the company operated from the Japanese Deichiku Records studio until early 1936, after which it established its own recording facilities in Gyeongseong (Seoul) by late 1936, marking the beginning of its Gyeongseong recording era.

From its inception, Okeh Records prioritized stage performances and album production, featuring one of the finest bands of the time. The company distinguished itself by ensuring that all arrangements and accompaniments for popular music were performed by Korean musicians as Gyeongseong recording evolved. In 1937, Teichiku Records appointed Imura Ryozui as branch manager, taking over the operational rights from Lee Cheol, which led to the rebranding of the company as Teichiku Records Gyeongseong Branch.

Following a fire in January 1941, plans for a new office building were set in motion, resulting in a facility with studios completed by mid-May. Although the precise date of Okeh Records' final album release remains uncertain, it is believed that production continued until late 1943, with operations effectively ceasing in 1944 after the withdrawal of Japanese capital post-liberation. The reestablishment of Okeh Records in August 1948, highlighted by albums such as “Cry Silver Bell,” signified a new entity while honouring the legacy of the original Okeh Records.

Okegrand Show (오케그랜드쇼)

Since its inaugural album release in 1933, Okeh Records had prioritized stage performances, featuring a performance group known as the "Okeh Ensemble," (오케 앙상블) which consisted of artists exclusive to the label and toured extensively across the country, Japan, and Manchuria during recording intervals.

The transition of Okeh Ensemble into the Okeh Grand Show occurred when the operational rights of Okeh Records were transferred from Lee Cheol to Imura Ryozui, who had been sent from Japan's Teichiku Records post-1937.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

Following this shift, Lee Cheol, facing limitations on his decision-making in the recording industry, founded the Joseon Entertainment Company (initially named Joseon Recording Company) in January 1938, thereby venturing into a new domain of stage performances.

This evolution led to the reformation of the traditional orchestra into the Orchestra Grand Show, which emerged as the premier performing group in Joseon, eventually evolving into the ‘Joseon Musical Troupe’ (조선악극단) after its inaugural tour of Japan in 1939.

Orchestration Team (오케싱잉팀)

As the Joseon Akgeukdan expanded and managing multiple schedules became increasingly challenging, a sister group was established to split the performances into two factions, concentrating on popular music. This led to the formation of the Okesinging Team.

Both Photos - Not shore the name of the two ladies but both worked with Okeh Records. Note shore when both of these photo’s was taken, probably around 1940s.

The Okesinging (오케싱잉) Team, or Okegayodan (오케가요단), made its debut in June 1940, showcasing prominent artists from Okerecord, such as Lee Nan-young, Nam In-su, and Lee Hwa-ja. Despite its formal designation as a distinct entity, the Okesinging Team frequently performed alongside the Joseon Akgeukdan during events. Active until 1941, the Okesinging Team focused on musical performances before entering a brief hiatus. In 1943, it rebranded as the Shinseng Theatre Group (신생극단), broadening its repertoire beyond music and re-emerging on stage.

Orchestra Music and Dance Research Institute (오케음악무용연구소)

Akgeuk and Akgeukdan are the ‘Joseon Musical Troup’, I’m not shore why they are written as Akgeuk or Akgeukdan.

The Okeh Music and Dance Research Institute, founded by Lee Cheol (이철), who also established the Joseon Entertainment Company and led the ‘Joseon Musical Troupe’ (조선악극단), aimed to continuously identify and cultivate talent in popular arts, marking it as the first specialized educational institution for this field in history. Established in September 1940, the institute was directed by Lee Cheol, supported by a faculty of 13 professors from diverse disciplines who provided rigorous education to carefully selected students. Notable faculty members included Kim Hyeong-rae (김형래) in music, along with Kim Min-ja (김민자), Jo Yeong-suk (조영숙), and Lee Jun-hee (이준희) in dance.

This photo was taken in 1943 after the ‘Joseon Musical Troupe’ (조선악극단), the greatest entertainment group of its time, finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). English – (1) Prince Yeong Chin (Lee Eun) (2) Princess Yi/ Lee Bang-ja (3) Kim Jeong-gu (4) Jang Se-jeong (5) Lee Nan-yeong (6) Lee Cheol, head of the Joseon Musical Troupe (7) Kim Hae-song (8) Lee Bok-bon (9) Lee Jong-cheol. Korean – (1) 영친왕(이은) (2) 이방자 (3) 김정구 (4) 장세정 (5) 이난영 (6) 이철 조선악극단장 (7) 김해송 (8) 이복본 (9) 이종철.

In February 1941, the inaugural performance of the first class of cadets, who had trained for approximately six months, took place, with Kim Baek-hee (김백희; 金白姬) emerging as the most distinguished among them; she later became a leading figure in musical theatre following Korea's liberation. By April 1941, an advertisement was released to recruit the second class, establishing an annual selection process for new cadets. These trainees underwent three years of instruction, during which they were not initially compensated but were exempt from tuition and provided with fashionable uniforms. After acquiring sufficient training and skill, they performed as backup dancers or in the chorus for the Joseon Music Troupe, with the most talented individuals given the chance to perform solo by their third year. Those who remained until their third year could earn a significant salary.

Baek Seol-hee (백설희; 白雪姬), who later thrived in musical and popular song genres post-liberation, was part of the third class selected in 1942 and made her solo debut just before graduating in 1944. Alongside Kim Baek-hee and Baek Seol-hee, the Okeh Music and Dance Research Institute nurtured numerous other talents in music and dance, such as Kang Yun-bok (강윤복; 康允福), Shim Yeon-ok (심연옥; 沈蓮玉), and Joo Ri (주리; 朱莉), significantly contributing to the continuation of Lee Cheol's legacy until the 1950s. The Aoi (アオイ) Music Theatre Troupe, a performance group, was established in May 1941.

Similar to the Joseon Music Theatre Troupe, the Joseon Entertainment Company managed the Aoi Music Troupe, which seemingly maintained a strong affiliation with the Okeh Music and Dance Research Institute. The troupe consisted entirely of female newcomers, and the Okeh Institute was the primary source for such talent, indicating a natural collaboration. The term 'Aoi,' which translates to 'blue' in Japanese, likely derives from 'Aoyama,' the surname of Lee Cheol, the leader of the Joseon Entertainment Company.

Following Lee Cheol's death in June 1944, the Okeh Institute rebranded itself as the Cheongsan Music and Dance Research Institute, further linking the name to Lee Cheol. The Aoi Music Troupe made its debut along the Honam Line in late May 1941; however, the absence of subsequent records suggests it may not have achieved commercial success and was likely disbanded. From the perspective of the Joseon Entertainment Company, this initiative can be viewed as a trial endeavour.

The last witness of the 'Joseon Musical Troupe', the life of Kang Yun-bok

This article was published after Kang Yun-bok’s (강윤복) who was a veteran dancer passed away in 2015, and talk about his life who worked for Okeh Records, and like the title says, he was a witness of the ‘Joseon Musical Troupe’ (조선악극단). I’ll briefly talk about him with the little information i found about him, as for some reason there is little information about him, don’t know why?

Veteran dancer Kang Yun-bok, whose birth name was Kang Yun-deok (강윤복), passed away on May 12, 2015, at the age of 91, due to natural causes.

Born in Pyongyang in 1924, Kang was a prominent member of the Joseon Music Troupe, a notable musical ensemble during the Japanese colonial era, and subsequently performed with the KPK Orchestra under the direction of composer Kim Hae-song, as well as the 8th US Army Show.

Kim Yun-bok during a KPK Orchestra performance in the late 1940s.

The 8th US Army Show thrived from 1953, coinciding with the presence of US forces during the Korean War, until the mid-1960s, when troop levels decreased due to the Vietnam War, and it was instrumental in launching the careers of various stars, including Patty Kim and Bok hee Yoon.

Music critic Park Sung-seo remarked that Kang Yun-bok was the last living member of the Joseon Akgeukdan, the premier popular culture group of the Japanese colonial period, noting that his low public profile has contributed to his obscurity, despite his significant role in the history of popular music.

Kang was married to the late Jeon Hae-nam, a trailblazer in Korean tap dancing, and he is survived by his son Park Jae-bin and daughters Dan-hee, Jin-hee, and Hyeon-hee.

----------------------------------------------------------------------

In September 1940, a significant milestone occurred in the realm of Korean popular arts with the establishment of the Okeh Music and Dance Research Institute by Lee Cheol, a prominent figure in colonial Joseon's music scene. Lee, who had already made a substantial impact through his work with Okeh Records and the Joseon Music Theatre Company, aimed to cultivate future talent in popular arts through this private educational institution. The institute became a breeding ground for numerous musicians and dancers who gained prominence in the 1940s and 1950s.

Kim Hae-song, Kang Yun-bok, and Joo Ri during a KPK Orchestra performance in the late 1940s.

The inaugural class attracted many teenage girls, who were enticed by the offer of free music, dance, and liberal arts education for three years, with the opportunity to perform on the Joseon Music Theatre Company stage for those who excelled. Ultimately, around 40 students were selected based on their appearance, talent, and growth potential, although the curriculum, which encompassed music theory, vocal training, and diverse dance styles, proved to be quite challenging.

After three years, only nine students graduated from the initial cohort of 40, among whom Kang Yun-bok (1924-2015) emerged as a notable dancer alongside Kim Baek-hee, a vocal music standout. Kang, who passed away on May 12, had initially enrolled at the research institute while attending Sookmyung Girls’ High School, driven by her passion for dance despite her family's strong opposition. Her remarkable talent and dedication soon alleviated her family's concerns, allowing her to flourish in her chosen path.

In April 1941, merely six months after his enrolment at the institute, he made his debut with the ‘Joseon Musical Troupe’ (조선악극단), quickly becoming a prominent member of the ensemble that performed across Korea, Manchuria, Japan, and China. By May 1943, he witnessed Prince Yeong Chin moved to tears by Kim Jeong-gu’s rendition of “Fallen Flowers Three Thousand” at the Prince’s Tokyo residence, and in June 1944, he learned of the unexpected passing of Lee Cheol, the troupe's leader, in Shanghai.

Kang Yun-bok, who appeared in a theatre show in the late 1950s

Following liberation, as the Joseon Akgeuk Troupe began to wane, Mr. Kang Yun-bok transitioned to the KPK Orchestra, which debuted in December 1945. This orchestra, founded by composer Kim Hae-song—a former key member of the Joseon Akgeuk Troupe who had departed earlier—incorporated many of its members, including Mr. Kang Yun-bok, effectively becoming its successor.

While the early 1940s marked the prominence of the Joseon Akgeuk Troupe, the late 1940s signified the rise of the KPK Orchestra. With the burgeoning Akgeuk market, Mr. Kang Yun-bok not only performed with various groups, including the KPK Orchestra, but also emerged as a significant choreographer.

The onset of the Korean War led to the loss of Kim Hae-song, the disbandment of the KPK Orchestra, and a swift decline in Akgeuk; however, Mr. Kang Yun-bok's influence in popular dance expanded during this tumultuous period.

In addition to various performances that supplanted musicals, the U.S. 8th Army Show, which gained momentum in the mid-1950s, and the presence of U.S. troops in Okinawa, Japan, created a demand for Mr. Kang Yun-bok's dance expertise. Furthermore, with the decision to deploy Korean troops to the Vietnam War, the Southeast Asian performance venues also sought his talents.

Beginning in the late 1960s, Kang Yun-bok primarily focused on stage and broadcast choreography while dedicating himself to mentoring future artists. His nearly four-decade career, which concluded in the late 1970s, represents a crucial chapter in the evolution of Korean popular dance. Despite the significant decline of this genre over the years, Kang's contributions extend beyond popular dance, playing a vital role in enriching the broader narrative of modern and contemporary Korean performing arts.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

The National Arts Archives has persistently sought Kang Yun-bok's involvement in the ongoing "Oral Recording of Korean Modern and Contemporary Art History" project, initiated in 2003. After several refusals, he finally agreed to participate on the 15th of last month.

Preparations for the project were progressing smoothly, with plans to finalize administrative tasks and commence the official oral recording in early June; however, Kang Yun-bok's unexpected passing occurred before this could take place. The loss of this key figure, who could have provided invaluable insights into the largely unrecognized Chosun Akgeukdan and KPK Orchestra, is profoundly felt.

While it is not uncommon for an individual's death to erase memories of a particular era, the immediate sense of loss in this instance is striking. Nevertheless, Mr. Kang Yun-bok left behind words and materials, and it is hoped that these can be gathered to illuminate the rich history of the past stage performances.

Joseon Musical Troupe's Performance to visit Prince Yeong Chin

This article published in 2010 was about a photo of the ‘Joseon Musical Troup’ visiting Prince Yeong Chin, that was deemed lost or a myth being found. I won’t go into much detail about the two royal family members shown in the photo as my main focus here is the ‘Joseon Musical Troup’.

Crown Prince Uimin Yi Eun, also known as Prince Yeong Chin or Lee Eun, lived from October 20, 1897, to May 1, 1970. He was part of the Imperial Family of the Korean Empire and held a political role within the Empire of Japan. He was married to Princess Yi Bang-ja, who was born on November 4, 1901, and passed away on April 30, 1989. Princess Yi Bang-ja was also a member of the Imperial Family of Japan and was the eldest daughter of Prince Nashimotonomiya Morimasa, making her the first queen.

At the former location of the palace, the evening smoke drifts lazily in the gentle river breeze, prompting a reflection on the fate of the three thousand palace ladies who once resided there.

In 1943, Kim Jeong-gu, a prominent 27-year-old singer of his era, performed his renowned song "Fallen Flowers Three Thousand" (낙화삼천) at the Akasaka mansion in Tokyo for Prince Yeongchin (Lee Eun) and Princess Yeongchin (Lee Bang-ja), who were held captive in Japan. The poignant performance moved Prince Yeongchin to tears, and soon, all fifty attendees were similarly affected.

A notable legend in Korean pop history recounts how the finest singers of the Joseon dynasty travelled to Japan to perform for Prince Yeong Chin, resulting in a collective outpouring of tears from the audience. The photograph surfaced, providing evidence that substantiates this poignant narrative. (The photo in question shown below)

This photo was taken in 1943 after they finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). Prince Yeong Chin (Lee Eun) (영친왕(이은) and Princess Yi/ Lee Bang-ja (이방자) can be seen in the centre of the photo surrounded by the ‘Joseon Musical Troupe’.

Lee Jun-hee, a visiting professor at Sungkonghoe University and an authority on vintage pop music, revealed on the 24th that he uncovered a commemorative photograph of the ‘Joseon Musical Troupe’ (조선악극단), which featured prominent artists of the era such as Kim Jeong-gu, Lee Nan-young, Jang Se-jeong, Song Dal-hyeop, and Kim Hae-song, alongside Lee Bok-bon and Lee Jong-cheol, during their visit to Prince Yeong Chin’s residence in Akasaka in 1943, where they held a consolation performance for the king.

The photograph was preserved by Kang Yun-bok, an 86-year-old first-year researcher at the Music and Dance Research Institute of Oke Records, led by Lee Cheol, the troupe's head, and Kang's experience parallels that of a modern trainee in a major entertainment agency. He also recounted the poignant moment when Prince Yeong Chin and the troupe members were moved to tears by Kim Jeong-gu's performance.

The professor noted that the Joseon Akgeukdan, established in the 1930s, was instrumental in cultivating many legendary singers and enjoyed significant popularity in Japan, which contributed to their emotional connection to Prince Yeong Chin, reflecting their sorrow over the loss of their homeland, a sentiment shared by all the performers who have since passed away.

I found the news clip of the ‘Joseon Musical Troupe’ first public release of footage of them. First public release of footage of the 'Joseon Akgeukdan' from the Japanese colonial period Anchor Translation – “Do you know about the 'Joseon Musical Troupe', which featured the best stars of the time during the Japanese colonial period? KBS has obtained footage of the Joseon Musical Troupe's activities, which soothed the nation's sorrow. This is reporter Cho Ji-hyeon.” Report Translation - "This is a performance by the Joseon Music Troupe in Japan in 1939, during the Japanese colonial period. The song they are singing passionately is the new folk song “A New Day Is Dawning.” You can see the faces of Go Bok-su, the greatest star of the time, from Living in a Foreign Land, Lee Nan-young from Tears of Mokpo, Jang Se-jeong from The Ferry Departs, and Nam In-su. This is “Money Song” sung by Kim Jeong-gu. <Recording> “The wind is blowing. The wind of money is blowing.” The conductor, Son Mok-in, is a giant of our music industry who composed Tears of Mokpo and Living in a Foreign Land. These videos were inserted into a Japanese film and are being released for the first time in 70 years. <Interview> Lee Jun-hee (Visiting Professor at Sungkonghoe University): “The oldest popular song material... It has tremendous historical significance.” During the Japanese colonial period, the Joseon Music Troupe enjoyed immense popularity, to the point of touring China and Japan. A photo taken in 1943 with the Joseon Music Troupe at the invitation of Prince Yeongchin, who was taken as a hostage to Japan, has also been released. It is said that Prince Yeongchin shed tears when Kim Jeong-gu sang 'Nakhwasamcheon', which is about the fall of Baekje. The Joseon Musical Troupe, which comforted the pain of the nation with songs during the colonial period. You can watch videos of their activities on the special song stage for the founding of the public corporation. This is Jo Ji-hyun from KBS News."

The photograph was featured on KBS 1TV's "Gayo Stage" as part of a special broadcast commemorating Independence Movement Day on March 1. During this episode, a video from 1939 showcasing the Joseon Akgeukdan was presented, which the production team acquired through a professor. The footage included performances by notable singers such as Nam In-su, Kim Jeong-gu, Go Bok-su, Jang Se-jeong, and Lee Nan-young, who collectively sang contemporary folk songs like "Don Taryeong" and "A New Day Is Bright." Producer Kang Young-won remarked that this video is likely the oldest surviving recording related to Korean pop music

There are probably more interviews about people talking about Okah Records and other Korean record company artists out there but at this point i can't find any more. If people can find any more interviews about veteran artists just post them below, it would really helpful.

While concluding my research on Okah Records, I discovered several interviews filmed in 2009 featuring individuals who were either married to or children of the artists associated with Okah Records during the 1940s. The interviews included Lee Young-mi, daughter of Lee Cheol; Oh Jeong-sim, wife of Son Mok-in; and Kim Young-jae, son of Kim Seong-heum. Unfortunately, these videos lack subtitles, leaving me unable to comprehend their discussions.

Despite the limited availability of videos featuring their families discussing these renowned artists, gaining insights and engaging with those who knew them proves invaluable for understanding the history of the Korean entertainment industry prior to liberation.

[jokertrap-ran]

[スタオケ] La Corda d'Oro Starlight Orchestra Main Story Chapter 1-4 Translation

*Starlight Orchestra Masterlist *Spoiler free: Translations will remain under cut *Main story tag will be #Main Starlight

Sakuya: Hang on, aren’t we supposed to be practising for the concert? Why are we outside?

