A professionally trained and competitive dancer, he combines dance, vocals, and the best musicians in north Florida to deliver an unforgettable performance. The Chris Thomas Band specializes in the performance of vintage Sinatra, soulful Motown, as well as current popular songs custom arranged by its band members. The band can be sized from a quartet up to a piece big band. For their performance at Blue Bamboo Center for the Arts, Chris is bringing his 8-piece band, whose members are all professionally trained musicians from colleges and universities around the U.
Carol Stein is an acclaimed pianist, entertainer, vocalist, composer: performing a variety of musical genres from jazz to classical or musicals and cabarets to pub songs. Throughout her career, she has lived, performed and traveled around the globe from Switzerland to Hong Kong to New York and in between. Carol has been the guest solo artist with various orchestras and has been a musician for the Walt Disney company for over 28 years. Carol enjoys composing and spontaneous arranging of pieces during a live performance.
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She may take a child's melody and turn it "inside-out" in the style of Mozart, and then into a bossa nova, and end up with a Duke Ellington swing. Phillips Center for the Performing Arts. Musical director, Greg Parnell, is the former road manager and drummer for the Glenn Miller Orchestra. Greg takes what he has learned from performing with these groups and applies it to produce these musical tributes in an authentic and respectful manner.
The orchestra is made up of the best jazz musicians in Central Florida. The group plays select cover tunes in addition to writing and performing their own material. Even when playing material by other bands and writers, creativity and self expression lie at Souljam's core. They may hover within the parameters familiar to fans of classic rock or those acquainted with Phish, the Grateful Dead and the Tedeschi Trucks Band, but their listeners are stimulated by Souljam's new and exciting arrangements. Sunday, July 21 Sun, Jul An international recording artist with a wide range of musical interests, Chris Cortez ranks among the top jazz guitarists in the world.
He's performed at clubs and festivals all over the world. The always joyful Chuck Archard is an accomplished bassist, composer and educator. Well known to the Orlando scene, the Eddie Marshall Trio have been playing together for over 15 years. Guitarist Jack Graham plays Finger-style solos from the favorite parts of his life, mixed in with songs that have special meaning to him and a couple of stories.
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His history is a mix of 60's and 70's teenage band experiences, Classical Guitar Study and lots of backyards and firesides. The group originated the Conglomerate Performance Series, a recurring concert series, that served as the debut for the collective, and drew a definitive line in the metaphoric sand separating them from the pack.
The band moves as a cohesive unit of old souls performing original music or standards with vivid passion and pure organic leanings that harken back to a time past. It will be a fun night full of trombonology, history, styles and flat out swing. Bill is one the finest and well respected trombonists in the world of jazz. He has appeared on over 50 recordings and has toured and recorded with some of the leading names of the jazz world. Bill Allred is an undisputed master.
Marco is one of the area's in demand bassists performing with Robotman, Chris Cortez, and many of Central Florida's top players. She and her colleagues modeled the organization on such musician-run organizations as the London and Rotterdam philharmonics. Harris is a highly sought after bassoonist and has performed with many orchestras across the region including The Florida Orchestra, the Orlando Philharmonic, the Jacksonville Symphony Orchestra as well as the Alabama Symphony Orchestra. The parody tests how much it is possible for music to make fun of itself, to contain both the underlying form and the commentary on this form at once.
It is as if we meet an older person for the first time and detect at once his earlier self and the magnification of his personality traits that time has wrought, at once the prototype and the distortion. The Alla dansa tedesca also serves as a powerful foil for the ensuing movement. Its key is a rude shock after the preceding moment, challenging the gods of cohesion with such a harmonic rift, but somehow its keynote then becomes harmonically a link into the inner sanctum of the work, the fifth movement.
And then into the finales, as if the piece needs to step outside of itself to find a way forward. In the Cavatina originally a term for a type of operatic aria the crisis of the piece is reached, the desolation of the inexpressible fully revealed.
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Our quartet had the privilege of playing this movement at the memorial service for the great astronomer Carl Sagan at the Cathedral of St. John the Divine in New York City. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. And it touches on the richness of the human capacity for love as well as the loneliness of isolation in the chasm between feeling and expression. A particularly touching moment comes in the exchange between the violins of the second theme of the movement.
Typically a melodic idea first appears in a piece in its most simple version; if it is to be ornamented this happens in later repetitions. Here an idea traded between the violins twice comes in a slightly ornamented version and is only later sung in a more elemental form, as if the second violin reaches backward in time, searching for something more true, more pure, turning eyes inward and refusing any artifice.
