#louisville orchestra

[jeremyesteban]

Samuel Barber - Prayers of Kierkegaard.

The Louisville Orchestra.

[earthtoharlow]

The only concept I can think of right now is Jack surprising maryse with dedicating “can’t helping falling in love with you” to her 👜😭 She usually loves to watch him practice and do sound checks but he didn’t let her this time because he wanted to surprise her. Marsye would want to joke and call him mushy but I feel like even she couldn’t help but to love it.

Flashing Lights Concepts

The night of the annual No Place Like Home show in Kentucky was finally here, and it was nothing short of magical. This year’s event was unlike any before—a black-tie gala in collaboration with the Louisville Orchestra. The venue was filled with fans and dressed to the nines, buzzing with anticipation for Jack's performance.

Maryse sat in the audience, her excitement barely contained. She had been dying to watch him rehearse, but he’d been unusually secretive this time, insisting she stay away from the soundchecks. “You’re just going to have to trust me,” he’d teased with a sly grin, kissing her forehead.

As the lights dimmed, the orchestra’s strings swelled, and Jack took the stage in a sleek black tuxedo. His energy filled the room as he performed hit after hit, his verses blending with the strings. Maryse couldn’t take her eyes off him, her heart swelling with pride as the crowd sang along to every word.

Near the end of the show, the stage lights softened, and Jack stepped forward, his voice quieting the room. “This show means a lot to me every year,” he began, his Kentucky accent thick as he spoke into the mic. “It’s about home, family, and love. And tonight, I want to dedicate this next one to someone who makes every day feel like home.”

Maryse’s breath caught in her throat as he glanced in her direction, his gaze softening. “Baby,” he said, his voice thick with emotion, “this one’s for you.”

The orchestra began to play the soft, iconic opening notes of Can’t Help Falling in Love by Elvis Presley, and the crowd erupted in applause. Jack’s voice was tender as he sang the timeless song, his raw emotion filling every note. Maryse’s eyes glistened with tears, her hand covering her mouth as she listened. She had no idea he’d been rehearsing this, and the thought of him stepping outside his comfort zone for her made her heart ache in the best way.

The orchestra’s strings swirled around his voice, creating a breathtaking moment as the crowd sang along. The audience swayed, their phones lighting up the room like stars.

When the final notes faded, the crowd erupted into cheers and applause, but Jack only had eyes for Maryse. “I love you,” he mouthed, his smile soft and full of meaning.

Maryse wiped at her tears, her cheeks hurting from smiling so hard. She knew she’d remember this moment forever.

As soon as Maryse made her way backstage, she spotted Jack standing near the dressing room, laughing with a few members of the orchestra. He still had his tux jacket on, but his tie was loosened, and his face lit up when he saw her approaching.

Without hesitation, she closed the distance between them and threw her arms around his neck. “You are so lucky I didn’t jump on that stage,” she teased, her voice thick with emotion.

Before he could respond, she started planting kisses all over his face—his cheeks, his forehead, the tip of his nose, and finally his lips. He laughed, trying to dodge her affection but clearly loving every second of it. “You’re getting lipstick all over me,” he murmured between kisses, grinning like a fool.

“And I don’t care,” she replied breathlessly, pulling back to admire her work. His face was now dotted with red marks, and she giggled, running her fingers over his jaw. “You were so mushy tonight. So mushy. I didn’t know you had it in you!”

He shrugged, still holding her close. “Guess you bring it out of me,” he said with a smirk, but there was a softness in his eyes that made her heart flutter.

“Well,” she said, her voice dropping to a more serious tone, “I loved it. I loved you. That cover? It was perfect. You’re perfect.”

He cupped her face in his hands, his thumbs brushing away the few tears that had escaped during the show. “Nah,” he said quietly, “you’re the perfect one. I just had to make sure everyone knew it.”

Maryse kissed him again, slower this time, letting the cheers and commotion of the night fade into the background. “I love you,” she whispered against his lips.

“I love you more,” he replied, his voice low and sure, pulling her back into his arms.