Ginga: Did you think all we have to do is to perfect our performance in the practice room and show off in the concert hall? How naive!

Ginga: This Starlight Orchestra of ours does not have a name for itself. No one knows about us.

Ginga: No one’s gonna come if we hold a concert like this. So we’re going to nab ourselves our future audience.

Ginga: They say that one actual performance is better than 100 practices with nothing to show, don’t they?

Ginga: If all goes well, we might even get a potential recruit from the audience!

Ginga: And if they’re moved enough, we might even get tips! Yup, this is a perfect plan, if I say so myself!

Sakuya: I’m starting to worry about the future… So, all we have to do now is to recruit enough people to join us?

Ginga: Yup.  It’s a pretty solid plan, no?

Ginga: Here, I’ve prepared a score for you. It’s Mozart’s famous Piano Quartet No.2.

Ginga: Alright, then let’s get stringing!

☆ ━━━━━━━ ∘◦♬◦∘ ━━━━━━━ ☆

Ginga: Wow, you guys are doing well. Good, good.

Ginga: Alright, that was pretty good for a song I just sprung on you out of nowhere.

Ginga: But we still need something to wrap it in the basket. Let’s go with something that makes much more of an impression next.

Sakuya: Huh? Even if you say that… What do you suggest we do?

Ginga: You’ll never know until you try. Okay, now try improvising with the piece on the spot.

☆ ━━━━━━━ ∘◦♬◦∘ ━━━━━━━ ☆

General Ed Guy: Whoa… I never knew that there was someone in the general ed department who could play like this…

General Ed Girl: Oo~ Sounds good! I might attend their concert if they do hold one. ☆ ━━━━━━━ ∘◦♬◦∘ ━━━━━━━ ☆

Ginga: Yes, yes. Perfect! You guys must be geniuses to be able to get the hang of it so quickly!

Ginga: Whew, I’m elated to have such brilliant members!

Music Ed Guy: Huh? What’s this? The general ed students are recruiting members for an Orchestra?

Music Ed Guy: Seriously? Ugh, what a joke. Right, Ryuzaki?

Hayate: Starlight Orchestra…!? What’s the meaning of this?

☆ ━━━━━━━ ∘◦♬◦∘ ━━━━━━━ ☆

Hayate: Aren’t you the general ed student that came by to undertake the entry test for our club back then?

Hayate: Do you know just what the Starlight Orchestra is? Are you doing this despite knowing what it stands for?

⊳ Choice: Not really.

Hayate: What? Surely, you must be joking.

⊳ Choice: I’m aiming to make the best Orchestra the world has ever seen!

Hayate: That’s bold coming from you.

⊳ Choice: I don’t know, but we’re looking for members.

Hayate: Wha- Are you trying to poach me?

Hayate: I’ll tell you since you don’t seem to know anything. The Starlight Orchestra is a thing of legend.

Hayate: About 10 years ago, the winner of the Nationwide Concours personally selected talented members from all over the country to form an ensemble that was later known to be the Starlight Orchestra.

Hayate: It’s not something that an amateur like you should be playing around with on a whim.

Hayate: You’re sullying the name of the Starlight Orchestra. You should disband right this instant.

Hayate: What? You’ve got a problem?

Hayate: It’s for your own good too. Especially when you’re giving such pathetic performances with your hodgepodge of an ensemble.

Sakuya: He sure has a lot to say about us…

Ginga: Go, (L/n)! I choose you! Refute him!

⊳ Choice: Even so, I still want to give it my best shot.

Ginga: Oh, now that’s really something. I can’t believe you said something like that when faced with such a threat.

Hayate: Just hearing about your intentions to work hard does no wonders. Results are everything.

⊳ Choice: But it’s just as he says…

Sakuya: *sigh* Why are you only backing down now, of all times…?

Hayate: So you ARE aware.

⊳ Choice: I want to make that legend a reality.

Hayate: …! That’s bold.

Music Ed Guy: Knock it off, Ryuzaki. They won’t listen to us anyway, and this isn’t any of our business.

Hayate: …You’re right. And it’s only a waste of time to get involved.

Hayate: We may share the same name, but we’re completely different. After all, yours is just a make-believe mockup made by general ed students.

Ginga: *sigh* Seiso Academy’s Music Education Department really has sky-high pride.

Sakuya: You graduated from music ed too, didn’t you?

Ginga: But we were much laxer about it then, you know?

Ginga: Well, let’s leave it at that. It’s getting dark out and I’m getting hungry, so let’s call it a day.

Ginga: We did great for our first day. See you next time!

☆ ━━━━━━━ ∘◦♬◦∘ ━━━━━━━ ☆

Sakuya: *sigh* He made us play so many times, and there weren’t any rehearsals, so we had to make do… I’m exhausted.

Sakuya: ……

Sakuya: …Sorry, can you head back first? I need to stop by elsewhere.

⊳ Choice: I’ll go with you if you’re buying something.

Sakuya: It’s alright if you don’t. It’s nothing important. See you tomorrow then.

⊳ Choice: Alright.

Sakuya: See you then. Good night.

⊳ Choice: Good work today.

Sakuya: Yeah. You should rest too.

☆ ━━━━━━━ ∘◦♬◦∘ ━━━━━━━ ☆

I stepped into the dorm. Something smells good…

???: Oh, welcome back, senpai. You’re just in time. I’ve just finished cooking up some curry.

???: The supermarket opposite the station was selling chicken wings for super cheap, so I added lots of them into the curry.

???: I mean, the Dorm Mom’s taking a break from meal-making today and all.

⊳ Choice: Can I really eat it?

???: Of course. That’s why I made it.

⊳ Choice: Thank you.

???: Haha, no worries. I’m glad that you’re happy.

⊳ Choice: Yay!

???: A day like this is perfect for curry, don’t you think?

Tomoharu: I just got my first paycheck so I have the cash to spare.

Tomoharu: Hm? No, I don’t think I can really be considered a self-supporting student.

Tomoharu: I mean, this dorm costs an exceptional fee of ¥5000 with all utilities included.

Tomoharu: Oh, right. Do you want pickled vegetables? I have scallions too if you want.

⊳ Choice: You’re splurging way too much.

Tomoharu: Haha, I can’t help it. Although, I might have taken it a little too far with my newfound financial freedom.

⊳ Choice: I give you full points for service!

Tomoharu: Hehe, please enjoy your meal.

⊳ Choice: I’ll pay for half of it.

Tomoharu: Are you sure?

Tomoharu: Ahh, then how about you make something next time instead? That way, we’re even.

Tomoharu: But I’m glad you look happier today.

Tomoharu: I mean, you looked pretty troubled yesterday, and you were even muttering something about a strange bus…

⊳ Choice:  Actually…

Tomoharu: What!? A new Orchestra? That’s amazing!

Tomoharu: I’m sure you’re happy, aren’t you? You did say that you wanted to try your hand at being part of an Orchestra again.

Tomoharu: Plus, you’re constantly cooped up in the practice room playing all day.

Tomoharu: I respect the amount of hard work you put in.

⊳ Choice:  So you’re aware…

Tomoharu: Haha, well, of course, I’d notice.

⊳ Choice:  Because it’s something I love doing!

Tomoharu: Haha. And I think it’s cool that you can say that.

Tomoharu: So you’re forming a new Orchestra and gathering members to aim to go worldwide together…

Tomoharu: That sounds brilliant. It makes me feel like wanting to try my hand at performing in an Orchestra too…

Tomoharu: Do you think someone like me can enter that Orchestra of yours? I think I can work hard if it’s your Orchestra I’m joining.

Tomoharu: So, how about it? Senpai-

Tomoharu: Uh, oops! The seaweed soup’s about to boil over.

Tomoharu: I’ll just be over here, so take a break, yeah?

☆ ━━━━━━━ ∘◦♬Main Starlight♬◦∘ ━━━━━━━ ☆

Previous Part: (Chapter 1-3) Next Part: (Chapter 1-5)

[tastesoftamriel]

How do you think things like theater and entertainment differs between the provinces/races of Tamriel? I imagine bawdy comedies are popular in Cyrodiil while Summerset prefer historical epics

I’ll be totally honest: I don’t have loads of time for entertainment, and when I’m catering for a banquet I’m too busy behind the scenes to be able to stop and enjoy shows! However, from what I have been able to gather, these are some of the weird and wonderful performances I’ve been lucky enough to watch across Tamriel.

Altmer

The very best entertainers from Summerset are from the House of Reveries, a time-honoured guild of mysterious masked performers who can do anything from acting to dance, music, and magic tricks. Every year, the House puts on a revue featuring the best of their talent, drawing crowds from near and far. I attended one of the revues as a guest a couple of years ago, and had an excellent time! From a historical opera about the Oblivion Crisis to fire-twirlers and a whole orchestra, the House of Reveries is without doubt the most prolific and capable of Tamriel’s entertainers. If you’re able to make it to their home in Summerset, catching any performance is definitely a once-in-a-lifetime experience.

Argonians

Argonians love music and dance, whether it’s at a tavern or a bonding ceremony! Most famous of their instruments is the vossa-satl, a keyboard instrument that’s powered by the croaks of frogs (really)! While it sounds absurd if you’ve never encountered one, there’s something beautiful about the tuned croaking that really evokes the ambiance of the deep swamps of Murkmire. Vossa-satls can be played on their own, accompanied with singing and drums, or even are even played on special occasions as quartets. An awful lot of fun to dance to as well!

Bosmer

The Bosmer are known for their entrancing shadow-puppet plays, which people come from far and wide to see. Narrated by a Tale-Spinner, these plays feature puppets made from stiff hide, whose shadows are projected against an opaque leather screen. It’s accompanied by music played on bone flutes and pipes, drums, and throat-singing that has an almost meditative quality. These puppet shows tell traditional stories Valenwood such as of Falinesti, Y’ffre, the Green Lady and Silvenar, and much more. I don’t really know what they’re on about most of the time due to the peculiar use of language and riddles used by Bosmer tale-spinners, but it’s an absolutely riveting way to spend your evening if you’re in Valenwood.

Bretons

Breton theatre is an interactive experience, so put on your dancing shoes and ready those rotten apples! Over-the-top musical comedies and dramas are a favourite of the Province, typically featuring anywhere from a handful to a couple dozen actors and a small band. The audience is encouraged to play along and it’s not uncommon to find yourself hoisted on stage to throw a pumpkin at the villain of the show! Comedic puppet shows like Punch-and-Julian are popular with young and old alike, and use cloth puppets or marionettes which are more detailed than Bosmeri shadow puppets. And of course, nobody loves The Lusty Argonian Maid’s adventures quite as much as the Bretons, so be sure to catch a performance (sometimes a themed costume party, for the saucier citizens) while you’re in High Rock!

Dunmer

Traditional Morrowind entertainment has a strong focus on magic, particularly illusion magic to scintillate the crowd (especially in areas where the Telvanni hold influence). The Dunmer are keen lovers of puppet shows, somewhat like Bosmer shadow puppets, but instead prefer the use of large, doll-like marionettes that are carved to look wonderfully realistic to show the characters and creatures of a bygone age. My favourite was an epic about St. Jiub and his quest to rid Morrowind of cliff racers, and it was accompanied by some frankly terrifying and realistic illusions of cliff racers which soared above the crowd and caused quite a panic! The Brave Little Scrib may thus be the safest bet for beginners to Dunmeri theatre, or those with a weak constitution.

Imperials

When it comes to entertainment, nobody in Tamriel puts on a show quite like the Imperials. The Arena is known for its bloody fights and betting, but has also been used for everything from huge circus performances and opera to the famous mock naval battles. The latter are a spectacular annual event where the arena floor is flooded and real ships are brought in to fight, complete with “pirates”, cannons, sword-fighting, and much more! Definitely not suitable entertainment for children, but if you love the ostentatious and over-the-top, be sure to visit the Imperial Arena (or any of the other smaller arenas that dot the Province) for some truly stunning shows.

Khajiit

In addition to their amazing skill at stringed instruments, the Khajiit are known for their dance and acrobatic skills. Traditional dancers in Elsweyr train for years at academies and temples alike, with a training regime that rivals their peers in the martial arts. This training also includes some jaw-dropping acrobatics and contortion, making Khajiiti circuses extremely popular as they travel around, usually as part of a Baandari troupe. Unlike the circuses staged in Cyrodiil, these troupes are usually made of a handful to a dozen performers, each with their own unique talents and abilities. A typical performance usually starts with dancers to warm up the crowd, followed by heart-stopping acts like trapeze, tightrope, and walking over hot coals! If you want to be wowed, be sure to grab a ticket the next time a Khajiiti circus troupe is in town; you won’t be disappointed!

Nords

You’re probably very aware of the famous Bard’s College of Solitude, one of the most prestigious institutions to study music in all of Tamriel. However, bards do far more than play the lute and sing songs. They are well-versed in recounting tales, especially historical ones (albeit with some embellishment). You’ll be on the edge of your seat listening to amazing original and time-honoured kennings and songs, preferably around the fire with a tankard of mead. While far less ostentatious than most other entertainment you’ll find in Tamriel, there’s nothing quite as cosy as a bardic evening at the tavern.

Orcs

The Orcs aren’t generally fans of theatre, but they sure do enjoy entertainment in the form of sports like Vosh ball and wrestling! Sporting events draw huge crowds of all races, meaning that you’ll find everything from hot snacks to live music in the arena. Vosh ball is a traditional Orcish sport which has been played for centuries, and is prone to getting violent, so grab a helmet (preferably one with a visor) before you sit down, and enjoy the show! Not feeling like watching? In certain cases, you can even give these sports a go in amateur rounds, but you will be asked to sign a disclaimer form…missing teeth, other injuries, and the occasional death aren’t uncommon. You’ve been warned!

Redguards

The Redguards are renowned for their poetry, song, and epic storytelling, often performed by wandering poet-explorers who live off the generosity of strangers. Unlike the traveling bards of Skyrim, you’ll usually need to visit these reclusive storytellers yourself, or host one when they’re in town! It’s well worth the trouble, as these wandering souls usually love performing with anyone else who’s game. One of my most memorable nights out was in Sentinel, where bored locals who came to listen to a visiting poet happened to bring all their talents with them. When the story about the Akaviri invasion ramped up, a few musicians struck up a tune, and for some reason a sword-swallower joined in! Entertainment in Hammerfell is a joyous community affair, and no two performances are ever alike.

[dustedmagazine]

Listed: Colin Fisher

Photo by ilyse krivel

Toronto-based multi-instrumentalist Colin Fisher is on a constant quest for the ecstatic through sound. His journey has taken him in many directions, from the math-rock inspired group Sing That Yell That Spell, to the fiery free improvisation duo Not the Wind, Not the Flag. As a band leader, his free jazz quartet released the white-hot Living Midnight for Astral Spirits in 2020, about which Derek Taylor wrote, “Passages of ruminant restraint alternate with excoriating blasts and outbursts, but the means always remains intelligible and momentum driven whether full-steam or incremental.” Solo, Fisher has recently wafted in a more contemplative direction that might see him associated with the new age revival, but this work is as exploratory and engaging as his most spirited improvisational outings. Here, he lists some of the pieces within which he experiences the sublime.

Jean-Pierre Leguay — Chant d’Airain

Some of my first experiences with the sublime in music were in church. I abhorred being in church (and would even attempt to hide to avoid attendance) but at the end of service the organist played as the congregation filed out. The selections were usually secular and I can remember my rapt attention. Not because of some aesthetic taste but because I was having a physical/biological response to the sounds. Being in the resonant chamber of the cathedral provided a fully immersive experience. Rather than suggest whatever music was being played at the time I’m going to fast forward to my mid 20s… While in the same church, I heard the principal organist of Notre Dame improvise with some Messiaen-symmetrical ideas that lifted me out of my corporeal form and left me sobbing in a church pew at the very church I would have done everything in my power not to be present in as a child. The organist was Jean-Pierre Leguay.

Ravi Shankar — At Monterey Pop

An early transmission from what seemed like outer space at the time, as a young child I heard the sounds of Ravi Shankar and Alla Rakha live at Monterey Pop (my parents had this and the record with Yehudi Menuhin.) Ravi is far from my fav Hindustani musician or sitarist, of which I have innumerable favorites now. But I’m particularly enamored with Vilayat Khan after reading his biography, The Sixth String of Vilayat Khan, a couple of years ago. Pandit Pran Nath is also a huge inspiration.

Polvo — Cor-Crane Secret

Without sifting through the rubble of my punk/hardcore teens (which was totally legit inspirational beauty, from Minor Threat and straight edge to grunge, etc.) I want to highlight a band that literally changed my life in my mid to late teens. When I first heard Cor-Crane Secret by Polvo, I didn’t realize that music like this existed. It gave me permission to go on long wonky improvisational explorations — endless melodies and whammied chords that would go on for hours sometimes. I also got to see them on the Today’s Active Lifestyles tour when I was 18, totally life changing.

Ornette Coleman — The Shape of Jazz to Come

The next stage I’ll focus on has a little more girth: my introduction to jazz/free jazz/improv/fusion. I think I first discovered this music by accident. I remember seeing a clip of Monk on the news the day he died. I was much younger, and I thought to myself “this music is like an alien transmission!” But I put that away in the vaults for a couple of decades. I also remember seeing a clip on TV of a soprano player at a jazz fest in Toronto, playing the craziest shit I’d ever heard (once again on a news program,) but had little-to-no context. The clip lasted probably 10 seconds but felt longer and I remember thinking something like “this is more punk rock than punk rock!” hahaha. So, there was a hunger there that I needed to satiate. But I had no access to any recordings where I lived. I remember reading books at the library about jazz history and the only CDs I could borrow were Manteca or big band music. I had to imagine what Song X sounded like for the time being. Ornette’s The Shape of Jazz to Come was one of the first albums I actually bought, and it was more magical than any description could possibly illustrate. As pedestrian as this may seem to everyone now, it was another life changer for me. I can remember late nights sitting by myself, probably super high on good weed, listening to “Lonely Woman” and weeping.

John McLaughlin — Extrapolation

In my early days of discovering jazz, I also came across the music of John Mclaughlin, initially via Mahavishnu Orchestra. His whole profile as a guitarist was incredibly inspiring for me — someone who had an equal footing in jazz, Flamenco, Indian classical music and fusion — a model for what I could become as a player (although I don’t think our styles are really even that comparable.) One of his albums that I think is maybe overlooked in his career is Extrapolation which has an incredible lineup and the compositions are incredible.

