ArtistOwned.com - How Long Trane's Been Gone TELL ME HOW long TRANE S BEEN GONE. Walter Davis, Jr.* pianist. Sonny Fortune -Saxophonist/friend. joseph Jarman - Saxophonist, Art Ensemble of Chicago. Elvin http://www.artistowned.com/coltrane/int_list.html
Extractions: *indicates deceased Cousin Mary Alexander - Coltrane's1st Cousin Rashied Ali - Coltrane drummer/friend Jimmy Amadie - pianist/ music theorist Amiri Baraka - poet/essayist/activist/friend Gary Bartz - saxophonist/friend Art Blakey* - drummer Dr. Donald Byrd - trumpeter/friend Zita Carno - pianist/music theorist/friend Steve Coleman - saxophonist Alice Coltrane - Coltrane's 2nd wife Dr. Art Davis - Coltrane bassist/friend Thulani Davis - writer Miles Davis* - trumpeter/friend Walter Davis, Jr.* - pianist Sonny Fortune - Saxophonist/friend Jimmy Garrison* Charles Gayle - Saxophonist Dizzy Gillespie* - Trumpeter/Coltrane employer John Gilmore* - Saxophonist/friend Nikki Giovanni - Poet John Glenn - Philly saxophonist/friend Max Gordon* - Owner, Village Vanguard
Vincent Joseph Schaefer -- Britannica Student Encyclopedia Canteloube (de Malaret), (Marie)joseph French composer, pianist, and folk Gene Vincent shiccup-like staccato vocals, long, greased-back Francis joseph I (1830 http://www.britannica.com/ebi/article?eu=360661&query=vincent novello&ct=ebi
Joseph Marx (1882-1964) - Website By Berkant Haydin from all over the world made the long journey to where the origin of the extraordinarycareer of joseph Marx lies son of a doctor and a female pianist, Marx was http://www.joseph-marx.org/en/full.html
Extractions: One of the remaining mysteries of music history is why Joseph Marx, titled "the leading force of Austrian music" by William Furtwaengler in 1952, is no longer counted among the great composers of the 20th century. The Styrian composer received an enormous number of honors and awards over the course of his long life, but he was also held in high esteem as one of the most active music officials, composition teachers and critics of the mid-European late Romantic era . As numerous surviving contemporaries can confirm, he even occupied a key position in the Viennese music scene over several decades. Thus it is not surprising that the Ataturk government called him to Turkey in 1932, where he acted as first advisor on the development of Turkish music and concert life, and where he also helped to build up the Turkish conservatory (later, Hindemith and Bartok stepped in). His surviving students recall that Marx, whose friends were famous contemporaries like Puccini, Szymanowsky and many others, also had extensive knowledge in the areas of literature, art and sciences. His entire student body "adored and admired him like a semi-God"
The Way Of The Long Strings The Way of the long Strings. Last year she performed the Ravel Piano Trio in SandersTheatre with pianist Benjamin Loeb 89 and violinist joseph Lin 00. http://www.harvard-magazine.com/on-line/030306.html
Extractions: March-April 2003 More University news... Next article... John Harvard's Journal The Way of the Long Strings To be a virtuoso musician and a college student at the same time is somewhat like forcing two people into one body: something's got to give. For example, if you want to spend every evening from about 7 to 11 p.m. at the Music Building with your cello, you have to hope for the best, since no one is allowed to reserve that much time in a practice room. "Much as I'd like to practice in my room, people in the building would hate me," says Sarah Carter '04. "It's not fun to hear someone practicing." Carter plays a 1760 cello with up-to-the-minute technique Photograph by Stu Rosner Then, that little matter of studying. Carter, a psychology concentrator, does her academic work before and after cello practice. Luckily, she can get by on five hours of sleep: she's in bed by 1:30 or 2 a.m., and up at 7:30 in the morning—unless it's a concert night. Then she gets zero rest, because after a performance she just can't fall asleep. "It's an adrenaline thing," she explains. "My mind won't quiet down." There have been many such nights. Carter is one of the country's finest young cellists; she has already soloed with the Cleveland Orchestra and the Seattle Symphony. Recently she has been performing with the Boston-based Metamorphosen Chamber Orchestra, although she hasn't played with the Harvard-Radcliffe Orchestra or the Bach Society Orchestra: "I don't have that much time to commit," she says. "My own private practice is what I need the most."
