UPDATE: Here’s the Seattle Times review by critic Melinda Bargreen. [link may expire after a few days] Yesterday my wife and I went up to Seattle’s Benaroya Hall to hear the Philadelphia Orchestra perform the last concert of their 2007 US tour. It was a trip that was based upon the important roles that the
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Last night we played our last concert in the concert hall until next September. It was a program to thank our many donors who have given of their time and money to help support the symphony. They deserved a hearty thank you from all of us on stage, and I think that our performance gave
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I was talking with my friend Una from Detroit and we were discussing the OSO’s recent bass trombone auditions to replace our retiring bass trombone player Alan Pierce. The person who was selected (and I can’t name them until they are officially offered employment) had a resume full of impressive wins in various trombone competitions.
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Doublebassist Jason Heath has a great blog, and part of what makes it great are his stories from the front lines of freelancing – here is a great story about the demise of his car:
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Jen has a great list of Seven Habits for Highly Ineffective People – read it now!
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[click to enlarge] Over the weekend we had a visit from my old college roommate Tom Joyce, who is the bass trombonist of the Charleston (SC) Symphony.
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Tonight is the last concert of our 2006-2007 classical subscription series (we’ve got two more after this: the Evelyn Nagel donor concert and a runout to George Fox University in Newberg). It’s a fitting culmination to this season in several ways.
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This past Tuesday and Wednesday were spent rehearsing and playing for the CD release party concerts for Pink Martini‘s new CD, “Hey Eugene!” It was fun as usual – it’s good to see the people in the band who I haven’t seen for ages, particularly cellist Pansy Chang and guitarist Dan Faehnle, who used to
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I’m going to get a few pet peeves off my chest – this isn’t a typical blog entry for me, so if you’re looking for pithy prose about arcane aspects of the classical music business, you might want to skip this one. If you’re interested in the petty whining of a professional violist and malcontent,
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I’ve was struck today, as we were rehearsing Richard Strauss’ mighty tone poem Ein Heldenleben (A Hero’s Life), at the different breeds of players that there are in the modern symphony orchestra.
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I’ve noticed that some other orchestral bloggers give their schedule, and I think it helps give the layperson an idea of what we do during the week, so I’ll do the same for this last classical subscription week of the year (with gigs included):
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I know this is a subject which is the source of endless running in circles in the orchestra world, but I’m going to put my own two cents worth in now. Let me first put out the following caveats: I understand that conducting is a difficult thing to do, if it were otherwise, more people
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A performance of his own jazzy variations (interspersed with Paganini’s originals) on Paganini’s 24th Caprice, by the violinist Li Chuanyun (who was a recent recipient of a G.B. Guadagnini violin from the Stradivari Society in Chicago): [click 'more' for video page]
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This came via an anonymous tip – it’s typical youtube fare, but with a local connection: [click 'more' for video page]
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I think that there’s a link between looking within and looking without that isn’t often explored. I think I’m a case in point right now.
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