John Coltrane — Interstellar Space

In considering this list I’m realizing there’s no way I can touch on all the music that has shaped me. But there is an album that’s shaped a great deal in terms of how I play and in what seems to be my favorite type of collaborative setting — the duo. Interstellar Space is an absolute masterpiece. Everything feels raw — the intensity, the interplay, the emotion. As much as I love so much of John Coltrane’s music, there’s something about this record that was akin to hearing punk music for the first time. There’s an immediacy to expression and interaction. And it was something that felt available to me (certainly not his virtuoso chops, which felt otherworldly — an unscalable monolith.) The direct communication between two people was a revelation and the content of this music felt like something I could mine for the rest of my life.

The Ivo Perelman Trio — “Cantilena”

Fast-forward another few years or more and I had travelled with some good friends to NYC for I think it was the JVC Jazz Fest. We wanted to see MMW play (of whom I still think Friday Afternoon In the Universe is a perfect album.) While we were there though, we saw so much beautiful music that blew me away. The most significant for me though, was catching the last 10 minutes of a set by the Ivo Perelman trio in Tribeca somewhere (the trio was with Jay Rosen on drums and Dominic Duval on bass, who I played with several years later. RIP). It was electrifying. I was moved enough to go and talk to him after and he gave me an unmarked demo tape of Seeds, Vision and Counterpoint. There’s a track on the album called “Cantilena” and it really drops into this heavy space for around 10 minutes that gives me the chills every time I hear it. There is this free lyricism that is still absolutely elating to me. I love his playing and he’s still probably my favorite living saxophonist.

Marilyn Crispell — Vignettes

Masabumi Kikuchi — Out of Bounds

Using lyricism as a segue it brings me to the music of Marilyn Crispell, especially her albums Amaryllis,Nothing Ever Was Anyway, Vignettes and many others. She has a mode of free ballad playing that is absolutely transcendental. I will also mention Masabumi Kikuchi in the same breath. I find the desire more and more to play with a similar intention even though I rarely find myself in the context to do so.

Jute Gyte — Birefringence

A total shift from this narrative of discovery and development is metal music. Something I’d been listening to since my teens and getting hip to some cool thrash music through Canadian band Voivod, particularly the album Dimension Hatröss. I've continued to follow the music and all of its various subgenres and have so many favorite picks, but I’ll choose just one and it’s a total mindbender. Jute Gyte’s Birefringence actually eclipses easy category and you really just need to experience it.

Giacinto Scelsi — “Uaxuctum”

Catherine Christer Hennix — “Blues Alif Lam Mim In The Modes Of Rag Infinity/Rag Cosmosis”

My last pick is another double pick (I know I’m cheating) because it relates to the power of music and ties it into the first selection. Another current, among many, of musical obsessions is “new music.” But when I heard Giacinto Scelsi’s music for the first time it surpassed all of my previous notions about what was possible with composed music — it felt like music from an ecstatic vision. Even as I listen to the track now, it immediately accesses some occult realm of sublimity that feels similar to the music I first heard in church but with an unbridled intensity and depth.

Another more recent selection that fits into this category — but that is different in that it embraces a sort of stasis rather than dynamic movement — is the music of Catherine Christer Hennix. If you don’t know her, she’s a deep well of musical/mathematical/spiritual inspiration for me. Another music without a real equivalent in this day and age — something that echoes ancestral currents as well as the vibration of the cosmos itself. Thanks for reading/listening. Peace be with you. xoxo

[michiigii-writes-mysme]

classical musician!MC

Future parties now have an in for live orchestra... 👀

Zen:

Ah, a fellow performer

Money will be so tight

He’d love listening to her practice

Everyone has an audition ritual, and he’d be so ready to help

Zen has some musical background, himself, so he might try to accompany on guitar or piano

He would try to attend all of her concerts, and would feel incredibly guilty if one of his shows landed on the same night

Would be there for her to practice if she plays for an opera company

Yoosung:

While a student, his favourite thing would be her practicing in the next room while he studies

Both of you working for your dreams

Lobbies to get a group from your company to play for his graduation

When he gets his clinic, he has posters of his MC’s company up in the waiting room

Jaehee:

Cafe with live quartet, anyone?

Sells CDs of her MC’s music, and plays it on the speakers

MC and some of her orchestra friends do impromptu mini concerts for the cafe (they’re just jamming out; it’s never official)

Whenever her MC has a concert, Jaehee puts up special offers for anybody that can show her a playbill or ticket to it

My headcanon is that their apartment is right above the cafe, so sometimes customers can hear MC practicing through the ceiling

Jumin:

Always makes sure that she has the highest quality instrument supplies

Has a soundproofed practice room built in his condo for his MC

You heard of cat-based projects?? Get ready for cLaSsiCaL mUsiC-bAsEd pRoJecTs

If MC will let him, he sits in on her practice sessions

Always pays for box seat tickets to her concerts

Makes the rest of the RFA go

Her company is now sponsored by C&R

At her encouragement, C&R now backs music scholarships to nearby schools

Seven:

It’s not his go-to music, but he likes listening to his MC play

Ends up inventing weird/cool electronic versions of his MC’s instrument

Casually leaks sound bites online; not enough to ruin a concert, but to pique a little interest

Saeran:

Her playing soothes him

Listening to her CDs or while she’s practicing helps him focus

Sits in the back row for every single one of her concerts

She’s caught him napping with her instrument more than once

Very good at maintenance and repairing her instrument, should the need arise

V:

He plays violin, so...duets? 👀

Uses his connections to help advertise her concerts

Listening to her music while he paints has become his New Thing

Has a whole photography portfolio of her and/or her instrument: at concerts, while practicing, and even mundane moments like her happening to sip coffee with her instrument in-frame

Whenever a new CD comes out, he has a painting to offer as album art

Two artists in love is Their Aesthetic

Vanderwood:

Pretends to be ambivalent about her “glorified hobby”

She’s caught him listening to her music more than once, but he denies it every time

Likes to pretend he’s forgotten which instrument MC plays: “How’s that flugelhorn of yours coming along?” “You know I play the cello.”

There’s a rare occasion, every now and then, where Vanderwood brings MC a gift that has something to do with her music

“How did you know I needed a new case?” “I just found it. Nobody’s making you use it.”

“Leopard print strap! Very sexy...” “Shut up.”

“This is, like...the most expensive rosin that there is. How did you know I ran out?” “I thought it was gum.”

They support their MC, they just don’t want to be obvious about it.

[trainingblog238]

Cynthia Freivogel

Cynthia Miller Freivogel received a BA in musicology at Yale University and an MM in violin performance at the San Francisco Conservatory. In addition to being the leader and concertmaster of the Baroque Chamber Orchestra of Colorado, Ms. Freivogel plays with Brandywine Baroque in Wilmington, Delaware, and is a tenured member of Philharmonia Baroque Orchestra, based in the San Francisco Bay Area of California. She is a founding member and second violinist of the Novello Quartet, which is dedicated to the performance of the string quartets of Haydn and his contemporaries on period instruments. Ms. Freivogel frequently performs at Bay Area early-music venues with ensembles such as Magnificat, Voices of Music and American Bach Soloists, and on concert series at Old First, San Francisco Early Music Society and MusicSources. Ms. Freivogel spends summers playing violin in the Colorado Music Festival Orchestra in Boulder. She also played with the Tanglewood Music Center Fellowship Orchestra, San Luis Obispo Mozart Festival, the State Orchestra of Sao Paulo, Brazil, Apollo’s Fire, Portland Baroque, American Russian Young Artist’s Orchestra, and Amerus chamber players. Ms. Freivogel studied principally with Camilla Wicks and Marylou Speaker Churchill, and is a dedicated and certified Suzuki teacher.

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2 records for Cynthia Freivogel. Find Cynthia Freivogel's phone number, address, and email on Spokeo, the leading online directory for contact information. Listen to music by Brandywine Baroque: Cynthia Freivogel, Karen Flint and Douglas McNames on Apple Music. Find top songs and albums by Brandywine Baroque: Cynthia Freivogel, Karen Flint and Douglas McNames including Sonata in D major, Op. 1: Grave-Allegro-Adagio, Sonata in D major, Op. 1: Allegro and more.

Known Locations: Jamaica Plain MA, 02130, Berkeley CA 94705, Oakland CA 94610 Possible Relatives: Benjamin W Freivogel, Bill Hein Freivogel, Elizabeth D Freivogel Cynthia L Freyvogel, age 44, Pittsburgh, PA 15243 View Full Report.

Cynthia Freivogel Voices Of Music Youtube

Alberto Miguélez Rouco, Arttu Kataja, Collegium Vocale Gent, Combattimento Consort, Cynthia Miller Freivogel, Daniel Johannsen, Florian Just, Johannes Kammler, Klaas Stok, Maarten Engeltjes, Marc Pantus, Netherlands Bach Society, Philippe Herreweghe, Pieter Dirksen, Renate Arends, Rene Jacobs, Robin Johannsen, St. John Passion, St. Matthew Passion, Thomas Hobbs

A little over 22 years ago, my husband and I moved from the Netherlands to California. My husband is a Jazz bass player in his spare time, so for him the music was another aspect to “living in Paradise.” There are many more Jazz performances and festivals here than in Europe, and there are lots of people here to do jam sessions with.

Cynthia Freivogel Telemann

But for me it was a different story. I found a wonderful voice teacher and a good choir to sing in, but I missed the strong Dutch tradition of hearing and performing Bach’s Passions in the weeks before Easter. I used to have my biggest bouts of homesickness around that time of year. The heartache was softened only by it being my most favorite blooming season in California: the few weeks when two native trees, the purple Western Redbud (Cercis Occidentalis) and the blue-violet wild lilac (Ceanothus) bloom at the same time. The photos here don’t really capture how beautiful those colors are and how stunning it is when you see them together in the landscape, but it is something that makes me very happy.

Last year I didn’t have any homesickness, because all Passions in the Netherlands or Belgium I could have attended or participated in were canceled, so I didn’t feel I was missing anything. And while the world locked down, at the same time it became more accessible to me, because performances were now being moved to the internet. This meant I could watch the dress rehearsal of Herreweghe’s St. John Passion without the 11-hour plane ride or the struggle with jet lag. (That video registration is still available: find it here – scroll a bit down to where it says “Passions 2020”).

This year there were so many online St. Matthew or St. John Passion offerings from the Netherlands it was almost overwhelming. I didn’t have time to listen to all of them before writing this today, because most of the videos didn’t go live until yesterday, Good Friday. So I’ll just focus on a few that stood out to me.

Cynthia Freivogel Wikipedia

Find the English translations of the St. John Passion here; the St. Matthew Passion here.

Cynthia Freivogel Vivaldi Four

In the category “most interactive creation” I would like to mention the St. John Passion by Zing als vanZelf. An initiative of online singing instructor Bert van de Wetering, this organization invited thousands of singers to record themselves singing the chorales at home in the weeks leading up to Good Friday. They then recorded a performance with professional soloists singing the arias and the choruses with the excellent Combattimento Consort (Cynthia Miller Freivogel, concertmaster) as the orchestra, this all under the direction of Pieter Dirksen. Then they edited all this together into a video where you see the performance from a pretty church in a small town in the Netherlands, but every time there is a chorale you see the “choir” of individual volunteer singers pieced together on the screen. A really clever and touching solution. Watch it here. If you enjoy it, please consider making a donation, similar to what you would have paid if you would have attended this in person. The link for that is right there under the video.

For readers who understand Dutch and would like to learn more about the St. Matthew Passion, I highly recommend the video program from the organization that every year brings performances of this masterpiece to the beautiful Bergkerk in the city of Deventer. This year they recorded four arias from the St. Matthew Passion, in the order they appear in the second half of the work: “Erbarme dich” (sung by countertenor Maarten Engeltjes), “Aus Liebe” (sung by soprano Renate Arends), “Komm, süßes Kreuz” (sung by bass Florian Just), and “Mache dich, mein Herze, rein” (sung by bass Marc Pantus). What I liked best about this video is the conversations director Klaas Stok has with each soloist before they sing their aria. Through these conversations, I gained a lot of new insights into the meaning of the different arias. I especially loved what Klaas Stok had to say about the architecture of the piece, the role each aria plays in the overall structure, and how different movements are connected. Of all the talks, I particularly enjoyed bass Marc Pantus’ take on “Mache dich, mein Herze, rein,” the final aria on the program. You can watch this until April 14. Just click here. But please note, it is all in Dutch. Again, a link to donate is right there under the video.

Last but not least, the most impressive performance I listened to yesterday and today: The St. John Passion (1725 version) by the Netherlands Bach Society under the direction of René Jacobs. This was shown on Dutch television on Good Friday, so if you don’t understand Dutch, you’ll have to sit through a confusing excerpt from the St. Matthew Passion and a few ads at first, but then you can forward the video 14 minutes, to skip the pre-concert interview with René Jacobs. Soloists are Daniel Johannsen, tenor (Evangelist); Johannes Kammler, bass (Christ); Robin Johannsen, soprano; Alberto Miguélez Rouco, countertenor; Thomas Hobbs, tenor; and Arttu Kataja, bass. There is so much fluidity and phrasing in the orchestra, such a good blend in the choir, as well as excellent enunciation from the choir, it is extraordinary. All the choral movements are extremely transparent, I enjoyed that very much. Jacobs takes some risks with considerably slower tempi in the chorales than is usual in the Historical Performance Practice world, stretching out the pauses in the Evangelist’s recitatives, and taking long fermatas on ending notes, but it is never old-fashioned or too Romantic. It makes for a very engaging, one of a kind performance. All soloists are wonderful, but I would like to give a shout-out to the two tenors: Daniel Johannsen for being an excellent Evangelist, and Thomas Hobbs for his fabulous “Zerschmettert mich” aria (one of the arias that is not in the better known, 1724 version). Donate to the Netherlands Bach Society here.

Cynthia Freivogel Youtube

If you don’t feel like listening to any Passion music anymore, please find my three Easter blog posts from previous years through the following links:

Cynthia Freivogel Voices Of Music

Wieneke Gorter, April 3, 2021.

[hmel78]

In conversation with Keith Emerson ...

Keith Emerson (02.11.44  – 11.03.16)

The Father of progressive rock; the man responsible for the introduction of the Moog synthesiser to the ears of the unsuspecting music lover in the 1960’s; and without a doubt one of the 20th and 21st Centuries (to date) most prolific and talented composers of modern classical music.   In a career spanning 6 decades, which has earned him notability as a pianist and keyboard player, a composer, performer, and conductor of his own music alongside the World’s finest orchestras; as well as achieving super success with “Emerson, Lake, and Palmer” - 2014 has been no less eventful for Keith Emerson! With his 70th Birthday approaching, Helen Robinson caught up with him for a very ‘up-beat’ chat about (amongst other things) the re-releases of his solo records, a brand new album with Greg Lake “Live at Manticore Hall”, his favourite solo works, and his memories of the times spent writing and recording with ‘The Nice’, and ‘ELP’.

HR : This has been a busy year for you so far Keith!   KE : Yes! I’ve been up to allsorts! [laughs]

Music wise – what can I tell you?   Cherry Red , Esoteric, have re-mastered and re-released 3 of my solo albums – “Changing States”,  another which I recorded in the Bahamas called “Honky”, and a compilation of my film scores which consisted of  "Nighthawks”, “Best Revenge”, "Inferno”,  “La Chiesa (The Church)”, "Murderock”, "Harmagedon” and "Godzilla Final Wars”.

HR : That must have been a difficult selection to make based on the number of scores you’ve written! Do you have a particular favourite genre of film to write a score for?

KE : Favourite genre?  Boy, well, I just love film score composition, you know? When I first started I had been touring with ELP for some years, and we’d toured with a full 80 piece orchestra but it was just too expensive – we had to drop the orchestra and continue as a trio, which was very upsetting for me.   I was entranced by what an orchestra could actually do, and found that with doing film music I could work under a commission and have the orchestra paid for by the film company!

It’s always a challenge. I think a lot of composers like to write dramatic music. I like writing romantic music as well – I’ve also written for science fiction where you can let your musical imagination go pretty much where you want, but generally you have to cater specifically to the film. First of all I like to get a good idea of who the producer and director is, and who is likely to be cast as playing the lead roles.  I like to read the script – which helps prior to meeting up with the director and producer. When I wrote the music to Night Hawks I was sent, by Universal films, news of a new film to be made by Sylvester Stallone, a new guy at the time called Rutger Hauer, and Billy Dee Williams, also Lindsay Wagner.   It was basically a terrorist film – not the terrorism that we shockingly see today – but back then it was the beginning of terrorism and was quite mild by today’s standards, however it was still sort of ground breaking as far as writing the score was concerned.  

It’s about vision with film score work.

Although really it’s all about vision with anything you’re writing, and I suppose many of the disagreements that ELP had during their time – of course a lot of it came to wonderful fruition – were not seeing eye to eye because we had such different tastes in music. Ubiquitous I would say – we bounded from one thing to another. Just when you thought it was getting serious we’d want to have some fun and do something light hearted but I’ve always maintained that variation is essential.

I think that’s what helped ELP quite a lot – especially live - in any particular set you had the heavy stuff like “Tarkus” and “Pictures At an Exhibition”, for the guys in the audience, and for the females who attended reluctantly - dragged along by their boyfriend or husbands and just sit there -  I mean, I didn’t sit, I was standing and leaping around [laughs] but you couldn’t help notice the glum looking females in the audience wondering when all this was going to be over.

I think when ELP were together as a unit, we managed to meet everybody’s needs. Greg came up with some really great ballads which sort of got home to the feminine heart, like “From The Beginning” – the feminine heart goes “aaah aint that nice” [laughs] and then suddenly you get the bombardment of something like “Karn Evil 9” and it’s like “Oh GOD”!!

HR : I’d like to talk more about ELP, of course, however there’s so much more outside of that unit , which you have been involved with, that has had quite an influence on modern music.   You’ve got an extraordinary and fairly extensive discography, which we can pick whatever you’d like to talk about, but I’d like to start with ‘The Nice’  -  “Ars Longa Vita Brevis” ...

KE : Ah Yes ‘’Art is long, life is short” - Lee Jackson came up with that title - he’d studied a bit of Latin ... [laughs]

Going back to the 1960’s then – I suppose it was ‘66 when ‘The Nice’ formed – originally as a quartet. Drums, bass, Hammond organ or keyboards, and guitar player.  After the first album we decided to move on as a trio, although I did try to find another guitar player.   I actually auditioned a guy called Steve Howe, who was considering getting together with Jon Anderson, and Chris Squire and forming a band called “Yes”.  Steve was much more interested in getting with the “Yes” guys, so meanwhile ‘The Nice’ continued as a trio with Lee Jackson on bass, Brian Davison on Drums, and myself on Hammond and keys.   It was during this time that I was introduced to a new invention designed by Dr Robert Moog, which became the moog synthesiser, so I was the first to introduce that into live performance.  

With ‘The Nice’ we had come out of an era called the underground / Psychedelia.  

I was very friendly with Frank Zappa and the mothers of invention, and they were really far ahead of their time.

