Conductor Matthias Bamert (L) and actor Stanley Tucci
I mean c'mon, don't you think? At least a little bit? Maybe with a chin job?
Has New Music Been Wrongly Marketed?
5 hours ago
"The picture has never ceased to move me. My father looked about eight years old, wearing knickers and earnestly bowing his violin, while my uncle, then a teenager, held a guitar in an aristocratic position and stared at the camera."Earlier this week, Corigliano was in town with three of his fellow composers, all celebrating their 70th birthdays this year, and all in residence at the Great Lakes Chamber Music Festival. Part of the festivities included a series of master classes with each composer setting one of their works with young professional musicians. Below, Corigliano works with violinists Isaac Allen and Bram Goldstein of the Hausmann Quartet. (At the table are composers William Bolcom and Joan Tower)
"In the short quartet inspired by the photo, the second violin plays a nostalgic melody, while the other strings pluck their instruments in a guitar-like manner. This solo is obviously the boy violinist singing through his instrument.John Corigliano's master class with the Hausmann Quartet featuring Snapshot: Circa 1909 will be broadcast in the noon hour (EDT) this Friday on The Well-Tempered Wireless, WRCJ-FM, 90.9, streaming worldwide via www.wrcjfm.org.
"After the melody is completed, however, the first violin enters, muted, in the very highest register. In my mind, he was playing the dream that my eight-year-old father must have had — of performing roulades and high, virtuosic, musing passages that were still impossible for him to master.
"This young violinist grew into a great soloist — my father, John Corigliano, concertmaster of the New York Philharmonic for over a quarter century. He, as an adult, performed the concerti and solos that as a child he could only imagine.
"The two violins, boy and dream, join together at the end as the guitar sounds play on."
"Every night there were more interesting and insightful comments, every concert brought the ideas, the musicians and the people listening a little closer together.
"The lines that have traditionally kept great music at a distance from the people who love it are growing fainter and fainter, and the wonderful 8 Days audience is telling us to keep going further in that direction. That means bright things ahead!"
"All of us love applause ... it means that the listener LIKES us!
"I really hope we can go back to the feeling that applause should be an emotional response to the music rather than a regulated social duty."
"It is just fine to express yourself at a concert. If you are moved by the performance or work, feel free to show the performers how you feel. Just be sincere in your appreciation. Those of us on the stage will know if you really mean it and we will be appreciative of your response.
"Just don’t overdo it with lengthy outbursts that last well into the night. We all need to get to the restaurants before they close."
" . . . that rare example of an orchestra trying to be hip and mostly pulling it off with natural flair and true adventure."
" . . . to take the works for unaccompanied violin or cello and make them into new works for lute, keeping (as much as possible) to the original text, musical intention, phrasing and articulation, yet transforming them in a way particular to the lute so that they are satisfying to play and to hear."
"Ford Auditorium Box Office."
"Uh, hello. I know it's probably way too late, but I was just calling to see if you had any tickets left for Vladimir Ashkenazy this week."
"One moment. Hmm, sir, it looks like everything's sold out on the main floor . . .
" . . . but they just decided to add chairs on the stage."
"Would you like a pair, sir?"
"YES!!, um, I mean, sure that would be nice."