#liberation music orchestra

[de-salva]

CHARLIE HADEN & LIBERATION MUSIC ORCHESTRA - Song For Chè (part 5/5)

[joshhaden]

Charlie Haden Liberation Music Orchestra's LP Ballad Of The Fallen (1983, ECM) includes their version of my father's tune "La Pasionaria", written in tribute to the Spanish Civil War heroine.

[jazzdailyblog]

Charlie Haden: The Melodic Backbone of Jazz

Introduction: Charlie Haden, a name synonymous with the depth, soul, and beauty of jazz bass playing, stands out as one of the most influential musicians in the genre’s history. His career, spanning over five decades, not only showcased his virtuosity as a bassist but also his profound musicality and unwavering commitment to social justice. This blog post delves into the life, career, and legacy…

[jazzy-beats]

“Big Appetite”

Why can’t we be happy with what’s happening

Instead of always running for the door

When ambition is starting to sting

It keeps us always wanting more

Well hey, hey alright, we got a big appetite

Oh oh my love, when is enough enough

And when it hits you, happens so fast

Sometimes it’s hard, hard to keep track

I could tell you what you already know

But I can’t tell you what it is to let go

Hey, hey alright, we got a big appetite

Oh oh my love, when is enough enough

Cause it’s never been easy to let what will be just be

And when we’re looking at the love all around us

Does it blind us or is that what this whole thing is for?

Our love might be boundless but we always need more

Hey, hey alright, we got a big appetite

Oh oh my love, when is enough enough

Hey, hey alright, we got a big appetite

Oh oh my love, sometimes it’s never enough

Cause it’s never been easy to let what will be just be

—Animal Liberation Orchestra

[mesetacadre]

Sorry if this is a bit weird question but would artistic freedom be restricted in a socialist state? If it would be, how? Wouldn't restrictions/censorships be a bad thing since it's important for people to be able to learn critical thinking skills and criticize in a constructive way a government or other aspects of society or for them to just depict with reality and imagination in a way that leads to diverse conversations?

The degree of restriction always depends on the context of the state, it's not a set answer. Like most other questions regarding the running of a state by communists, it will change depending on necessities and as it evolves. But regardless, art will always be free of the pressures imposed by salary work, and across the history of socialism, there is a good precedent for ample subsidies of the arts, even those not directly related to socialism itself.

Look at this passage about the GDR, for instance. Take into account the historical context, of a country that has just been divided and liberated from the Nazi Party, with the mass support they garnered. The FRG wasn't exactly unwelcoming to former nazis, even important members of the party, and the GDR was the frontline for the cold war, during its entire existence it faced infiltration, sabotage, and a myriad of attacks against it. [Because of indented quotes being awkward for longer texts, I'm not going to format it differently. The quote will end with the link to the book it's from]

During the forty years of its existence, a unique GDR culture developed in the country and it differed substantially from that in the West. It was characterised by a very fruitful, even if at time bruising and sometimes painful, battle between artistic freedom and creativity on the one hand and the demands the Party and state attempted to impose.

Since the early days of the Soviet Union, the Bolsheviks and later communist parties everywhere placed a great emphasis on culture and on the contribution cultural workers could make to the building of socialism. One of the first things the Soviet Army of occupation did at the end of the war, was attempt to resuscitate cultural activity in a war-ravaged and demoralised Germany. The one thing the Russians could never get their head around was how a country with such a high level of culture, a nation that had produced a Bach and a Beethoven, a Goethe and a Schiller could have carried out such barbaric crimes in other countries. The Soviet army had cultural officers attached to each battalion and the war had hardly ended before they began seeking out cultural workers and encouraging them to take up their batons, musical instruments, pens and paintbrushes again. Temporary cinemas were established, orchestras formed, theatres opened and publishing houses set up.

In contrast to West Germany, in the Soviet Zone and later in the GDR, there was also an early emphasis on making films about the Nazi period as a means of educating and informing a nation ignorant of or in denial about what had happened.

The first anti-Nazi and anti-war film to be made in the whole of Germany was Die Morder sind unter uns (Murderers among us - 1946) directed by the West Berlin-based Wolfgang Staudte with full Soviet support. Among later anti-Nazi films made in the GDR were: Rat der Gotter (Council of the Gods - 1950) about the production of poison gas by IG Farben for the concentration camps, Nackt unter Wolfen (Naked amongst Wolves - 1963), based on a true story about a small Jewish boy who was hidden in a concentration camp and thus saved. Werner Holt (1965) - about the life of young men in Hitler’s army, Gefrorene Blitze (Frozen Flashes -1967) about the development of the V2 rocket by the Nazis; Ich war Neunzehn (I was Nineteen - 1968) - the true story of a young German who returns to Germany in the uniform of a Red Army soldier with the victorious Russian troops. Almost two decades passed before West Germany attempted to confront the war and its Nazi past. And the film Das Boot (1981) is more about the heroics of German U-boat crews than about understanding Nazi ideology. Das schreckliche Maedchen (Nasty Girl -1990) was a rare exception, as was Downfall (2004), a film about Hitler.

The GDR had more theatres per capita than any other country in the world and in no other country were there more orchestras in relation to population size or territory. With 90 professional orchestras, GDR citizens had three times more opportunity of accessing live music, than those in the FRG, 7.5 times more than in the USA and 30 times more than in the UK. It also had one of the world’s highest book publishing figures. This small country with its very limited economic resources, even in the fifties was spending double the amount on cultural activities as the FRG.

Every town of 30,000 or more inhabitants in the GDR had its theatre and cinema as well as other cultural venues. It had roughly half as many theatres as the Federal Republic, despite having less than a third of the population (178 compared with 346 in the FRG). Subsidised tickets to the theatre and concerts were always priced so that everyone could afford to go. Many factories and institutions had regular block-bookings for their workers which were avidly taken up. School pupils from the age of 14 were also encouraged to go to the theatre once a month and schools were able to obtain subsidised tickets. All the theatres had permanent ensembles of actors who received a regular salary. Plays and operas were performed on a repertory basis, providing everyone in the ensemble with a variety of roles.

All towns and even many villages had their own ‘Houses of Culture’, owned by the local communities and open for all to use. These were places that offered performance venues, workshop space and facilities for celebratory gatherings, discos, drama groups etc. There was a lively culture of local music and folk-song groups, as well as classical musical performance.

Very different to the situation in West Germany, was the widespread establishment in the GDR of workers’ cultural groups - from literary circles, artists groups to ceramic and photography workshops. These were actively encouraged and financially supported by the state, local authorities or the workplace. Discussions of books and literature, often together with authors, were a regular occurrence, even in the remotest of villages.

The ‘Kulturbund’ (Cultural Association) was a national organisation of over one million members that organised a wide range of cultural events around the country, from concerts, lectures on a wide variety of subjects, to art appreciation classes.

To begin with it was set up in set up in 1945 as a movement to bring together interested intellectuals and artists, on the basis of an anti-fascist and humanist outlook, with the aim of promoting a ‘national re-birth’ and ‘of regaining the trust and respect of the world’. From 1949 onwards many smaller cultural groups joined the national Cultural Association. Soon, ‘commissions’ and ‘working groups’ for specific areas were established: educational, musical, architectural and craft groups, followed by photographic, press, philatelic, fine arts groups and others. The Association also had its own monthly journal and weekly newspaper.

The art form ‘Socialist Realism’ has always been decried and ridiculed in the West, caricatured in the constantly circulated images of monumental statues of muscle-bound male workers and buxom, peasant women in heroic poses. However, such a view ignores those many realist artists who were not necessarily ‘court-appointed’ or monumentalists but who chose a realist mode of expression freely.

