So there is this annoying kid in my orchestra hearts class that I sit next to, and he is always complaining about the music we play like "omgg this is too easyyy I played this in 7TH GRADE COME ON!" (TBH he isn't good. He's always sharp) and he has this habit of playing when the teacher is trying to talk to us and tell us what to mark and what to change and I literally cannot hear her because she talks quiet and the kid plucks his stupid songs and plays them loudly NON STOP and I put up with it for the first 4 weeks of school and then I started telling him to quiet down and he was like "uhh no" and he was being really rude. And I tell him every time "like hey man stop playing I can't hear" and he's like "I don't care if you can hear or not. Leave me alone" and I still kept telling him to stop because I needed to hear what the teacher was saying and he eventually stood up and tried to hit me with his bow and was like SHUT IT I DONT CARE IF YOU CAN HEAR OR NOT MOVE SEATS IF YOU WANT TO! (I can't move seats. They are assigned) and I was like THEN SHUT THE FUCK UP DUDE! IVE BEEN NICE NOW STOP!!! And his friend was nearby and was like "omg she's so stupid. She's just stupid. She WISHES she could play like you. There is always someone like HER in the orchestra." And I started crying but they didn't see me and I told the teacher what was happening after class got out and she said she would move me. I'm relieved. He said some worse things but I don't want to get into that #cello#cellist#orchestra#music#class#school#itried#stilldepressed#nonbinary#nonbinaryflag#ugh#iwasnice#asshole#classicalmusic#lgbt#lgbtq#lgbtflag#flag
Meet Anna Viemeister our mezzo-soprano. Graduate of the Manhattan School Of Music. Praised for delivering her warmth, her engaging presence, musicianship, and intensity of sound. To learn more about Anna and our other artists of Vocal Pursuits click the link in our bio. *👉🏼swipe to view more photos! #opera#classicalmusic#mezzosoprano#mezzosofinstagram#music
What a wild OPENING NIGHT in #southlakeunion and #olympia ! Get your tickets NOW for the next show, Oct 27/28 featuring composer and steel pan player @andyakiho alongside @sandbox_percussion, #jeffreyzeigler , @fay_kueen, @erikadohi, and more... 🎟 Tickets available now at emeraldcitymusic.org (Photo credit Carlin Ma)
It's FINALLY here!! We are proud to present... tonebase Interactive! Simply record, upload, and receive feedback from our first lineup of all-star artists: @n.koshkin, @sanel_redzic, @reizdi, and Carlo Marchione. Check it out at interactive.tonebase.co! (link in the bio)
Save the Date! Two events Two great Music Organizations. @NashvillePhilharmonic where I serve as Conducting fellow and @VocalArtsNashville where I will be singing Bass both have a concert Oct 1 at 4pm. However, the Philharmonic will be performing their concert again on Oct 10 at the beautiful Cathedral of the in carnation. Come hear me sing with some talented singers on Oct 1! #ClassicalNashville#classicalmusic#nashvillephilharmonic#vocalartsnashville#Choir#Choral
Torelli wrote a lot of 'with-trumpet' music, of which numerous recordings exist, but, considering his importance in the development of the concerto grosso, the rest has been given scant attention—not quite a Torricellian vacuum, but one into which little air has leaked. His posthumously published 12 Concerti grossi, Op. 8 are mature works of which Nos. 1-6 are for two violins and strings and Nos. 7-12 are solo-violin concertos, signposts to the road taken by Vivaldi. Yet only No. 6 (''con una Pastorale per il Santissimo Natale''), a staple of ''Christmas Concertos'' compilations, is to be found in The Classical Catalogue. Antonio Perez's sole recorded appearance with I Musici was as the admirable 'second fiddle' in Bach's Double Concerto, and so it is here too, the solo concertos being entrusted to Mariana Sirbu, a newcomer to I Musici's list of soloists.
Pre-Vivaldi and pre-Bach these concertos may be, but there is much to remind one that Torelli was himself a violin virtuoso; Sirbu and Perez follow splendidly in his footsteps: accurate, expressive but economical with vibrato, and with an occasional hint of edge to their sound. These sturdy works, in da chiesa form (no dance movements), have some interesting features: solo and tutti material differ, several pairs of movements are played virtually segue, and near the end of Concerto No. 3/III the two soloists converse in quasi-cadenza fashion over a dominant pedal. These are invigorating performances of works that deserve much more attention than they have previously received and, as such, are warmly recommended.'
Day 4 out of #100daysofpractice Double Stops, Fingered Octaves, and Intonation Practice. This exercise has it all! There are so many things to think about with this exercise and it will come in handy for repertoire that include double stops.
Ravel’s treatment of this theme from Valses Nobles et Sentimentales, Mvt. II (1911) is one of my favorites in all of his works. I love how he introduces the theme in a modal context (something resembling G-Dorian), and then uses the same theme later in the movement albeit in a more static/dissonant context (through the use of G pedal in the bass, and a combination G-Ionian and segments of the whole tone collection based around G). In my opinion this change in accompaniment also captures some of the conflicting emotions inherent with nostalgia, which seems to be at the heart of this collection - both a fondness in remembrance, tinged with a sense of regret from the inability to regain what is in the past. #classicalmusic#piano#ravel#musictheory#musictheorynerdstatus