Frank approached me one day, because I was composing and playing with the London orchestras even then, and said ‘’Keith - how do you deal with English orchestras? They’re hopeless!”

And I said ‘’Well, they’re very conservative Frank. If you really want to make it with the London Symphony, or the London Philharmonic - if you really want my advice, I think you should try and change some of the lyrics of your songs. If you’re going to get in front of the London Philharmonic and sing stuff like ‘’Why does it hurt when I pee?’’ obviously these guys are not going to take very kindly to it!” [laughs]

I’d actually done Bachs Brandenburg concerto #3 with a chamber orchestra and had a degree of success in the English charts-  around about the same time ,  Jon Lord  [Deep Purple, Whitesnake] was writing his concerto for orchestra too. I’d already written the “5 bridges suite” which I had recorded with ‘The Nice’ at Fairfield hall in London. So basically Jon Lord and I were kind of both struggling with Orchestras and moving along into what came next musically for the both of us –   Jon was a very good friend.

I think round about the turn of 1970, I had noticed what Steve Howe was doing and it was very harmonic, whereas ‘The Nice’ - well we were a bit more bizarre, and I listen back to it now and I suppose I have a slight bit of embarrassment about how ‘The Nice’ were presenting themselves.

And back then I’d started looking at bands like ‘Yes’, and there were a lot of other bands too, who were really concentrating on the tunes and the vocal element, so that’s when and why I formed ‘Emerson Lake and Palmer’ - in 1970 - and endorsed the whole sound with the moog synthesiser. It sort of took off, and became known as what we know today as “Prog Rock”.  We didn’t have a name for it at that time, we just thought it was contemporary rock. I mean it wasn’t the blues, it wasn’t jazz, but it was a mixture of all of these things, and that’s when we went through.

The first album of ELP, [Emerson, Lake, & Palmer] recorded in 1970; we were still learning how to write together as a unit, so consequently when you listen to it, you’ll hear a lot of instrumentals; mainly because there were no lyrics and there was a pressure on the band to get an album out. For some reason there was an extreme interest in the band - We were to be considered as the next super group after ‘Crosby Stills & Nash’, which we certainly didn’t like the idea of.   That album went very well.   Unfortunately the record company decided to release “Lucky Man” - which was a last minute thought – as a single, and it took off. My concern was the fact that, OK yeah the ending has the big moog sweeps and everything like that going on – but how on earth  do we do all the vocals live? Thousands of vocal overdubs over the top and neither Carl nor I sang.   You know - I sing so bad that a lot of people refuse to even read my lips!   And as far as Carl Palmer was concerned he had “Athletes Voice” and people just ran away when he sang! It was a hopeless task of actually being able to recreate “Lucky Man” on stage, so eventually Greg just did it as an acoustic guitar solo.   It was that one sort of Oasis, in a storm of very macho guy stuff, where the women just went [in a girly voice] “Oh I like that, that’s nice”.  [laughs]

So, inspired by that we got more grandiose and put out ‘’Pictures At An Exhibition” – another bombastic piece based upon Mussorgsky’s epic work. For some reason Greg wanted it released at a reduced price because he said it wasn’t the right direction for ELP to go. So we released it for about £1 and it went straight to number 1!  Then the record company called up and said ‘’what are you doing? This is a hit record and you’re just selling it for £1??!!’’, so I said ‘’well yeah it’s a bit stupid isn’t it?” – so when it was released in America it was at its full price and ended up nominated for a Grammy award! ELP had a lot to do to create the piece you know?   We disagreed on lots of issues but in order to keep the ball rolling we just moved on with the next one, which was in fact “Trilogy”.

I thought it was about this time in ELPs life that we had learned how to tolerate each other, how to write together, and how to be very constructive. “Trilogy” is a complete mish-mash, you go from one thing to another; there’s a Bolero, and then ‘Sherriff’ – which is kind of western bar jangly piano playing on it.   I don’t think you could find such a complete diversity buying a record like that these days. We were very much inspired by our audience accepting that.  

Actually Sony Records are going to re release it in 5.1 – they’re doing a wonderful package with out-takes and everything – I’ve just competed doing the liner notes.

We moved on again then, and started the makings of “Brain Salad Surgery” which was a step further.  

After that I worked on my piano concerto played by the London Philharmonic Orchestra, and actually it’s still being performed all over the world - Australia, Poland, and in October I’m going to East Coast America to do some conducting – Jeffrey Beagle, who’s a great classical pianist, is going to perform it then, and I’m going to perform some other new works of mine.  

HR : Are you likely to release a recording of it?

KE : Yes I guess it might be ... I’ll let you know. It’s a dauntless compelling challenge. I have conducted and played with orchestras before and I’m very thankful to have classical guys around me who are able to point me in the right direction.   I was never classically trained. I started off playing by ear and then having private piano lessons, and then basically teaching myself how to orchestrate. I’m still taking lessons in conducting and I don’t think I’ll ever get to the standard of the greats like Dudamel or Bernstein – I don’t think I’ll ever be able to conduct Wagner, but so long as I’ve written the piece of music I think I’ve got an idea of roughly how it goes!  [laughs] Thankfully I’ve worked with Orchestras who are very kind to me.

HR : Do you enjoy the performance as much as the writing?

KE : Actually I enjoy the writing more than the performance. I know I wrote an Autobiography called ‘’Pictures Of An Exhibitionist” but that’s the last thing that I am really.   I’m pretty much a recluse. I’ve got my Norton 850 and I’m happy ...

HR : I was going to ask you about the Theatrics on stage – Why Knives and swords? Was there something which influenced the decision to include that as a part of your performance, or was it purely born out of frustration from working with Carl and Greg?

KE : [laughs]  Well you see in the 60s, I toured with bands like The Who, and I watched Pete Townshend; I toured with Jimi Hendrix too, and I thought that if the piano is going to take off then the best thing to do is like really learn to become a great piano or and keyboard player, but I also thought “that aint gonna last with a Rock audience in a Rock situation”, mainly because the piano or Hammond organ  - well from the audience you look up on stage and it’s just a piece of furniture! Whereas the guitar player can come on stage and he’s got this thing strapped around his neck, he can wander up and down the sage, check out the chicks, and he’s the guy that has all the fun.   The organ player meanwhile is just seated there at a piece of furniture like he’s sat at a table.   So a lot of what I did was for the excitement of it, and I suppose to exemplify the fact that I could play it back to front. A lot of my comic heroes like Victor Borg, Dudley Moore – they all came into the whole issue too.

I’ll tell you this ok? I once went to see a band at the Marquee club when it was in Wardour Street in London, and I can’t remember this guys name now, but he played Hammond organ - he was a very narky looking fellow, and went on stage wearing a schoolboys outfit which caused a lot of the girls in the audience to chuckle.   I stood at the back of the Marquee club and watched his performance - a lot of the stops and things were falling off his organ, so he had a screwdriver to keep holding certain keys down, and then suddenly the back of his Hammond fell off – and I don’t think it was intentional, because he looked really quite distraught, but he caused so much laughter from the audience. I went away thinking “there is something there, I’m going to use that” ... I actually thought it would be a great idea to stick a knife into the organ, rather than a screw driver -the reason for this was to hold down a 4th and a 5th , or maybe any 5th, or say a ‘C’ and an ‘F’ or a ‘G’, whatever, and then be able to go off stage, take the power off the Hammond, so that it would just die away -  it would go ‘’whoooaaaaaaaoooooh’’; and  then I’d plug it back in and it would  power back up and create like the noise of an air-raid siren, and of course the drummer and bass player would react to that.  It got really interesting. We actually had a road manager at the time by the name of ‘’Lemmy’’ who went on to be with Motorhead.   He gave me 2 Hitler Youth Daggers and said [best Lemmy impression] “here! If you’re going to use a knife, use a real one!”

So that was the start of all that, and people loved it, and actually Hendrix loved it too –  somewhere in his archive collection there must be some footage of me almost throwing a knife at him [laughs] .

The phase for it was my objection to the 3 assassinations they had in the USA -  JFK, Robert Kennedy, Martin Luther King -   I’d been to America once and seen how quick the Police were to pull out their guns to a woman parking her car illegally – so bizarre.  The 2nd amendment will not go away, as much as they want it to. I’ll reserve further comments on that but that was really the whole objective. I was banned from the Albert Hall for burning a painting of the Stars and Stripes, which took some time to get over, but everything worked and they allowed me live in California now. [laughs]

HR : What about the Manticore Hall show, also released this year, presumably you kept burning paintings off the agenda there? Was it good to work with Greg again? and then the complete ELP line up with Carl at High Voltage?

KE : No! [laughs], and Yes ... Actually that was recorded in 2010 and was an idea set up by a manager associate of mine, and an agent in California. I met up with them and they asked how I felt about doing a Duo tour to lead up to the High Voltage Festival in London.   They convinced me that it was a big festival ... and the idea was to have ELP on the Sunday night there. So the lead up was a duo tour with myself and Greg because Carl was off with Asia at the time.   It had its ups and downs, but it did eventually work very well and it was a very good warm up to doing that Festival date as the 3 of us.   I don’t think there was any intention of us going any further with it. I think the resulting “ELP at High Voltage” was good and also I think the album ‘’Live At Manticore Hall’’ - although it wasn’t released until this year, because Greg initially didn’t want it to be released at all - is good stuff too.   These things happen with bands, it takes a while for us to appreciate how good what we do is, sometimes.

HR : You’d had quite a break from ELP at that point, KE : [interrupts] I wouldn’t say that I ever take a break, if I can put it so lightly, and it’s not lightly, as to say that it’s kind of like a hobby – if I feel so inclined I will go to the piano and will write a piece of music. If that piece of music seems to warrant being augmented by anyone then I find the right people to do it.  I had a great experience last year of going to Japan and hearing the Tokyo Philharmonic play the whole of “Tarkus” – a 90 piece orchestra – I’ve never been so blown away. I worked with a Japanese arranger on the orchestration, and actually used it on an album which I recorded with Marc Bonilla, and Terje Mikkelsen called “Three Fates Project”,  which actually didn’t make it anywhere and I don’t know why. It’s a great album, very orchestral – I did the version of “Tarkus” on that complete with the Munich symphony orchestra. I changed it around slightly – I had Irish fiddle players coming in – I suppose, really you could refer to it as being World Music – it’s probably a great example of that.   It’s not based upon the ELP solo piano composition that we did on ELPs first album. I don’t think the record companies knew how to market it you know? Was it classical? was it rock? It has the complete amalgamation of group and orchestra. Wonderfully recorded. It really is quite mind blowing. Not that I want to blow my own trumpet!   Maybe if the art work had been a little more dynamic then it would have caught people’s attention. I agreed on it, but you see our names and they’re really small - I don’t think people realised who’s album it was.

HR : Have you any plans to perform it in the UK, or other parts of Europe? Scandanavia, for Blackmoon fans? Any tour plans at all?

KE : The thing is, first of all, that the direction that I am going at the moment is very orchestral. And that does take an awful lot of planning. As I say I’m going to play with the South Shore Symphony on the East Coast of America, but touring with an orchestra, as I learnt back in the late 70s with ELP, is very expensive.  It doesn’t make any money if I’m perfectly honest. If someone was to come up with the cost of shipping the instruments about then ...  but it’s not like dishing out the orchestral charts to an orchestra and then have The Moody Blues come on and play, and the strings do all the backing stuff, you know! This music is the music which I’ve written and really demands quite a lot of practicing.

For instance when I was recording “Three Fates” with the Munich Symphony, in Munich, I was interviewed during the break after the first day by a radio station, and they asked ‘’how do you think its going?’’ and I said “well if the orchestra are still here with me in 5 days time, I should be very surprised” [laughs] .   I remember on about the 4th day , one of the members of the orchestra had obviously heard the radio broadcast.   As and I walked out into the garden at break time, I passed one of the Trombonists who was smoking a cigarette and he said ‘’well we’re still here”...

There is an awful lot that can go wrong, of course, especially with orchestras. The copyist can sometimes write a b natural rather than a b flat, or they can get a whole load of other things wrong – and that’s what happened this particular recording.  

Marc Bonilla actually came up to me on a break and said “I think you should go up to the control room, and look at the score mate, something doesn’t sound right”, so you can imagine the look on my face! So off I go I’m up in the control room; radio through to the rehearsal room and start going through the score and sure enough it was wrong. I don’t know why I hadn’t heard that before, but it was down to the copyists – its the same with writing a book and you give it away to the editor – they can still mess it up – as copyists do with music. And sometimes you’ll get the orchestra, and they’ll just play what’s written rather than put their hands up and say “that doesn’t sound right”, for fear of retribution I suppose – so it is frustrating, but it’s very rewarding.

The Mourning Sun, taken from “Three Fates” 

https://www.youtube.com/watch?v=4PcOI8nDDeU

It’s been quite funny with some of these albums that Cherry Red are rereleasing. I happened to give one to my eldest son. I gave him ‘’Honky’’ and he came up to me and he said ‘’here Dad I’ve been listening to the Honky album and it’s really really good!’’  He and his friends are in their 40s now and they’ve all complimented me on it, so that’s the biggest compliment I could have really.

I was recording that album when he was about 4 years old. [laughs]

HR : Is that your favourite then? Honky?

KE : Oh yeah – I had so much fun making that album and I think it shows in it’s humour. It was great. The objective behind it was that I wanted to record with all the local bohemian people - I was living at the time in Nassau in the Bahamas. I didn’t really experience a lot of problems with the black bohemians –  I got on great with them all. There were some great musicians, and I wanted to do a very ethnic album to bring to the attention of the world that we can all get on! I used to drive around Nassau in a limited edition Jeep and kids would run out and yell at me ‘’Honky!’’ and I’d wave thinking ‘that’s kind of fun’.  Then, when I worked in the studio I noticed that the black musicians would all greet themselves with the ‘’N’’ word – we can’t say that now - says in an accent “Yo N ...” – so I thought ‘well if they can do that I am going to call myself a Honky!’ And they were horrified!!  [laughs] So I bluntly spoke to them and I said “listen you guys call yourselves ‘’Ns’’ so I’m calling myself a Honky, and damn it I’m going to call the album that too!” [laughs].  It was a lot of fun.

*** Honky - a derogatory term for a Caucasian person.

HR : We must get something down about Blackmoon – given that this is the title of the Magazine!

KE : [laughs] ELP, Blackmoon.  *sighs* Well  ... I remember from this time that Carl Palmer and myself wanted to have a different producer.

It was all well and good that Greg produced all the other albums but – I don’t think it’s a very good idea for any band ; if they’re involved in the writing and the playing, and then one band member decides he’s going to be a producer too.   You need someone objective to come in and say that they think it’s too long, or whatever ... whereas if you have a part in writing and playing, its obvious that you’re going to pay more attention to it, and Carl and myself really wanted an objective opinion about how to make it work. The producers that we auditioned were very familiar with ELPs work and were really considerate in how they constructed it.  The main consideration - and I think really it was a difficult time because Greg could see that his role as being a former producer of ELP was going to be taken away from him. Whereas for me I felt that Greg’s attention should be more on the writing and the lyrics and other aspects. There is so much that one had to pay attention to when running a band. There are the legal, accounting, and everything else – and above all you have the creative aspect and you really cannot go into a studio and become the producer and wear all these different hats. It doesn’t work, I don’t allow that even on my own music writing.  I’m quite happy to go in and play my music as long as I trust that the guy behind the music desk, and the mixing desk,  are on the same page, know who I am, and what I’ve done before – so at least there is a rapport where the engineer can see what you are trying to do and he will say – “ah you know what, why don’t we try and go for that you did on Trilogy - lets try it!” You have to work with people who understand you and then you can just sit back and work on it , accept a good idea, be pushed to your limits. The thing is with Greg - he felt that he had been removed from the situation which he had most power and pride in. Whereas I think most pride he should keep as the fact that he s a damn good singer and has written some great music. If you want a great team you have to designate to the right person.

That’s why I had Lemmy as my roadie.  If I hadn’t had Lemmy the knives wouldn’t have come out [laughs]. We owe Lemmy a lot! HR : Absolutely.  You two should record a duet!   Which Instrument would you choose? Moog, Melotron, Hammond?

KE : Hmmmmmmmm.  Piano. I’ve always written on the piano. I do have a mandolin hanging on the wall here, which is out of tune at the moment. You wouldn’t want to hear me play this mandolin ...

HR : Because it’s out of tune, or just in general?

KE : [laughs] because it’s out of tune but even if it was in tune I don’t know if it would work. It looks great hanging on the wall though ...

© Helen Robinson -  June 2015 Originally published in Blackmoon Magazine.

[Keith and I were great pals - I miss him <3]

[verdiprati]

Looking ahead . . . in spite of it all

The last time I published an unofficial list of Dame Sarah Connolly’s upcoming performances, it was with hesitation, knowing that she had months of treatment for breast cancer ahead of her and that she might need to withdraw from some of her performance engagements. That was in late October, 2019. I had, at the time, no inkling that a then-unknown respiratory virus would begin infecting humans over the winter and rapidly break out into a deadly pandemic, resulting in the widespread closure of public spaces and devastating the performing arts.

The change log appended to my previous unofficial schedule post shows that on March 23, 2020, I made the first round of edits to reflect corona-cancellations. Since then, I have been quietly monitoring the status of Dame Sarah’s scheduled gigs and crossing them off as their cancellations have become known to me. 

I have also picked up on a few new dates that we can very tentatively look forward to. It is hard to say how long the coronavirus crisis will go on; even when large, indoor public gatherings become possible again, some arts organizations may have had to slash their offerings—or may have succumbed completely—due to the financial fallout of the pandemic. In the meantime, we are starting to see some companies like the Bayerische Staatsoper, Wigmore Hall, and the Royal Opera House offer small-scale, live musical performances with no live audiences, just online streaming. 

Now that Dame Sarah is about to perform in one such livestream-only concert—tomorrow’s Das Lied von der Erde in Covent Garden, also notable for being her first live performance since withdrawing from the stage for cancer treatment over the winter—it seems like the right moment to refresh my list of her upcoming performances and start anew. 

See my current list after the jump.

This is the point in the post where I normally give a condensed list highlighting the cities where Dame Sarah is scheduled to appear in live performance, so that readers can tell at a glance whether she is coming anywhere near them. This list must now be read with a giant asterisk, as some performances may be online-only (so it doesn’t matter where you live), and others may be much more prone to cancellation than normal! 

That said—British performance sites on the horizon at the moment are the Royal Opera House (for online viewing only) and Wigmore Hall in London, plus the Lieder Festival in Oxford (also online only). Audiences in continental Europe might get to see Dame Sarah in Barcelona, Berlin, Hamburg, Amsterdam, or Luxembourg. An as-yet-unconfirmed operatic run may be in store for the 2021-2022 season in New York.

