DOCSLIB.ORG

Is the Compelling Presti and Lagoya

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Is the Compelling Presti and Lagoya March-April 1986 is The Compelling Presti and Lagoya Return to Chicago see page 14 Che ec Ee er hee be CEE Ere 3 Andres Segovia discusses the finer points of guitars with James Sherry and Jack Cecchini highly of John Williams and house. in Madrid. Alirio Diaz. Seeing that Segovia liked We were interupted by a the guitar I offered it to him, phone call and the door bell. “but he declined: saying he A very old friend of Sego- had ‘ore similar to it now, via's dropped by so Segovia but to put this guitar away asked us to. come. back the for him for if anything ever next day. = : happened to his present gui- Before leaving I showed tar he would write to me to Maestro Segovia 2. guitars send him this guitar. He then I had taken with me for played the Lorca he said the his inspection. The guifars Lorea was cleaner but the were a Jose Ramirez (Sego~ Ramirez was more to his via Model) and an Antonio liking, he said both were Lorea. Segovia first played fine instruments. the Ramirez, he liked it, to Before leaving Segovia told my amazement he said’ he us to be sure-to be there the had this same guitar along next day. with another guitar in his (To be continued) 4 ALIRIO DIAZ AT ORCHESTRA HALL HRISTMAS WEEK is by Vincenzo Scarlatti not the best time for concerts, especially for makeartists a who localhave reputation.yet to Thus there was only a small audience when Alirio Diaz appeared in a guitar recital at Orchestra Hall Sunday afternoon, Dec. 19. 5 Diaz Program FOUR DANCES Gaspar Sanz (17th Century) Pavana Folia Marizapaios Canarios TWO SONATAS sereeeeeD, Scarlatti THIRD SUITE sod, 8. Bach (transcribed by Jack Duarte) Prelude Allemande Courante Sarabande Bourree I and 11 Gigue INTERMISSION u SONATA +. M, Castelnuovo-Tedesco (Homage to Boccherini) Allegro con spirito Andantino, quasi canzone Tempo di Minuetto Vivo ed energico ZAMBRA GRANADINA Leyenda (Asturias) Torre Bermeja Sevilla A report on the... Manuel Lopez Ramos Guitar Course 1966 GAIN THIS YEAR To be paid personally in @ Manuel Lopez Ramos Cuernavaca. presents his Annual Single unreserved admis- Guitar Course. Last year’s sion (3.00 U.S.) for auditors, course was great success. may be purchased at the The class will meet at “In- door preceding each class. stituto Regional de Bellas Further information may Artes” (Morelos Num. 405) be obtained by writing to: in Cuernavaca, Monday Estudio de Arte Gutarristico, through Friday from 10 AM. Insurgentes Sur 421. to 1 P.M. and from 6 P.M. Edificio B-305. to 9 P.M. Mexico 11, D. F. All level of students will ACCOMMODATIONS be accepted. Performers may For hotel accommodations, choose any works from the please contact. with: classical repertoire, including “ATLA TOURS” lessons by Sagreras, Carulli, Paseo de la Reforma Sor, Pujol, ete. 398-201. Classes will be translated Mexico 6, D, F. into English. Specify that you will attend Fees: Performers $80.00 US. Manuel Lopez Ramos, (four weeks) Guitar Course, and ask for $40.00 US. your reservation as soon as (two weeks) possible. For more details Auditors $10.00 US. write to Guitarra Magazine. Manuel Lopez Ramos From ltaly With Music by James Sherry Aldo Minella @LDO MINELLA, one returned the gift with Min- of Segovia’s outstand- ella and Chiglia. ing proteges, is em- In between -concerts, Mr. barking on his second U. S. Minella, will attend the Sego- concert tour. via Master Class at Salem, Minella’s first concert tour N.C. in April. last year was complemented Aldo Minella will possibly highly by music critics from perform at GUITARRA Mag- coast to coast. All cities had azine’s Music Hall in April one similiar statement, “Min- if arrangements can be made ella is a distinguished