****

this was longer than expected but I love themmmmn

[harlowgifs]

With the Louisville Orchestra via tik tok

[intheholler]

anonymous for obvious reasons, but my rabbi and another rabbi in kentucky have a podcast called bluegrass schmooze that's all about being jewish in kentucky. every episode they talk about that month on the jewish calendar and interview a jewish kentuckian. so far they've talked to craig greenberg and jerry abramson (two jewish governors of kentucky), eli capilouto (president of the university of kentucky), teddy abrams (director of the louisville orchestra), and sara bradley (a chef). it's very meaningful if you're a jew in a place that isn't really known for being jewish, and it's very accessible if you know nothing about judaism. also i can personally attest to the beautiful energy of the rabbis, i love them to bits. also the intro/outro song is this song called "jew from kentucky" by dan bern and it makes me tear up a bit every time i hear it

man kentucky is seriously so cool and just has it all, doesn't it?? so many important appalachian figures hail from the state and a lot of the most interesting intersectional appalachian experiences seem to be relayed from there, too.

as someone who (clearly) isn't involveed with the faith, i am interested in learning from them, especially where it concerns what it means to be a jewish appalachian. that's a perspective i don't hear a lot from

i saved the podcast and plan to listen when attention span allows!! i really wish i was better at staying focused on them

thanks so much for the info!! you seem so passionate about it that its hard to ignore <3

[heavyhitterheaux]

https://www.tumblr.com/heavyhitterheaux/764462717403791361/tbh-they-probably-didnt-think-that-many-people

Anon, I believe this is EXACTLY what happened. But that’s such a silly of an excuse/reason to be unprepared. Like Ree said, Jack’s been inactive for pretty much majority of the damn year. His team should’ve KNOWN his fans would want to see him; considering that he’s only had 2 real concerts this year, and one of them being tomorrow in Brooklyn (excluding Gazebo Fest & these side performances like College Gameday, Jingle Ball, etc) Also my thing is, surely, Jack’s team could have literally CHECKED how many people signed up for presale and public tickets through the goseated website they were using to have an estimate or somewhat of an idea of the demand of people who wanted tickets like?! Lol, just stupid. This whole situation seemed avoidable to me, had they prepped properly and used a better website. That Louisville orchestra page was SCREWED in just the first hour 😭

TOTALLY AVOIDABLE like use yall brains and think for once! Yall knew it was going to be a lot of people that want to see him. We haven't seen him perform for MONTHS.

[90363462]

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No Place Like Home…

with The Louisville Orchestra

[bellshazes]

for anyone who hasn't heard me rant abt this before - i spent two years of my life investigating the theft of the rights to the world's very first record label owned by an orchestra and all the original edited masters. and i solved the case, actually, even if every invested party didn't have the money to do anything about it and i was not prepared to contact the guy directly. but if you like music, the birth of sound engineering and vinyl records, or heists that aren't quite heists due to complex backstories, you'll love it.

[pirepoumon]

still thinking about the venue choice local queer (as in, content about queer people, relationships, transition, etc. regardless of who created it) performances essay i want to write. but i don't know what my point is and i can't write without one.

consistently the warehouse stagings of weirder shows by local arts juggernauts, no matter the theme, are specifically leveraging the sense of intimacy that only a couple rows deep of in-the-round gym chair seating can provide. KYS is the first, imo, of the modern local renaissance and they did it with horror - but even their straight titus andronicus was in Play's (gay bar) warehouse, back when they didn't have their own. the woman in black was a stunning (mostly) two man show, also not queer*.

contrasting as one from ky opera and the woman in black is a large part of what got me thinking about this anyway - the former is a gorgeous two singer opera which was staged in the opera's warehouse, the bar in their library, the organization's history on the walls in the same non-advertising, scrapbook way that is a casual private kind of public, like family photos in a living room. in the post-performance talk the director (who is, in fact, heading ATL but took on his first opera direction this show) talked about the choice to stage it here not only as the intimacy of the physical facts of the space - its size, the stage and seating sharing a floor without demarcation or elevation change - but the intimacy of being in the opera's home, home office and home rehearsal space.

