Stanton’s is packing up and heading to Rochester for the NYSSMA Conference December 3rd-6th—look for us in the exhibition hall if you’re going to be there too! We’ll be bringing lots of sheet music of all kinds for you to browse and purchase, as well as several of our helpful and educated staff members to answer whatever questions you may have.
If you’re already a Stanton’s customer, stop by and say hello so that we can put faces with names. Or, if you’ve never shopped with us, please come by our booth and allow us to give you the full “Stanton’s experience!”
For more information about all of our planned traveling this winter, check our previous blog.

Wolfgang Amadeus Mozart

Symphony No. 41 in C major Jupiter, K. 551
I. Allegro vivace
II. Andante cantabile
III. Minuetto: Allegretto – Trio
IV. Molto Allegro

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Wolfgang Amadeus Mozart

Symphony No. 40 in G minor, K. 550
I. Molto allegro
II. Andante
III. Minuetto & Trio
IV. Allegro assai

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Wolfgang Amadeus Mozart

Symphony No. 36 in C major Linz, K. 425
I. Adagio
II. Andante
III. Minuetto
IV. Finale: Presto

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Wolfgang Amadeus Mozart

Symphony No. 35 in D major Haffner, K. 385
I. Allegro con spirito
II. Andante
III. Minuetto
IV. Presto

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Wolfgang Amadeus Mozart

Symphony No. 34 in C major, K. 338
I. Allegro vivace
II. Andante di molto – più tosto alegretto
III. Finale: Allegro vivace

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Wolfgang Amadeus Mozart

Symphony No. 33 in B-flat major, K. 319
I. Allegro assai
II. Andante moderato
III. Minuetto
IV. Finale: Allegro assai

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Click to enlarge

Wilf Lancaster Orchestra 1967

(The picture was taken in 1967 at the Kinsmen Auditorium.)
Thank You to Wilf’s daughter Cheryl, who replied to the archive with this great information.

  My dad began playing the drums in bands in and around Chatham about the mid to late ’30s.  He played at Erie Beach, and in Chatham the band played at a couple of outdoor dance pavilions during the summer and the Pyranon Ballroom as well. 

  This was war time and dances were held most evenings.  As I mentioned to you in an earlier e-mail, big bands were playing in Detroit and the Chatham Musicians’ Union agent would travel to Detroit, meet with the band’s booking agent, and if and when a convenient day was determined, that band would travel to Chatham to play a one-night gig.  The Musicians’ Union rules at the time dictated that if an out-of-country band was playing, an equal number of Canadian musicians had to be on hand at the dance hall and paid according to union wages.  As dad’s band was the house band at the Pyranon Ballroom, he and his musicians were paid to be in attendance and to play during the big name band’s intermission.

  In 1966, dad began putting his dream of a band reunion together with several of the old members.  The First Annual Reunion of the Big Band Sound of Wilf Lancaster was held in October, 1966.  The curtain rose to the playing of ‘With A Song In My Heart’ (his theme song chosen in 1938).  The hall was absolutely packed.  I was indeed privileged to be a part of that night, as my dad had included a part for organ in the arrangements.  The band went on to play monthly gigs at the Pyranon and were hired to play at various clubs’ annual dances.

  Due to poor health, he was forced to give up playing.  On Friday, October 13th, 1970, the curtain came down on the band.  As we were playing the theme song for the very  last time, I looked over at my dad and saw one big tear trickling down each cheek.  It was all I could do to keep playing.  On that night, the baton was handed over to Fred Foster (now deceased) and Bill Pritchard.

  Dad passed away in June 1973, but I know he would be so very happy to know that his band continued to play well into the 90s, under the name of ‘The Lancaster Band’.
_________________________________

Think of a scene when you hear this music. Close your eyes and make out a movie. What do you see think hear? Tell us in the comments!!

The piano rock band OneRepublic’s second album is titled, “Waking Up.”  This is a good album, but I don’t think that there will be a mega hit like “Apologize” on this one.  It is a well written and composed album.  I like how they take the songs “Waking Up” and “Lullaby” and add extended orchestra instrumentals to them.  Those songs would work well in a fill with more somber themes.