artist, possible. Subscribers will be a true interpreter of class- notified by special mail if ica music.” and when the concert takes Italy, the world leader in place. producing musical talent has Last year Minella visited been long overdue in pro- GUITARRA Magazine's office ducing a concert guitarist, for several hours. The last- but now Italy has two vir- ing memory I have of him tuosos moving to the top at is the classic elegance he tremendous speed. These portrayed in his guitar play- artists are Aldo Minella and ing and in his personality. Oscar Ghiglia. Both are pro- Aldo Minella is a worthy teges of Segovia. Ambasador of the musical Italy gave Spain Scarlatti city of Milan. and Boccherini. Segovia has James Sherry 10 The Master Segovia Weaves His Magic Andres Segovia OW does one explain houses. But Segovia played the great popularity of his guitar Sunday afternoon Andres Segovia, or de- in Orchestra Hall to a cap- fine his art? Certainly this is acity audience. not a time when solo recital- had a renaissance beginning ists, in general, are filling Although the guitar has i Presti And Lagoya Perform For Guitarra Magazine Presti and Lagoya YN SUNDAY afternoon, ical praise and fervent au- March 27, Guitarra dience acclaim in France, 4] Magazine will present Holland, Germany, Switzer- Ida Presti and Alexandre land, North Africa, India, Lagoya. Japan and Australia as well Ida Presti and Alexandre as North America. Lagoya had both established In their unique and fasci- themselves as solo concert nating programs Presti and artists of considerable dis- Lagoya combine. original tinction, when, in 1955, they works for guitar-duo with joined forces to form a gui- superb transcriptions rang- tar-duo. In the years since, ing from Bach and Scarlatti Presti-Lagoya have won crit- to Albeniz and Debussy. 14 BROBESECOnnne THE GUITAR IN THE ARTS by Vidal Benito Revuelta A Musical Academy In The Eighteenth Century (Continued from Jan~Feb. isswe) JEDERICO MORENO voice constitutes a refuge Torroba, Salazar, Half- and it is like a caress for fter, Rodrigo, Bautis- the hearing”, those people ta, Isasi, Asensio, Gombau demonstrating with their ete. are attracted by the so- compositions that the high norous tone of the guitar, artistic qualities of the gui- which satisfies the new sen- tar can become very beaut- sibility of today. Its delicate iful and important musical 5 | Julian Bream LUTE AND GUITAR RECITAL PROGRAM I English and Continental Lute Music Old German Airs and Dances (1536) . Hans Newsidler Pavana — Piva (1508) a nambrosio Dalza Two Fantasias (1545) . Francesco di Milano Branles de Bourgogne ( ) . Adrian LeRoy Chromatic Pavane and Galliard (c 1590) .. Peter Philips Galliard Upon A Galliard By Batcheler John Dowland Sir John Smith’s Almaine (1563-1626) INTERMISSION IL Guitar Pavana — Canarios (1674) ................ Gaspar Sanz Prelude, Sarabande and Gigue . Joh. Seb. Bach (1685-1750) Andante and Allegro ..........05.60.555 W. A. Mozart (1756-1791) Romanza — Andantino Variato .......... N. Paganini (1782-1840) Quatre Pieces Breves (1933) " Frank Martin Prelude — Air — Plainte me Une Gigue Studies No. 8 and 11 (1929) .............. H. Villa-Lobos 19 neneusenenersoesorenenensoes Guitarras y Guitarrerros peneeencnrnnseserscsnaebeeeDonase: by James Sherry This section of GUITARRA For each and everyone, at Magazine features the lives one time or another, was and guitars of the guitar the guitar world’s man of makers of the world; past the hour. Many now forgot- and present, famous and not ten, a few remain as leg- so famous, but all deserving. ends... This issue features: DOMINGO ESTESO OMINGO LOPEZ Este- group of luthiers that is be- teso,... Born in 1882 yond today’s immagination. in San Clemente, Spain. It was during’ these years At a very early age he that Hsteso became a great became