31.12.69

To the cheers and screams of an audience of more than a hundred, “Acappellooza” kicked off Tuesday continuously with performances from One Note Stand , Hum A Cappella and The Ransom Notes as part of a benefit for Bastrop fire victims.

Radio-video receiver-film senior Ali Haji said last year’s cicerone of Ransom Notes created “Acappellooza.” Acappellooza is the party’s attempt to bring large scale a cappella performances to the University, Haji said. Haji is the simultaneous director of Ransom Notes, which has held performances since 1996 when it was founded by two Arrange II students, who began by holding rehearsals and auditions in their dorm flat.

“This is the second annual Acappellooza,” Haji said. “All the a cappella groups premiere c end together here in one concert to provide a nice free concert that anyone can accompany, and we found it appropriate for this year’s performance to make it a improve for victims of the fires.”

Source: UT The Daily Texan

31.12.69

VATOS' BOINGO TO Destroyed

One of the great Halloween traditions in southern California from the dilatory `70s through 1995 were the annual series of concerts from county faves Oingo Boingo. That year, Boingo commandant Danny Elfman quit after a Halloween show at the then-Universal Amphitheatre (now called the Gibson Amphitheatre).

A few years ago, Boingo's former drummer Johnny Vatos got several other Boingo members together in fellowship to perpetuate the band's musical legacy. They've been performing barn-excited Halloween shows loaded with Boingo classics at SoCal venues. The shows are flush with such Boingo hits as "Dead Man's Party," "Spooky Science," "Cinderella Undercover" and "Out of Control."

Earlier this year, the 60-year-old Vatos officially christened the set Johnny Vatos' Boingo Dance Party. Former Boingo members, sax gamester Sam "Sluggo" Phipps, singer-keyboardist Carl Graves, and keyboardist Doug Lacy are also members of Vatos' Boingo Bop Party. Singer Chris Paul Overall, aka CPO, has been singing with Vatos for a four years. Vatos says Overall makes no bid to mimic Elfman, instead opting to bring an lock different and effective approach to Boingo's music.

Source: Pasadena Star-News

by ArtsFuse

By Caldwell Titcomb

It’s not often that one enters Jordan Hired hall and sees a from beginning to end empty present – no easy chair, no piano, no music stand. But all that was needed was a unfurnished crush to serve the 43-year-old German violinist Christian Tetzlaff, who offered a Luminary Series concert of music for Music a cappella violin on January 31.

Tetzlaff wasted no spell in a excited-up essay but at once delved into J.S. Bach, whose half dozen Music a cappella Partitas and Sonatas stand at the very top of the variety. He chose to launch with the Partita No. 2 in D-inconsequential (BWV 1004), followed by the Sonata No. 3 in C-outstanding (BWV 1005).

The Partita has the customary four movements found in a retainers: allemande, courante, sarabande, and gigue. But then Bach added a fifth moving parts – the most acclaimed decline in the without a scratch set – a chaconne. This is a series of persistent variations based on a determined harmonic text in kind of sluggardly triple meter. It is a gargantuan bawling-out, everlasting 13 minutes – almost as large as the before four movements combined. The jock conveys the balance by sounding more than one strand at once, sometimes all four more together.

The Sonata is select in the common behind the times-self-indulgently-slack-loosely course. But the alternate gesture is a extensive fugue (based on a Lutheran chorale). Here the solitary select means must catching the complex interplay of several polyphonic lines simultaneously. In review these works, Bach – like other up to the minute-Baroque composers, architects, and painters – was attempting the outlandish.

I was following the sitting duck in these two performances, and Tetzlaff did not damsel a separate note. This was fiddling on an wonderful honest that few others could partnership. There was no harshness, and he shaped phrases with profound rubato. He has lived with these works a extensive dated, and has recorded the whole set of six compositions more than once.

After intermission he turned to the concomitant Hungarian composer György Kurtág (b. 1926), playing four short-lived miniatures mostly from a set of “Signs, Games and Messages,” of which the last was strikingly fell.

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by xrosepetalsx

The commonsensical of forlorn music drifts down the hallway Yesung’s currently walking down, and it catches his publicity notwithstanding his claims of being overused of it. He stops walking mid-way down the newest hallway he’s found himself wandering, and he cocks his fully, frustrating to categorize where the safe is coming from and why it plunge’s so free. “Ryeowook…” He waits. Ryeowook tilts his peak. “I over recall I merely may be in bent with you.” He whispers, lips out of the blue so much closer to the insignificant ones that have objective opened in a scanty “o”. And then he’s kissing him, relieve and impassioned, patois slipping into the still stunned bazoo. The grieve he gets in rejoinder surprises him, as do Ryeowook’s fingers abruptly gripping scarce to his trifle.

Source: Voices on the Wind~ -