The usual disclaimers:

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah’s new website, Dame Sarah’s agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time. This obviously goes triple in the COVID-19 era.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

[Livestream only] Mahler, Das Lied von der Erde at the Royal Opera House, London, June 20, 2020. With David Butt Philip and members of the ROH orchestra; Antonio Pappano conducts. The performance will be livestream-only; no audience will be seated in the house. Tickets are £4.99 and grant you not only live access, but also the ability to view the concert on demand for two weeks following the performance.

[New!] Recital at Wigmore Hall, London, September 16, 2020. With Malcolm Martineau, in the Wigmore’s 1:00 p.m. “lunchtime” slot. Songs by Poulenc, Roussel, Mahler, and Bridge, capped by a pair of songs newly written by Bob Chilcott for Dame Sarah. At the time of this writing, Wigmore Hall expects to admit live audiences of 10%-20% capacity during the autumn season under socially-distanced reopening guidelines, but the situation for live performance in the UK remains fluid, to put it mildly. The website says that “More details on how to access tickets will be released in the coming weeks. All concerts will go ahead, with or without an audience.”

[Livestream] The recital, like all the others in Wigmore Hall’s autumn 2020 season, will be streamed for free on their livestreaming site. It appears that you can also use this YouTube link.

[Canceled] Recital at Wigmore Hall, London, September 30, 2020. With Roderick Williams and Julius Drake; the first concert of the Wigmore’s Mendelssohn and Liszt series. Public booking is scheduled to open on July 14. UPDATE: As of July 31, this recital is no longer listed on the Wigmore Hall website. Update, August 22: see above for a newly-scheduled Wigmore recital by Dame Sarah.

[New! Livestream only] Handel, Solomon (title role) and Foundling Anthem with the English Concert, October 1, 2020. Also starring Sophie Bevan, Soraya Mafi, and James Way; conducted by Harry Bickett. Selections from both works will be performed as part of a concert titled “Handel – The Philanthropist.” Tickets to the livestream are free; donations are requested to both The English Concert and Bart’s Heritage, the fund for renovating St Bart’s Hospital, which will be the venue for the performance. 

[Livestream only] Recital at the Oxford Lieder Festival, October 10, 2020. With Eugene Asti (pianist) as well as “emerging artist” William Thomas (bass)—apparently part of Barbara Hannigan’s Momentum initiative, which is supported by both Dame Sarah and the Oxford Lieder Festival. Schumann’s Fraunliebe und -leben and Mahler’s Rückert-lieder bookend an assortment of songs by Haydn, Arne, Bush, Quilter, Howells, and Britten. The livestream ticket (£12, or £5 for under-35s) includes access to a post-performance Q&A session with the artists. Video will remain available until November 1. Notably, the £250 “Pioneer Pass” for the whole festival gets you bonus goodies including “Two guest tickets to Dame Sarah Connolly’s recital, to share with friends” and “Exclusive artist interviews and other content.” 

[New!] “Pappano & Friends” chamber concert at the Barbican, London, November 1, 2020. With Ian Bostridge, the Carducci Quartet, and Antonio Pappano. Tickets are being sold separately for a limited live audience (£20) and for a video livestream of the performance (£12.50). The listed program comprises just two works: Ralph Vaughn Williams’ song cycle On Wenlock Edge and an arrangement of Ernest Chausson’s Poème de l’amour et de la mer. I don’t really know either work, but a little googling suggests to me that Bostridge will sing the RVW and Dame Sarah will sing the Chausson. Tickets go on sale to the general public on September 11 at 10:00 a.m., and a few of the live audience tickets will be held back from the earlier Barbican members’ sale for the general sale, so if you want to try to attend in person, be ready to act swiftly at that time.

[Livestream] As mentioned above, there is a fee of £12.50 for access to the livestream. The Barbican website says, “We advise you to watch the performance live, but the stream will be available to watch back for 48 hours after the live broadcast.”

[New!] Mozart’s Requiem with the English National Opera, London, November 6 and 7, 2020. Fellow vocal soloists are Elizabeth Llewellyn, Toby Spence, and Brindley Sherratt. With the ENO Chorus and Orchestra conducted by Martyn Brabbins. As of this writing early on September 15, the ENO website says “Ticket details will be announced soon.” ENO plans to perform for a live, socially distanced audience; livestreaming has been mentioned only as a backup option in case government restrictions make it impossible to host a live audience in the Coliseum. 

[New!] Forum participation, International Vocal Competition, 's-Hertogenbosch, Netherlands, December 2, 2020. Having postponed its opera and oratorio competition until 2022 due to the COVID-19 pandemic, the IVC announced that it would sponsor a multi-day series billed as “IVC Mozart Masterclasses & More” late in 2020. Masterclasses will be led by Vesselina Kasarova, Roberta Alexander, and Thomas Oliemans; Dame Sarah doesn’t seem to have the same role, but the IVC promises that she will be among several “leading professionals” who will “talk with the participants about the future of their profession” as part of “a forum ... about the future as it now looks for (young) singers.” Singers who were born no earlier than December 5, 1987 and who can cough up €500 for the experience may register by October 1, 2020. Members of the public may buy tickets to the events beginning “at the end of August.”

Handel, Agrippina (title role) at the Dutch National Opera, Amsterdam, January 17-29, 2021. The production is Barrie Kosky’s (previously seen at the Bayerische Staatsoper and the ROH, and later moving on to the Staatsoper Hamburg). Ottavio Dantone conducts; co-stars include Ying Fang (Poppea), Franco Fagioli (Nerone), Gianlucca Buratto (Claudio), and Tim Mead (Ottone). As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) at the Dutch National Opera, Amsterdam, March 10-27, 2021. In a double bill with the new commission From ‘Antigone’ by Samy Moussa. Other singers in the Oedipus cast include Sean Panikkar (Oedipus), Bastiaan Everink (Creon), Rafał Siwek (Tiresias), and Ramsey Nasr (Speaker). Erik Nielsen conducts; Wayne McGregor directs. As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester, Hamburg, April 10 and 11, 2021. Even though these concert performances follow on the heels of Dame Sarah’s engagement for the same opera in Amsterdam, the two gigs appear to be administratively and artistically unrelated. Her co-stars in Hamburg include Brenden Gunnell (Oedipus), Tomasz Konieczny (Creon), and Sir John Tomlinson (Tiresias); the MDR Rundfunkchor Leipzig supplies the men’s chorus. Alan Gilbert conducts. The program also includes Le sacre du printemps. Under a special policy instituted in response to the uncertainties of the coronavirus pandemic, tickets can be pre-ordered starting May 26, 2020, with payment due when it is confirmed that the performance will go forward, no later than six weeks before the concert. There’s some background information about the Stravinsky pieces on the NDR website.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester at the Philharmonie Luxembourg, April 19, 2021. Co-stars, conductor, and chorus are the same team as in the Hamburg performances, and the Luxembourg program likewise includes Le sacre du printemps. Tickets go on sale February 22, 2021.

[New!] Recital for St Luke’s Music Society, London, May 8, 2021. With Joseph Middleton. Repertoire TBA. Note that “during the COVID crisis tickets may be restricted to Friends only.” Tickets are £18 and Friends membership is £35; the tickets for Dame Sarah’s recital go on sale December 13. 

Recital at the Concertgebouw, Amsterdam, May 18, 2021. With Julius Drake. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade.

Elgar, The Dream of Gerontius with the Berliner Philharmoniker, Berlin, May 27, 28, and 29, 2021. With Allan Clayton and Roderick Williams, as well as the Rundfunkchor Berlin; Simon Rattle conducts.

[Livestream] The concert on the 29th will be livestreamed on the Berliner Philharmoniker’s Digital Concert Hall platform.

[Unconfirmed / details TBA] Tour with the Wiener Symphoniker, October 2-5, 2021. Dame Sarah’s name appears along with that of conductor and violinist Andrés Orozco-Estrada (who will take over as music director of the Wiener Symphoniker in the 2020-2021 season) in this list of orchestra tours on the website of agents Dr. Raab & Dr. Böhm. Details of the repertoire and cities for the tour will presumably be revealed when the Wiener Symphoniker announces its 2021-2022 season.

[New date!] Recital at Sant Pau Recinte Modernista [PDF], Barcelona, November 15, 2021. With Julius Drake. Part of the LIFE Victoria series of recitals; originally announced for November 27, 2019, but postponed due to Dame Sarah’s treatment for breast cancer; rescheduled for October 2020, and further postponed due to the coronavirus pandemic. Themed as a “Viennese journey by the hand of Alma Mahler,” the recital includes songs by Brahms, Wolf, Debussy, Alma Mahler, Gustav Mahler, and Zemlinsky. 

[Livestream? TBC] This article in the Catalan newspaper La República says of the combined 2020-2021 season that “Tots els concerts es retransmetran en streaming, independentment de si pot assistir-hi públic o no” (“All concerts will be streamed, regardless of whether the audience can attend or not”). I have been unable, however, to confirm this detail on the LIFE Victoria website or in the PDF of the combined season announcement. 

[Unconfirmed / details TBA] Brett Dean, Hamlet (Gertrude) at the Metropolitan Opera, New York, sometime in 2021-22. Allan Clayton, who starred in the title role of Brett Dean’s Hamlet at Glyndebourne in 2017, mentioned in an interview with the Telegraph that he would be reprising the role at an unspecified date and venue in the US. When prompted on Twitter, Dame Sarah indicated that she would be participating in the revival, too (“I shall be misunderstanding my confused boy again”). In a later interview with Opera News, Clayton reportedly specified that he would reprise Hamlet at the Met. The Future Met Wiki places the production at the Met in the 2021-2022 season (as does this New York Times article). Hat tip to Christopher Lowrey, who sang Guildenstern in the original production at Glyndebourne, whose tweet praising Allan Clayton brought the Telegraph interview to my attention. (No indication whether Lowrey will also be cast in the American revival.) Additional hat tip to the Tumblrer who submitted information on this topic via the ask box.

Previous versions of this list can be found under the schedule tag on this blog. This list published June 19, 2020. Updated June 22 to reflect the further postponement of the LIFE Victoria recital. Updated July 22 with the new date of the LIFE Victoria recital and the addition of the IVC forum. Edited July 28 to correct the closing date of DNO Agrippina to January 29 (not 27). Edited August 1 to reflect the cancelation of the September 30 recital at Wigmore Hall. Edited August 22 to add the September 16 recital at Wigmore Hall and update the Oxford recital with more details. Edited August 29 to add the English Concert livestream and fill in the repertoire for the September 16 Wiggy recital. Edited September 8 to add the Barbican “Pappano & Friends” concert. Edited September 15 to add the ENO Mozart Requiem and belatedly fill in some details on the Oxford Lieder Festival recital. Edited September 21 to add the recital for St Luke’s Music Society. I may continue to edit this list as I receive new information.

[blackkudos]

W. C. Handy

William Christopher Handy (November 16, 1873 – March 28, 1958) was a composer and musician who referred to himself as the Father of the Blues. Handy was one of the most influential songwriters in the United States. One of many musicians who played the distinctively American blues music, Handy did not create the blues genre but was the first to publish music in the blues form, thereby taking the blues from a regional music style (Delta blues) with a limited audience to a new level of popularity.

Handy was an educated musician who used elements of folk music in his compositions. He was scrupulous in documenting the sources of his works, which frequently combined stylistic influences from various performers.

Early life

Handy was born in Florence, Alabama, the son of Elizabeth Brewer and Charles Barnard Handy. His father was the pastor of a small church in Guntersville, a small town in northeast central Alabama. Handy wrote in his 1941 autobiography, Father of the Blues, that he was born in a log cabin built by his grandfather William Wise Handy, who became an African Methodist Episcopal minister after the Emancipation Proclamation. The log cabin of Handy's birth has been preserved near downtown Florence.

Handy's father believed that musical instruments were tools of the devil. Without his parents' permission, Handy bought his first guitar, which he had seen in a local shop window and secretly saved for by picking berries and nuts and making lye soap. Upon seeing the guitar, his father asked him, "What possessed you to bring a sinful thing like that into our Christian home?" and ordered him to "take it back where it came from", but he also arranged for his son to take organ lessons. The organ lessons did not last long, but Handy moved on to learn to play the cornet. He joined a local band as a teenager, but he kept this fact a secret from his parents. He purchased a cornet from a fellow band member and spent every free minute practicing it.

While growing up, he apprenticed in carpentry, shoemaking, and plastering. He was deeply religious. His musical style was influenced by the church music he sang and played in his youth and by the sounds of nature. He cited as inspiration the "whippoorwills, bats and hoot owls and their outlandish noises", Cypress Creek washing on the fringes of the woodland, and "the music of every songbird and all the symphonies of their unpremeditated art".

He worked on a "shovel brigade" at the McNabb furnace and described the music made by the workers as they beat shovels, altering the tone while thrusting and withdrawing the metal part against the iron buggies to pass the time while waiting for the overfilled furnace to digest its ore. He called the sound "better to us than the music of a martial drum corps, and our rhythms were far more complicated." He wrote, "Southern Negroes sang about everything...They accompany themselves on anything from which they can extract a musical sound or rhythmical effect." He would later reflect, "In this way, and from these materials, they set the mood for what we now call blues".

Career

In September 1892, Handy travelled to Birmingham, Alabama, to take a teaching exam. He passed it easily and gained a teaching job at the Teachers Agriculture and Mechanical College (the current-day Alabama A&M University) in Normal, then an independent community near Huntsville. Learning that it paid poorly, he quit the position and found employment at a pipe works plant in nearby Bessemer.

In his time off from his job, he organized a small string orchestra and taught musicians how to read music. He later organized the Lauzetta Quartet. When the group read about the upcoming World's Fair in Chicago, they decided to attend. To pay their way, they performed odd jobs along the way. They arrived in Chicago only to learn that the World's Fair had been postponed for a year. Next they headed to St. Louis, Missouri, but found no work.

After the quartet disbanded, Handy went to Evansville, Indiana. He played the cornet in the Chicago World's Fair in 1893. In Evansville, he joined a successful band that performed throughout neighboring cities and states. His musical endeavors were varied: he sang first tenor in a minstrel show, worked as a band director, choral director, cornetist, and trumpeter. At the age of 23, he became the bandmaster of Mahara's Colored Minstrels.

In a three-year tour they traveled to Chicago, throughout Texas and Oklahoma to Tennessee, Georgia, and Florida, and on to Cuba, Mexico and Canada. Handy was paid a salary of $6 per week. Returning from Cuba the band traveled north through Alabama, where they stopped to perform in Huntsville. Weary of life on the road, he and his wife, Elizabeth, stayed with relatives in his nearby hometown of Florence.

In 1896, while performing at a barbecue in Henderson, Kentucky, Handy met Elizabeth Price. They married on July 19, 1896. She gave birth to Lucille, the first of their six children, on June 29, 1900, after they had settled in Florence.

Around that time, William Hooper Councill, the president of what had become the Alabama Agricultural and Mechanical College for Negroes (the same college Handy had refused to teach at in 1892 due to low pay), hired Handy to teach music. He became a faculty member in September 1900 and taught through much of 1902. He was disheartened to discover that the college emphasized teaching European music considered to be "classical". He felt he was underpaid and could make more money touring with a minstrel group.

In 1902 Handy traveled throughout Mississippi, listening to various styles of popular black music. The state was mostly rural and music was part of the culture, especially in cotton plantations in the Mississippi Delta. Musicians usually played guitar or banjo or, to a much lesser extent, piano. Handy's remarkable memory enabled him to recall and transcribe the music he heard in his travels.

After a dispute with AAMC President Councill, Handy resigned his teaching position to return to the Mahara Minstrels and tour the Midwest and Pacific Northwest. In 1903 he became the director of a black band organized by the Knights of Pythias in Clarksdale, Mississippi. Handy and his family lived there for six years. In 1903, while waiting for a train in Tutwiler, in the Mississippi Delta, Handy had the following experience:

A lean loose-jointed Negro had commenced plunking a guitar beside me while I slept...As he played, he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars...The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard.

About 1905, while playing a dance in Cleveland, Mississippi, Handy was given a note asking for "our native music". He played an old-time Southern melody but was asked if a local colored band could play a few numbers. Three young men with a battered guitar, mandolin, and a worn-out bass walked onto the stage. Research by Elliott Hurwitt for the Mississippi Blues Trail identified the leader of the band in Cleveland as Prince McCoy.

They struck up one of those over and over strains that seem to have no beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went, a kind of stuff associated with [sugar] cane rows and levee camps. Thump-thump-thump went their feet on the floor. It was not really annoying or unpleasant. Perhaps "haunting" is the better word.

Handy noted square dancing by Mississippi blacks with "one of their own calling the figures, and crooning all of his calls in the key of G." He remembered this when deciding on the key of "Saint Louis Blues". "It was the memory of that old gent who called figures for the Kentucky breakdown—the one who everlastingly pitched his tones in the key of G and moaned the calls like a presiding elder preaching at a revival meeting. Ah, there was my key—I'd do the song in G. In describing "blind singers and footloose bards" around Clarksdale, Handy wrote, "surrounded by crowds of country folks, they would pour their hearts out in song...They earned their living by selling their own songs — "ballets," as they called them — and I'm ready to say in their behalf that seldom did their creations lack imagination.

In 1909 Handy and his band moved to Memphis, Tennessee, where they played in clubs on Beale Street. "The Memphis Blues" was a campaign song written for Edward Crump, a Democrat Memphis mayoral candidate in the 1909 election and political boss. The other candidates also employed Black musicians for their campaigns. Handy later rewrote the tune and changed its name from "Mr. Crump" to "Memphis Blues." The 1912 publication of the sheet music of "The Memphis Blues" introduced his style of 12-bar blues; it was credited as the inspiration for the foxtrot by Vernon and Irene Castle, a New York dance team. Handy sold the rights to the song for $100. By 1914, when he was 40, he had established his musical style, his popularity had greatly increased, and he was a prolific composer. Handy wrote about using folk songs:

The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect...by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major...and I carried this device into my melody as well...This was a distinct departure, but as it turned out, it touched the spot.

The three-line structure I employed in my lyric was suggested by a song I heard Phil Jones sing in Evansville ... While I took the three-line stanza as a model for my lyric, I found its repetition too monotonous...Consequently I adopted the style of making a statement, repeating the statement in the second line, and then telling in the third line why the statement was made.

Regarding the "three-chord basic harmonic structure" of the blues, Handy wrote that the "(tonic, subdominant, dominant seventh) was that already used by Negro roustabouts, honky-tonk piano players, wanderers and others of the underprivileged but undaunted class from Missouri to the Gulf, and had become a common medium through which any such individual might express his personal feeling in a sort of musical soliloquy." He noted, "In the folk blues the singer fills up occasional gaps with words like 'Oh, lawdy' or 'Oh, baby' and the like. This meant that in writing a melody to be sung in the blues manner one would have to provide gaps or waits."