the opera's warehouse is located on magazine street - eighth and magazine, where you can see the great asphalt canyon of the ninth street divide from their parking lot. no preserved facades, no whiskey row art installations, no tourism advertising, just the living legacy of carving the black west end from the city center via the bulldozing and highway-building policies of our 20th century city government. it feels othered, because it is other-than, but i do think that sense of home the opera spoke to is palpable, even if i refrain from pretending i can judge the "authenticity" of a "feeling" of an organization.

ky shakes' hometurf shows haven't been queer, as discussed above, but their shakespeare in dance ballet collaboration shocked me to tears with the public dramatization of both heterosexual and homosexual desire on stage, for free, in the park, all those years ago. and so still it hits that when i walk to their shelby street warehouse for their seasonal halloween show, their private home i have come to visit only blocks away from their public one, i do believe it when Matt Wallace tells me this is YOUR kentucky shakespeare.

it is beyond the scope of this essay i'm not writing to address the similarly your louisville orchestra tagline-obsessed, uh, LO, but that line lands solely in the context of teddy abrams' revival of the making music program in local elementary schools, in its tour of the entire state from east to west that parallels the now-standard miniature parks (and library) tour of kentucky shakes.

there are other considerations, like price (it's easier to swallow KY shakes being ours when its main season is fully free; the opera, reaching out beautifully, is still exceptionally expensive without student tix). the geographical designation in these organization's names are practical to distinguish from other ones elsewhere, sure, but it is essential to their revival**. there are two ways for something to belong to a group whose sole commonality is geographical residence: to invite people in, or to go to their community wherever they are; arts organizations who most embody their own vision of belonging to/serving their neighbors will and must do both.

well i guess this has to be part one because this is basically the perfect setup for re-explaining why the highview mob boss sligo newcastle from the extremely mediocre play the kiss me curse at highview arts center is essentially the pinnacle of local theater ethos. but i am out of time

[stephi1is1awesome]

As a big fan of the Louisville Orchestra, I would like Teddy Abrams to consider this new logo I made for them.

[lingyunxiang]

The 66th Grammy Awards will start at 9:30 am on February 5, 2024. The list of winners is as follows

Production of the Year: Flowers - Miley Cyrus

Album of the Year: Midnights - Taylor Swift

Song of the Year: What Was I Made For? - Billie Eilish

Best Newcomer: Victoria Monét

Non-Classical Producer of the Year: Jack Antonoff

Non-Classical Lyricist of the Year: Theron Thomas

Best Pop Vocal Performance: Flowers — Miley Cyrus

Best Pop Group/Duo: Ghost In The Machine - SZA Featuring Phoebe Bridgers

Best Pop Album: Midnights - Taylor Swift

Best Rock Artist: Not Strong Enough – Boygenius

Best Rock Song: Not Strong Enough – Julien Baker, Phoebe Bridgers & Lucy Dacus, songwriters (Boygenius)

Best Rock Album: This Is Why - Paramore

Best Alternative Music Vocalist: This Is Why – Paramore

Best Alternative Album: The Record – Boygenius

Best R&B Vocalist: ICU – Coco Jones

Best R&B Song: Snooze – Kenny B. Edmonds, Blair Ferguson, Khris Riddick-Tynes, Solána Rowe & Leon Thomas, songwriters (SZA)

Best R&B Album: Jaguar II – Victoria Monét

Best Rap Artist: Scientists & Engineers"– Killer Mike featuring André 3000, Future and Eryn Allen Kane

Best Melodic Rap Artist: All My Life – Lil Durk featuring J. Cole

Best Rap Song: Scientists & Engineers – Andre Benjamin, Paul Beauregard, James Blake, Michael Render, Tim Moore & Dion Wilson, songwriters (Killer Mike featuring André 3000, Future and Eryn Allen Kane)

Best Rap Album: Michael – Killer Mike

Best Jazz Vocalist: Tight – Samara Joy

Best Jazz Vocal Album: How Love Begins – Nicole Zuraitis

Best Jazz Performance Album: The Winds of Change – Billy Childs

Best Country Vocal Performance: White Horse – Chris Stapleton

Best Country Group/Group: I Remember Everything – Zach Bryan featuring Kacey Musgraves