We now know that the CIA was, at the height of the Cold War, instrumental in promoting abstract art in the West as a counterweight to ‘communist’ realism. The CIA was able to capitalise on the fact that abstract art was frowned upon by party leaderships throughout the communist-led world where realist art was seen as better able to represent socialist values. This led to an often artificial polarisation between realist and abstract art, the former characterised in the West as old fashioned and conservative, the latter as progressive and representing individual freedom. Not surprisingly, it meant a marginalisation of realist art in the West and a dominance of the abstract. The fact that much of the so-called ‘socialist realist’ art to which those in the West had access was state-commissioned and often second rate should not lead us to ignore the fact that there were excellent realist artists working in the Eastern bloc.

Many artists in the communist countries simply preferred to place human beings and social reality at the centre of their art, as did most muralists and many painters in the West. It should not condescendingly be dismissed out of hand. Many continued the strong realist tradition, taking it forward into new realms. It also connected with ordinary people who saw themselves, their lives and their questions and criticisms taken up by artists. While some conformed and became state-sponsored artists, churning out often mediocre art, many others ploughed their own furrow and their work aroused avid interest among the people. This could be seen not only in painting and sculpture but graphics, the theatre, music, literature and, though less so, also in the cinema.

A number of artists did reject the unnecessary ideological fetters as well as banal socialist realist platitudes, and in exhibitions of their work often shocked the party functionaries. Such artists often promoted a progressive and expressively advanced form of critical realism and an aesthetics of their own making. The national contemporary art exhibitions, which took place every five years in Dresden, drew huge numbers of visitors from all over the country and provoked heated discussions. The country could also boast a number of artists, writers and scientists of international renown: the physicist, Manfred von Ardenne, the social scientist, Jurgen Kuczynski; visual artists like Fritz Kuhn, John Heartfield, Willi Sitte, Werner Tiibke and Wolfgang Mattheuer; writers like Christa Wolf, Stefan Hermlin, Stefan Heym,

Christoph Hein, Erik Neutsch and Erwin Strittmatter were all much admired beyond the GDR’s borders.

In the theatre, Bertolt Brecht was, of course, the most famous. His influence on theatre practice was extensive in the GDR but also worldwide. The country, certainly in the early years, could also count on the expertise of actors and directors from the pre-Nazi period: Wolfgang Langhof, Wolf Kaiser, Wolfgang Heinz, Fritz Bennewitz and the brilliant Austrian opera director, Walther Felsenstein - people would come from all over the world to see his exciting productions at the Komische Oper in East Berlin. Among those who matured post-war, Heiner Muller was widely recognised as one of Germany’s most innovative and radical playwrights. There were rock and pop bands like Silly and the Puhdys and jazz groups who were certainly not ‘mouthpieces’ of state-sanctioned culture. There was also a whole range of individual classical musicians of world class, like the conductor Kurt Masur, tenor Peter Schreier and baritone Olaf Bar, the chanteuse Gisela May as well as outstanding orchestras.

The GDR provided facilities and funding for artistic and creative theory and practice. There were lay art circles in most communities and these received state support to carry out their work. Many writers, musicians and visual artists enjoyed a quite privileged existence if they belonged to the officially recognised artists’ or writers’ associations. They would be offered regular well-paid commissions by state and local authorities which provided them, as creative artists, with an income to live on.

A number of leading writers were seen in many ways as ‘people’s tribunes’, articulating grievances, criticisms and ideas that people felt had no proper airing in the public sphere. People engaged actively with these writers and vice versa. Public readings by, and discussions with, authors were a regular feature of GDR life.

Another myth constantly perpetuated is that because the GDR restricted the import of and access to literature from the West, its citizens were entirely cut off from it. A range of works from many contemporary writers from the West were published in the GDR; in fact more British authors were published there than authors from both Germanies combined were published in Britain. GDR readers could find books by British writers like Graham Greene and Alan Sillitoe to US writers like Saul Bellow, Norman Mailer and Ernest Hemingway. By 1981, the GDR was publishing 6,000 books a year, almost 17 per cent of which were translations from around 40 foreign languages. There was a wide selection of international literature available and a number of foreign films were shown in cinemas. David Childs, in his book on East Germany, exposes the myth that the GDR populace was totally ignorant and ill-informed about life in the West; most of them, after all were also able to tune in daily to West German radio and television.

Stasi State or Socialist Paradise?: The German Democratic Republic and What Became of It, by John Green and Bruni De La Motte (2015)

The GDR's relationship to art censorship wasn't as black and white as allowing and disallowing. Certain types of art were discouraged, but they also let regular exhibitions happen which contained "shocking" art, shocking for the party members. They were justifiably weary of any art coming from the west because they knew the CIA used it as a weapon, but "more British authors were published there than authors from both Germanies combined were published in Britain". The social conditioners of art also show themselves in socialist states. Just like liberal art in capitalist countries doesn't really need to be actively encouraged to exist, some artists in the GDR "simply preferred to place human beings and social reality at the centre of their art". It's a complex question which, like I said, almost entirely depends on the historical moment.

[trekbait]

Cardassia’s Gay Venues - Ranked

Cardassia’s strict gender roles and focus on family have meant for much of the past few hundred years the queer community there, while tolerated, has lived in the shadows. Post-war, it’s all change on Cardassia and we’re proud to report on some of the hottest queer venues (or "tailor shops" in the local slang) on the planet!

#1 The Blue Spoon

Officially a 300-year-old private members club for women excelling in science and engineering (Cardassia’s traditionally female-dominated careers), this club has been a haven for Cardassia’s sapphics away from prying eyes. Those in the know of course might recognise the name; “blue spooning” being a slang term on Cardassia for a lesbian relationship. But they’ve maintained an air of deniability and exclusive privacy.

Reluctantly opening their doors to a new generation, we joined one of their latest parties with these finely dressed women, often with very masculine cuts, dancing to an all-female orchestra. From our conversations with patrons, it seems those women who do serve in the military are in exceptional demand now they’re allowed in, particularly among the younger patrons. One older Gul was seen carrying two young women around on her shoulders before vanishing towards the powder room.

#2 The Hot Rock

With their preference for the heat and dark, relative to many humanoids, it’s no surprise how popular saunas are on Cardassia. That holds true for gay Cardassians too. The Hot Rock is the biggest gay sauna in the capital and a meeting place for much of its community. Over 4 floors deep under Lakarian Way there is no end of dark corners to arrange a semi-private rendezvous in temperatures passing 90 degrees Celsius in places. 

The upper floors are dotted with dancers, bars and various entertainment. Not being able to handle the heat downstairs, we talked to a few of the patrons. One ex-tailor we spoke to told us of how prior to the war it was very much a “don’t ask, don’t tell” situation on Cardassia. The primacy of the family always had the understanding of affairs on the side, but on the understanding they were kept discreet.

These days, it seems, the old ways are out along with the old leadership. We asked the patron if there were any prominent gay Cardassians in this new society. He replied, “my dear, they’re all gay.” When asked if that included the government, he added “Especially the government.” The patron himself says that he is just visiting for the sauna and was not gay at all, but his friend Elim used to date a human doctor for a few years who was “ravishing.” He grinned as he went back to watching the dancers. Let’s hope this ‘Elim’ finds new love on this new Cardassia.

#3 Dom In Me Cabaret

What was previously an underground satirist group of drag performers during the war is now an ongoing headline show with a full musical comedy based around the Dominion leadership. The king playing the Vorta 'Why-Ooo' steals the show with his sycophantic solos dedicated to his unrequited love for the abusive Changeling.

We lost count of the number of times different characters killed Why-Oooo but the audience cheered mercilessly without fail. The group is currently working on a new act around Tain and the Obsidian Order, something unthinkable a few years ago!

#4 The Ending Sacrifice Bookshop

For a quieter atmosphere, turn to The Ending Sacrifice which now openly sells literature deemed inflammatory to the Cardassian sense of “Family Is All.” Stories of powerful people forsaking arranged marriages to elope with their true love stock the shelves in defiance of the prevailing ideology. The owner, Manek, explains how they how to challenge the monoculture on Cardassia imposed by Central Command over the past 100 years.

