mozart in the jungle: นี่คือโพสต์ที่เกี่ยวข้องกับหัวข้อนี้
Blair Tindall’s lively book offers a rare inside look into the American classical music scene. Her experience in the field is very wide, having played with the New York Philharmonic and every other major and minor orchestra and chamber music ensemble in the Tri-State area, as well as an oboe soloist. She also played for years in the pit for Broadway hit musicals, such as and , and in the studio recording music for Hollywood hit movies as well as jingles. Tindall’s tell-
Blair Tindall’s lively book offers a rare inside look into the American classical music scene. Her experience in the field is very wide, having played with the New York Philharmonic and every other major and minor orchestra and chamber music ensemble in the Tri-State area, as well as an oboe soloist. She also played for years in the pit for Broadway hit musicals, such as and , and in the studio recording music for Hollywood hit movies as well as jingles. Tindall’s tell-all book tells her own story from a childhood in Vienna and North Carolina to working as a musician in New York until her late-30s when she got increasingly despondent about the limited vistas and even more limited career prospects of an orchestra musician.
Tindall describes the tedium of becoming a musician, the endless hours of solitary practice, which for an oboe player are further aggravated by time spent on crafting and perfecting the reeds that are so critical to the player’s sound (having been a roommate to an oboist long time ago, I can attest to how much time and effort that takes and how annoying it can be for someone trying sleep while the oboist tests his reeds). Another challenge for musicians is having to work almost all evenings in an orchestra pit when other people are eating dinner, socializing or, a few, attending the concerts. This severely limits the social contacts the musicians have. An important part in the book is played by Allendale, a large and decaying building on the Upper West Side bordering to Harlem, which has long been a home for classical musicians and where she herself lived for almost two decades. There she observed with growing alarm the fate of many musicians her senior, who approached an age when normal people would retire, but who couldn’t afford to do so and were forced to continue to scramble for gigs to eke out a modest living. Seeing the others, she became concerned about her own future and her own increasing consumption of cheap wine, which started in the afternoon before whatever concert she had to play.
The competition among classical players is fierce for the relatively few regular orchestra jobs. For instance, in 1980, 1,100 musicians applied for a total of 47 full-time orchestral positions in all of the United States (p. 258). Over several years, Tindall competed for these jobs and participated in auditions for orchestras all over the country. She calculates the thousands of dollars she used for flying to attend the auditions. For most of her career, she subbed for the numerous bands in the New York City area, at times zipping from New Jersey to Poughkeepsie several times in a week. In the beginning of her career, she slept with three of the leading oboists in the city, which initially led to her being a favoured substitute. This later backfired, as the relationships faded and her name dropped down on the list the orchestras would call. This by no means was a reflection on her ability as a professional musician.
The subtitle of the book, ‘Sex, Drugs, and Classical Music’, has probably (hopefully) been added by her publishers; nevertheless, these aspects are closely linked. Despite the clean image classical musicians have among general audiences, Tindall demonstrates how drug and alcohol use among them is as widespread as among rock musicians. The classical music community is also quite promiscuous. Tindall describes orgies that entire orchestras on tour participated in. When AIDS first arrived in the 1980s, it became a major scourge amongst the musicians. The New York City Opera alone lost 75 employees to the disease (p. 111).
She herself goes through a large number of lovers, several of them married: oboists, other musicians, conductors. The main relationship she writes about is with Samuel Sanders, the piano soloist and long-term accompanist of Itzhak Perlman, who over many years moves from a lover to a friend. All in all, Tindall and other female musicians have a hard time finding mates as their lives are limited by the jobs they take. She finally finds love and happiness from outside of the musical community, with a scuba diving instructor she meets during a Caribbean holiday, but this relationship is also doomed to failure.
In the process of telling her own story, Tindall includes interesting and enlightening passages about the rise of classical orchestra music in the US, largely as a consequence of immigration of Jewish and other people from Europe before and after World War II. These Europeans had lived with and loved classical music and many played in amateur orchestras they started in the new country. Since the 1960s, there was a huge boom in the States, as cities and philanthropies supported the music, seeing it as a major cultural duty. Tindall describes the role of organizations, such as the Rockefeller Brothers Fund and Ford Foundation, in promoting classical music and draws conclusions of how such external assistance is unsustainable. The number of orchestras expanded manifold and many smaller towns established full-time orchestras as a symbol of their cultural value. “The rate of growth was breathtaking … Cultural growth sped ahead with little examination of the arts’ genuine or practical value for the society. Why classical music? Why orchestras? Is the expense worthwhile? Few asked for fear of being labelled barbaric”, she writes (p. 57).
At the same time the highly unionized musicians pushed for longer concert seasons, full-time employment with orchestras and increasing benefits. The audience numbers did not keep up with such rapid expansion and virtually all orchestras and concert halls, starting with the Lincoln Centre, operated at a loss and were highly subsidized with public money or by foundations. The number of orchestras making a major deficit increased rapidly and many, especially outside of the major cities, went outright bankrupt in the 1990s.