Painfully, the first violin fails to respond in kind, offering instead the most ornamented version of all, somehow lacking the trust or courage to grasp after the essence of what must be said. The gap in expression is palpable. The incongruity of the utterances opens a space for one of the most unsettling passages in all of music, with the first violin left in desperate isolation. Beethoven marks the passage beklemmt : oppressed, anguished, stifled. Along with a viscerally disorienting shift to a distant tonality the lower voices pulsate in a sort of primal vibration.
The first violin is somehow overcome, no longer singing, no longer even able to connect one note to another, voiceless yet desperate to give voice. The line cannot find tears with which to cry, it gropes for language where there is none. Within the world of Op. The movement which is to sing loses its capacity to do so, or cannot find the inspiration to support it.
Exquisite paradox: Music is inadequate to express what pleads to be expressed; this failure is flawlessly expressed by music. The Cavatina has an ending, one in which the idea of a fundamental vibration-pulsation meets the initial stammer of the movement and offers uneasy consolation, but there is little stable comfort to be had here. The fissure between depth of feeling and language too feeble to hold it in its entirety is too great for that.
Where to go from here? In this most rigorous of musical forms Beethoven creates music that threatens at any moment to collapse, even flirting with the edges of madness or incomprehensibility. Or is he? Could it be that he welcomed the chance to respond differently to the crisis of the beklemmt? The alternate finale is much closer in feeling to Op. The crisis is acknowledged, accepted, held as it is. Struggle is abandoned, equanimity allowed to blossom without denial of having stared into the abyss.
Perhaps at the last moment Beethoven envisaged a different way forward. This juxtaposition with the most touching lyricism makes the opening of the fugue shocking, as Beethoven takes the final G of that movement and explodes it into a stark octave passage for the whole quartet.
The writing is jagged and austere, then, following the Overtura which opens the movement, there is a brief evocation of the wispy, halting breaths of the Cavatina in eerie double notes for the first violin alone. The fugue proper then defiantly announces itself with disjunct, painful and completely unvocal leaps, all elbows and knees.
Shouting, on the brink of whirling into chaos, the argument of the fugue is actually tightly ordered; of the dual description Beethoven gives for the movement — partly free, partly studied — this is the studied side. It will be the task of the Grosse Fuge to make sense of this everpresent possibility of complete collapse, to bring resolve and purpose to the human condition in the midst of uncertainty. During the private premiere of the original version of Op.
It fell to the second violinist of that group, Holz, to go to the pub to report to the composer. He declared the occasion a big success, and recounted how those present asked to have two of the inner movements repeated. The audience as well as the players had in fact had great difficulties with the movement, finding it nearly incomprehensible.
It was suggested to the composer that he replace the last movement of the quartet with one which would be more accessible. Certainly Beethoven himself never doubted that the fugue was a masterpiece of great potency.
One of the great mysteries of musical history is what could have convinced Beethoven, a quintessentially headstrong man, to agree to remove the fugue from Op. Today quartets often play Op. We have played that piece in both versions, finding the original version the more satisfying of the two, monumental in its scope. As confrontational and even brutal as the Grosse Fuge seems to us today, it is hard to imagine the effect it must have had at that time. Stravinsky was fond of saying of this piece that it will forever be contemporary.
This is perhaps only partly true. The unforgiving, jagged texture of much of the piece certainly brings it close to sounds not heard again for a century hence, and the piece has a raw energy which will never be blunted. Its surface texture in parts could easily be taken out of context as representative of music of our own time.
Our faith in the invincibility of human reason and perception for explaining our world has been severely shaken. Much of the art of our era has been devoted to feelings of pessimism and despair. He shares our recognition of the vulnerable fragility of man, the inadequacy of the mind to fully ponder all the enigmas of our world.
And yet, his view is one which encompasses hope, and the possibility of triumph, a victorious human spirit. The turn to clarity and optimism happens late in the piece, and quickly, but it is unmistakable, regretless, and moving beyond words. I would like to share that passage with you:.
The short semi-humorous comedies we live, our long certain tragedies, and our springtime lyrics and limericks make up most of what we are. They become almost all of what we remember of ourselves. Although it would be too fancy to take these moments of our lives that seemingly have shape and design as proof we are inhabited by an impulse to art, yet deep within us is a counterimpulse to the id or whatever name is presently attached to the disorderly, the violent, the catastrophic both in and outside us.
As a feeling, this counterimpulse to the id is a kind of craving for sanity, for things belonging to each other, and results in a comfortable feeling when the universe is seen to take a garment from the rack that seems to fit. Of course, both impulses need to be present to explain our lives and our art, and probably go a long way to explain why tragedy, inflamed with the disorderly, is generally regarded as the most composed art form.
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