“Historically,” they say, “the early Hebitian civilizations were far more liberal and pluralistic. We valued our differences and our culture above military conquest. We want to return to that openness. So much of our society has been suppressed. Did you know that, like most reptilian-like humanoids, Cardassians have the capacity to change sex in certain circumstances? Under the Central Command, this is an unspoken medical disorder to be fixed rather than a natural function of our biology.”

The bookshop hosts literary and academic talks on a number of topics which are free to attend. Drop in and speak to Manek for more.

#5 Obsidian Eyes

Tucked away on the outskirts of Lakat is a BDSM club that only recently opened. For some, the end of the Obsidian order and their eternal monitoring of the whole of Cardassian society (especially it’s queer members) must be something to be missed. Because here, patrons can meet in cold metal interrogation rooms and be watched through “secret” one-way mirrors by “agents of the Obsidian Order”. At a certain point during their liaison, the agents will barge into the room and place the lovers on trial. 

We asked staff if the “agents” were real, or more accurately former, members of the Obsidian Order or just actors. Each person we asked gave an entirely conflicting account of the whole operation and one just quoted lines from Enigma Tales at us. So we’re not sure what to say at this point other than this is an exhibition and humiliation kink we didn’t think we’d see on our trip.

[too-antigonish]

Something the darkness couldn't take from you...

I ran across this article while browsing my usual morning news outlets and it just gutted me. Today marks 80 years since the liberation of Auschwitz-Birkenau, but this account of Anita Lasker's experiences—including her time playing in the Women's Orchestra at Auschwitz—makes it feel very immediate.

She was only nineteen at the end of the war. As someone who has also played cello from a young age, I couldn't help but try to picture myself at that same age and in her place—wondering what I would have done. When I try to consider it coldly, practically, I honestly can't imagine myself surviving.

But I'm not sure she expected to survive. Like so many, she endured because of immense strength. But if strength was all it took, so many others would have made it through. What made the difference for her was luck and being on the receiving end of so many kindnesses, both big and small.

Still, I think the thing that amazes me most is that from what I can tell, she didn't let any of this touch her love for her instrument or music. She didn't let them take that from her.

She went on to become a founding member of the English Chamber Orchestra. Her son is a well-known cellist in his own right. She is now ninety-nine and by all accounts thriving.

And as silly as it might be to bring up in this context, it brought me right back to my favorite piece of dialogue from Endeavour:

MORSE: How do you do it? Leave it at the front door? THURSDAY: Because I have to. Case like this'll tear the heart right out of a man. Find something worth defending. MORSE: I thought I had... found something. THURSDAY: Music? I suppose music is as good as anything. Go home, put your best record on, loud as it'll play, and with every note, you remember... that's something that the darkness couldn't take from you.

-S1E2: Fugue

[favorite-music-tourney]

The round 1 polls for the favorite songs tourney

Suddenly I see by KT Tunstall - Misery Business by Paramore

Voodoo by Godsmack - Teenagers by My Chemical Romance

Genie in a Bottle By Christina Aguilera - Life on Mars by David Bowie

Lovefool by the Cardigans - Landslide by Fleetwood Mac

Harness Your Hopes by Pavement - Rent By the Pet Shop Boys

Gotta Get Up by Harry Nilsson - Virtual Insanity by Jamiroquai

It's too Late by Carole King - Romeo and Juliet by the Indigo Girls

A Thousand Miles by Vanessa Carlton - Good Old Fashioned Lover boy by Queen

Technicolor Dreams by the Bee Gees - Me and Bobby Mcgee by Janis Joplin

Maintain the Madness by Jane Austen Argument - The Logical Song by Supertramp

Voulez-Vous by ABBA - Your Day Will Come by Streetlight Manifesto

All Day and All Night by The Kinks - Rule #21 Momento Mori by Fish in a Birdcage

Fuck it by Days N Daze - The City of New Orleans by Arlo Guthrie

Budapest by George Ezra - Riptide by Vance Joy

True Trans Soul Rebel by Against Me! - Father and Son by Cat Stevens

Hungry Dog in the Street by The Taxpayers - Loose Lips by Kimya Dawson

Black Bird by the Beatles - Give Me One Reason by Tracy Chapman

Season of the Witch by Donovan - Volcano Girls by Veruca Salt

Friday I'm in Love by The Cure - Just Dance by Lady Gaga

Somebody Told me by the Killers - You Gotta Die Sometime from Falsettos

Love Me I'm a Liberal by Phil Ochs - Touch Me by the Doors

Ohio by Neil Young - Plate Glass Apology by Apes of the State

Sweet Talkin Woman by Electric Light Orchestra - She Has a Girlfriend Now by Reel Big Fish

The Past Is a Grotesque Animal by Of Montreal - Vienna by Billy Joel

A-Punk by Vampire Weekend - 15-Step by Radiohead

Float On by Modest Mouse - TERF bangs by Butch Baby

Toxic by Britney Spears - American Pie by Don McLean

Call Me Al by Paul Simon - Spiderwebs by No Doubt

Manic Monday by The Bangles - Body by Mother Mother

Monday Monday by The Mama's and the Papa's - Once in a lifetime by the Talking Heads

Rio by Duran Duran - People by AJJ

Bugs by Jesse Welles - Man on the Moon by R.E.M.

Glad to Be Gay by Tom Robinson Band - All Along the Watchtower by Jimi Hendrix

Only Happy When it Rains by Garbage - Diamonds and Rust by Joan Baez

Lyndon Johnson Told the Nation by Tom Paxton - Hot Stuff by Donna Summer

Culling of the Fold by the Decemberists - Video Killed the Radio Star by the Buggles

For What It’s Worth by Buffalo Springfield - Two Headed Boy by Neutral Milk Hotel

Pink Triangle by Weezer - Pink Pony Club by Chappell Roan

(Don't Fear) The Reaper by Blue Öyster Cult - Gold On the Ceiling by The Black Keys

Make your own kinda music by Cass Elliot - Micheal by Franz Ferdinand

Renegade by Styx - Gay Bar by the Electric Six

Major Tom (Völlig losgelöst) - Frank Sinatra by CAKE

Dog Days are Over by Florence + the Machine - The Impression That I get by the Mighty Mighty Bosstones

Unwritten by Natasha Bedingfield - & by Tally Hall

[secular-jew]

In 1920, Syria Palestina was a Roman-named colony or region, not a country, (aka Palestine), stretching from Iraq to southern Syria, and of course, there was no country called Jordan. The word Palestine was 100% derived from the Hebrew name for the Philistines. There is no evidence of a written language left by the philistines and the only name that they were known by was the name given to them by the Hebrews at the time. The evolution of the word went something like this:

פלש—פלישתים—ארץ פלשת—סוריה פלסטינה/פלשתינה—פלסטין/פלשתין

PaLaSh—plishtim—the land of paleset—Syria Palestina (the name given to the land of Israel and Judea as a punishment by the Roman)—- Palestine

PaLaSh is the Hebrew root word for invade meaning we called the sea fairing invaders by their actual name, invaders

Important to know that the Arabs absolutely DENIED ANY RELEVANCE and would not ascribe and meaning re: "Palestine" for themselves.

Arab nationalists in the post-WWI period ADAMANTLY rejected the designation. Arab spokesmen continued to insist that the land was, like Lebanon, merely a fragment of Syria. On the grounds that it dismembered an ideal unitary Arab state, they fought before the Anglo-American Committee of Inquiry and at the United Nations. The Arab historian Philip K. Hitti informed the Anglo-American Committee of Inquiry that “there is no such thing as Palestine in history.”

