Achille-Claude Debussy (1862-1918): Biography~
Achille-Claude Debussy (1862-1918): Biography~
Composed in 1953 (eight years after the city’s bombing, and coinciding with the end of the American occupation of Japan), its six inner movements were inspired by six paintings by Iri and Toshi Maruki (the score’s original title was The Hiroshima Panels ), framed by a Prelude and Elegy. http://www.arkivmusic.com/classical/Name/Masao-Ohki/Composer/148971-1
Hiroshima Peace Memorial Museum WesSite~ http://hpmmuseum.jp/?lang=eng
Stern’s family moved to the United States and settled in San Francisco when he was one year old. His mother, a professional singer, gave him his first music lessons. He began studying the violin at the San Francisco Conservatory in 1928. In 1932 he became the third immensely talented San Francisco-area boy to train with the San Francisco Symphony concertmaster Louis Persinger (the others were Menuhin and Ruggiero Ricci). However, he considered Naoum Blinder, with whom he studied until the age of 15, his only true teacher. Stern made his debut with the San Francisco Symphony on February 18, 1936, with Pierre Monteux conducting the Third Concerto by Saint-Saëns.
However, Stern was to become as famous internationally for his contribution to public causes as he was for his concert performances and recordings. His social contributions took many forms: his most noted involvement as a cultural activist was his pivotal role in the 1960 salvation of Carnegie Hall, then facing demolition. Elected president of the Carnegie Hall Corporation, he guided the affairs of the edifice he called “our country’s affirmation of the human spirit” (Stern and Potok, p. 141) until the end of his life. He was chairman of the board of the America-Israel Cultural Foundation and founder and chairman of the Jerusalem Music Center, and in the United States he campaigned for and became a founding member of the National Endowment for the Arts in 1964. In 1975 he received the first Albert Schweitzer Award for “a life’s work dedicated to music and devoted to humanity” and two years later was made a member of the French Légion d’Honneur.
Oscar Greeley Clendenning Hammerstein II~ http://www.pbs.org/wnet/broadway/stars/oscar-hammerstein-ii/
…But if the Tchaikovsky competition represented Mr. Cliburn’s breakthrough, it also turned out to be his undoing. Relying inordinately on his keen musical instincts, he was not an especially probing artist, and his growth was stalled by his early success. Audiences everywhere wanted to hear him in his prizewinning pieces, the Tchaikovsky First Concerto and the Rachmaninoff Third. Every American town with a community concert series wanted him to come play a recital.
“When I won the Tchaikovsky I was only 23, and everyone talked about that,” Mr. Cliburn said in 2008. “But I felt like I had been at this thing for 20 years already. It was thrilling to be wanted. But it was pressure, too.”
While some accused Ringo Starr of being a clumsy drummer, many more agreed with George Harrison’s assessment: “Ringo’s the best backbeat in the business.” And while many in the wake of the Beatles’ breakup predicted that Starr would be the one without a solo career, he proved them wrong. Not only has he released several LPs (the first came out before the Beatles disbanded) and hit singles, but he’s also the only Beatle to establish a film-acting career for himself outside of the band’s mid-’60s movies.
Anybody who knows the Beatles’ music intimately knows the tympanic accents and fills as clearly today as when they were recorded: the famous drum roll that launches into “She Loves You”; the shimmering incandescence of his cymbal work on so many of those early hits; the impressionistic free-form of “Rain”; the loping cadence and crispy snare of “Sexy Sadie”; the haunting, almost cinematic drama and rich texture behind “Long, Long”; the building, tour-de-force crescendo that leads up to the “The End” on “Abbey Road.”
“Here’s what I discovered in the very first session that I did with him,” recalls Walsh. “He came in and I said, ‘You want to see a chart on the song?’ And he said, ‘No, give me the lyrics.’ He responds to the singer. A great example of that is when he plays on the Beatles’ ‘Something’ and he does that fill that’s such a musical response it’s almost like a guitar player; there’s notes to it.”
I was saying to someone the other day that one of the very first gigs we did – I don’t even think we were the Beatles, it was the Quarrymen – one the very first times I ever played with John, we did a very early gig at a thing called a Co-Op Hall, and I had a lead solo in one of the songs and I totally froze when my moment came. I really played the crappiest solo ever. I said, “That’s it. I’m never going to play lead guitar again.” It was just too nerve-wracking onstage. So for years, I just became rhythm guitar and bass player and played a bit of piano, do a bit of this, that and the other. But nowadays, I play lead guitar, and that’s the thing that draws me forward. I enjoy it. So, yeah, that means the answer to “Are you going to retire?” is “When I feel like it.” But that’s not today.
At the deepest level, McCartney has little idea where all the melodies come from. He still hasn’t figured out how he wrote “Yesterday” in his sleep. “I don’t like to use the word ‘magic,’ unless you spell it with a ‘k’ on the end, because it sounds a bit corny. But when your biggest song – which 3,000 people and counting have recorded – was something that you dreamt, it’s very hard to resist the thought that there’s something otherworldly there.”