Keeper's Long-lost MIDI Files my compositions for the beginning to intermediate pianist. Ma Baby by Ida Emersonand joseph E. Howard also All sequences Recently added longlost sequences http://www.armory.com/~keeper/midi.html
Keeper's Long-lost MIDI Files -- All 30, 2004, I d just acquired a new longawaited simulation 2 22 February 1994; RagtimeNightingale by joseph Lamb Level They are to be enjoyed by a pianist. http://www.armory.com/~keeper/midiall.html
Pianist Frieda Valenzi, The Remington Story And Don Gabor As a pianist she always had a strong affinity Martin Ballade (1939), Concerto (19334);joseph Marx Castelli great problems because of the long silences in http://www.soundfountain.com/remvalen.html
Piano Instruments - 596 Of The Best Sites Selected By Humans Elena Kutrowatz Duo K Kempff,_Wilhelm -The pianist Wilhelm Kempff is Li, Yundi -Lian,Carol -Limaev, Andrey -Lin, Jenny -long, joseph -Luederwaldt, Torsten http://www.cbel.com/piano_instruments/
Fresnobee.com | Pianist Brings Energy And Bravura To Performance The Music Department at Fresno Pacific University presented pianist John joseph Mortensenin hymn tunes by employing fragments rather than long quotations http://people.cedarville.edu/employee/mortensj/fresnoreview.htm
Extractions: (Published February 23, 2000) The Music Department at Fresno Pacific University presented pianist John Joseph Mortensen in recital Friday in the atrium at McDonald Hall. The program featured the premiere of "Sonata No. 2" by Fresno composer and Pacific University Professor of Music Larry Warkentin, and included music by Schumann, Chopin, Heitor Villa-Lobos and J.S. Bach, arranged by Ferruccio Busoni. The atrium seated about 120 people, with the front row surrounding the piano. This intimate setting created the impression that the department invited a group of friends for an evening of music and camaraderie. Mortensen descended the flight of stairs, sidestepped the front row, bowed, then addressed the audience with an introduction to the first selection, Fugue in D Major, by Bach and Busoni. In the opening minutes, Mortensen played in a Baroque style, laboring over the independence of line, bringing out the fugue subject above the counterpoint, and playing in strict time. When the piece changed to the minor mode, the darker harmonies lent an air of passion and the playing became more expressive. With the return of the major mode, the piece broke out of the clouds and rang forth triumphantly. Next, Mortensen performed four movements from Schumann's Kreisleriana, Op. 16. Mortensen managed these movements with some difficulty, mostly because of the acoustics of the hall, which washed out a good portion of the detail in the dense sections.
Benton Harbor & St. Joseph, Michigan - 2002 Community Profile Home, Coming Together Concert Renowned jazz pianist Gene Harris for this sea ofmasts and weekendlong party joseph are transformed into a blank canvas for http://www.communitylink.com/cornerstone/todo.htm
The Joachim Raff Society - Raff's Life had already shown great natural talent as a pianist, violinist and joseph Raff wrote he has and despite organising concerts in Nuolen, before long his father http://www.raff.org/bio.htm
Extractions: Joseph Joachim Raff was born on 27 May 1822 in the small town of Lachen Empfingen Raff became friends with the young composer and Zürich kapellmeister Franz Abt, who encouraged him to send some of his earliest piano pieces to Mendelssohn. The Leipzig composer was sufficiently impressed to recommend them to his publisher, Breitkopf & Härtel, and this in turn lead to a favourable review of Raff’s opp.2-6 in Schumann’s Neue Zeitschrift für Musik which predicted "a future for the composer". Raff, encouraged by this success, gave up his teaching job and moved to Zürich in 1844 to start a career as a composer - much to his family's dismay. Joseph Raff wrote "he has…. made nothing of himself but a begging musician" and despite organising concerts in Nuolen, before long his father was proved right. Raff was declared bankrupt..... He endured poverty in Zürich, working as a musician, but his great opportunity came when he learned of an appearance by his idol Liszt on 19 June 1845 in Basle, some 80 kilometres away. Determined to hear Liszt play but being unable to pay the fare to Basle, Raff walked there from Zürich through driving rain. He arrived just as the concert was about to begin to find that all the tickets were sold. Luckily Liszt’s secretary Belloni noticed the dejected, disappointed Raff and told Liszt, who decided not only that Raff should be admitted, but insisted that he should sit on the stage with him amidst a widening pool of water from his wet clothes. "I sat there like a running fountain," Raff wrote later "oblivious to everything but my good fortune in seeing and hearing Liszt".