In 1937, Awni Bey Abdul-Hadi, founder of the first Palestinian Arab political party, testified to the Peel Commission, "There is no such country as Palestine. 'Palestine' is a term the Zionists invented. There is no Palestine in the Bible. Palestine is alien to us."

In May 1956, Ahmed Shukairy, who became the first head of the Palestine Liberation Organization (at a time when Jordan had annexed the "West Bank" and Egypt controlled Gaza), declared to the United Nations Security Council, “It is common knowledge that Palestine is nothing but southern Syria.”

In February 1970, Prince El Hassan bin Tala of Jordan, stated to the Jordanian National Assembly that "Palestine is Jordan and Jordan is Palestine; there is one people and one land, with one history and one and the same fate." Seven months later, the PLO attempted to take over Jordan, lost, and were unceremoniously, kicked out.

In 1977, PLO Executive Committee member Zahir Muhsein stated, "The Palestinian people do not exist. The creation of a Palestinian state is only a means for our continuing struggle against the state of Israel for our Arab unity. … In reality there is no difference between Jordanians, Palestinians, Syrians, and Lebanese."

One might argue that this particular group of Arabs established, sometime in the mid 1960s, a political identity as "Palestinians," when Arafat returned from strategic partnership meetings with the Soviets communists who were attempting to gain a larger foothold in the region, and advised him how to use "Palestine" identity as a cudgel against Israel.

What they are NOT is "ancient" inhabitants of the region which, under Ottoman rule, was also dubbed "Syria-Palestine." What they are NOT is any sort of distinct ETHNIC group—like the Judeans (Judea/Samaria/Israel), the Phoenicians (Lebanon), the Kurds, the Druze, or the Circassians. They are Arabs, sharing the language, culture, religion, cuisine, ethnic group, etc. of the people of Syria, Lebanon, Jordan, Egypt, and Saudi Arabia. Prior to the 1960s, before the PLO was created, there were ZERO Arabs self-identifying as Palestinians. During the 19 years that Jordan controlled the so-called "West Bank" (Judea and Samaria, which had been cleansed of Jews by the Jordanians) and when Egypt controlled Gaza, there was no movement to create a "Palestinian" state.

Attached is a photo of the Palestine Symphony Orchestra in 1936, which consisted of 73 jewish musicians, and conducted by none other than Arturo Toscanini (born in Parma, father was a tailor). Toscanini was the music director at La Scala, before spending spent 7 years conducting the New York Metropolitan Opera (1908-1915) and the New York Philharmonic (1926-1936). He lived out his latter years in NYC, about a 1/2 mile from where I lived for a decade from 2005-2015 in Riverdale (Bronx), which is now called Wave Hill, a non-profit cultural institution and botanical garden, located on 26 acres adjacent to the Hudson River.

[dustedmagazine]

An overwhelming year: Joshua Moss on 2024

2024 was an overwhelming year in almost every sense, but the subject here at Dusted is music, and music was a phenomenon that was overwhelming in a good way. I fell in love with brand new albums I will listen to for the rest of my life, discovered decades old albums that were like missing pieces of myself, and I didn’t get to albums I might fall in love with ten years from now. My band released eight of our own albums to varying degrees of notice. I did a brief tour, something I had not done for over a decade, and we played more shows than we ever have in a year.

I mention my own musical activities because when you are engaged in DIY music, it's all about connecting with people, and most of them are other musicians with beautiful music to share. Every time we play a show, we are treated to performances by two or three other bands, who almost never disappoint. I had sublime nights around Portland this year. I swooned to jangly pop downers Rosy Boa. I zoned out to mesmerizing finger picking and jazz improvisation from guitar magicians like Will DeLee and Mike Gamble. I lost my mind to the free explorations of the Joel Nelson Group and Water Shrews. We played with French artists Tamagawa and Oldine and connected across the Atlantic with their atmospheric sounds. When I was on tour, I got to meet an online friend and collaborator, John Swanke, and watch him weave his tapestries of New Age guitar. I met drone-folk revivalists Friends of the Road, who put out one of my favorite albums of the year, and I got my face melted by the thrash-metal Grouper vibes of Power Strip. All of this was life affirming - in times that feel haunted by deadly forces that are bereft of creativity or joy, all of this felt like, aside from my family, my main reason for being alive. 

There is an additional vitality that can be added to this practice, because music can be used to materially address the complex issues we face. Many artists, including myself, leverage their fanbase to raise money for good causes, but in the wake of Hurricane Helene, a massive, heavy hitter filled benefit compilation called Cardinals at the Window raised over $300,000 to support those impacted. more recently, the Gold Bolus Recordings label has put out an excellent compilation to benefit Palestinians, called Mandatory Liberation Volume One, featuring artists such as Powers/Rolin Duo and Ashcan Orchestra.

2024 was a great year to be a fan of music too—as fragmented as the digital universe, is, has the effect of multiplying the amount and variety of music released, permutations of genres spiraling like fractals of style. I think every deep music head's dilemma is knowing that we'll miss more records than we ever catch, but it's a wonderful problem to have. Below I have included a list of my 30 favorite albums of the year —  I tried to go under-the-radar as much as was honest — but this is stuff I listened to a lot.

Spiral Pier — Cash Payment (EP)

JPW/Dadweed — Two Against Nurture (EP)

Future — WE DON’T TRUST YOU

Rosali — Bite Down

Daniel Wyche and Patrick Shiroishi — Hopeful Intervals

Jeremy Kizina — Remnants In Repose

Seawind of Battery — East Coast Cosmic Dreamscaper

Cindy Lee — Diamond Jubilee

Penn Bryce — Feel Free

Taylor K Conrad — Mountain Stars

Cassini — The Cassini Project

Friends of the Road — Sunseekin’ Blues

Water Shrews — Red Eared Slider

Myriam Gendron — Mayday

Shane Parish — Repertoire

Rob Dobson — Be Easy

Beth Gibbons — Lives Outgrown

Bill MacKay — Locust Land

Blue Angels — s/t

Quintelium — Dream and Reality

Will DeLee — Improvisations for Guitar and Charango

Niklas Sørensen — Akustisk

Hearts of Oak — Valley of Dark Hills

JM Hart — As We Know It

Kim Deal — Nobody Loves You More

Power Strip — Nothing Yet

Spiral Joy Band — Waves of Higher Bodies

Old Crow Medicine Show — O.C.M.S. (re-issue)

Souled American — Notes Campfire (re-issue)

Grateful Dead — Duke '78 (archival)

[jazzdailyblog]

Carla Bley: A Visionary in Jazz Composition

Introduction: In the kaleidoscope of jazz, there are figures who emerge not only as talented musicians but also as visionary composers who redefine the boundaries of the genre. Carla Bley, a pianist, composer, and bandleader, stands as a luminary in this realm. This blog post unravels the fascinating journey of Carla Bley, shedding light on her distinctive compositional style, eclectic…

[agentnico]

Conclave (2024) review

This Pope is dope!

Plot: Cardinal Lawrence is tasked with one of the world's most secretive and ancient events - leading the selection of a new pope. Surrounded by powerful religious leaders in the halls of the Vatican, he soon uncovers a trail of deep secrets that could shake the very foundation of the Roman Catholic Church.

Since his stellar 2022 adaptation of All Quiet on the Western Front that bagged him a Best International Feature Academy Award, Edward Berger showcased himself as a director to keep an eye out for. I did not expect him to be back so quickly, yet here we are with Conclave, and goodness we he may have yet another awards contender on his hands. This movie is all about lies, deception, manipulation and strategy, all encapsulated in this global scale game of chess. From the offset one may question how interesting a movie about a bunch of cardinals picking the next Pope could be. Like it’s just a bunch of men in red caps sitting and talking. But believe me this is far from a boring tale, as Berger manages to turn this intimate and supposedly-holy ritual into a thrilling and tense experience that echoes the scheming, backstabbing nature and intrigue of something like Game of Thrones whilst also feeling strikingly relevant. I’m not saying this thing is full of sex and blood, but truly this movie about priests gossiping is extremely entertaining and engaging. Whenever the ballot result was being announced after every vote, I’m not going to lie, and I hate using this term, I was at the edge of my seat, wondering who the next front runner was.