The dire conclusions of an exhaustive 1992 study evaluating the financial future of the classical music industry were rejected by the American Symphony Orchestra League that had commissioned it. Instead the League published its own document, , which projected optimism about selling “dead white European men’s music” (p. 207). (For an evaluator like myself, albeit in an entirely different field, this sounds too familiar.) Sure enough, the tech boom and resulting stock market rise temporarily saved the classical music industry that went on a huge spending spree as the endowments suddenly grew. Obviously, this couldn’t last.
From the 1980s on, lucrative studio work was getting scarcer for musicians with the rise of synthesizers that could emulate the sounds of entire orchestras through their MIDI samples of real instruments, thus resulting in savings to the producers. Films like Spike Lee’s , where Tindall played oboe with a real orchestra in the early-1990s, were getting rarer. At this point of her life, her own definition of ‘real music’ had expanded beyond the narrowly classical and she is quite lyrical about the film score composed and conducted by jazz musician Terence Blanchard.
Even on Broadway, live orchestras were relegated further down in the setting. The pits got deeper and some even played in covered pits so that the audiences could not see them at all, their music piped to the hall through amplifiers. The tedium of playing in such a manner, night after night performing the same pieces hundreds of times per year, was dulling and many musicians were drunk or on drugs to keep up with it (this has been confirmed by my own friends who have played on Broadway). Many musicians had completely unrelated reading materials on their music stands, playing their parts on a routine born from having performed the same piece thousands of times over several years. In 2003, the musicians union negotiated an agreement that would prevent productions from further reducing the number of live musicians on Broadway for the next 10 years.
Tindall puts much blame on the music industry and its various players. The musicians themselves and their union are not innocent either, as they negotiated better and better deals, with ever expanding full-time employment and longer seasons that ran up the supply of music far beyond the demand. The managers of orchestras and halls, most of whom were businessmen rather than musicians, developed marketing schemes that focused more on star soloists and conductors, rather than the music. This created a huge rift between the orchestra musicians and the stars, who would make tens of times more money than the regular players. Conductors, such as New York Philharmonic’s Lorin Maazel, would make millions for working just a few weeks. Similarly, the executives running the orchestras received extremely high salaries. Tindall has found that such non-profits—not only orchestras, but also ballets, museums and the like—have increasingly become places where the leadership gets paid excessively high salaries, while many interested citizens can’t afford to pay for the high ticket prices that are set to cover the escalating costs.
As classical music sales, that had always been just a small percentage of overall record sales, plummeted, the record companies started to market the CDs based on sexy young stars who would pose on the covers in revealing clothing. Tindall well understands why the buying audience with limited knowledge of classical music faced with a large selection of recordings of the same pieces would pick one with Sarah Chang or Midori on the cover, rather than one of the many with stodgy white men posing in a tuxedo. ‘Medieval Baebes’ such as the violinists Vanessa Mae and Linda Lampenius (Linda Brava), the latter a real Playboy Playmate, would boost classical music sales (Lampenius is one of the two Finns getting mentioned in the book, the other being Esa-Pekka Salonen, who as Los Angeles Philharmonic’s music director, has contributed to the orchestra’s situation through accessible concert formats).
Overall, Tindall asks why is classical music so strange and dull to the general audiences. When a critic in wrote that, “There may be kids out there who lose their virginity during Brahms’s D Minor Piano Concerto, but they don’t want to tell the story and you don’t want to hear it”, she reflects that she herself had passionately lost her virginity as a 16-year-old with Brahms playing on the record: “I couldn’t imagine what created this invisible barrier between listener and performer, a boundary that cheated new audiences of the sensory thrill of classical music” (p. 274).
She also asks why are there so many recordings of the same old pieces and why does every orchestra record the same works over and over again. No rock musician in his right mind would make a CD of exactly the same pieces as his competitor, she observes and concluded that, “I was in a narcissistic industry that was stuck in the nineteenth century” (p. 247).
She grows increasingly frustrated playing other people’s music night after night (at some point of time she observes a violin section’s synchronized bow movements, which remind her of slaves rowing a ship their oars moving in unison) and observing her friends and neighbours in the Allendale grow older with no prospects for betterment. She starts looking for a way out and embarks on an intensive period of study (with math books on her music stand in the Broadway pit), eventually going back to school. Stanford allows her to change her scene entirely and life on the West Coast brings new motivation for her to clean up her act.
Tindall is very critical of music education that is so narrowly focused that students and later musicians learn no skills beyond music. Juilliard, Manhattan School of Music and other famous institutions are more trade schools than universities. Tindall thinks that a student would be better off majoring in music at a liberal arts college, such as Oberlin, where she gets a broader education that will not close doors from other occupations than just music. Passing a group of students outside of Juilliard, she ponders how only a few of these highly talented musicians will make it as soloists or conductors or even get regular orchestra jobs, while most end up scraping together a living out of temporary gigs or find themselves non-professional office jobs for which their narrow musical education will suffice.