an apprentice to luthier. During this period Manuel Ramirez for whom the foundation was set for he worked many years. While possibly all time on the de- with Ramirez, he worked sign of the Spanish guitar. along side Santos Hernandez Upon leaving the Ramirez and Modesto Bourequero, a establishment, he opened his 20 Rosette Domingo Esteso guitar year 1928 own workshop which is still 1937. His nephews, the thriving today. Conde brothers, (themselves Nearly all the great con- Esteso’s apprentices for many cert artists of today and yes- years) still make fine guitars teryear have owned Esteso They use their own name in guitars. the guitars, but so great was The guitar that is pictured the fame of Domingo Esteso, in this article is a Domingo that almost everyone refers Esteso made in 1928, to their guitars as Esteso Domingo Esteso died in guitars. 21 JUAN MERCADAL PROGRAM NO. 1 — 7:30 P.M. Four pieces of the Renaissance +. Transeribed by ©. Chilesotti Gavotte ——_D. Searlatti Giguencses L. Weiss Concert Etude No. 8 Variations on a theme by Mozart INTERMISSION Spanish Serenade _.. _F. Moreno Torroba Torre Bermeja (Tonadilla) —... 1, Albeniz Prelude No. 1 in E minor __ _—H. Villalobos PROGRAM NO. 2 — 9:30 P.M. ‘Two Minuetts —J, Ph, Rameau Concert Etude No. 14 ____ N, Coste Sonata Op. 15 .. INTERMISSION Little Spanish Suite .. Tonadilla Etude No. 1 in E minor Prelude from Suite No. 1 —_____ Inca Dance —____. Song of the Bell Bird __. _.Traditional from South America 25 Concert Guitar Instruction For Serious Students i ! { Our faculty: i JOHN MAVREAS . formerly professor of the guitar at the Athens Conservatory, Athens Greece. A concert performer and serious instructor. Many of his students are now professional performers. : LUISA SANCHEZ de FUENTES SANTIZO . .. | formerly professor of the guitar at the Conservato- j tio Internacional de Musica in Havana, Cuba. Mme Fuentes is the daughter of the famous Cuban com- ( poser, Sr. Fuentes. She has degrees in Concert, { Guitar, Profe:sor of Guitar, Harmony, Theory and j Sofee.
Load more

Recommended publications
  • RAY STEVENS' Cabaray NASHVILLEPUBLIC TV 201 NEW
    1. REVISION #3 3/20/2017 RAY STEVENS’ CabaRay NASHVILLEPUBLIC TV SYNDICATED EPISODES 201 - 252 PBS SHOW # GUEST(S) PERFORMANCES FEED DATE 201 Harold Bradley “Sgt. Preston of the Mounties” . NEW SHOW 7.07.2017 “Jeremiah Peabody’s Poly-Unsaturated, w.Mandy Barnett Quick Dissolving, Fast-Actin’, Pleasant Tastin’, Green and Purple Pills” .”Harry, The Hairy Ape” (RAY) “Crazy” & “I’m Confessin’” (MANDY) * 202 “Ned Nostril” (Ray) 7.14.2017 “Only You” (Ray) “Two Dozen Roses” (Shenandoah) “Sleepwalk” (A-Team) “I Want To Be Loved Like That” (Shenandoah) “Church On The Cumberland Road” (Shenandoah) * 203 Michael W. Smith “Dry Bones” (RAY) 7.21.2017 (GOSPEL THEME) “Would Jesus Wear A Rolex” (RAY) “This Ole House” (Ray) “I’ll Fly Away” (Duet w.Smitty) “Shine On Me” (SMITTY) 204 BJ Thomas ‘Hound Dog” (RAY) 7.28.2017 “Mr. Businessman” (duet w.BJ) “I Saw Elvis In A UFO” (RAY) “Rain Drops Keep Fallin’ On My Head” (chorus & verse BJ) “Somebody Done Somebody Wrong Song” (BJ) * 205 Rhonda Vincent “King of the Road” (RAY) 8.04.2017 “Chug-A-Lug” (RAY) “Just A Closer Walk With Thee” (Duet w.Rhonda) “Jolene” * 206 Restless Heart “That Ole Black Magic” (RAY) 8.11.2017 Larry Steward “Spiders And Snakes” (RAY) John Dittrich “Everything Is Beautiful” (duet Paul Gregg With Restless Heart) David Innis “Bluest Eyes In Texas” (RESTLESS) Greg Jennings * 207 John Michael “Get Your Tongue Out 8.18.2017 Montgomery Of My Mouth, I’m Kissing You Goodbye” & “Retired” (RAY) “Letters From Home” & “Sold” (JOHN MICHAEL) 208 Ballie and the Boys “Little Egypt” & “Poison Ivy” (RAY) 8.25.2017 Kathie Bonagoura “(Wish I Had) A Heart of Stone” & Michael Bonagoura “House My Daddy Built” (BAILLIE) Molly Cherryholmes 2.