Best Country Song: White Horse – Chris Stapleton & Dan Wilson, songwriters (Chris Stapleton)

Best Country Album: Bell Bottom Country – Lainey Wilson

Best Classical Instrumental Solo: The American Project – Yuja Wang; Teddy Abrams, conductor (Louisville Orchestra)

[https-harlow]

I didn’t know the louisville orchestra thing was called “missionary jack and the louisville orchestra” or was he just joking? 😭

😁

I didn’t think it was so I’m going to go with joking but tbh im not sure 😂

[mylifeinsound]

RELIVE THE SHOW: NIGHT RANGER AT LOUISVILLE PALACE

On July 18th, Night Ranger brought their epic 40th anniversary tour to Louisville Palace! Mylifeinsound photographer Zoey Bright was there to capture the magic Night Ranger who recently released their live album 40 Years And A Night with Contemporary Youth Orchestra are bringing the live album across the US on their 40th Anniversary tour! Our photographer Zoey Bright captured their show at…

[earthtoharlow]

Is this thing really called missionary jack and the louisville orchestra or is he just joking?

Just jokes 😭

[lboogie1906]

Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was a bandleader, jazz percussionist, and vibraphonist who was born in Louisville, Kentucky. He and his mother Gertrude moved to Chicago after the death of his father, Charles Hampton, a promising pianist and singer, in WWI. He began his career as a drummer in the Les Hite Band. The band relocated to Los Angeles in the late 1920s and became a regular attraction at the city’s Cotton Club.

During a 1930 recording session, Louis Armstrong and he teamed to record jazz albums featuring him on the vibraphone which would become his signature instrument. He joined the Benny Goodman Orchestra which was one of the first racially integrated jazz acts. He left Goodman to form the Lionel Hampton Orchestra.

Over the years his Orchestra attracted a wide array of rising jazz stars including Dexter Gordon, Charlie Mingus, West Montgomery, Quincy Jones, Dinah Washington, Betty Carter, Joe Williams, and Earl Bostic among others. His Orchestra ranked with the Duke Ellington and Count Basie Orchestras as one of the leading bands of the era. It attracted a new international audience when the Orchestra began touring Europe, Africa, Asia, and the Middle East. He wrote over 200 works including such jazz standards as Flying Home and Midnight Sun. He composed a major symphonic work, King David Suite.

Even after the Big Band era waned, he remained popular. Beginning in the 1980s his regular concerts at the University of Idaho were renamed the Lionel Hampton Festival of Jazz. In 1987, the University’s College of Music was named after him, the first such honor ever bestowed on a jazz musician. He was a member of Alpha Phi Alpha Fraternity. #africanhistory365 #africanexcellence #alphaphialpha

[heavyhitterheaux]

Tbh they probably didn’t think that many people wanted to see him. He hasn’t put out any music this year and he’s just doing two shows with an orchestra at a venue with about 2,500 seats. They probably really thought just people in Louisville were going to go. They underestimated how many of his fans have been waiting on him😬

It's better to plan for a huge crowd than not and people literally came from all over for Gazebo and NPLH in the past so that wasn't smart on their part if that's what they thought.

[devinpatrickhughes]

What does authentic community engagement look like?

Learn more with composer, creator, & educator Brittany J. Green. Check out the latest episode of One Symphony Podcast to learn about constructing, displacing, and rupturing systems in Classical Music in the 21st Century!

In this episode of One Symphony, host Devin Patrick Hughes sits down with composer, performer, and educator Brittany Green and dive into Green's groundbreaking work, her passion for pushing the boundaries of classical music, and her unique approach to engaging audiences. From her innovative compositions that disrupt traditional systems to her community-focused residencies, Green shares insights on the power of music to connect people and the importance of nurturing the next generation of artists. She also discusses the role of AI in music and why the human touch will always be essential. Filled with thought-provoking ideas and inspiring quotes, this conversation is a must-listen for anyone interested in the future of classical music and the transformative potential of art.

https://fanlink.tv/OneSymphony

#Nonprofit #community #development #engagement #classicalmusic #composer #creative #musician #Louisville #orchestra #OneSymphony #Podcast #audience #chambermusic #newmusic