Joseph Lulloff a CD of saxophone music featuring saxophonist joseph Lulloff and pianist PhilipHosford. During my long musical association with joseph Lulloff, I ve http://www153.pair.com/bensav/Interpretes/Lulloff.J.html
Extractions: Joseph Lulloff (U.S.A.) Evan Chambers Deep Flowers [saxophone alto seul / solo alto saxophone] Charles Ruggiero Sizzlesax * Piet Swerts Klonos [saxophone et piano / saxophone and piano] avec la participation de: with the participation of: Jun Okada, piano Audiences and students throughout the world have enjoyed Joseph Lulloff 's performances and teaching in both classical and jazz idioms. Each year he gives numerous solo performances with student and faculty, ensembles, as well as with professional orchestras and artists throughout the world. Joseph Lulloff is Professor of Saxophone at Michigan State University. During the summer, he is on the teaching faculty at the Brevard Music Center as teacher/artist in residence. Lulloff received his B.M. and M.M. degrees in saxophone performance from Michigan State University, where he studied with James Forger . After serving as Assistant and Associate Professor of Saxophone at the University of Illinois, he returned to Michigan State to assume the position of Professor of Saxophone and Jazz~ Studies. His dedication to teaching earned him the prestigious TEACHER/SCHOLAR AWARD from MSU, and, many of his students have received teaching and performing positions throughout the United States. Energy, intensity, and artistry characterize all of
Bernstein Artists - The American Piano joseph HOROWITZ has long been a national force in de Mare and Steven Mayer josephHorowitz, Artistic Moreau Gottschalk, the first American pianist to establish http://www.bernsarts.com/americanpiano/americanpiano.html
Extractions: "Mr. de Mare's protean talents fit his protean program...the Ives's was played as eloquently as I have ever heard it with warm, if troubled nostalgia." - The New York Times "Mr. De Mare is an amazing artist, and must be doing for contemporary piano literature what the Kronos Quartet has done for the contemporary string quartet. He is sure-fingered and dextrous, and puts his whole soul into his work. The results are remarkable." - UW Gazette , Toronto Praise for Steven Mayer: "...piano playing at its most awesome..." - Bernard Holland, The New York Times "The piano was 'smoking' with overt sidplays of pyrotechnics. Mayer's playing brought sheer delight to his mesmerized crowdleaving attending pianists weeping by the wayside." - Jeff Manookian, The Salt Lake Tribune Anthony de Mare and Steven Mayer Joseph Horowitz, Artistic Director The American Piano explores and celebrates nearly two centuries of keyboard music by American composers, from Anthony Philip Heinrich, the eccentric "Beethoven from Kentucky," to such contemporary masters as John Adams and Philip Glass. It combines the talents of two pianists, both esteemed specialists in American repertoire, and a leading writer and music historian. STEVEN MAYER, credited by The New York Times with "piano playing at its most awesome," has singularly championed the fiendishly virtuosic solos of Art Tatum as a living repertoire; he is also currently recording the complete piano works of Charles Ives.
Murray McLachlan - Concert Pianist Both joseph Fleetwood and Murray McLachlan were happy to give Musician of the Yearas both a guitarist and pianist. it was to take far too long preparing for http://www.murraymclachlan.com/faq.htm
Extractions: 2.What was your early musical training like? But the Rachmaninov concerto was later. Before then I had a year with the excellent Robert Howie for more serious piano study at 13. Bob jam-packed a year of study with an enormous amount of repertoire (Beethoven op.10 no.3, op.14 no.1, op.2 no.1, Chopin Polonaise, Nocturne, Waltz, Mendelssohn Rondo Capriccioso, Mozart 19th Concerto, Bach Preludes and Fugues, Czerny, Chopin Etudes, York Bowen, John Ireland, etc,etc Quite a list! Anyway, by Autumn 1978 the need was felt to develop musically away from North East Scotland. This had been encouraged by the violin teacher Warren Jacobs (a festival adjudicator who had also been very encouraging about the guitarist Murray McLachlan). Incidentally, another festival adjudicator from 1978 who was extremely positive about my guitar performing was the composer John McLeod, someone whom I would later work closely with on many pianistic projects, including the world premiere of his Third Piano Sonata, dedicated to me.
Joseph Gold, Virtuoso Violinist and Cadario had to contend with the extremely long reverberation time night when aconcert by American violinist joseph Gold and Austrian pianist Kurt Rapf http://home.jps.net/~promusica/concert2000.html
Extractions: Front Page Festival Review World News The 1999-2000 Tour Biography Acclaim Links Calendar Spring 2000 Tour Review reprinted with permission Many violinists are merely content to run through today's standard recital format of one sonata after another, rarely bothering to try anything that might disrupt the routine. San Francisco's Joseph Gold, however, chooses to go his own way, playing technically challenging music with a Romantic bent, often centered around a unifying theme. A former student of Jascha Heifetz (you can hear the Heifetz influence in his incisive attacks), Gold has been offering his fresh alternative to the same old thing in major cities like Vienna, Barcelona and Florence on his just-completed European tour. On one Saturday evening, with a young, hugely gifted, Northern Italian pianist Marco Cadario as his partner, Gold put together a program centered around the music of the Italian violin sorcerer Niccolo Paganini. In doing so, Gold and Cadario had to contend with the extremely long reverberation time of the Chiesa Parrocchiele Sangiano, which could easily turn a rapid string of detached notes into blurred tonal hash. Yet with crisply executed attacks and releases, the pair minimized the problems posed by the church's tricky acoustics (Gold and Cadario repeated this program a week later in Florence's Cherubini Conservatory, where the acoustics were friendlier). Sailed through sandtraps Opening with Paganini's "Duetto Amoroso," a lyrical dialogue between male and female lovers (both impersonated by the violin), Gold's interpretation has clearly deepened, emphasizing the difference between the two voices without giving way to excess sentiment. A sonata by the Baroque-period composer Locatelli seemed to look forward about a century in time - and it pushes even further ahead with its ragtime-like syncopations in the second movement. With its recitative-like passages and full-blown arias, Spohr's Violin Concerto No. 8 (transcribed for violin and piano) is actually an operatic scene in all but name - and Gold recognized this by carefully maintaining a sustained singing line while easily sailing through the technical sandtraps that Spohr placed in his path.