Part of me wishes this took a Death of Stalin approach with all these cardinals trying to one up each other to get to the top, as there is so much comedy potential in that. However this movie plays it mostly straight, yet it does still manage to find some humour in the interactions, with especially one of the most diabolical vape hits of all time, and I don’t just mean in cinema history. Truly though this is a really well made piece of drama, and also fantastically shot, as Berger and his crew manage to turn the Vatican into a highly cinematic location, with even a small behind-the-scene auditorium darkened in a way that only the red of the cardinals clothing and the turquoise blue seats are highlighted, which I must say was a phenomenal minimalistic approach. Also a bird’s eye sequence of the cardinals holding white umbrellas and walking past a fountain - chef’s kiss! Huge shout out to Volker Bertelmann’s music score, as even though I think his work on All Quiet on the Western Front was overrated and dull, here his style works much better, with his score dominating a specific sound made by a string chamber orchestra, that mirrored the movie’s constant theme of being “stuck”.

With this cast you already expected high class performances, but truly they are great. Elegant, crafty, poised, but never shy of getting emotional when needed, Ralph Fiennes abilities of balance continue to impress me with how he invests in making a good character. It’s a reserved yet powerful performance. Stanley Tucci goes a bit more theatrical, his character the voice of the "liberal" side as his aggressions and passions are artfully delivered in a manner fit for the stage to offset Fiennes' calmer tones. John Lithgow is almost a mix of the two extremes, holding his usual support role that keeps so many of the leading sides held and providing perhaps most of the engaging mystery element in the search for the truth. Isabella Rossellini is unfortunately a tad under-used, though she does get one scene to deliver that powerful note that the Oscars would love to reference should she be nominated. Lucian Msamati, Sergio Castellitto and Carlos Diehz also make notable turns as the other contenders for the Pope role, all of whom get their moments to shine.

In my eyes Conclave is a stunning piece of work. It manages to take what one would assume as such a simple premise, yet manages to entangle it with so many threads of twists and turns, as such turning a political and religious drama into a true mystery thriller, with Fiennes character acting more so as a detective rather than a leader of the conclave. Partner that with the great acting, sublime cinematography and a slow but engaging pace with a script filled with wit and realism, and we have ourselves one hell of a motion picture!

Overall score: 8/10

[hypokeimena]

i know i could google it but i love to question american mutus, what's it really like in a frat ?

well like it's extremely variable. one of the primary things that makes frats scary and nonfunctional is the fact that at MOST schools, the frat is technically "off campus" housing which means that the university - while dependent on greek life to provide housing to students - has no or extremely limited legal control over behavior which happens in frat houses bc... it is "off campus". which is what leads to the kind of bad shit you hear about bc there's very little like... accountability. HOWEVER greek life at my school was 1. housed in dorms 2. at a school with a more liberal milieu, and also not an enormous part of campus culture - it was there if you wanted it but it wasn't the ONLY place to socialize, or the only kind of group housing etc, the way it is in some other more rural schools where that's sort of the only thing there is to do yk. also 3. it was a group that very much self-selected for people who cared about Living In Community who wanted a space that was not as traditionally "fratty".

i tend to feel it has much more in common with the way i've seen people describe coop housing than with other frat houses; we were a greek letter org with a national - but we are co-ed and legally distinct, though we still share songs and a history with the all-male org.

so for me "what was being in a frat like" well it was like living with a bunch of people who all agreed that we wanted to live together, drink responsibly together, and learn all the same drinking songs. together. which i think is not typically the experience for many people!

checked in with a college friend to see if this description held true to her perception also and she said "well housing coops don't ritualistically blindfold members" which i feel like is a big thing for her to claim. they might. i don't know that. anyway it was good and fun and we did not do Hazing except in to a degree that was entirely opt-in.

have these descriptions also: "[frat was] like kind of a traditional frat, kind of a religious community a little bit (in the way that frats are that) and kind of like coop housing for people who like movie nights. also kind of like attending city council meetings. a homeowners association for self destructive people. socialization daycare for computer science students. sleepaway summer camp but the kids and chaperones are the same age. and also the same people. [frat] is like the post-musical rager for high school students who played in the orchestra pit" (h/t @oddliestcatch)

[cosmosbeelover]

The History of Korean Male Soloists from the 20th Century: Episode 3/?

The third episode of 'The History of Korean Male Soloists from the 20th Century' highlights prominent Korean musicians who achieved fame in the early 20th century, during the period of Japanese occupation.

The historical documentation related to these artists is frequently unreliable, largely due to the fact that their contributions occurred almost a century ago, before the Korean War, leading to the loss or unavailability of essential records.

Kim Saeng Ryeo (김생려; 金生麗)

Kim Saeng-ryeo is linked to the Yonhui Professional Orchestra (연희전문사중창단), founded in 1929, as discussed in Part 3. The Yonhui College Orchestra/Quartet, led by Hyun Je-myeong (현제명), held biannual concerts from 1930 for nearly a decade, showcasing emerging talent and reflecting the changing musical tastes of the colonial era. This orchestra was instrumental in the development of musicians such as Kim Seong-tae (김성태), Lee In-beom (이인범), Kim Saeng-ryeo (김생려), and Lim Dong-hyeok (임동혁).

Numerous types of orchestras exist, and I discovered a resource that provides a comprehensive overview of each, including philharmonic, symphony, chamber, opera, string, and wind orchestras, among others. This resource will cover a variety of orchestral forms.

Life and Career

Born on November 25th, 1912, in Yongbyon, North Pyongan Province, and passing away in Las Vegas on December 14th, 1995, at the age of 83, he was the only son among five siblings and married to dancer Kwon Ryeo-seong (권려성).  His father, a devout Christian and elder, introduced him to the church at an early age, fostering a particular fascination with the organ. Shortly after his birth, his father established a church in Bukcheong, where Kim Saeng-ryeo spent his formative years.

He played a crucial role in the establishment of the Seoul Philharmonic Orchestra and was instrumental in founding the Seoul Symphony Orchestra after Korea's liberation, thereby leaving a significant mark on the country's symphonic music scene. His early life unfolded in Anju, South Pyongan Province, and Bukcheong, South Hamgyong Province. Like other key figures in the early development of Western music in Korea, such as Hyeon Je-yeong (현제명),  Lee Heung- ryeol (이흥렬), and Gye Jeong-sik (계정식), Kim was raised in a Protestant household, which provided him with early access to Western musical traditions.

From a young age, he demonstrated exceptional skill in playing both the organ and harmonica. His journey with the violin began in elementary school, where he had already shown a unique aptitude for the organ and harmonica, often playing during his free time. His passion for music persisted even after starting school, as he would occasionally leave class to visit a church and immerse himself in musical experiences.

In the second grade, his fascination with music deepened when he encountered an amateur violinist, which inspired him to take up the violin. This pivotal moment marked a significant shift in his musical journey. After completing elementary school, he moved to Seoul to pursue further education, enrolling in the second high school, now known as Gyeongbok High School (경복고등학교; 景福高等學校), where he distinguished himself as a disciplined and diligent student.

While attending Gyeongseong Jeigo High School, he received violin lessons from Boots, the wife of a foreign doctor at Severance Hospital (세브란스병원). His serious commitment to violin studies intensified after meeting Gye Kye-sik, a returnee from Germany. He continued to practice diligently at Yonhui College (연희전문학교; 延禧專門學校) and, upon graduation, took on roles as an accompanist and conductor for the Gyeongseong Broadcasting Station Orchestra (조선방송협회(朝鮮放送協會). However, during the Gwangju Student Incident https://en.wikipedia.org/wiki/Gwangju_Student_Independence_Movement (광주 학생 독립 운동; 光州學生獨立運動), he actively participated in protests, which led to his pursuit by the Japanese police and subsequent suspension from school. He was only reinstated after submitting a written account of his actions, but he continued to face challenges, particularly from his Japanese teachers, ultimately graduating under difficult circumstances.