Writing about the first time "Saint Louis Blues" was played, in 1914, Handy said,

The one-step and other dances had been done to the tempo of Memphis Blues. ... When St Louis Blues was written the tango was in vogue. I tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues. My eyes swept the floor anxiously, then suddenly I saw lightning strike. The dancers seemed electrified. Something within them came suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels.

His published musical works were groundbreaking because of his ethnicity. In 1912, he met Harry Pace at the Solvent Savings Bank in Memphis. Pace was the valedictorian of his graduating class at Atlanta University and a student of W. E. B. Du Bois. By the time of their meeting, Pace had already demonstrated a strong understanding of business. He earned his reputation by saving failing businesses. Handy liked him, and Pace later became the manager of Pace and Handy Sheet Music.

While in New York City, Handy wrote:

I was under the impression that these Negro musicians would jump at the chance to patronize one of their own publishers. They didn't...The Negro musicians simply played the hits of the day...They followed the parade. Many white bands and orchestra leaders, on the other hand, were on the alert for novelties. They were therefore the ones most ready to introduce our numbers. Negro vaudeville artists...wanted songs that would not conflict with white acts on the bill. The result was that these performers became our most effective pluggers.

In 1917, he and his publishing business moved to New York City, where he had offices in the Gaiety Theatre office building in Times Square. By the end of that year, his most successful songs had been published: "Memphis Blues", "Beale Street Blues", and "Saint Louis Blues". That year the Original Dixieland Jazz Band, a white New Orleans jazz ensemble, had recorded the first jazz record, introducing the style to a wide segment of the American public. Handy had little fondness for jazz, but bands dove into his repertoire with enthusiasm, making many of them jazz standards.

Handy encouraged performers such as Al Bernard, "a young white man" with a "soft Southern accent" who "could sing all my Blues". He sent Bernard to Thomas Edison to be recorded, which resulted in "an impressive series of successes for the young artist, successes in which we proudly shared." Handy also published "Shake Rattle and Roll" and "Saxophone Blues", both written by Bernard. "Two young white ladies from Selma, Alabama (Madelyn Sheppard and Annelu Burns) contributed the songs "Pickaninny Rose" and "O Saroo", with the music published by Handy's company. These numbers, plus our blues, gave us a reputation as publishers of Negro music."

Expecting to make only "another hundred or so" of "Yellow Dog Blues" (originally entitled "Yellow Dog Rag"), Handy signed a deal with the Victor company. The Joe Smith recording of this song in 1919 became the best-selling recording of Handy's music to date.

Handy tried to interest black women singers in his music but was unsuccessful. In 1920 Perry Bradford persuaded Mamie Smith to record two of his non-blues songs ("That Thing Called Love" and "You Can't Keep a Good Man Down") that were published by Handy and accompanied by a white band. When Bradford's "Crazy Blues" became a hit as recorded by Smith, black blues singers became popular. Handy's business began to decrease because of the competition.

In 1920 Pace amicably dissolved his partnership with Handy, with whom he also collaborated as lyricist. Pace formed Pace Phonograph Company and Black Swan Records and many of the employees went with him. Handy continued to operate the publishing company as a family-owned business. He published works of other black composers as well as his own, which included more than 150 sacred compositions and folk song arrangements and about 60 blues compositions. In the 1920s, he founded the Handy Record Company in New York City; while this label released no records, Handy organized recording sessions with it, and some of those recordings were eventually released on Paramount Records and Black Swan Records. So successful was "Saint Louis Blues" that in 1929 he and director Dudley Murphy collaborated on a RCA motion picture of the same name, which was to be shown before the main attraction. Handy suggested blues singer Bessie Smith for the starring role because the song had made her popular. The movie was filmed in June and was shown in movie houses throughout the United States from 1929 to 1932.

In 1926 Handy wrote Blues: An Anthology—Complete Words and Music of 53 Great Songs. It is an early attempt to record, analyze, and describe the blues as an integral part of the South and the history of the United States. To celebrate the publication of the book and to honor Handy, Small's Paradise in Harlem hosted a party, "Handy Night", on Tuesday October 5, which contained the best of jazz and blues selections provided by Adelaide Hall, Lottie Gee, Maude White, and Chic Collins.

In a 1938 radio episode of Ripley's Believe it or not! Handy was described as "the father of jazz as well as the blues." Fellow blues performer Jelly Roll Morton wrote an open letter to Downbeat magazine fuming that he had actually invented jazz.

After the publication of his autobiography, Handy published a book on African-American musicians, Unsung Americans Sung (1944). He wrote three other books: Blues: An Anthology: Complete Words and Music of 53 Great Songs, Book of Negro Spirituals, and Negro Authors and Composers of the United States. He lived on Strivers' Row in Harlem. He became blind after an accidental fall from a subway platform in 1943. After the death of his first wife, he remarried in 1954 when he was 80. His bride was his secretary, Irma Louise Logan, who he frequently said had become his eyes. In 1955, he suffered a stroke, after which he began to use a wheelchair. More than eight hundred attended his 84th birthday party at the Waldorf-Astoria Hotel.

On March 28, 1958, Handy died of bronchial pneumonia at Sydenham Hospital in New York City Over 25,000 people attended his funeral in Harlem's Abyssinian Baptist Church. Over 150,000 people gathered in the streets near the church to pay their respects. He was buried in Woodlawn Cemetery in the Bronx.

Compositions

Handy's music does not always follow the classic 12-bar pattern, often having 8- or 16-bar bridges between 12-bar verses.

"Memphis Blues", written 1909, published 1912. Although usually subtitled "Boss Crump", it is a distinct song from Handy's campaign satire, "Boss Crump don't 'low no easy riders around here", which was based on the good-time song "Mamma Don't Allow It."

"Yellow Dog Blues" (1912), "Your easy rider's gone where the Southern cross the Yellow Dog." The reference is to the crossing at Moorhead, Mississippi, of the Southern Railway and the local Yazoo and Mississippi Valley Railroad, called the Yellow Dog. By Handy's telling locals assigned the words "Yellow Dog" to the letters Y.D. (for Yazoo Delta) on the freight trains that they saw.

"Saint Louis Blues" (1914), "the jazzman's Hamlet."

"Loveless Love", based in part on the classic "Careless Love". Possibly the first song to complain of modern synthetics, "with milkless milk and silkless silk, we're growing used to soulless soul."

"Aunt Hagar's Blues", the biblical Hagar, handmaiden to Abraham and Sarah, was considered the "mother" of African Americans

"Beale Street Blues" (1916), written as a farewell to Beale Street of Memphis, which was named Beale Avenue until the song's popularity caused it to be changed

"Long Gone John (from Bowling Green)", about a famous bank robber

"Chantez-Les-Bas (Sing 'Em Low)", a tribute to the Creole culture of New Orleans

"Atlanta Blues", which includes the song "Make Me a Pallet on your Floor" as its chorus.

"Ole Miss Rag" (1917), a ragtime composition, recorded by Handy's Orchestra of Memphis

Awards and honors

On May 17, 1969, the United States Postal Service issued a commemorative stamp in his honor.

Handy was inducted in the National Academy of Popular Music Songwriters Hall of Fame in 1970.

He was inducted into the Nashville Songwriters Hall of Fame in 1983.

He was inducted into the Alabama Jazz Hall of Fame in 1985, and was a 1993 Inductee into the Alabama Music Hall of Fame, with the Lifework Award for Performing Achievement.

He received a Grammy Trustees Award for lifetime achievement in 1993.

Citing 2003 as "the centennial anniversary of when W.C. Handy composed the first blues music" the United States Senate in 2002 passed a resolution declaring the year beginning February 1, 2003 as the "Year of the Blues".

Handy was honored with two markers on the Mississippi Blues Trail, the "Enlightenment of W.C. Handy" in Clarksdale, Mississippi and a marker at his birthplace in Florence, Alabama.

Blues Music Award was known as the W. C. Handy Award until the name change in 2006.

W. C. Handy Music Festival is held annually in Florence, Alabama.

In 2017, his autobiography Father of the Blues was inducted in to the Blues Hall of Fame in the category of Classics of Blues Literature.

Discography

Handy's Orchestra of Memphis

The Old Town Pump/Sweet Child Introducing Pallet on the Floor (Columbia #2417) (1917)

A Bunch of Blues/Moonlight Blues (Columbia #2418) (1917)

Livery Stable Blues/That Jazz Dance Everyone Is Crazy About (Columbia #2419) (1917)

The Hooking Cow Blues/Ole Miss Rag (Columbia #2420) (1917)

The Snaky Blues/Fuzzy Wuzzy Rag (Columbia #2421) (1917)

Preparedness Blues (Columbia) (unreleased) (recorded 9/21/1917)

The Coburn Blues (Columbia) (unreleased) (recorded 9/24/1917)

Those Draftin' Blues (Columbia) (unreleased) (recorded 9/24/1917)

The Storybook Ball (Columbia) (unreleased) (recorded 9/25/1917)

Sweet Cookie Mine (Columbia) (unreleased) (recorded 9/25/1917)

Handy's Memphis Blues Band

Beale Street Blues/Joe Turner Blues (Lyric #4211) (9/1919) (never released)

Hesitating Blues/Yellow Dog Blues (Lyric #4212) (9/1919) (never released)

Early Every Morn/Loveless Love (Paramount #12011) (1922)

St. Louis Blues/Yellow Dog Blues (Paramount #20098) (1922)

St. Louis Blues/Beale Street Blues (Banner #1036) (1922)

She's No Mean Job/Muscle Shoals Blues (Banner #1053) (1922)

She's A Mean Job/Muscle Shoals Blues (Puritan #11112) (1922)

Muscle Shoals Blues/She's a Mean Job (Regal #9313) (1922)

St. Louis Blues/Yellow Dog Blues (Black Swan #2053) (1922)

Muscle Shoals Blues/She's a Mean Job (Black Swan #2054) (1922)

Handy’s Orchestra

Yellow Dog Blues/St. Louis Blues (Puritan #11098) (1922)

Louisville Blues/Aunt Hagar's Blues (Okeh #8046) (1923)

Panama/Down Hearted Blues (Okeh #8059) (1923)

Mama's Got the Blues/My Pillow and Me (Okeh #8066) (1923)

Gulf Coast Blues/Farewell Blues (Okeh #4880) (1923)

Sundown Blues/Florida Blues (Okeh #4886) (1923)

Darktown Reveille/Ole Miss Blues (Okeh #8110) (1923)

I Walked All the Way From East St. Louis (Library of Congress) (1938)

Your Clothes Look Lonesome Hanging on the Line (Library of Congress) (1938)

Got No More Home Than a Dog (Library of Congress) (1938)

Joe Turner (Library of Congress) (1938)

Careless Love (Library of Congress) (1938)

Getting' Up Holler (Library of Congress) (1938)

Oh De Kate's Up De River, Stackerlee's in de Ben (Library of Congress) (1938)

Roll On, Buddy (Library of Congress) (1938)

Olius Brown (Library of Congress) (1938)

Sounding the Lead on the Ohio River (Library of Congress) (1938)

Handy's Sacred Singers

Aframerican Hymn/Let's Cheer the Weary Traveler (Paramount #12719) (1929)

W. C. Handy's Orchestra

Loveless Love/Way Down South Where the Blues Begin (Varsity #8162) (1939)

St. Louis Blues/Beale Street Blues (Varsity #8163) (1939)

[supernoondles]

2019

The last day of 2019 was also the day I fainted for the first time--a fitting metaphor for the year.

2019 was overall very emotionally taxing. This year was emotionally defined by falling intensely, deeply in love with someone (who is a very private person so I will try to be vague to respect that) and being in a lot of pain because of situations mostly outside of our control. There were a lot of intensely joyous moments, and a lot of intensely sad ones. Throughout it all I wish I had communicated better. I also made some bad decisions with another person I really loved and cared about that resulted in us growing apart. Do I think I grew from the experiences? For sure. Do I wish I could have come upon these realizations through a different course of action? Also yes. Am I fully healed from the experiences? Not really, but I've been getting better.

2019 was also very bad in terms of research. It was the 2nd year of my PhD. After I submitted my rotation project I basically felt stuck in the swamp of my advisors rejecting new project ideas for like literally half a year. This, combined with my high emotional volatility (partially due to starting birth control), made me really sad, unmotivated, and susceptible to self-blame. I definitely had high expectations for myself and became frustrated at my lack of progress and felt a lot of pressure from myself to get my shit together. I also felt incredibly bad after most advisor meetings and not supported by one of them to the point where I had to have a conversation with him about the lack of support (which was very scary)! Things started picking up, though, near the end of the year. I published a paper in collaboration with a former post-doc/now professor elsewhere whom I learned a lot from, and started finally building out another system. I also started mentoring an undergrad who at some point told me I helped him feel like he had something important to say and belong at Stanford for the first time and those words meant a lot to me. I think I'm continuing to refine what I value as research contributions and increasingly think about what it means to build systems that aren't used outside of the lab to satisfy the annual conference publishing cycle. I'm also starting to feel the pressure of doing work that follows a narrative rather than random projects that interest me.

Oh, I guess in terms of "program requirements," I did finish taking required classes, passed qualifying exams, and got a master's degree. But honestly those weren't hard at all nor do I think are externally valued in the larger research community, so I don't really celebrate them as accomplishments beyond surface level.

In 2019 I saw two different therapists. The first one was awful, I think directly influenced some of my bad decisions, and also didn't respect my gender identity??? The second one is a lot better and I'm grateful to see her, even if 90% of our sessions are just talking about my relationship (romantic/advisor) issues, which is something I want to move away from in the future. But I also feel incredibly privileged when relationship issues are the primary stressors in my life--I am grateful I feel equipped to handle other crap, like deadlines, and don't have to worry about my own health.

Those were the main things that have colored this year. We'll now move into the section of this post where I go through my photos to jog my memory of other events.

New years started a tradition of getting dim sum with Jasper, Matthew, and Michelle dear to my heart. My high school friend was also visiting and we all attended a really awesome new year's eve party. I was also going on a lot of dates and having a lot of good sex, which made me really happy, and at the same time crying all the time at work. In February I received probably the best gift anyone has ever given me and saw Panic! at the Disco, which I said in an end of the year group meeting was a good memory of my year (it was, to relive my scene days!). In March I roadtripped both to Marin (which I had never to been before, despite all my years in the bay) and LA for Wondercon; it was nice to both see high school friends and go on a trip with the boo. In April I went on a hike with my office which was probably the start of us all becoming closer (we are the social office in the wing now, which I take pride in! Also we draw a lot of Pokemon which warms my heart). In May I went to CHI in Glasgow and then to Paris afterward, and the entire experience was very weird and bad and also too many flights were canceled and/or missed and I vowed to not return to Europe for a while, but man do I love the noodles at Trois Fois plus de Piment. In June we hosted a double apartment party with my downstairs neighbors (side note: I am really appreciative of the place I live in, for the community, convenience, and large-ass space and will be really sad to be kicked out fall 2020) and I started a friendship important to me. I cat-sat for my advisor (the one who doesn't make me feel bad) twice. I went to Redwood State Park with my family and hosted a summer solstice celebration. Over the summer a friend I met in Paris back in 2017 moved in with me. I had a much needed escape from the bay to Seattle where I was reminded how abundant the world can be. I also went to Tahoe to celebrate my parents' anniversary, and really liked stumbling upon a smaller lake with a cheap boat rental. Then I became FOMO about the highly competitive Bay Area camping and did a last minute walk-in at Redwood Basin in Santa Cruz, which made me realize that I don't actually love camping (but was nice nonetheless). I ate an expensive meal at Commonwealth before they closed. For my birthday we made a friendship quilt and I served my favorite dish of cumin lamb but it was also 90 degrees in my apartment (I felt really bad and bought two fans afterwards). I started buying many cartoon frog plush after being gifted a $3.99 on sale Safeway frog (called Baby!). I went on Tinder dates (one of which was at a quaker yard sale marketed as Harvest Festival where I got a 1970s Kermit puppet for like $2) that largely went nowhere. My high school friend visited and we were both sad about break ups. I did Inktober before I went to New Orleans for a conference on Bourbon St where everything felt like it was coated in a sticky film of alcohol. I almost missed my flight home because I fell asleep in a sculpture garden but I had the most amazing Uber driver who snaked his way through traffic (oh and the flight was delayed by like 3 hours). I went to kind of embarrassing haunted houses and pumpkin patches over Halloween, but also had the most incredible bowl of ramen at Mensho. My whole office dressed up as Zootopia characters which warmed my furry heart. I spent like $120 on a Pokemon shirt. I started playing Arkham Horror and rekindled another friendship important to me. In November went on a road trip to Big Sur because again, I had to escape it all. For Christmas Eve dinner I roasted a duck for the first time (which was delicious). Shortly after I waited in line for 2 hours for a rollercoaster at Great America, which taught me the value of buying a fast pass because at this point in my life that money is worth it, and then waited 2 hours in line at the DMV to get a RealID (I had made an appointment, which was the fast pass).

Okay, now we move to the hobby section!

I got really into sewing in 2019, having received a sewing machine last Christmas. I made a Judy Hopps (which I wore to CrunchyRoll Expo) and Korok cosplay (Fanime), several unsuccessful garments, a crab bean bag, a dice bag, a fanny pack, and put hearts nipples on a jumpsuit.

Shows! I think I went to way fewer shows this year. The ones I can remember are Elephant Gym, Thom Yorke the night before I had an 8am flight, Carly Rae Jepsen over pride weekend (also, she is my #1 artist of the year, which makes a lot of sense given my emotional space), Mitski at Stern Grove, Capitol Hill Bloc Party (which was super lame, except for Lizzo, where I cried), and the National (which was a fucking surreal experience as they played on Stanford's campus, I was the only one within earshot of myself who knew the words to Crybaby Geeks, and then the white catalog moms came up to me after to thank me for singing the song).

I also started playing my own music! I started playing viola again for the first time in 7 years (lol) in both pop-up concerts with the Awesome Orchestra (one in Golden Gate Park, one at the Exploratorium) and a string quartet through my school. Sometimes I am filled with joy and delight. Other times interpersonal tensions run high and also I am very bad at being in tune. It's life.

Media! I really liked Mob Psycho 100 Season 2 and Beastars. I feel like those were the only notable anime I watched this year? I saw the Farewell three times--first in Seattle where I sobbed for like 1 hour after the movie, the second time with my parents, and the third where Awkwafina was present for a Q&A. I thought Parasite was incredible and Promare was OK. I have spent an unfortunately large amount of my time playing Pokemon Masters. I finally beat BOTW and completed my Pokedex in Shield like 2 weeks after getting the game.