Rico Internationals History joseph was a harpist, pianist, and guitarist, and his Today, josephs grandson JeanFrançoisRico, plantation unique tonal qualities and a long-playing life http://www.ricoreeds.com/inside.html
Extractions: A Long Family Tradition By Michele Gingras Born in Italy, Joseph Rico (1876-1957) went to seminary school near Naples, where he showed special talent for music. As a teenager, he and his brother, Libereto, ran away from seminary school one night, embarked on a ship, and fled to America where they heard there was a world of opportunity for eager minds. Joseph was a harpist, pianist, and guitarist, and his brother was a mandolinist and violinist. As a result of their hard work, both musicians became quite well known in Chicago and New York. Joseph Rico started composing and conducting, and went on to Paris where he became a sought-after composer. His Valses lentes are still played today. Where it all begins: Cane (Arundo donax, a Giant Grass)
Extractions: With the release of Not Your Typical New Yorker, Joseph Diamond - pianist, composer, producer - sees the realization of a long-held dream. Once he had recognized the idea that, "It was about time to do something on my own," Joe pursued his goal with foresight and determination. He rehearsed his band "on and off for a year," while writing music and fine tuning his concept for the CD. He hired topnotch musicians for his rhythm section - Vince Cherico on drums and Leo Traversa on bass - and enlisted the services of his best friend and "main man," the late Drew Francis on keyboards, flutes, and tenor sax. He immersed himself in Latin music, which he had studied with Oscar Hernández. As a result, six of the tunes on Not Your Typical New Yorker - a title which Joseph finds reflective of his own friendly attitude - are Latin in structure and feeling.
Personal Message From Joe Hunter Key To My Heart; Christmas All Year long; Sleep Little Joe Hunter was Motown Records first pianist, preceding both He was born joseph E. Hunter on November 19 http://www.edu-cyberpg.com/Culdesac/Stars/funkbroJoeHunter.html
Extractions: PRODUCTS AND SERVICES Lk at 4 Site Navigation Tools Search This Site Intuitive Site Map Logical Site Map Visual Site Map Topical Information About... Administrators All Mailing Lists Arts Beginner Tutorial Digital Divide Funk Brothers Guavaberry Books Internet Literacy Linguistics Music News Headlines Online Curriculum Schools Online Security Teachers Technology CONTACT US LINK TO US ABOUT US MISSION STATEMENT ... REASONS TO PLAY HERE
Extractions: The whole serendipity of how Andrew Lloyd Webber and Tim Rice got together informs the bounciness of the early work they produced. Andrew had written music from the age of six or seven. His father was a composer, organist, and teacher at one of the leading London colleges, and his mother taught piano to young children. Even at a very young age, he was as interested in architecture and history as he was in music. His mother despaired of his future as a pianist as he refused to practice as diligently as she would have liked, so she was determined that he should excel at his academic studies. But Andrew recalls a life-changing experience when asked to play the violin in a school concert: "I said, 'I'm not going to do that, I'm going to play six songs [on the piano], and I'm going to dedicate each one of them to masters in the school,' which I did from the stage. Because of the reaction of the other kids, I knew that there was something very different that I would be interested in doing ... I was about nine or ten, and I'd written all the songs myself." Throughout his teenage years at Westminster School, he composed songs for student revues and indulged his enthusiasm for musical theater in the company of his Aunt Vi, a former actress who took him on outings to the West End and carried with her a smell of the grease and a glimmer of the footlights that was irresistibly exciting to her nephew.
Kennedy Center: Biographical Information For Joseph Kalichstein intensity and technical mastery of his playing, pianist joseph Kalichstein enthralls Duringhis long professional history with the Center, Mr. Kalichstein has http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showIndividual&entit
