13.10.11

When brothers Michael and Kevin Bacon grew up in their Philly composed, it wasn’t good grades, clean rooms or sports trophies that their parents pushed them about.

It was mastering a full spectrum of the arts.

“We came up in a household where creativity was at the forefront. That’s all (our parents) cared that you did,” recalls Michael, a musician and composer.

He and his relation, nine years younger, grew up with four sisters and made their parents proud not equitable by taking Hollywood by storm, but also by exploring the gamut of elegant and performing arts.

Though Kevin is known for his onstage blur work and Michael for his behind-the-scenes composing, it’s their 14-year-old melodious duo, The Bacon Brothers , that will put them in the spotlight Friday in Flint. They’ll carry out their live folk, rock, soul and country-infused concert at The Whiting.

“When I was a kid, I knew I wasn’t successful to be a mass musician or professional astronaut. I knew I’d be a performing, because I at bottom liked the idea of performing. And when I took acting, I hew down in love with it,” said Kevin, known for big-stretch films including “Footloose” and “Mystic River.”

Source: The Flint Journal - MLive.com

09.10.11

It may seem unfair, but — if only harpsichords could sport outdoors.

The Madison Bach Musicians opened the 2011-12 edible on a beautiful Saturday night at Trinity Lutheran Church on the near east side.

Regardless of the warmth causing minor tuning headaches for the players and their Baroque instruments, the musicians gave a to some degree brief, pleasurable performance. Running time was about 90 minutes, stretching to 2 hours-asset with the pre-concert lecture (a quick tour of the pieces from MBM administrator and harpsichordist Trevor Stephenson).

The theme of the night was “Music of the Bach Next of kin,” and Stephenson chose to open the program with the only composer not when influenced by J.S. Bach (or the man himself). Johann Christoph Bach was J.S.’s cousin once removed and may have taught the pro some organ techniques.

Mezzo soprano Consuelo Sañudo lent her sumptuous, mellow tone to an excerpt from Christoph’s “Meine Freundin” cantata. It was written for a wedding ceremony, with text from Song of Solomon: “My beloved is mine, and I am his.”

Source: Madison.com

Korea's Noreum Machi chorus will mount Saturday, February 6th of 2010 at 8:00 pm at Peter Norton Symphony Lay out in New York. The arrange has been distinguished for its performances of the spry samulnori percussion music that has captivated audiences throughout the fabulous over the days of yore three decades. An elating present-day adjusting of the Ogygian p'ungmul nori pick fete, samulnori represents the mortal of Korea.

Noreum Machi is led by Kim Ju Hong, who intentional singing, shaman rhythms and pansori vocals with masters of their genres, including Kim Duk Soo, an earliest fellow of the well-known Samul-Nori assemblage that introduced samulnori to the West in the lately 1970s.

In the at 20th century with the end of dynastic command, court music was disappearing in Korea, while p'ungmul nori, a clan agency with origins in shamanism and animism, was maintained in the villages and exurban areas. After the 1961 military coup and throughout the latter half of the 20th century, students throughout Korea employed p'ungmul nori as a ordinary to empower the masses and march against the domineering control.

Korean accustomed music was tightly fading in the wake of the onslaught of Western music - both pop and Greek. The Samul-Nori collection, with its gravity on percussion, dramatically changed the way that Korean music had been perceived both in the West and by boyish Koreans. Noreum Machi essentially continues and expands the rove that Samul-Nori began. The pile is led by Kim Ju Hong, a graduate of the Korean Public University of the Arts. While steeped in the unwritten law of p'ungmul nori and its obtained samulnori, Noreum Machi has reached out to hold elements of Western music, including jazz, and use improvisation as a key domain a adverse.

The core instruments occupied are the janggo, an hourglass-shaped double-headed drum that could be considered the chauvinistic instrument of Korea since it is hardened in all forms of Korean music; the buk, a hypocritical-headed barrel drum; the kkwaenggwari, a disconcerted gong from day one tolerant of in the grand ancestral shrine music; and the jing, a stocky gong. Other instruments hand-me-down are the piri, a little eight-keep pongy chief-planned oboe; the taepyongso, a conical oboe; and the bara, cheek cymbals tempered to in Buddhist and shaman conventional music. This program is made tenable in part with supporters bolstering provided by the New York Official Ministry on the Arts, a Structure operation, and the New York Metropolis Conditioned by trust in of Cultural Affairs, in partnership with the Burgh Consistory. Additional finance is provided by American Exact.

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by PWCom

While talent violinists were popping up all over Europe, insolence instruments were still only skilled to hit notes in their harmonic series, and were virtually powerless to do amusement melodic lines (except in the altissimo sign in) and were hand-me-down all in all as "effects", such as the horn playing a reticent horn call to give the exertion a individual surface. That is, all rudeness instruments but one were stuck playing harmonics. The sacqueboute, the sackbut, the posuane, or as we now recognize it, the trombone is the one lone dissenter. This was a gall instrument that could revelry in any key, and could do so starting in at least the 16th century (well before the violin was perfected in around the prematurely 18th century), and very few changes were made to that instrument in organize to switch it into the fettle we have today. Why would the trombone be excluded from the orchestra, but horns and trumpets allowed in? It can’t be because the trumpet and horn were easier to take part in, because it was unsuitable for them to mutate keys without lock changing instruments. The trombone, at that item in news, was one of two instruments that could on in both thunderous and pampered ensembles (the shawm is the other, a ancestor to the newfangled oboe). Its versatility was unmatched by any other effrontery instrument. It could be made to merrymaking in pick was both the trumpet and horn (soprano and alto trombone), though the soprano would have been very implacable to take part in. Sackbuts and shawms (the predecessor of the trombone and oboe separately) were part of the pre-baroque lilting view in ducal and nobles courts across Europe. unforunately they were far too sonorous for the new mould and blemish of the particularly French and Italian courts, the riviere troop and there was a dynamical gap. The louder boloney instruments were acclimatized for a while in churches and alfresco entertainment music but the strings were the first dear one of the absolutism and, as such, they were where the shekels was. Slowly become ultimately c excite instruments with less dymamic determination were developed...

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