Throughout his academic evolution, his commitment to music remained steadfast. After finishing elementary school, he moved to Seoul to further his education, enrolling in Jeigobo (제이고보), now recognized as Gyeongbuk High School. His association with Kim Hyung-jun (김형준; 金亨俊), a violinist and conductor, facilitated his involvement with the Gyeongseong Central Orchestra (경성중앙관현악단; 京城中央管絃樂團) as a violinist. Upon graduating from Gyeongbuk High School, he encountered Gye Jeong-sik (계정식; 桂貞植), a returnee from Germany, who helped him strengthen his foundational skills in violin, leading to his participation as a second violinist in a string quartet directed by Gye Jeong -sik.

Despite familial opposition to his musical aspirations, he persevered and, after graduating from Gyeongbuk High School, gained admission to Yonhee College through the recommendation of Hyun Je-myeong (현 종양). There, he continued to engage in musical activities and was appointed as the second violinist in a string quartet under Gye Jeong-sik's (계정식; 桂貞植) leadership. Although he attempted to follow his father's wishes by applying to Severance Medical School, he was unsuccessful and instead enrolled in the liberal arts department at Yonhee College, where he benefited from diverse musical experiences and eventually became the head of the school band.

Under the mentorship of Hyun Je-myeong, who began his role in 1929, he collaborated with notable musicians such as Kwak Jeong- seon (곽정선), Kwak Jeong-sun (곽정선), and Kim Gwan (김관). In the early 1930s, he worked with Kim Seong-tae (김성태) (violin), Lee Yu-seon (이유선) (vocal), and Hwang Jae-gyeong (황재경) (flute) within the music department at Yonhee College, further advancing his musical skills. However, following a victorious sports match against Gyeongseong Medical School, which included Japanese students, he celebrated with the band members, leading to an incident that resulted in his indefinite suspension after being held accountable for the situation.

His time in Japan represented a transitional phase, but upon his return to Korea two years later, he re-enrolled at Yonhui College. There, he secured a position with the Gyeongseong Central Broadcasting Station Orchestra and supplemented his income by working as a violin accompanist for the prestigious Victor Records orchestra. Although he graduated in 1937, two years later than his classmates due to his studies abroad, he remained actively engaged in music, including performing violin solos during chapel services at the college.

Kim Saeng-ryeo's experience at Yeonjeon coincided with the return of Hyun Je-myeong from the United States, marking a high point for the Yeonjeon Music Club. During this vibrant period, he collaborated with notable musicians such as Kim Seong-tae, Jeong Hee-seok, Lee In-beom (이익), and Hwang Jae-gyeong. After completing his studies at Yeonjeon, he continued his career as an accompanist for both the Gyeongseong Broadcasting Station Orchestra and Victor Records.

Following the return of Hong Nan-pa (홍난파; 洪蘭坡) (April 10, 1898 – August 30, 1941) from the United States, who expanded the Gyeongseong Broadcasting Orchestra, Kim Saeng-ryeo assumed the role of conductor, fostering a strong musical partnership with Hong. During this time, he also developed a close relationship with Kim Seong-tae, visiting him to study harmony and composition. When Hong Nan-pa fell ill, Kim dedicated himself to supporting him, managing the broadcasting station's responsibilities in his absence and providing care until Hong's passing.

Hong Nan-pa's counsel became a guiding principle for him: “If you aspire to be a flower, abandon music. If you wish to be a seed that flourishes for future generations, persist in music.” This philosophy provided him with resilience and served as an enduring compass during challenging times.

In the 1940s, he adopted the name Kaneyama as part of a broader national integration initiative. Following the death of Hong Nan-pa, Kim Saeng-ryeo assumed leadership of the orchestra and invited Gye Jeong -sik.to conduct. However, when the broadcasting station attempted to replace Gye-sik with a Japanese conductor, the Korean members, led by Kim Saeng-ryeo, vehemently resisted. Ultimately, when their efforts were thwarted, he chose to resign and establish a private orchestra.

He demonstrated his violin prowess at the inaugural concert of the Joseon Symphony Orchestra and at an event organized by the Joseon Music Association in 1941. That same year, he performed a solo at the "Peninsula Entire Enlistment Song Recital," which marked the introduction of the conscription system. He also participated in the "Music Patriot Weekly Music Festival" at Bumin Hall (부민관; 府民館) alongside prominent musicians. In 1942, he became the conductor of the Kyungsung/Gyeongseong Welfare Chamber Orchestra (경성후생실내악단; 京城厚生室內樂團) and joined the National Mobilization Federation of Korea/ Music Popularization Corps (國民音樂普及挺身隊) in 1943, performing at various patriotic events, including the "Battleship Donation and Patriotic Chamber Symphony Night." As the first violinist of the Kim Saeng-ryeo String Quartet and later a representative of the Hwaseong Chamber Orchestra, he continued to perform at events that celebrated the conscription system and supported pro-Japanese organizations.

Bumin Hall (부민관; 府民館) in the early 1940s

In 1942-1943, he established the Husung Chamber Orchestra following his resignation from the broadcasting station, which subsequently toured across the nation. Notably, soprano Kim Cheon-ae, a founding member of the orchestra, performed "Bongseonhwa" (봉선화) during the tour, providing solace to audiences mourning their country's plight, which led to her being monitored by the Japanese authorities.

In 1944, the Husung Chamber Orchestra relocated to Xingjing, Manchuria, where its members integrated into the Xingjing Symphony Orchestra. As liberation approached in 1945, he returned to Korea at the behest of Hyun Je-myeong to reestablish the Husung Orchestra, coinciding with the country's liberation. He took on the role of conductor for the newly formed Goryeo Symphony Orchestra in 1945, having previously been an active violinist during the Japanese colonial era. Following liberation, at Hyun Je-myeong's request, Kim Saeng-ryeo mobilized efforts to assemble around 50 musicians in the fall of 1945, successfully founding the Goryeo Symphony Orchestra under conductor Gye Jeong -sik., marking the inception of Korea's first orchestra post-liberation.

‘Bongsunga’ (봉선화) sheet music by Kim Hyung-jun, composed by Hong Nan-pa (100 Years of Our Western Music)

He subsequently departed from the Goryeo Symphony Orchestra. In 1946, he co-established the Seoul Music Club (서울음악동호회), recognized as the first chamber orchestra formed post-liberation of Korea, alongside Lee Jae-ok (이재옥), Jeong Hoon-mo (정훈모), Lee In-hyeong (이인형), Ahn Seong-gyo (안성교), Oh Byeong-do (오병도), and Jeon Bong-cho (전봉초). This initiative served as a foundation for the eventual formation of the Seoul Symphony Orchestra, where he assumed the role of conductor and later founded the Kim Saeng-ryeo Quartet in 1947, collaborating with Lee Yong-cheol (이용철), Choi Gyu-yeong (최규영), and Kim Jun-deok (김준덕). He was also a member of the Seoul Orchestra, alongside Jo Bong-deok (조봉덕), Lee Gyu-su, and Kim Soon-deok (김순덕). In 1947, he took the initiative to establish and manage the Seoul Symphony Orchestra, which was the precursor to the Seoul City Symphony Orchestra (서울시립교향악단; Seoul Philharmonic orchestra ,─市立交響樂團) founded in 1948, drawing from the Korea Symphony Orchestra (고려교향악단; 高麗交響樂團) and the Seoul Orchestra, and made his conducting debut at the inaugural concert held in February of the following year.

