(& actually 3, as I just learned François Devienne was born in 1759)
Happy Birthday, Franz Schubert! Thank you for your music. Happy Birthday, Franz Schubert! Thank you for your music. Happy Birthday, Franz Schubert! Thank you for your music. Happy Birthday. Happy Birthday. Franz. Franz. Franz. Franz. Thank you for your music. Thank you. Franz Schubert! Thank you. Franz Schubert! Thank you. Franz Schubert! Thank you. Franz Schubert! Birthday. Birthday. Birthday. Birthday. Birthday. Thank you for your music. Music. Birthday. Music. Birthday. Music. Birthday. Thank you.
Probably no other country (at least not yet) can boast as many great symphony orchestras, opera companies and conservatories. We are training and producing a stunningly high level of young musicians. The paradox: every arts institution I know is struggling to keep and develop its audience. The arts might need to be repackaged, but without compromising the quality and essence of the inherited art form of which we are the custodians.
Francisco Feliciano: Pokpok Alimpako
Peiyang Chorus & Mao Yong
Note from here: This piece is based on a motif of a Maranao (southern philippines) melody and the words of a Muslim children’s chant; it features virtuostic interlocking rhythmic patterns and a prestissimo tempo.
I’m sorry that the parents were probably embarrassed. I’m sorry classical music may once again get the rep for being uptight. But really, if a child is crying, he or she should be taken out of the hall. And really, why would someone bring an infant to a concert in the first place?
I remember doing Camelot many many years ago with Richard Harris. Near the start of the musical a baby was crying. Harris, playing King Arthur, had just met Guenevere for the first time. He asked her, staying in character the whole time, “Did you bring a baby with you? I’m hearing a baby cry somewhere nearby.” She replied that she had not. He continued, concerned about the poor crying baby.
That baby must have been taken out right then, as we heard no more crying in that show.
I’m re-writing this since I came off so darn snarky:
This is quite clever. It’s also fun. I’m just picky about what I call things. I would call these smartphone instruments rather than implying that they sound like the actual instruments. But I’m goofy that way. I also don’t call tofurkey turkey. But really, I have no issue with people making music on whatever they want to make music on. I’ve seen people make music with kitchen utensils and vegetables too. :-)
Contrary to one part of the article, I believe this concert is tonight, Monday, January 30. The church’s website has today’s date, as does the body of the article (which I’ve put in bold font just because I can).
Roger is a great player, and mighty nice guy too!
Mozart Birthday Concert
Mozart Birthday Concert at Edgehill United Methodist Church
When: Sun., Jan. 29, 7 p.m.
Pianist and Nashville Symphony English horn player Roger Wiesmeyer plays a lot of concerts, so we take notice when he calls the Mozart Birthday Benefit Concert at Edgehill United Methodist his favorite show of the year. The annual celebration, now in its 10th year, always draws a diverse crowd of activists and music lovers — founder and organizer Wiesmeyer calls it “an opportunity to marry the things that matter most to me: beautiful music and social justice.” Conductor Joseph Lee will lead a specially assembled orchestra Monday night in Mozart’s “Little” G-minor Symphony No. 25 and the “Gran Partita” Serenade for winds. Always exuberant Vanderbilt composer Michael Rose offers halftime commentary drawn from his recent book Audible Signs, and be sure to stay after the performance for cake and conversation. This year’s concert benefits Nashville Peacemakers, a youth outreach organization founded by Clemmie Greenlee, the Scene’s 2007 Nashvillian of the Year.
— Russell Johnston