For most people I would suggest, “All the Right Moves,” “Secrets,” “Good Life,” and “Marching On.”

I’m sure that when you guys think of fire, you guys thing of many “intense” things. Fire seems to be one of those elements that everyone realizes, and it often tends to be the “starting” element for all you video gamers out there (fire, fira, firaga anyone?). When I think of fire, I think of fierceness, intensity, dragons and many more things. Considering that fire is such a big and important element (to me at least), I was hoping that alans fire single, would be amazing.

And oh thank the god of fire that is.

RED CLIFF ~Shin Sen~ is (as said by Lex), epic, epic, EPIC, and MOAR EPIC. Seriously, out of all her ballads, Red Cliff might be her most epic ballad yet. What I find most fascinating about this song is that it’s not your typical kind of “epic”. The song doesn’t automatically explode during the first chorus. Instead, there is a kind of very slow buildup that happens in the song. In fact, this buildup just keeps happening, even during the chorus. There is also a kind of loneliness yet tension and fire in this song.

Alan does sound a bit uncomfortable when she sings here, as she does sing in a more “heavy” style. However, I think this heavy style really adds to the burning fire intensity of this song.

The verses tend to stay very soft and lonely. And while there is a very strong chorus going on, I really like the element of the chorus still “holding back” a bit. It sounds awkward, but yes, I just really like that tension during the chorus.

However, (and I’m sure everyone is going to agree with me on this), the best of the song happens to the rather short bridge. Alan decides to go all out (along with the arrangement) and FINALLY does her mountain wail. It just sounds EPIC.

In addition to the Japanese version of Red Cliff, there is also a Chinese Version of it included called Xin Zhan ~RED CLIFF~. From what I have noticed, Alan definitely sounds a lot more comfortable singing in Chinese than she does in Japanese. I don’t feel that “stress” that she has when she sings in some of her Japanese songs.

Sadly, there is no amazing and epic Tibetan wail during the bridge this time around. However, considering that this track was meant to played in one of the biggest movies China has ever made, I can understand them not wanting to show any kind of “favoritism” towards Tibet.

I really should learn more about this Tibet issue though. I really have no idea what the hell its about. @_@

Oh yeah, an Orchestra Version of Ashita E No Sanka also exists.

One word, EPIC. The orchestra version totally beats the original version. All of you guys know I have a huge love for orchestras, especially this one! The orchestra just adds so much more beauty to this song. The arrangement here sounds like it could have easily been put into Mulan.

Overall Rating:
6/5

Because it’s THAT awesome and epic.

Sometime time ago one of my best friends (@4lvy) began watching an anime called “Loveless” (I’m not sure about the name), and one day, he showed to me the song “Ordinary Days” from Loveless OST and he asked to me to do something using the song.
I was with Koda Kumi’s feel acapella in my pc so I choosed feel by chance.
For my surprise, both songs matched perfectly, I just had to polish a little the mix.

I hope you guys like it!!!

By the Way, visit Alvy’s blog! It’s awesome! You guys won’t regret!
Plastic Candy

Material Used:
Koda Kumi – feel
Sasaji Masamori – Ordinary Days

This video uses scenes of copyrighted material and they’re used for promotional purposes only. Not for sale.

Stefanie Blythe as the Zia Principessa and Patricia Racette as Suor Angelica

New York Times Review of Il Trittico

I’ve included the Times’ review of the Met’s current production of Puccini’s Il Trittico to offer an opposing opinion to my own, which in this case is based on the historical area of Puccinian Aesthetics and 19th Century Italian Opera.  Although I did not have a chance to see the production live while I was last in New York, I listened to it on XM radio and so I am going to be generous in terms of comments on voices; mind you, the stylistic manner of singing is evident whether one hears opera in the theatre or live on the radio.

Having spent the majority of my education studying Puccini’s operas historically and musically, I often miss the feeling of hearing something for the first time, that virgin listening that excites us because our ear is being introduced to something new.  So, when I listen to opera I try to listen without putting my historical understanding in the forefront.  I wait to be moved first and then later reflect on historical understanding.  While I think the Met is trying to do the right thing, (I, for one, will never complain when any company wants to mount my precious Puccini’s operas) there were several things that affected the overall production being a great one.