1950s picture of the Seoul Symphony Orchestra

Kim Saeng-ryeo embarked on his professional journey as a conductor through a prestigious invitation extended by the U.S. State Department. This opportunity allowed him to immerse himself in the world of classical music, where he had the privilege of studying under some of the most esteemed maestros of the time, including the legendary Leonard Bernstein and the renowned Eugene Ormandy. These formative experiences not only honed his skills but also enriched his understanding of orchestral dynamics and interpretation. As his conducting career progressed, Kim Saeng-ryeo showcased his exceptional talent by leading prominent orchestras, such as the Boston Symphony Orchestra and the Philadelphia Philharmonic. His performances on international stages garnered acclaim and recognition, establishing him as a significant figure in the global classical music scene.

Upon returning to Korea, Kim Saeng-ryeo was instrumental in founding the Seoul City Symphony Orchestra in November 1958. His vision and commitment were key in defining the orchestra's character, and he assumed the roles of permanent conductor and representative. Initially, he played as the first violinist when the orchestra commenced its activities in January of that year. The inaugural concert was conducted by Kim Seong-tae, and soon after, the orchestra began regular performances under the direction of German conductor Rolph Jacobi, who served as an advisor to the Central Broadcasting Station. However, following Jacobi's unexpected departure to Germany, Kim Saeng-ryeo took over as conductor for a concert in Daegu, marking the beginning of his conducting career.

In October 1995, Kim received a distinguished invitation to conduct at the Korean Symphony Orchestra's 50th anniversary concert, he performed from a wheelchair and received enthusiastic response from the audience.

Under Kim's direction, the orchestra not only expanded its repertoire but also undertook extensive tours throughout Southeast Asia, performing in nations such as Vietnam, Hong Kong, and Taiwan. These tours highlighted the orchestra's talent and promoted cultural exchange, enhancing the appreciation of classical music in the region. Kim played a crucial role in negotiating the orchestra's establishment with the Seoul Metropolitan Government, ensuring a strong foundation for its operations and performances. His dedication to the orchestra's development established it as a significant entity in Korea's cultural scene, quickly gaining popularity among audiences, who often displayed overwhelming enthusiasm during performances. Notable works conducted by him included Kim Seong-tae's "Capriccio," Schubert's "Unfinished Symphony," and Ravel's "Bolero Dance" at various concerts.

Throughout his tenure, Kim Saeng-ryeo conducted a series of notable performances that left a lasting impact on the Korean music scene. Among these were Puccini's "Tosca," which he conducted in October 1958, and the double bill of Leoncavallo's "Pagliacci" and Mascagni's "Cavalleria Rusticana" in June 1959. These productions were significant not only for their artistic merit but also for their role in introducing Western operatic traditions to Korean audiences. In November of the same year, he conducted Bizet's "Carmen" at the National Theatre of Korea, further solidifying his reputation as a conductor capable of delivering powerful and emotive performances.

Photo 1 -> Kim Saeng-ryeo 1972 Photo 2 -> Newspaper clipping published in June 25th 1972

Despite successfully navigating numerous challenges to develop the orchestra, the onset of the Korean War compelled him to abandon his ambitions for the ensemble, leading to a three-month period of hiding under communist rule until Seoul was recaptured on September 28. Ultimately, the Seoul Symphony Orchestra was disbanded after its 23rd regular concert due to the war. At its formation, the orchestra included a wide array of musicians, featuring first and second violinists, violists, cellists, and various woodwind and brass players. Among the distinguished members were Kim Saeng-ryeo and Jo Bong-deok on first violin, alongside a diverse group of instrumentalists such as flutists, oboists, clarinettists, and trumpeters. The ensemble also incorporated percussionists and a pianist, creating a rich auditory experience that defined the orchestra's performances during its short yet significant existence.

Full List of the members at the time of its founding of Seoul Symphony Orchestra were as follows: . 1st Violin (제1 바이올린): Kim Saeng-ryeo (김생려), Jo Bong-deok (조봉덕; 趙鳳德), Lee Gyu-su (이규수; 李奎秀), Kim Soon-deok (김순덕; 金順德), Lee Gye-seong (이계성; 李桂成), Baek Hae-je (백해제; 白海帝), Lee In-hwan (이인환; 李仁煥), Heo Sang (허상; 許湘), Lee Sung-tae (이숭태; 李崇泰), Shin Sang-cheol (신상철; 申相徹), Kim Hae-ryong (김해룡; 金海龍). . 2nd Violins (제2 바이올린): Lee Jae-ok (이재옥; 李在玉), Nam Chang-hyun (남창현; 南昌鉉), Jo Gyu-won (조규원; 趙奎元), Choi Ho-won (최호원; 崔豪源), Moon In-yeon (문인연; 文麟連), Lee Dong-hee (이동희; 李東熙), Kim Seon-hwa (김선화; 金善化), Jeon Chang-jae (전창재; 全昌宰), Jeon Oh-bok (전오복; 全五福), Park Jun-hwang (박준황; 朴俊晃). . Violas (비올라): Ahn Seong-gyo (안성교; 安聖敎), Lim Chun-ok (임춘옥; 林春沃), Lee Yeong-don (이영돈; 李泳敦), Lee Jae-man (이재만; 李裁晩). . Cello (첼로): Jeon Bong-cho (전봉초; 全鳳楚), Woo Dal-hyeong (우달형; 禹達亨), Lee In-gyu (이인규; 李寅圭), Park Guk-rok (박국록; 朴國錄), Kim Jong-myeong (김종명; 金鍾明), Lee Jeong-eon (이정언; 李禎彦), Yoo Jeong-yong (유정용; 劉廷鏞). . Flute (플루트): Oh Byeong-do (오병도; 吳炳道), Lee Gi-yoon (이기윤; 李基潤), Hong Su-man (홍수만; 洪壽萬). . Oboe (오보에): Lee Byeong-woo (이병우; 李炳祐). . Clarinet (클라리넷): Hong Gwang-eun (홍광은; 洪光銀), Kim Seong-hun (김성훈; 金成勳). . Bass (파곳): Kim Yeong-gyu (김영규; 金英圭), Na Moon (나문; 羅文). . Horn (혼): Jeong Hoe-gap (정회갑; 鄭回甲), Kim Jong-sun (김종순; 金宗純), Kim Yun-seong (김윤성; 金潤成), and Hyeon Su-so (현수소; 玄壽瀟). . Trumpets (트럼펫): Kim Jong-dae (김종대; 金鍾大), Park Ju-doo (박주두; 朴柱斗), and Kim Man-bok (김만복; 金萬福). . Timpani (팀파니): Han In-hang (한인항; 韓麟恒). . Battery/ Baeteoli (배터리): Kwon Yong-jin (권용진; 權龍鎭), Han Seong-jin (한성진; 韓聖振). . Piano (피아노): Lee In-hye (이인형; 李仁亨). . Conductor/Arrangement (지휘·편곡): Jacobi (쟈코비), Kim Seong-tae (김성태; 金聖泰). . Vocalists (성악): Kim Cheon-ae (김천애; 金天愛), Kim Hye-ran (김혜란; 金惠蘭), Lee In-beom (이인범; 李仁範), Kim Hyeong-no (김형노; 金炯魯).

The Symphony Orchestra of Seoul City gave a concert in Hong Kong on April 20, 1947. (Photo by: Universal History Archive/Universal Images Group via Getty Images)

Following the recapture of Seoul during the Second Battle of Seoul in 1950, the establishment of the Seoul Symphony Orchestra was initiated alongside the formation of the Naval Military Training Band, which served as the precursor to the Seoul Metropolitan Symphony Orchestra. This endeavour marked a significant cultural development in a time of conflict.