    [Show full text]
  • HOUSE JOINT RESOLUTION 1221 by Maggart a RESOLUTION To
    HOUSE JOINT RESOLUTION 1221 By Maggart A RESOLUTION to honor and commend Harold Ray Bradley upon being inducted into the Country Music Hall of Fame. WHEREAS, the members of this General Assembly are proud to formally recognize those talented musicians whose influence on and participation in a genre of music is of great import and whose talent has set them apart as the finest of American artists; and WHEREAS, veteran guitarist Harold Ray Bradley is one such musician who is widely renowned for his prolific recordings, studio achievements, and industry leadership; and WHEREAS, in recognition of the impact he has had on the genre of country music, Harold Bradley was formally inducted into the prestigious Country Music Hall of Fame by the Country Music Association in 2006; and WHEREAS, born on January 2, 1926, in Nashville, Harold Bradley first took an interest in the banjo, but his brother, the late Owen Bradley, steered him toward guitar; by 1943, Harold Bradley was playing amplified jazz guitar and acquired his first job playing lead guitar with Ernest Tubb’s Texas Troubadours; and WHEREAS, from 1944 to 1946, he proudly served his country as a member of the United States Navy during World War II; he then headed home to Nashville to study music; and WHEREAS, Mr. Bradley’s first country recording session came in 1946, when he recorded with Pee Wee King’s Golden West Cowboys in Chicago; his acoustic rhythm guitar opened Red Foley’s 1950 smash hit “Chattanoogie Shoe Shine Boy,” which jumped to number one on both the country and pop charts; and WHEREAS, though a capable lead guitarist, Harold Bradley’s studio specialty has been rhythm work; on many sessions he lent his musical talents to a studio-triumvirate with lead specialists Hank Garland and Grady Martin; and HJR1221 01147350 -1- WHEREAS, Mr.
    [Show full text]
  • Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
    2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive
    [Show full text]
  • OBHOF INDUCTEES Why We Honor Them 2104
    OBHOF INDUCTEES 2104 Why We HonorThem: Dr. Harold Aldridge March 3, 2014 Aldridge sings the blues Dr. Harold Aldridge is a retired professor of psychology at NSU in Tahlequah. Tahlequah Daily Press By RENEE FITE Special Writer TAHLEQUAH — The gray is beginning to cover his once-black hair, and it shows when the tall, lanky musician adjusts his black felt cowboy hat. He’s admits to being a little nervous. To keep his hands busy and mind occupied before the show begins, he tunes his guitar, glancing around the room, waving or nodding to friends. “An Evening of Blues Music,” presented at Webb Tower by Dr. Harold Aldridge, professor emeritus of psychology at Northeastern State University, was in observance of Black History month. After a brief introduction and enthusiastic applause, Aldridge began with a joke. “As the milk cow said to the dairy man, ‘Thanks for the warm hand,’” he said. For the next hour, the audience was taken on a journey through black history via the blues, from deep in the Mississippi Delta, to Alabama, the East Coast, Kansas City, Oklahoma, Texas and California. “I’m going to tell you the history of blues, and hopefully, it will be entertaining,” Aldridge said. “I stick with the old stuff, from Memphis, Mississippi, Alabama, and Tennessee.” According to Aldridge, blues music is evolving. “It’s almost like rock in some places; I guess next we’ll have rap blues,” he said. As his story unfolded, the audience learned the blues has changed with varying locations and situations. “The blues originated in West Africa and came here as a feeling, the soul of it, the spirit of high John the Conqueror,” said the Aldridge.