In terms of the singing, Stefanie Blythe was my favourite singer in the production and was well-suited to her roles.  She sang with good diction and inflection, even if she tended to over sing (which is not necessary because her voice doesn’t need to be bigger in order to sing these roles).  Today, for some reason, we think that to sing Puccini one needs to have a huge voice.  This is absolutely not the case, and Puccini himself never as much once indicated this.  Instead, he looked for singers who would sing “aesthetically” well, which meant that he wanted singers who had the right understanding about how to sing his music; that is, the voice has to move from note to note by passing through all of the pitches in between.  So, how do you do that?  Essentially, it means that this music is sung with a Bel Canto technique (not with straight tone), and that the voice spins through the intervals (the spaces between notes) through portamenti, which no one seems to want to do anymore.  I’ll come back to this point momentarily

Patricia Racette, while she is courageous to approach all three roles, is suited more to Lauretta than she is to Suor Angelica and Giorgetta.  Unfortunately, she did not approach the Puccinian palate according to his requirements.  This was most obvious in the role of Angelica, which she over dramatized due to a lack of aesthetic inflection.  One thinks of Tebaldi, or Scotto in this role, singers who still remained true to the Puccinian language even up to 20 years ago.  Racette’s singing of “Senza Mamma” was lacking in the freedom that Puccini’s dramatic monologues require.  For this, I blame the conductor, who was making his Met premiere in this production.  As much as he was able to get some very beautiful colours and textures from the Met’s wonderful orchestra, Maestro Stefano Ranzani was much too careful in his phrasing and in leading the orchestra through the variety of tinte that Puccini effects in Il Trittico.

Trittico is special because it is the first opera after a break in composition after 1908 that returned to his original notion of love and death (Minnie in Fanciulla del West is one of the only heroines who does not die for love).  Puccini wrote the Trittico to correlate with that exquisite dramatic work that remains the official model for things in three:  Dante Alighieri’s Divina Commedia. In that, each opera is to represent one of the metaphysical worlds:  Hell (Il Tabarro), Purgatory (Suor Angelica), Heaven (Gianni Schicchi).  It is also one of the reasons why Puccini was adamant that the operas not be performed separately, just as Dante did not want the parts of his allegory separated.  They do not make sense until they are combined as one.    As such, the orchestral palate in Il Trittico must change with each, a change I did not hear in this production.  The tinte that Puccini infuses into the music are inherent to the dramatic concept of the scena; in Suor Angelica, for example, the expansion of phrases and the rubato that is necessary in order to effect the text that is often declaimed.  It is the orchestra in Trittico that speaks the truth and creates the atmosphere, but in this production the strict timing and measured phrases actually stunted the overall projection of each scene.  The palate itself, unfortunately, did not sound Puccinian.

It is, however, wonderful that the Met has staged this production which originally premiered at the Met in 1918.  I ask why, when we listen to recordings of this opera in the past, or even available videos, that the singing and orchestral style are completely different from what we are hearing, as of late?  While some might call that “old-fashioned” style, I ask who labeled it as such?  Puccini died in 1924, not that long ago, and it is interesting that his aesthetic style is getting further and further away from what is was originally as we get further and further away from when he died.  Perhaps we need to take time to reflect on this and ask whether this is acceptable, especially when we do so much to retain historical performance practice in so many other genres, Bach, Baroque Music/Opera, performing on period instruments, etc… Why should performing Puccini’s works be any different?  The solution is simple, perhaps we need to look at the past for answers and remain true to what the composer wanted, otherwise, can we accurately call these productions accurate representations?

Food for thought….

Precious Giacomo….what would you have to say?