In his role as conductor, he assembled musicians and sought support from the Navy to create the Navy Military Band. Despite the ongoing war, this ensemble was unique in its provision of employment for musicians and opportunities for music enthusiasts to enjoy performances. He maintained his leadership of the band throughout the duration of the war, ensuring its continued presence in the musical landscape.

As a founding member of the Korean Musicians Association established on November 8, 1949, he played a pivotal role in the organization of the Naval Military Music Band in October 1950, where he served as captain. Following the appointment of all 120 members of the Naval Cultural Promotion Corps as civilian naval officers, the band held its inaugural concert in November 1950 at Sigong Hall, celebrating both the Navy's fifth anniversary and the recapture of Seoul. The band, which returned to Seoul in 1953, became influential in the performance scene, showcasing significant works and ultimately evolving into the Seoul Symphony Orchestra, which was later restructured into the Seoul Metropolitan Symphony Orchestra in 1960.

The main characters Patty Kim (김혜자; 金惠子) (left) and Kwak Gyu-seok (곽규석) (Right) at the premiere of the musical 'Saljjagi Obseye' (살짜기 옵세아이) by the Yegreen Orchestra in 1966. [Joongang Photo]

Kim was appointed as the first conductor of the Seoul City Symphony Orchestra, a role he maintained until 1961. Initially optimistic about fostering a vibrant symphony orchestra movement, his ambitions were thwarted by the political turmoil surrounding the April 19 Student Revolution in 1960 and the May 16 Military Coup in 1961. These events culminated in his resignation, prompted by legal disputes involving current and former orchestra members. Nevertheless, during his tenure, Kim Saeng-ryeo actively guided the orchestra, undertaking performances both domestically and internationally, including tours throughout Southeast Asia, thereby establishing a significant foundation for the orchestral movement in Korea.

In January 1962, Kim assumed the role of director for the Yegreen Orchestra, which was founded with the guiding principle of "Remembering the Past and Yesterday for Tomorrow." By September of that year, the orchestra had successfully staged five performances of the "Chuseok Play," showcasing a variety of musical selections. After the orchestra's dissolution, the exact timing of which is uncertain, Kim established the Arirang Folk Arts Troupe, which toured extensively across the United States, Canada, Europe, and other regions, playing a vital role in the dissemination of South Korean culture.

In the same year, Kim also held several significant positions, including head of the music department at Kyunghee University, representative of the Yegreen Orchestra, and artistic member and commander of the Naval Military Music Band. His diverse engagements in these organizations, along with his role in representing the Seoul Metropolitan Symphony Orchestra, highlighted his prominent influence in the South Korean music landscape during this era.

1967 Yegreen Orchestra ‘Kkotnim, Kkotnim, Kkotnim’ (꽃님, 꽃님, 꽃님). The middle of the second row is Na Yeong-su (나영수), and next to him on the left is Hwang Ik-pyeong (황익평), Moon Hye-ran (문혜란), Lim Yeong-ung (임영웅), Park Yong-gu (박용구), Choi Chang-kwon (최창권), and Kwak Gyu-seok (곽규석) (Fry Boy). The man sitting in the middle of the front row is Hwang Un-heon (황운헌) (Chief of the Literature Department).

In 1962, he travelled to the United States to pursue studies in conducting, and by 1971, he had taken on a professorship in the Department of Music at Hanyang University. He returned to the United States in 1976, where he held the position of permanent conductor for the Southern California Philharmonic Orchestra until 1992.

In October 1995, he received a distinguished invitation to conduct at the Korean Symphony Orchestra's 50th anniversary concert, performing from a wheelchair and receiving an enthusiastic response from the audience. His impact on the Korean symphonic scene was significant; he established the Seoul Symphony Orchestra Association and the Seoul Symphony Orchestra, while also enhancing Korean music through his leadership of the Yegreen Orchestra, his role with the Arts Council, and his teaching at Kyunghee University. His achievements were acknowledged with numerous awards, including the Swedish Red Cross Medal and the Seoul City Cultural Award. Kim passed away due to diabetes-related complications at Sunrise Hospital in Las Vegas, USA, on December 14, 1995, at the age of 83.

Activities and Achievements

Kim Saeng-ryeo's career in music began in 1939 when he served as the conductor for the Seoul Central Broadcasting Station Orchestra. He played a pivotal role in establishing several orchestras, including the Seoul Welfare Chamber Orchestra in 1942, where he was a violinist, and the Goryeo Symphony Orchestra in 1945, for which he was the founding conductor. His influence continued with the founding of the Seoul City Symphony Orchestra in 1948, where he also held the position of conductor. By 1950, he became the Permanent Conductor of the Philadelphia Symphony Orchestra in the United States, while also commanding the Naval Music Band (해군정훈음악대; 海軍政訓音樂隊).

The 14th Program of the Korea Symphony Orchestra (1947)

Throughout his career, Kim received numerous accolades for his contributions to music. Notable awards include the Prime Minister's Cultural Medal in 1948, the Merit Award from the Swedish Red Cross in 1951, and the Seoul City Cultural Award in 1955. His international recognition was further solidified with the Greek Theatre Arts Medal in 1964 and the Republic of Korea National Academy of Arts Award in 1974, among others. These honours reflect his significant impact on the cultural landscape both in Korea and abroad.

In addition to his conducting roles, Kim was actively involved in various artistic initiatives. He conducted the Danwood Symphony Orchestra during the Bergsha Music Festival in 1953 and led the Arirang Folk Art Troupe on tours in the United States and worldwide in 1964. His collaboration with prominent orchestras, such as the Ormandy and Boston Symphony Orchestra in 1968, showcased his versatility. Notably, he celebrated the 500th regular concert of the Seoul City Symphony Orchestra in 1994, marking a significant milestone in his enduring legacy within the music community.

Seoul City Orchestra "Kim Saeng- ryeo's Reminiscence" Concert

Seoul City Orchestra "Kim Saeng-ryeo Reminiscence" Concert 11th Sejong Centre for the Performing Arts - Reporter Ryu Yun-jong

The "Emperor" of 44 years ago has been revived as today's "Emperor." The Seoul City Orchestra's regular concert, held at 7:30 PM on the 11th in the Sejong Center for the Performing Arts Main Hall, will be a meaningful stage with the subtitle "Kim Saeng-ryeo Reminiscence." It is a place to commemorate the first anniversary of the death of the late Kim Saeng-ryeo, the founder of the Seoul City Orchestra, and to honor his achievements and will. In this concert, Kim Won-mo (professor at Dankook University) will be the guest conductor and Baek Nak-ho (chairman of the Korea Music Association) will perform Beethoven's Piano Concerto No. 5 "Emperor."

서울시립교향악단 제 545회 정기연주회 "김생려 회상" [1996] Seoul City Symphony Orchestra 545th Regular Concert "Kim Saeng-ryeo Reminiscence" [1996]

Although it is a collaboration stage between a veteran pianist and a mid-career conductor that anyone would know by name, their meeting that day holds special meaning. In the midst of the smoke of the 1952 war, Baek Nak-ho (백낙호) performed "Emperor" with the Naval Music Band, the predecessor of the Seoul Philharmonic Orchestra, under the direction of Kim Saeng-ryeo in Busan, where he was a refugee. Professor Kim Won-mo (김원모) is Kim Saeng-ryeo's second son. He arranged Tchaikovsky's Symphony No. 6 "Pathetique," which his father enjoyed conducting, as the second half of the concert.

Baek Nak-ho (백낙호) recalled, "During the three years of my refuge in Busan, I spent my time with Kim Saeng-ryeo in the Naval Music Band, and we built a friendship as seniors and juniors."

At the concert, Lim Won-sik (임원식; 林元植) (Professor Emeritus of Chugye University for the Arts), who played a leading role in the founding of the National Symphony Orchestra (now the KBS Symphony Orchestra) in 1957 and competed with the Seoul Philharmonic Orchestra in good faith, will share his memories of the deceased in the form of reminiscences.

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