    [Show full text]
  • Robert E. Litan's CV
    CURRICULUM VITAE Robert E. Litan Home and Office Address 2018 Hogan Dr. Lawrence, Ks. 66047 [email protected] [email protected] Affilations and Employment 2014- Partner, Korein Tillery law firm (St. Louis and Chicago), specializing in Antitrust and other complex business litigation 2017- Non-Resident Senior Fellow, The Brookings Institution, Washington, D.C. Research on regulation, financial institutions, general economic policy 2019- Independent columnist on sports law and economics, The Athletic 2015-17 Adjunct Senior Fellow, Council on Foreign Relations Overseeing a seminar series on how global cities can encourage Entrepreneurship; Research on trade and domestic adjustment to it 2015-17 Co-Chair, Insurance Reform Task Force, Bipartisan Policy Center 2014-15 Non-resident Senior Fellow, The Brookings Institution, Washington, D.C. Authoring studies of regulation, financial institutions and entrepreneurship 2015- Visiting Senior Policy Scholar, Georgetown University, McDonough School of Business, Center for Business & Public Policy 2014-16 Regular Contributor, Wall Street Journal “Think Tank” Blog 2014-18 Special Consultant, Economists, Inc., Washington, D.C. 2012-14 Director of Research, Bloomberg-Government, Washington, D.C. Oversaw a team of analysts covering business impact of federal governmental decisions; authoring weekly columns on a wide range of policy topics behind the BGov paywall (and sometimes for Bloomberg.com). 2007-09 Contributing Editor, Inc Magazine 2003-12 Vice President, Research and Policy, Ewing Marion
    [Show full text]
  • Bobby Karl Works the Room Chapter 323 There Was Joy in the Schermerhorn Associated with Inductee Chet Atkins, Symphony Center Monday Night (10/12)
    page 1 Wednesday, October 14, 2009 Bobby Karl Works The Room Chapter 323 There was joy in the Schermerhorn associated with inductee Chet Atkins, Symphony Center Monday night (10/12). both in tandem with Paul Yandell and Performer after performer at the solo. third annual Musicians Hall of Fame Chet’s daughter, Merle Atkins ceremony conveyed just how much pure Russell accepted. “It’s a wonderful pleasure there is in making the music night,” she said. “It was all about music, you love. for Daddy. This is huge.” “I’ve been a very blessed person, Harold Bradley described inductee working in the business I love,” said Foster as “a nonconformist” and “a producer inductee Fred Foster. visionary” for having signed and “When you do that, you’re produced such talents as Roy not working, you’re Orbison, Dolly Parton and playing.” Kris Kristofferson, all of “For all the loyal fans, whom appeared in a video thank you for keeping the tribute. Fred-produced spirit alive,” said inductee Tony Joe White got a Billy Cox after performing a standing ovation for a super blistering rock set with his funky workout on “Polk Salad group, featuring guest drummer Annie.” Chris Layton from Stevie Ray “This is a great honor Vaughn’s band Double Trouble. that goes in my memory book for Gary Puckett gleefully turned many visits in the future,” said Fred. the mic over to the audience for a Al Jardine of The Beach Boys sing-along rendition of “Young Girl.” He enthusiastically sang “Help Me Rhonda” inducted percussion, keyboard and vibes before inducting Dick Dale, the King of “musician’s musician” Victor Feldman.