]]> http://discipulussimplex.wordpress.com/2009/11/26/calatorie-audio-prin-muzica-clasica-54-berlioz/ Thu, 26 Nov 2009 03:02:30 +0000 Discipulus Simplex http://discipulussimplex.wordpress.com/2009/11/26/calatorie-audio-prin-muzica-clasica-54-berlioz/ http://polesine.wordpress.com/2009/11/26/adria-ro-sabato-28-novembre-concerto-orchestra-a-buzzolla/ Thu, 26 Nov 2009 02:12:57 +0000 polesine http://polesine.wordpress.com/2009/11/26/adria-ro-sabato-28-novembre-concerto-orchestra-a-buzzolla/

inviato da: Conservatorio Buzzolla

sabato 28 novembre 2009
Ora: 20.30 TEATRO COMUNALE di ADRIA

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Sinfonia’s school workshop via broadband… From BBC News. Full story

This site may contain information about: mobile contract. The blog is also related to: cheap cell phone.

Sinfonia’s school workshop via broadband… From BBC News. Full story

This site may contain information about: literacy. The blog is also related to: development.

Quattro appuntamenti musicali dell’Orchestra diretta da Andrea Battistoni, in un concerto interamente dedicato al genio di Ludwig van Beethoven.

Andrea Battistoni

Mercoledì 25 novembre 2009

Giovedì 26 novembre 2009

Venerdì 27 novembre 2009

Sabato 28 novembre 2009

Ore 11

Una quattro giorni dedicata alle scuole, sempre alle ore 11, al Teatro Lirico di Cagliari, riprende l’attività didattico-musicale rivolta alle scuole, con quattro appuntamenti musicali che vedono impegnata l’Orchestra del Teatro Lirico, diretta da Andrea Battistoni, in un concerto interamente dedicato al genio di Ludwig van Beethoven.
Il programma, destinato prevalentemente alle scuole elementari, medie inferiori e superiori e alle scuole d’arte della Sardegna, prevede la celeberrima Settima Sinfonia in la maggiore op. 92 di Ludwig van Beethoven.
Ludwig van Beethoven (Bonn, 1770 – Vienna, 1827) compone la Settima Sinfonia tra il 1811 e il 1812 e, tra gli innumerevoli e prestigiosi saggi critici pubblicati, primeggia, senz’altro, quello di Richard Wagner che, in “L’Opera d’arte dell’avvenire”, scrive, a proposito di questo capolavoro, «La sinfonia è l’apoteosi della danza: è la danza nella sua suprema essenza, la più beata attuazione del movimento del corpo quasi idealmente concentrato nei suoni. Beethoven nella sue opere ha portato nella musica il corpo, attuando la fusione tra corpo e mente.»

CONTATTI:

Teatro Lirico

Via Sant’ Alenixedda

Cagliari

Tel: 070 40821

Sito: www.teatroliricodicagliari.it

Email: info@teatroliricodicagliari.it

Biglietteria del Teatro Lirico,

dal martedì al sabato, dalle 8 alle 14 e dalle 18 alle 20

Tel: 0704082230 – 0704082249

Fax: 0704082223

Email: biglietteria@teatroliricodicagliari.it

Prevendita: www.vivaticket.it

Call Center 899.666.805.

V.C.

Johann Sebastian Bach

Concerto for Oboe in G minor, BWV 1056
I. Allegro
II. Largo
III. Presto

Hans-Peter Westermann (Oboe); Camerata Köln

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When friends asked us to join them in seeing Trans-Siberian Orchestra, my first question was as it always is – what are they like? There seemed to be some difficulty providing us with a clear answer. Instead they ranged from, “well you like music so you’ll probably like them,” to “uh there’s lots going on”.

After seeing the TSO in concert the other night, I now understand why it was so complicated for them to explain.

This is a multi-talented group that slips easily from background to foreground duties comprised of a string section, drums, keyboard, background singers/dancers, electric guitars, violin soloists and both operatic and soul vocalists.

It was rock concert meets orchestra, complete with a laser show, hydraulics, copious amounts of pyrotechnics, topped with rocked-out Nutcracker and other classic Christmas carols, sprinkled with deep-voiced narration.

All in all, it was pretty entertaining. Their non-traditional approach to holiday music was a good start to the holiday season.

TSO performs two shows per day in most cities, which is a feat in and of itself considering how much equipment they pack around.

Here is their full tour schedule: http://www.trans-siberian.com/ontour/