Resolutions! In my draft of my 2018 end of year post (which I never polished and posted, sorry), I said my resolutions were 1. come out to my parents 2. draw enough to table at an anime con 3. be disciplined about paper reading and have a doc. I did none of these things!!! However, for 1, I feel like I am well equipped to have this conversation but am waiting for my sibling to do it first out of respect. 2 was just bad. I barely drew this year except for gifts. 3 was okay--I did have a large doc in the beginning of the year when I was looking for ideas, but as time went on I abandoned it (I also stopped reading papers, which I don't think you're supposed to do as a grad student...)

My resolutions this year are phrased as intentions (-(c) Matthew). They span several categories. Relationships: I want to open myself to and actively seek experiences of love, because I miss that. That being said, I will only date someone if 1. they have their life together 2. they love themselves and 3. they challenge me to grow. (I do think you can experience love without dating; the thing I'm after is love in an expansive sense.) Work: I want to do enough work so I don't feel guilty about not doing enough work, and also not berate myself for taking a long time to do things. Hobbies: I want to sew at least one thing a month. Chinese: I want to improve my Chinese, especially pronunciation.

Having written this 20 days into 2020, it's not been so bad so far. But I was also really happy in the beginning of 2019. Here's to no global maxima, a monotonically increasing year!

[yasbxxgie]

Playing a supporting role to a force of nature is a tough call in any form of music – and in the maelstroms of jazz improvisation tougher still. The pianist McCoy Tyner, who has died aged 81, answered that call in 1960, when he began a partnership with an improvisational genius, the saxophonist John Coltrane.

Aged only 21, Tyner spent the next five years as a key member of a Coltrane quartet that influenced musicmaking across all genres and produced such classic jazz albums as Impressions (1963), Live at Birdland (1963) and A Love Supreme (1964).

He powered an already dynamic band with fiercely slamming, drum-like left-hand chords and harmonic ambiguities that set Coltrane’s spontaneous melodic imagination free. He could also deliver his own marathon improvised solos that were as free and unpredictable as those of his boss. Yet for all his intensity, Tyner was the most serene and genial of characters, with a chuckle that seemed to house multiple levels of meaning.

Tyner’s methods have influenced every generation of jazz pianist since the 1960s, and he stood shoulder to shoulder with such illustrious keyboard modernists as Herbie Hancock, Chick Corea, Keith Jarrett and Bill Evans. After Coltrane’s death at the age of 40 in 1967, he embarked on a distinctive career of his own as a soloist, bandleader and composer.

Born in Philadelphia, McCoy was the son of Beatrice (nee Stevenson), a beautician, and her husband, Jarvis Tyner, a church singer who worked for a firm that made medications. Aged 13 he began piano lessons, and later attended the Granoff School of Music, whose alumni included Coltrane and Dizzy Gillespie.

He led his own R&B band as a high school student and played locally with a budding star, the trumpeter Lee Morgan. His neighbours in the early 50s also included the pianist siblings Richie and Bud Powell, the latter one of the pioneers of the 40s bebop revolution.

Tyner was playing professionally by 16. Another local, the already successful saxophonist and gifted hard-bop composer Benny Golson, hired him in 1959 for the Jazztet, a new ensemble Golson would co-lead with the trumpeter Art Farmer for the next three years.

But the most significant experience in the young Tyner’s apprenticeship was his friendship with Coltrane, who had by that time already come to prominence with a career-launching stint in Miles Davis’s quintet during the mid-50s. Coltrane was an obsessive innovator whose saxophone experiments led him to compress intricate, fast-moving scales into seamless tumults of sound. He also expanded the multiphonic technique of blowing notes simultaneously to form eerie chords that were expressed with a soulful, bluesy tonality.

“Coltrane and I grew up in a period when you were supposed to try to be different, not copy someone else,” Tyner told me in 1994. “I met him at 17, used to sit on his porch with his mother – she had an old upright piano – and talk and play. He was amazing, absorbed music so quickly.”

Once Coltrane had brought Tyner into his new quartet, he remained until the classic lineup with the bassist Jimmy Garrison and the drummer Elvin Jones imploded under the pressure of Coltrane’s constant striving for a more transcendental and structureless music. Tyner left in 1965, still unreservedly respectful of his leader’s singlemindedness, but by then no longer able to locate the point of his presence in Coltrane’s changing vision.

His freelance work across the following years included creative contributions to sessions for the Blue Note label by the saxophonists Joe Henderson and Wayne Shorter, the vibraphonist Bobby Hutcherson and the guitarist Grant Green. On his own Blue Note work as a leader he began to explore a sound that was somewhere between the song-based, soul-bop sound of his 50s work, and a looser, post-Coltrane vibe – notably in his 1967 album The Real McCoy, which featured Henderson and Jones.

From 1970 onwards Tyner’s devotion to acoustic music came up against the emergence of a different kind of jazz that was driven by rock rhythms, electric instruments and synthesised textures. He eschewed electric music, despite its popularity, and for a time considered taking up taxi-driving.

By 1972, however, he had signed to the more commercially oriented Milestone label and with a band of younger newcomers began to hone an acoustic mix of postbop, chantlike Coltrane-esque hooks and Latin grooves that would bring him a big popular following. Albums from that time included the thunderous live sets Enlightenment (1973) and Atlantis (1974), which are still revered by dance-oriented audiences today.

In the 80s, with a more traditional neo-classical jazz movement emerging, Tyner often toured with all-star acoustic groups and began performing regularly in a bass-and-drums trio. He also formed a superb big band in 1988 that joined traditional jazz-orchestra ideas to the extended, repeating-hook open forms drawn from Coltrane, winning two Grammy awards as a result.

Later he led a percussion-packed Afro-Cuban all-star band in the mid-90s and revealed himself to be a compelling unaccompanied pianist with his Jazz Roots album in 2000.

In my 50-odd years of listening to jazz, Tyner’s 2002 concert at the Barbican, London, with Hutcherson, the bassist Charnett Moffett and the drummer Eric Harland, stands out for its incredible mix of headlong momentum, ritualistic insistence and elegant lyricism, along with the characteristically meditative ferocity of Tyner’s solos. That year he received one of jazz’s highest accolades when he was named a jazz master by the National Endowment for the Arts.

In 2006 Tyner recorded with a one-off quartet featuring the saxophonist Joe Lovano, and in 2008 led an unusual collaboration with four guitarists, including John Scofield and Bill Frisell. However, he increasingly withdrew from live performance in his later years.

He is survived by his wife, Aisha, his son, Nurudeen, three grandchildren, and siblings Jarvis and Gwendolyn-Yvette.

• Alfred McCoy Tyner, musician, born 11 December 1938; died 6 March 2020

[pertiaupadhayay]

Charleston String Quartet: Enjoy a Better Day With Us

Do you ever find yourself in a bad mood and looking for something to make you feel better? If the answer is yes, you're not alone! Many times, music can be the perfect remedy. Especially if you're someone who prefers classical music. One of the most popular classical string quartets around is the Charleston String Quartet. They play a variety of music, including chamber and pops pieces. Plus, they're known for their incredible attention to detail and virtuosity. So if you'd like to enjoy a better day with some beautiful music, you should definitely check out the Charleston String Quartet!

What is the Charleston String Quartet?

What is the Charleston wedding bands  String Quartet, you ask? They are an internationally renowned string quartet that was founded in 2006. Often performing at special events, such as weddings and fundraisers, the quartet provides a truly unique performance experience. With members who have experience playing with some of the world's finest orchestras, the quartet guarantees a quality classical performance. If you're looking for a special event that will truly make your day, So join us today to make your good day more wonderful.

What can I expect when I attend a performance by the Charleston String Quartet?

You can expect a performance by the Charleston String Quartet that will be stunning, heart-wrenching, and beautiful. With members who have experience playing with some of the world's finest orchestras, you can be sure that each and every performance is a masterpiece. Whether you're looking for a special event to attend or just want to enjoy some beautiful classical music, the Charleston String Quartet is the perfect option.And make the Wedding quartet ceremony a good place for the family members to enjoy a lot.

Conclusion

The Charleston string trio is a world-renowned string quartet that has been performing together since 1984. Over the years, they have established themselves as one of the most respected string quartets in the world, and their music has been featured in films, television shows, and video games. Whether you're looking to relax and escape the troubles of the day or just want to enjoy some beautiful music, the Charleston String Quartet is an excellent option. Make sure to check them out this weekend and let them help you experience a better day!

[jimlingss]

Brass & Strings [8]

Episode 7 - Episode 8 - Episode 8.5 OR Episode 9 Words: 4.8k Genre: Fluff, Humour (?), Slice of Life, Music!Au, College!Au Summary: Have you ever wondered what happens to the mean girl after high school? Where do they go, where do they end up? More importantly, what happens when they get mixed up with the classic nerd that's always too nervous to answer 'no'? Things become a lot more complicated when Kim Namjoon encounters you. They dub you as 'bat-shit insane' and you're not ashamed. 

Cr.

Miss. Song is a person who’s had many career changes, from being a ballerina to a musician and now into a teacher. She’s the type of professor that college boys thirst after and girls admire. The lady exudes a sexy pureness, a mix between cute and sensual, that even you cannot rival with. Each movement she makes is with grace and her smile is always gentle, making it hard for others to decline her. “Jennie, Rose and Jihoon. Could I speak to you for a moment?”

The concertmistress immediately carries her belongings to the front podium, joined with the flutist and viola player. “Is there something wrong, miss?”

She smiles. “Well, I was wondering if you three were interested in attending a business party in the next two weeks and play as a quartet. It’s a charity event, created by a close friend of mine and they’re looking for some performers for the evening. Of course, you’ll be compensated for it.”

The three of them exchange a variety of looks from surprise to joy. “W-we’d love to!” Rose almost bounces up and her grin spreads into her cheeks.

You scoff, picking up the pace with shoving your belongings into your bag. “Are you okay?” Namjoon tips his head to the side, observing your scowl. He’s standing by your desk, waiting for you to finish. “What’s wrong?”

“I’m dandy.”

It was always the same.

String and woodwind players receive opportunities most frequently. They’re fought for and provided numerous scholarships, recognized in the industry. It does cause the section to become more competitive but it was still better than the treatment brass and percussionists receive. The entire backbone of the orchestra is often disregarded.

The pretty instruments are the flutes, the violins, the piano. Those are the things children want to play and adults want to listen to. No one cares about french horns or the timpani, god forbid the tuba.

“Oh, you too, Y/N!”

“What?”

Miss. Song waves you over and you’re paralyzed, mid step out of the door. “I did say a quartet after all.”

Namjoon smiles and nudges you forward. You go stumbling towards the group.

Your expectations have shattered right in front of your eyes.

“You did hear, right? Would you be interested in participating in this event? I understand if there are other responsibilities you have to meet. I won’t hold it against you if you refuse.”

“I-”

“But a tuba?!” Rose whips her head back to the professor. “That-...that’s not even supposed to be in a quartet!”

Jennie frowns and shakes her head. “Rose.”

Miss. Song simply giggles behind her hand and her cheeks naturally flush. “In a proper string quartet, there isn’t supposed to be a flutist either.” The flute player promptly quiets down and focuses on the floor in embarrassment. The music professor looks over to you. “I’d love it if you could join us. These three need a bass instrument. I know violin, viola, flute and tuba is a very unconventional combination but I’d think it would be very interesting, wouldn’t it?”

Jihoon stares at you, the male waiting for an answer with the teacher. Rose doesn’t make eye contact and Jennie tries to smile in politeness. You turn your head slightly to the only other person in the room, Namjoon, who is waiting by the door.

The harpist is staring at his phone, scratching his head innocently. When he realizes you’re gazing at him, his irises flicker upwards and the corners of his lips upturn, dimples creasing into each side of his cheek. He stiffly waves his hand and then blinks, motioning to the people behind you who are waiting.

You inhale a huge breath, trying to fight down the excitement. “Yes.”

“Good.” Miss. Song scrunches her shoulders in a chipper manner. “Try to get along ladies. Jihoon, you too. The performance will be in two weeks.”

//

“It’s happening!” Your arms are in the air and you scream towards the sky, up to the azure shade that is not covered with one single wispy cloud. “I’m so fucking happy!”

Namjoon would usually tell you to quiet down, that you’re drawing too much attention but this time, he allows for a moment of glory, not caring about how you’re leaning close to him.

“Congratulations.”

“I thought this day would never come...for tuba to see the light of day…” It’s a tad bit dramatic but it’s been a long time since you’ve felt this adrenaline coursing through your veins.

You knew beauty was fleeting. After a few years, the suitors and dates you have will disappear, no longer chasing after you but someone younger with more energy. The money and shopping is only temporary satisfaction, an escape from your real problems. It was music that would last, your instrument that would stick by you, the passion that you would always have.

But for countless nights, you asked yourself if anyone would even want you. If anyone would want your instrument. Would they even desire to hear you play a note?

“I’m so happy, I could kiss you, Namjoon!”

He scrunches up his nose, looking away from your cheesy grin. “Good luck.” He feels genuinely thrilled. There was always something about the way you loved music, talked about it and how your eyes glittered that made his own chest squeeze. You weren’t just a conceited part-time sugar baby with shopaholic tendencies. There’s so much more.

Namjoon feels privileged to see this side of you.

“I wish I could be with you.” He confesses and then backtracks when the implication of his words hits him. “I mean...play with you, like in the quartet.”

“Maybe someday.” You wistfully breathe out. “A duet?”

The boy pushes up his glasses and nods, hoping for such a day to arrive.

//

Unfortunately, things don’t go as smoothly as you imagined them to be.

“I’m not playing with her. No. I can’t.”

“Pft. Then I’m not playing with you either.”

Jennie sighs in exasperation, standing between you and Rose. “Come on, guys! We have to work together! Let’s just put aside the past and build the path towards the future-”

“How could you even say that?!” Rose sobs out, holding her flute away from you. “She’s the one who scratched me all up, remember? I was assaulted!”

You roll your eyes, preparing to put your brass instrument back in your case. “You’re the one who started that fight. Who are you to talk about assault?! Don’t you dare make up lies!”

“You’re the-”

“I fucking-”

Jihoon who’s holding the neck of his viola slowly steps away, considering the prospects of bolting out the door and never returning. Jennie looks back and forth throughout the argument and she tries her best to resolve the issue but it escalates and she screams- “STOP IT!”

“This is a professional setting! We are working towards becoming professionals and there is an event coming up really soon. We haven’t even practiced for a full minute yet. Please, stop being childish. If you two won’t work together then you both should leave and stop disrupting!”

There’s a full minute of silence.

Jennie exhales, having used all her courage to interfere.

After an exchange of looks…

“I’m not leaving.” “Neither am I.”

The concertmistress props her violin to her shoulder and chin, holding up her bow. “Good.”

Practice doesn’t go by too horrifically. Ten pieces are chosen, some that are relatively easy and others that you’ve played together in the orchestra before, merely rearranged for four instruments. The flute and violin intermingle with the main melody while the viola dances in the background, adding a deeper layer. But your music professor was right. Without the tuba, it wouldn’t be balanced. There would be no one there as the backbone, to support the rhythm and let the vibrations boom across the walls and against the floor, to truly let the music sing.

“That was great.” Jennie compliments and you would have to notably agree. It’s an unusual combination but one that works. “But I think we could fix up this part. Y/N, you should play that in a higher octave, maybe with an accent?”

“I disagree.” The others look at you with raised eyebrows, a baffled expression for immediately rejecting the idea. “I think we should keep it and just try it in molto vivace.”

“O-okay.”

Rose pipes up, “I think that’s a bad idea. You should just listen to-”

“Let’s just give it a try.” Jennie interjects before another argument can occur. “Very lively and faster….”

Everyone picks up their instruments, correcting their posture. Rose lifts the flute to her lips and shoots you a glare while you ignore her, focused on the black and white score. Jihoon and Jennie place theirs on the juncture of their shoulder and chin, lifting up the bow.

Claude Debussy’s String Quartet in G Minor rearranged version begins again.

The violin strings are pulled in harsh but powerful motions, tuba booming next to the fluttering flute that spirals notes through the air. It grows intense with each rise of crescendo, each sharp breath inhaled to support the melody, fingers dancing across keys and fingerboards until-

Snap.

Everyone freezes.

The music dies out, the note that was supposed to be played isn’t and you crane your neck around. Jihoon’s eyes double, Rose gasps and Jennie has become pale. “Your violin!”

“This was all your fault!” Rose screams at you, whipping her head back to Jennie. “Are you okay?! Is your hand hurt?!”

“I-I’m fine.”

“How is this my fault?” You put down your tuba, shuffling your music sheets. “It’s just your E string that snapped. Doesn’t it happen all the time? If your hand isn’t hurt then there’s nothing wrong.”

The flutist screeches horrifically in your ear, making you wince. “How could you be so heartless?!”

It’s exhausting. As much as you wanted to showcase your playing, grab onto the opportunity, the people that you’re working with makes you feel like you’ve never left high school.

You glance back at the violinist that you despise and she is still staring at her precious instrument. Jihoon gulps and Rose is confused on what to do. You exhale a long breath, concluding that your fellow classmates are idiots and useless.

Why do you have to do everything around here? Goddamn.

“Fine.” You can already imagine what Kim Namjoon would say and do in a situation like this.

“What are you doing?” Jennie sniffs as you tug her upwards.

“We can’t practice if your string’s broken. I know a place where we can get it fixed...for free.”

//

Jennie has done nothing wrong to you. It’s fairly irrational of you to hate her so much but there’s something in the way she presents herself towards the world, like a perfect angel who has no flaws. She is never angry, never displays sadness or heartache, an ounce of jealousy or envy. The violinist is a robot who only smiles. She’s practically the Mary Sue in the flesh.

It rubs you the wrong way. She’s kind, generous but not genuine.

“Thank you for helping me, Y/N. I really appreciate it.” She carries her case in both hands, humming with the corners of her mouth lifted. You don’t respond, pushing your Gucci sunglasses closer to the bridge of your nose. “I’ve been playing since I was ten years old, which is a decade now. Any string snapping has only happened a few times, so, I was really startled.”

You brush her off coldly, “cool.”

“How long have you been playing for?”

“Long.”

“Oh.” Jennie nods her head and her modest skirt swishes with every stride. “You’re very good, Y/N. I admire your abilities and technique. Was there any reasons as to why you chose tuba?”

“No.”

“I see. I think tuba’s a really nice instrument, a pleasant brass sound. It looks heavy though. Is it?”

“Yes.”

There’s a minute of quietness, where the bustle of the streets and cars driving past screech louder than the concertmistress’ mumbles. You thank Heaven and Earth that she’s stopped trying to make conversations and her yapping mouth has shut tight. Every second of being in her presence is torture in itself. But then-

“If it’s not too rude, Y/N...Can I ask where are we going?”

You don’t answer her, turning the sharp corner before you’re abruptly pulling open the glass door. “Get in.”

She ducks her head. “Thank you.”

With the built up rage, you unleash it on the desk bell, spamming down the muscle in your finger as rapidly as physically possible. The obnoxiously silvery sound hurts your ears but you ignore the pain. “Will you shut up already?!”