    [Show full text]
  • “The Stories Behind the Songs”
    “The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992.
    [Show full text]
  • BUDDY HOLLY (Charles Hardin Holley) 7Th September 1936 - 3Rd February 1959 LYRICS Coordinated by Robin Dunn & Chrissie Van Varik
    BUDDY HOLLY (Charles Hardin Holley) 7th September 1936 - 3rd February 1959 LYRICS Coordinated by Robin Dunn & Chrissie van Varik. Buddy Holly was born Charles Hardin Holley on 7th September 1936 in Lubbock, Texas. At a young age he learned to play guitar, fiddle and piano. He released only three albums during his short lifetime, before his untimely death in an airplane crash that fateful “day the music died”, 3rd February 1959. However, he had been a prolific writer and a couple of albums consisting of unreleased material and demo recordings were issued posthumously. Buddy Holly was one of the inaugural inductees into the Rock and Roll Hall of Fame in 1986, together with The Everly Brothers. The songs are as performed in principal recordings (or demos) by Buddy Holly alone and/or with The Crickets plus those released by other artistes where Buddy was involved. Additionally included, for diehard collectors of all things Holly, are songs where lyrics refer to Buddy Holly or his songs. The bracketed date following the title denotes the year of the initial recording. Where it was difficult to detect precisely what is being sung, queries/gaps or alternative suggestions are included in blue and/or indicated by ??. Details of backing musicians are shown both for the pre and posthumous releases. Reference to The Picks 1980s/90s additional overdubs is omitted. Some very obscure titles have been discovered; information is wanted - dates and any recordings. NB: the notes are from various, sometimes contradictory, sources. In many instances Norman Petty (25th May 1927 - 15th August 1984) is included as a co-composing credit.
    [Show full text]
  • EVERLYPEDIA (Formerly the Everly Brothers Index – TEBI) Coordinated by Robin Dunn & Chrissie Van Varik
    EVERLYPEDIA (formerly The Everly Brothers Index – TEBI) Coordinated by Robin Dunn & Chrissie van Varik EVERLYPEDIA PART 2 E to J Contact us re any omissions, corrections, amendments and/or additional information at: [email protected] E______________________________________________ EARL MAY SEED COMPANY - see: MAY SEED COMPANY, EARL and also KMA EASTWOOD, CLINT – Born 31st May 1930. There is a huge quantity of information about Clint Eastwood his life and career on numerous websites, books etc. We focus mainly on his connection to The Everly Brothers and in particular to Phil Everly plus brief overview of his career. American film actor, director, producer, composer and politician. Eastwood first came to prominence as a supporting cast member in the TV series Rawhide (1959–1965). He rose to fame for playing the Man with No Name in Sergio Leone’s Dollars trilogy of spaghetti westerns (A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly) during the 1960s, and as San Francisco Police Department Inspector Harry Callahan in the Dirty Harry films (Dirty Harry, Magnum Force, The Enforcer, Sudden Impact and The Dead Pool) during the 1970s and 1980s. These roles, along with several others in which he plays tough-talking no-nonsense police officers, have made him an enduring cultural icon of masculinity. Eastwood won Academy Awards for Best Director and Producer of the Best Picture, as well as receiving nominations for Best Actor, for his work in the films Unforgiven (1992) and Million Dollar Baby (2004). These films in particular, as well as others including Play Misty for Me (1971), The Outlaw Josey Wales (1976), Pale Rider (1985), In the Line of Fire (1993), The Bridges of Madison County (1995) and Gran Torino (2008), have all received commercial success and critical acclaim.
