Classical Composers Have Their Say

find me at pocinmusichistory

[membraneshock]

rip to all the “fuckyeah___” blogs that carried our society at one point </3

[fyeahclassicalcomposers]

@bachtothefugue

[bachtothefugue]

@fyeahclassicalcomposers

[fyeahclassicalcomposers]

hi 💕

[composersdoingnormalshit]

Ernst von Dohnányi, Béla Bartók and Zoltan Kodály messing around in an old tintype.

[fyeahclassicalcomposers]

@bachtothefugue

[fyeahclassicalcomposers]

Hey

[thingsthatmakeyouacey]

Montreal mother desperately searching for son in Peru

Alisa Clamen is heading to Lima, Peru to look for her son, Jesse Galganov who has been missing for three weeks.

Hey, a friend of a friend is missing in Peru - please please boost

[fyeahclassicalcomposers]

[kimmiseed-blog]

*cough* Beethoven *cough* Senpai *couGH* COUGH*

[mozart-fx-official]

@official-franzschubert / @franzschubert-official omg

KINKSHAME HIM @vanbeethoven-official

[fyeahclassicalcomposers]

hey uh 

don’t delete my captions

please leave me out of whatever the fuck you’re doing

[thingsthatmakeyouacey]

Montreal mother desperately searching for son in Peru

Alisa Clamen is heading to Lima, Peru to look for her son, Jesse Galganov who has been missing for three weeks.

Hey, a friend of a friend is missing in Peru - please please boost

[zorascreation]

Click here to support Help Jonathan's Opera Debut

My name is Jonathan Douglass Turner and I am a 26 year old multimedia performance artist, classical singer and writer based in Brooklyn, New York! I was recently cast in a production of L'Euridice, the world's oldest opera, by the directors of Cantanti Project, a singer-run non-profit arts...

My name is Jonathan Douglass Turner and I am a 26 year old multimedia performance artist, classical singer and writer based in Brooklyn, New York! I was recently cast in a production of L'Euridice, the world’s oldest opera, by the directors of Cantanti Project, a singer-run non-profit arts organization. After months of being unsure about my future in this artform, I landed an operatic debut and cannot wait to bring life to this ancient Greek myth through song and drama. However, due to many stressful familial pressures placed on my personal expenses, I am currently unable to pay the performance dues and sign my artist contract! I am seeking to raise $300 to go towards the dues owed to Cantanti Project. Opera is a very expensive business, and for newer companies/organizations such as Cantanti Project, securing funds for mounting productions is extremely important. These dues go into the company so they can pay for venues, printing, advertising & costuming. Any dollar amount would help me in this process! Please share and spread the word! Thank you so much! 

[fyeahclassicalcomposers]

!!!!!!!!!!!!!!!!!!!

[fyeahclassicalcomposers]

Holidays

[fyeahclassicalcomposers]

Also! To whomever has been buying stickers recently (and I usually get an uptick at the start of semesters / holidays’ time), thank you so much :)

[fyeahclassicalcomposers]

Hey folks - I’m so grateful to whomever is buying my merchandise but I unfortunately do have to make all of my things private tomorrow b/c of visa things! So if you’re really after anything, here’s a head’s up. I’ll reopen briefly for the holidays in December :)

[fyeahclassicalcomposers]

I know a few Eastman alumni follow this blog - please message me if you’d like to sign an alumni letter/petition to UR. x

[liszten]

Intermezzo ( BTTB International Version )

Composed And Performed By Ryuichi Sakamoto

Artwork By Artist Yumiko Kayukawa

[dailyclassical]

Visit Original Link

Singing the Night among the Fishing Boats/Fishermen’s Song at Eventide (Traditional)

Performed by Takako Nishizaki on solo violin and the Slovak Radio Symphony Orchestra with Kenneth Jean conducting

[fyeahclassicalcomposers]

Holidays

[fyeahclassicalcomposers]

Also! To whomever has been buying stickers recently (and I usually get an uptick at the start of semesters / holidays’ time), thank you so much :)

[pocinmusichistory]

They get to play in an orchestra next to world-class musicians. They will have mentors and be mentors for children in the Shelby County Schools system. During their 10-month fellowship, they are paid a stipend and housing is provided at artist friendly Crosstown Concourse.

They also will be active in the Memphis community, playing in an ensemble and taking classical music to people that otherwise would not have the opportunity to hear it in-person.

All of this is part of the IRIS Orchestra’s Artist Fellows program, which is in second year and offers training in teaching artistry, chamber performance, and orchestral playing to string musicians from historically underrepresented populations in classical music.

Rebecca Arendt, who coordinates the Artist Fellows program, says that nationally African-Americans and Latinos make up less 4 percent of professional orchestra musicians.

“That has not changed in the past 40 years,” Arendt said.

[la-nero-maestro]

Visit Original Link

Bethena : A Concert Waltz (1905)

By Composer Scott Joplin (1868 - 1917)

Jean-Pierre Rampal, Pianist

[pocinmusichistory]

The English National Opera have recently announced that the role of Otello in their upcoming production of Verdi’s opera of the same name, which is based on Shakespeare’s Othello, will be played by the renowned Australian tenor, Stuart Skelton. Othello is of course Shakespeare’s famous (and in many ways infamous) “black” character. A “Moorish general”, sometimes described in the text as “tawny” but to whom barely a page of Shakespeare’s play goes by without at least some reference to his skin colour.

According to several opera buffs on my Twitter feed and various Facebook conversations, Verdi though was less interested in Otello’s race. If I’m honest my knowledge of opera is scant but nevertheless the “Moorish general”(as described in the dramatis personae) is first referred to by the piece’s villain Iago as “a thick-lipped savage”who offers ”murky kisses” to Desdemona and the briefest of searches on youtube will find Otello imploring Desdemona to give him her “ivory white hand”. A google image search will instantly bring up a legion of opera singers in garish “blackface” make-up. To separate race from Othello or Otello is surely like separating melancholia from Hamlet. Nothing in drama is impossible but some things are more of a stretch than others.

The E.N.O. have promised on their Twitter account that there will be “no blackface in our production”. And yet Stuart Skelton is a ruggedly fair Caucasian.

This leads to the question: when is “blackface” not “blackface”? During the 2012 protest against the Royal Shakespeare Company’s Orphan Of Zhao casting the company maintained that as none of the actors was actually wearing make-up or taped eyelids this was not “yellowface”. Yet, they were bedecked in costumes that were as Chinese as the Han emperor himself and the sense of “appropriation” was palpable to many of us. Because, let us be clear here, “blackface”, like “yellowface” and “brownface”, is not mere “theatrical convention”. It has its roots in racism and exclusion…