Back in New York, Blair Tindall writes about music for the New York Times and about other topics for other papers. She still plays the oboe and subs in orchestras, but with renewed vigour and enthusiasm as she no longer needs to do it to make ends meet. She ends the entertaining and informative book with some hopeful notions. Although classical music has become peripheral to mainstream life and the number of Americans playing an instrument has shrunk to less than a half between 1992 and 2002, classical music is not in decline: “It’s just that they’re bombarded with an absurdly large increase in the number of performances that enable the glut of full-time musicians, arts administrators, and consultants who resulted from the culture boom’s now-stalled momentum to make a living” (p. 306). Perhaps, the situation has again changed since the book was published in 2005. Orchestras and music do continue to play an important resource for the communities. Hopefully, they will be more accessible to more people.
Plácido \u0026 La Fiamma – Là ci darem la mano
El legendario Plácido Domingo participa con en la serie \”Mozart in the Jungle\” junto a la maravillosa actriz Monica Bellucci y el actor mexicano Gael García Bernal dirigiendo la pieza musical con los canales venecianos de telón de fondo.
Voz Real de la Soprano Ana María Martínez.
นอกจากการดูบทความนี้แล้ว คุณยังสามารถดูข้อมูลที่เป็นประโยชน์อื่นๆ อีกมากมายที่เราให้ไว้ที่นี่: ดูเพิ่มเติม
The Relationship Arc Of Rodrigo \u0026 Hailey in Mozart In The Jungle
These are the twists and turns of the relationship arc between Rodrigo \u0026 Hailey. \”This is not about you. It’s not even about me. This is about needing an oboe player.\”
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What happens behind the curtains at the symphony is just as captivating as what happens on stage. Created by Paul Weitz (About a Boy), Roman Coppola (The Darjeeling Limited), and Jason Schwartzman (Rushmore). Brash new maestro Rodrigo (Gael Garcia Bernal) is stirring things up, and young oboist Hailey (Lola Kirke) hopes for her big chance.
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Classical Music for Brain Power – Mozart
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CLASSICAL MUSIC FOR BRAIN POWER
Wolfgang Amadeus Mozart
01 Ascanio in Alba, K. 111: Ouverture 00:00
02 Lucio Silla, K. 135: Ouverture
I. Molto allegro 03:33
II. Andante 07:17
III. Molto allegro 10:04
03 Eine Kleine Nachtmusik in G Major, K. 525
I. Allegro 11:44
II. Romanza. Andante 17:47
III. Minuetto. Allegretto 24:26
IV. Rondò. Allegro 26:51
04 Flute Concerto No. 2 in D Major, K. 314
I. Allegro aperto 30:03
II. Adagio non troppo 38:09
III. Rondo. Allegretto 45:52
05 La Finta Giardiniera (“The Pretend GardenGirl”), K. 196: Ouverture 51:33
06 Symphony No. 36 in C Major, K. 425 \”Linz\”
II. Andante con moto 57:38
III. Menuetto 1:05:06
07 Symphony No. 41 in C Major, K. 551 \”Jupiter\”
II. Andante cantabile 1:08:21
IV. Molto Allegro 1:16:40
08 Flute Concerto No. 1 in G Major, K. 313
I. Allegro maestoso 1:25:35
II. Adagio Allegro ma non troppo 1:34:39
III. Rondò – Minuetto 1:44:09
09 Bastien und Bastienne, K. 50: Ouverture 1:51:54
10 Symphony No. 40 in G Minor, K. 550: I. Molto allegro 1:53:52
11 Piano Concerto No. 21 in C Major, K. 467
I. Allegro maestoso 2:02:05
II. Andante 2:16:35
1, 3 \u0026 9: Opole Philharmonic Orchestra conducted by Werner Stiefel
2, 47, 10 \u0026 11: Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta
Flute on 4: Andreas Blau | Piano on 11: Jörg Demus
8: Ubaldo Rosso, Opole Philarmonic Orchestra conducted by Silvano Frontalini
Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical era. Born in Salzburg, he showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his bestknown symphonies, concertos, operas, and portions of the Requiem, which was largely unfinished at the time of his death. He wrote more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: \”Posterity will not see such a talent again in 100 years\”.
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every single time rodrigo de souza says \”hai lai\” on mozart in the jungle
this video is an hommage to the very special maestro rodrigo de souza, gael garcía bernal’s character on amazon’s mozart in the jungle, and proof of his undeniable love for hailey rutledge, who is not his lover and \”only plays the oboe\”, folks!!!!
mozart in the jungle was an extraordinary series about classical music that got cancelled back in 2018 after season 4 came out. to this day i mourn its loss. why, hai lai, why????
Danzón No. 2 – Mozart in the Jungle
Danzón No. 2 (Arturo Márquez1994) [Excerpt] from Mozart in the Jungle.
Dir. Roman Coppola (2015).
นอกจากการดูบทความนี้แล้ว คุณยังสามารถดูข้อมูลที่เป็นประโยชน์อื่นๆ อีกมากมายที่เราให้ไว้ที่นี่: ดูบทความเพิ่มเติมในหมวดหมู่Music of Turkey
ขอบคุณมากสำหรับการดูหัวข้อโพสต์ mozart in the jungle