    [Show full text]
  • Blair on The
    Quarternote Blair VANDERBILT UNIVERSITY Volume 24, Number 3, Spring 2000 Published by the Blair School of Music Blair on the Row page 8 from the dean PEYTON HOGE his issue of the QUARTER NOTE fea- this issue, we have added a class in song- tures the growing role the Blair writing. The Blair School is committed to tSchool plays in the thriving music sharing these and other courses with all collaborative concerto industry in Nashville. Many of you those who are interested in the diverse are already familiar with Jim Foglesong’s and vital musical scene in our society. popular class The Business of Music, Soon after you receive this issue, the Eberle to Premier Kurek’s Violin Concerto with Nashville Symphony which has attracted many Vanderbilt stu- new instructional wing just to the west of dents and area citizens over the years. our current building will be completed, You may not know, however, that many and we expect to move into our new stu- Associate Professor Michael Kurek, chair of the compo- DIANE ALANCRAIG Blair faculty members have been active dios, classrooms, and practice rooms dur- sition/theory department and precollege violinist as studio musicians on recordings of some ing the summer. These new quarters will Kathryn Eberle have collaborated on his new work enti- of the industry’s most acclaimed artists. greatly enhance the learning environment tled Concerto for Violin and Orchestra to be premiered (I remember being startled—and delight- for all our students, from preschool chil- by Eberle with the Nashville Symphony as part of the ed—a few years ago when, channel-surf- dren through adults.
    [Show full text]
  • “Crazy”—Patsy Cline (1961) Added to the National Registry: 2003 Essay by Douglas Gomery (Guest Post)
    “Crazy”—Patsy Cline (1961) Added to the National Registry: 2003 Essay by Douglas Gomery (guest post) Patsy Cline Original release label Owen Bradley In 1954, music producer Owen Bradley and his brother, Harold, purchased a decrepit Nashville mansion and later added a steel-frame and metal-covered Quonset Hut to the rear of the house. This created Bradley’s recording studio. Bradley’s son, Jerry Bradley, recalled how his father and uncle improvised the sonic space, using old curtains, pieces of wood made into louvers, and raw insulation covered with burlap to make the room workable. “My dad had a way of dealing with materials to acoustically fix a room,” Jerry Bradley said. “Owen and Harold, they tuned that room by trial and error, and with their ears.” At his newly-built studio, Bradley employed many of the best musicians in Nashville. His favorite lead guitarist was Grady Martin, a well-known and skilled session player. Martin had come off a Tennessee farm unable to read music but, by age twenty-one, had developed a style of playing all his own--hard edged without being abrasive. (Think of the opening riff of Roy Orbison’s “Pretty Woman.”) It was in this makeshift studio, with Martin on guitar, that “Crazy” was recorded on August 21, 1961, between 7:15pm and 11:15pm. A few days later Patsy Cline completed her vocals. It was produced by Bradley with Walter Haynes on steel guitar; Harold Bradley on six-string electric bass; Bob Moore on acoustic bass; Buddy Harmon, drums; and Floyd Cramer on piano and organ.
    [Show full text]
  • Time Magazine
    MUSIC FOLK SINGERS the Studio has become a shrine that wins the affectionate services of such For the Love of It stars as Odetta, Bob Dylan and Pete "There ain't no place around this Seeger when they pass through town. holy town where a fella can get all them Bradley still has trouble explaining the devils out of his throat," the expatriate source of his ambition. He gets a "re- folk singer complained -- and he was truing" sense from folk songs, he says. right: for all its glories, Rome had no But his success can be stated simply: for nightclub for folk singers. Such a cul both audience and performers, the Stu tural omission might have been easily dio offers the pleasure of making music endurable, but when an American Ne for the love of it. gro painter named Harold Bradley opened his II Folk Studio two years ago, Rome greeted it like springtime. ORATORIOS Since then, the Studio has become a The Meaning of the Rats genuine academy of folk-loric song and The narrator's voice is cold. Thou is fast becoming the most popular club sands of rats, he says, have come from in the city. Last week, noting the Stu the cellars and sewers to die in the city's dio's importance to the musical life of streets. The plague has begun. The dead Rome, the Italian government even will be carried away in tramcars. There COMPOSER GERHARD promised Bradley a subsidy. is a panicked whisper of running feet, Chilling, but profound. The Studio's polyglot performers a scream, a distant moan.
    [Show full text]