Yoongi growls out at you, swiping at the counter and stealing the bell away. “I’m standing right here! God, Y/N! What is wrong with you?!”

“If you were faster at customer service then maybe I wouldn’t have to press the bell.”

“Are you fucking serious? What do you even want from me?! I’m not here to give you any cash and you’re a disturbance to my workplace.” His frown doesn’t deter you and when he leans in close, you don’t flinch away. “The boss will fire me because of you.”

You scoff, crossing your arms with indignation. “I’m here today as a customer, dumbass.”

“What?”

The pretty girl in the frilly skirt that pools past her knees and coral smock top is revealed when you step aside. Her brunette hair, tucked behind her hair, shines in the light and she politely smiles. “Hello.”

“Uh….” Your cousin blinks for a mere moment before he clears his voice, lowering it from the yelling pitch to a deep timbre. “Hello. What can I do for you?”

Jennie sets the case in front of him. “My string accidentally snapped. I was wondering if you could repair it for me?”

“Yeah, sure.” He takes it and opens it up. “I’ll see what I can do. It probably won’t take long.” As she begins to pull out her wallet, Yoongi stops her. “It’s on the house.”

The violinist blinks twice. “Are you sure?”

“It’s no big deal.” He shrugs, “should take less than ten minutes... I don’t see why not.”

“T-thank you.”

The two of them stare at each other. You only realize that no one’s moving after browsing the valve oil on the shelf for a minute. “Are you going to get going or what, Yoongi?!”

//

The weeks of practicing pass by quickly. In between your classes and the fun outings, you’re honing your skills and rehearsing the parts. The four of you work decently together if Rose isn’t shooting you glares and Jennie doesn’t piss you off. Your professor also passes by a few times, expressing her excitement and enthusiasm for the upcoming event.

“What are you doing here?”

Namjoon rubs his eyes and he melts into a sheepish smile. “Oh, I was just working on some stuff..composition homework...your science project...are you done?”

“Yeah..” You slowly hitch your thumb to the door. “I was about to head back.”

The harpist throws his backpack around his shoulders and he nods. “We should go together then.”

In the chilly night, the taller man walks in time with you, matching footsteps. You tilt your head up to him, staring at his profile. “Hey, Namjoon.”

“Yes?”

“It’s really late out. Didn’t your classes end hours ago?”

He coughs. “Yes.”

You hum, lolling your head to one side as your brain begins to crank. “If you were doing homework, then why did you go into the practice room? And what were you doing standing out in the hall?”

The college boy scratches the back of his neck and his cheeks bloom in a hue of rose but you suspect it’s from the frigid air nipping at his skin. “T-the library is too crowded. I thought it would be better for me to concentrate somewhere quieter. I was about to leave too when you left...so yeah.”

“Oh.”

“How’s practice? Is it going well?” He asks you in curiosity, “are you ready to perform?”

“It’s going okay. I think we’re ready. It’s not as horribly as I thought it would be.” At the same time as he answers ‘that’s good’, a strong gust of wind smacks your figure. Your grip accidentally loosens and the binder of sheet music drops to the concrete. “Dammit.”

You reach down to grab it and Namjoon does too, making you both bonk heads. He lets out an ‘ow’ and you hiss at him, capturing the object again. The only reason you don’t yell at him to watch where he’s going is because he’s Kim Namjoon. If it were anyone else, you’d lash out.

“Here.” He clutches onto your other hand that’s curled around the handle of your tuba music case. “Let me carry it for you.”

“It’s fine! I can carry it myself-”

The words die in your throat when you realize how serious he is, without the usual smile or bright eyes. He stares at you in complete earnestness - expressionless - and you’re baffled he could make such a transformation. You blink twice to make sure you’re looking at the same clumsy and innocent college boy. “Let me help you. Rely on me.”

There’s a bit of silence before you give in. “It’s really heavy.”

The corner of his lip tugs into a smirk. “I can handle it.” He takes the case and suddenly the immense weight is lifted away. The soreness in your shoulder is alleviated, the aches in your arm is soothed. Namjoon smiles and he fakes a gasp, lighting up the mood again. “Woah! It is really heavy. Twenty pounds, right?”

You scoff, feeling thankful that he’s back to the person you know - silly and awkward, pure and naive. “You want me to take it again?” Your arms curl around your binder.

“No. It’s fine.”

“Pft. At this rate, people will think I’m making you carry my things around like a slave.”

The harpist shrugs and he lightly but purposely bumps into you. “They can think whatever they want. I don’t care.”

For a second, your heart flutters.

And you put a hand to your chest, shocked that your soul’s able to be moved. For one, you thought your heart had been turned into concrete. You’re also amazed that it’s Namjoon. It’s not a wealthy, lonely woman who would whisk you away on rendezvous, or the hundreds of attractive people on your contact list that you know who would drop to their knees for you.

Nope. Out of everyone, it’s Kim Namjoon, resident nerd and harp player.

“You’re such a sweet and nice boy, Nams.” You throw your arm over his shoulder, leaning on the man and standing on the tips of your toes to accommodate for the height difference. Your finger casually pinches his cheek. “I could eat you right up! Your future girlfriend is going to be so lucky!”

He giggles and shakes his head. “I doubt it.”

“Why?”

“I’m so clumsy, if I don’t break their belongings, I’d probably accidentally break him or her.”

“Nah.” You ruffle his head of messy locks. “They’ll look past it and see your kindness. Either they’ll be lucky or they’ll use you. But fear not! I’m here. L/N Y/N will be here to protect you from any witches, foxes or douchebags!”

Namjoon grins. “Did you just refer to yourself in third person?”

“Yes.”

The university grounds are connected to a popular hangout avenue, rather convenient for college students to find study spaces and places to eat. At this time of night, however, all of the stores are closing and there are only a few lingering people around.

You stifle a yawn behind your hand and he notices. “If you want, you can stay at my place tonight. Uh- but o-only if you want of course. I won’t force you!”

“I know you won’t.” You laugh into the cold air. “But won’t your back hurt? That couch of yours isn’t comfortable.”

“I’ll be okay.”

You smirk at him, eyes going half-lidded. “We could share the bed, you know. Get a little close and...personal? What do you say, Nams? Up to play some games with me?”

Namjoon nearly combusts right then and there at your suggestive tone. His entire face becomes a tomato shade and he’s flustered, mouth opening and closing like a fish. “Uhh….”

“I’m joking! Calm down.” A huge smile appears as you smack him, stopping in your steps at the bus stop. “I’ll just catch the bus. It’s coming in a minute anyways and it’ll take me right back.”

“You want me to go with you?”

“Are you my father?” You put your hands on your hips, grabbing your case back from him. “You really think I’ll be kidnapped or something? If I punch them once, they’ll die. I’ll be fine.”

“Okay.” Namjoon smiles and he begins to back away. “Call me if something happens?”

You wave at him, chest feeling warm. “Alright.”

//

There’s something not right.

Jimin knows it. It’s under his nose as well, like an itch he can’t scratch. He doesn’t know what it is but he knows there’s something there. These days, he feels like a father, waiting for his teenage son at home with crossed arms, knowing the other man is up to no good.

“What time is it, young man?” Jimin pouts, feet apart with his shoulders. “Where have you been going these days? You don’t even call home or text me?”

Namjoon downcasts his head, quickly slipping off his shoes. Jimin keeps going on his rampage, “you just bailed out on our movie night! I got popcorn too! Now guess who had to eat three bags of popped popcorn?! Me! I feel like butter is leaking out of my pores!”

“Sorry-”

The man’s eyes widen and he drops his arms. “Did you have a date? No..that can’t be it. Are you sick?”

“W-Why?”

Jimin points right at him. “Your face is really red.”

“Uh…” Namjoon begins retreating down the hall. “Nothing happened!”

The door slams a second later.

Jimin groans, truly feeling like a parent. Except, the last time he checked, he didn’t birth out such a big son.

//

The black dress hugs against your curves, modest and business professional, excluding the slit on the side that adds a bit more character. Rose and Jennie stand beside you, Jihoon next to the concertmistress as all of you look out. It’s a charity event with middle aged individuals conversing, hands holding onto champagne glasses. The children giggle, playing hide and seek as a group behind the room’s magnificent white columns.

Surprisingly enough, of all the affluent people around, you don’t recognize any of them. If you did, you’d have to ignore them anyways. No one of status ever wants to be known for having a younger entourage on the side as a stress reliever.

The evening has settled in with all the guests present. “Are you ready?”

You glance over at Jennie who’s holding her violin, wearing her own white gown. Jihoon in a bulky suit, borrowed from his father and Rose is in a teacup dress that’s a darker shade of grey.

“Ready.”

All four of you take your seats, turning the page to the first score of the night. The violin and viola are propped on their shoulders, flute held up high into the air and you put your lips against your brass instrument, kissing the music notes as it leaves the bell. A joyous emotion is conveyed through the melody, the whistle of the violin, the sonorous sound of the viola, the graceful humming of the silver flute and the hearty buzz of your own brass tuba bleeds together.

Some people whirl around with smiles, listening while sipping on their drinks. Other couples begin to dance and children marvel at the golden and silver keys, joining in steps with their parents. The strings, resounding woodwind and the low timbre of your own instrument intertwine together for harmonious melodies to bouncing jingles.

It goes even better than practice. You become focused on the quartet, your partners and the audience is forgotten in the background. The little trance you’re in is interrupted by the standing ovation and Miss. Song’s humongous grin. But as you look up amongst the crowd, you swear you find a broad back and dark strands of hair poking up...a dimple marring their cheeks.

“Y/N?”

“Sorry. What?” You peel your irises away to Rose and she coughs awkwardly.

“I was just saying how..you’re not so bad, Y/N. A lot more bearable when you aren’t trying to be a bitch.”

“Uh-huh.” You roll your eyes. “You’re still just as bad.”

The flutist’s jaw drops and you laugh. Jennie tries to appease her friend and Jihoon giggles to himself. The quartet has a few photos that are snapped from the photographer and after another hour of playing, each of you head off on your own, networking or nibbling on some refreshments at the table.

You try to find the dimpled stranger again but the person has disappeared in front of your eyes.

//

It’s cold and the lampposts barely light up the sidewalk. You wonder if you’re going crazy, rejecting an offer to be driven back with the others, leaving your instrument with theirs to be shipped to the school. You don’t even know where you’re going or what bus to take but-

“I knew it!”

He visibly jumps from your voice and cranes his neck around. “Y/N?” Namjoon laughs nervously, “what a coincidence.”

The pair of you both are fully aware this was no coincidence. Especially since the venue is essentially in the middle of nowhere and in complete isolation.

The muscle in your cheek jerks when you try to repress your grin. You saunter up to him with arms behind your back, a slight skip in your stride before you gleam up at him. “What are you doing here then?”

“Nothing. I was...taking a walk! Yes, taking a walk!”

“You walked...an hour away from campus?”

“Yep.”

“You’re a bad liar, Nams. Did you come to see me?” You put your hand over your chest, gasping dramatically. “How did you even sneak into the event? Wasn’t there only exclusive invitations? Did you climb over the fence?”

“I-....”

The last bus of the night pulls up at the stop and the harpist doesn’t waste a chance to get on, making you scan your pass and follow right behind him. He plops down to the second last seat at the back and you slide beside him. There are two other people around, each with earbuds in, listening to their music and not paying any attention.

Namjoon doesn’t speak a single word, obviously embarrassed with the way he tugs on his stiff suit and forcing his eyes not to wander to the slit in your dress that reveals more thigh than he’s ever witnessed before in real life. He attempts to focus on the sceneries out the window but it’s pitch dark. He can’t see anything for shit.

You scoff when you realize Namjoon won’t say anything and you shift closer.

The harpist shifts away. You lean closer to him. He moves again.

“Will you stop that?!” You bark out before roughly taking his arm, lolling your head onto his shoulder. You use his shoulder as a pillow to rest on. Your eyes flutter shut and the frown slowly fades away. “Stay still.”

Namjoon’s irises flicker to your drowsy face and he relaxes his limbs, allowing you to lean on him. “It’s comfortable.” You murmur past the seams of your lips, exhaustion washing over you. Rehearsal, playing for three hours and socializing with other professionals has left you drained.

The harpist inclines back into the seat, letting the nervousness and tension leave his body. He stares down at your open hand in your lap, the palm that faces upwards. His own fingers twitch, as if an instinct overtakes him to twine his fingers through yours. But he resists.

“No one’s ever really come to a performance...just to see me.”

It’s softly spoken to the point that Namjoon would miss it had you not been beside his ear. It’s been three stops and five blocks since you’ve last spoken. He thought you were asleep already.

“I wished my parents would but when I saw you….Namjoon, it made me happy.”

He gently brushes away a hair that’s tickling your nose. His pupils center around the pink petals of your plush lips and he swallows hard. “How is it possible that you can make me feel so happy?”

It’s a mindless ramble, one where you don’t even realize you’re saying. It feels like you’re balancing between the dreamworld and reality, letting your tongue tumble. Except, it’s not a dream.

Namjoon hears all of it.

“What are you doing to me?”

[wiremagazine]

ARTS NEWSIE: ARTSLAUNCH2018

By Rafa Carvajal | Photos provided by the Adrienne Arsht Center

Everyone is invited to attend ArtsLaunch2018, Miami’s biggest annual event celebrating and kicking off the arts season on Saturday, September 8. Join the Adrienne Arsht Center for a day filled with fun and family friendly activities such as mini performances, a community arts village of more than 100 arts and cultural organizations, food for purchase, chef demonstrations (for those who RSVP), live bands, DJs and more. Come out and support the arts, and purchase tickets in person to this season’s many amazing shows at the Arsht Center’s Box Office and save money with ticket handling fees waived. For the full line-up of events, visit arshtcenter.org. 

To preview ArtsLaunch2018, Wire Magazine sat down with Arsht Center Vice President of Marketing Andrew Goldberg.  

Rafa Carvajal: What does your job as vice president of marketing at the Arsht Center entail? Andrew Goldberg: The short answer is that it’s my responsibility to lead a team who sells tickets and elevates our brand through communicating our stories. Our job is to make Miami a better place to live through the inspirational power of the performing arts. It’s been a privilege to work for the Arsht Center for more than 11 years. The teams in my department include public relations, group sales, digital marketing, marketing, advertising, promotions, and creative services.

RC: What is ArtsLaunch? AG: #ArtsLaunch2018 is Miami’s biggest free annual community event that includes the performing arts as well as other arts disciplines. It’s a kick-off to the arts season – not just for the Arsht Center, but for the entire arts community in Miami-Dade County. There will be more than 60 free events throughout the day, starting at 10 a.m., and running through 10 p.m. There will be more than 100 arts organizations on campus – so it’s a tremendous opportunity to discover new companies and their upcoming seasons’ offerings.

In addition, the majority of the Arsht Center’s season will go on sale for the first time for individual tickets – more than 170 performances – and also available are so many shows that are already on sale. Tickets go on sale at 10 a.m. that day – and will be available online, via phone and in-person at the Center’s Box Office. However, only those who purchase in person will save some money – we’ll be waiving ticket handling fees on individual show tickets that day.

RC: Why did the Arsht Center decide to create ArtsLaunch and what is its purpose? AG: As the biggest performing arts company in Miami, we wanted to do our part in bringing a county-wide awareness to the kick-off of the arts season. It is good for all of us (us being all arts organizations) when everyone does well. And we are part of this arts community too – so we wanted big attention for us as well as for everyone else. As a result of ArtsLaunch, our hope is that the community-at-large will begin to be aware of all of the wonderful offerings so many of our arts institutions have for this upcoming season.

RC: Please give our readers a preview of this year’s ArtsLaunch 2018? What will be some of the highlights? AG: The number one highlight is our DDA Community Arts Village! The community is welcomed onto the Ziff Ballet Opera House stage (not only to take a selfie!) to experience an indoor street fair with more than 100 arts organizations handing out their brochures and ready to talk to you. This is the perfect place to discover some great new entertainment options for the upcoming season.

New this year are free dance classes on the stage of the Knight Concert Hall! 45-minute sessions will include swing, hip-hop, line dancing, kompa, and salsa – plus world-renowned choreographer Siudy Garrido will lead flamenco lessons! There will also be free interactive workshops with Florida Grand Opera, Miami City Ballet, New World Symphony, Zoetic Stage, City Theatre, and Miami Lighthouse for the Blind.

A cappella Corner will feature local high school and university ensembles throughout the day. Mini-performances will include artists from Miami Symphony Orchestra, Microtheater (both English and Spanish), Miami Music Project, joltradio.org, South Florida Symphony, Stratus4 String Quartet, Of One Mind, and Miami Theater Center. Food and drink offerings include: a Farmer’s Market (10 a.m. to 2 p.m.), The Café at Books & Books will be open; Farm-to-Table dinner at 6:30 p.m. with Chef Allen Susser (a five-course, vegetarian, and served family style); BRAVA by Brad Kilgore chef demonstrations led by James Beard Finalist Brad Kilgore; plus exciting food popup stations including delicious treats from MadLab Creamery.

RC: Why should Wire Magazine readers attend ArtsLaunch2018? AG: In addition to all the free events throughout the day, it’s a great opportunity to buy individual tickets for the season and save money. Some show highlights that will be on sale that day include: Broadway shows Irving Berlin’s White Christmas, Waitress, School of Rock and Hello, Dolly! (with Betty Buckley); Jerry Seinfeld, Kathy Griffin, Que Pasa U.S.A Today, Puccini’s La Boheme (a perfect first opera if you’ve never been!), Balanchine’s The Nutcracker, Alvin Ailey American Dance Theater, the Chicago Symphony Orchestra… and the list goes on! The Box Office opens at 10 a.m. and will close at 6 p.m., but online sales will continue 24 hours a day.

RC: How will this year’s ArtsLaunch differ from previous ones? AG: This year we have more arts organizations involved than in the past, which is really exciting for us. We’re also thrilled about ArtsLaunch@Night – a free concert in the Thomson Arts Plaza featuring DJ Kumi plus bands Jahfe and Locos Por Juana. This starts at 6:30 p.m. and goes until 10 p.m.

RC: Describe ArtsLaunch in three words. AG: Can’t. Miss. Event.

RC: What shows are you most excited about for this season and why? AG: I love them all!

RC: Is there anything else you’d like to share with Wire Magazine readers? AG: Parking will be available in the lot in front of the Ziff Ballet Opera House, as well as the Omni garage. We encourage ride-sharing – the Center has a partnership with Uber. And if you’re coming from Broward or Palm Beach, we encourage you to try Brightline. We encourage everyone to RSVP at arshtcenter.org/artslaunch – where you’ll also find the full schedule as it gets closer. It’s free to RSVP, and it’s free to attend.

This article will be published in Wire Magazine Issue 36.2018