Los Angeles Chamber Orchestra: making great music personal

Los Angeles Chamber Orchestra blog

January 31, 2013

dear jeffrey kahane . . .

dear jeffrey kahane . . .

photo LACO archives

After each Meet the Music concert the students who attended always write thank you letters to Jeffrey Kahane and the musicians who performed. Part of the Meet the Music program is a Q & A session when the children have the opportunity to pose questions to Jeff and the musicians about the performance. Those students who think of a question later on, or who did not have the opportunity to ask their question, often include their inquiries in their thank you notes.

the mysteries of mozart
January 28, 2013

Do you read the Program Notes when you go to concerts? You really should. They provide a wealth of information, and more often than not they help me get a feel for what I’m about to listen to (or what I just heard, depending on when I read them). LACO’s Program Notes are written by Christine Gengaro, and the ones she wrote for the Mozart’s Requiem concert last weekend were particularly riveting. There’s definitely a fantastic story to tell when it comes to Mozart’s Requiem, with more mystery, intrigue and unanswered questions that I ever could have imagined.

the voices of mozart's requiem
January 24, 2013

Click over to the podcast page for the latest installment for the 2012-13 Orchestral Series. KUSC’s Brian Lauritzen speaks with Jo-Michael Scheibe, USC Thornton School of Music’s Chair of the Department of Choral and Sacred Music.

composers in the movies
January 17, 2013

Mozart and Beethoven were real people, but our perceptions of them are colored by many things: movies like Amadeus and Immortal Beloved; anecdotes about their quirks; paintings and other visual representations; and the meanings we read into their music. A “biopic” about Beethoven,Immortal Beloved (1994) has us imagine Gary Oldman as Beethoven, a temperamental genius whose encroaching deafness and unhappiness makes him angry and difficult. The film takes many liberties with the facts, so much so that musicologist Lewis Lockwood wrote an article about the phenomenon called, “Film Biography as Travesty,” (The Musical Quarterly, 1997). In fact, the film goes as far as to “reveal” the true identity of Beethoven’s Immortal Beloved as pretty much the only woman musicologists can agree was NOT in the running.


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