Looks like the sections all make videos, which is pretty darn cool! Here are the woodwinds …

FLUTE (Ane we get to see Annie Wu!)




But, well, I like the cello one the best. :-)

But you know what?! Mostly I’m just so moved by seeing these excellent young musicians. It makes my heart happy. To see them all go here

I found it difficult to read the text, but I enjoyed this video. K. Ge sent me a few reeds some time ago, and I thought they were pretty fine for machine made reeds, but didn’t quite suit my embouchure. I pulled one out yesterday that I hadn’t used and gave it to a student and she really liked it a lot. Funny how that goes! This is why I rarely toss reeds that don’t work for me: they might be just right for someone else.

A really informative video … and so true about our solos!

The song I wish was our national anthem.

Julien Neel is the singer here …

I didn’t realize our national anthem began as a drinking song, but I’m not surprised. Lots of hymns began their lives as drinking songs too.

Here’s a bit of what’s on the YouTube page, but click the video to go and read more:

“The Anacreontic Song,” or “To Anacreon in Heaven” with words by Ralph Tomlinson and music by John Stafford Smith is the source for the tune Francis Scott Key had in mind when he composed the lyric “In Defence of Fort McHenry” to celebrate the victory of American troops and the people of Baltimore against the British Fleet on 14 September 1814.

The precise date this club anthem of London’s Anacreontic Society was written is unknown, but it was likely written in 1775/76. This performance is realized from first 1779 imprint, published by Longman and Broderip [London], a copy of which is held by the University of Michigan’s Clements Library.

See osaycanyouhear.wordpress.com for more on the history of the United States National Anthem or visit www.starspangledmusic.org

Lyrics by Ralph Tomlinson

To Anacreon, in Heav’n, where he sat in full glee,
A few sons of harmony sent a petition,
That he their inspirer and patron would be;
When this answer arrived from the jolly old Grecian –
Voice, fiddle and flute, no longer be mute.
I’ll lend ye my name, and inspire you to boot,
And, besides, I’ll instruct you, like me, to entwine,
The myrtle of Venus with Bacchus’s vine.

From the YouTube page:
As part of the 2014 East Neuk classical music festival in Scotland, Sand in Your Eye created a sand drawing portrait of the composer Franz Schubert. The film was captured on a Go Pro 3 camera on a DJI Phantom Quadcopter.

… well … define “modern” ;-)

This is a new one to my ears, and maybe to some of you as well. Great fun!

William Billings (1746-1800): Modern Music
Quire Cleveland

We are met for a Concert of modern Invention;
To tickle the Ear is our present Intention.
The Audience are seated expecting to be treated
With a Piece of the Best.

And since we all agree to set the Tune on E,
The Author’s darling Key he prefers to the Rest,

Let the Bass take the Lead and firmly proceed,
Till the Parts are agreed to fuge away.
Let the Tenor succeed and follow the Lead,
Till the Parts are agreed to fuge away.
Let the Counter inspire the Rest of the Choir,
Inflam’d with Desire to fuge away.
Let the Treble in the Rear no longer forbear,
But expressly declare for a Fuge away.

Then change to brisker Time
And up the Ladder climb, and down again;
Then mount the second Time and end the Strain.

Then change the Key to pensive Tones
and slow in treble Time; the Notes exceeding low
Keep down a While, then rise by slow Degrees;
The Process surely will not fail to please.

Thro’ Common and Treble we jointly have run;
We’ll give you their Essence compounded in one.
Altho’ we are strongly attach’d to the Rest,
Six-four is the Movement that pleases us best.

And now we address you as Friends to the Cause;
Performers are modest and write their own Laws.
Altho’ we are sanguine and clap at the Bars,
‘Tis the Part of the Hearers to clap their Applause.

Just. Wow.

From the YouTube page:

University of Maryland Symphony Orchestra

Conceived by James Ross
Movement Design by Liz Lerman

Vincent E. Thomas, choreographic collaborator
Martha Wittman, performing collaborator
Enrico Lopez-Yanez, Young Man

Jedidiah Roe, Lighting Design
Video by Christian Amonson, Artslaureate, artslaureate.com
Audio recorded and mastered by Antonino d’Urzo, Opusrite™

Performed May 2 and 4, 2014, at the Clarice Smith Performing Arts Center

Country Fair: ter.ps/5sm
Simple Gifts: ter.ps/5sn

Movement is inherent in the act of making music; yet, its impact is often overlooked in the orchestral setting. In 2012, Liz Lerman and the University of Maryland Symphony Orchestra (UMSO) explored the relationship between movement and music in a fully choreographed and critically-acclaimed performance of Debussy’s “Prelude to the Afternoon of the Faun.” The musicians of UMSO were the dancers as well as the players. They discovered that playing from memory while moving onstage, while challenging, actually improved their ability to communicate with and listen to each other. Classical music critic Anne Midgette of the Washington Post called the performance “one of the standout performances of my many years in Washington.”

In May, 2014, Lerman and her team of collaborators (James Ross, Vincent Thomas, Martha Wittman, and UMSO) delved deeper into this connection between movement and music in “Appalachian Spring,” a work that was originally commissioned by Elizabeth Sprague Coolidge in 1943 as one of three new ballets to be choreographed by American modern dance icon, Martha Graham; the music was composed by Aaron Copland and won the Pulitzer Prize in 1945. This performance by UMSO alternates between the 13-instrument and the full orchestral version of the suite. The choreography is influenced by American folk dance, the gestures musicians make while playing their instruments, and the unmitigated sense of hopefulness in the music itself.

(Sorry about the language, but this needs to be posted.) Really, US Airways? REALLY?

From the YouTube page:

“Time For Three” news: Zach and I (Nick) are on our way to meet up with our bassist, Ranaan Meyer, to play at the Artosphere Arts and Nature Festival in Fayetteville, Arkansas. We were trying to make a connection in Charlotte, and the captain and crew told us that our violins were not allowed on the flight! They literally left us alone on the tarmac without any direction. Amazing! Are violins dangerous? It’s hard enough to make it as a classical musician. Cut us some slack, PLEASE!!!