Music Attribution © Frederic Chopin, Etude in G sharp minor Op. 25 No. 6 (first stage), Eric Lu
Video Attribution Chopin Institute
Source Attribution https://www.youtube.com/watch?v=Kq-zzAczGRE
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Music Attribution © Louis Armstrong & Ella Fitzgerald, Dream A Little Dream Of Me, (Sy Oliver Orchestra), 1931 song with music by Fabian Andre and Wilbur Schwandt and lyrics by Gus Kahn
Video Attribution JazzMusicHD
Source Attribution https://www.youtube.com/watch?v=gxrws7omOHQ
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Music Attribution © Franz Schubert, String Quartet No. 10 in E-Flat Major, Op. 125 No. 1, D. 87: II. Scherzo. Prestissimo – Trio, Verdi Quartet
Video Attribution Verdi Quartet – Topic
Source Attribution https://www.youtube.com/watch?v=o1bgJcRdDR8
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Music Attribution © Duke Ellington (and his orchestra), Take the “A” Train, Writer Billy Strayhorn
Video Attribution the78prof
Source Attribution https://www.youtube.com/watch?v=aG4Tte6XGkA
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Music Attribution © Fritz Kreisler, ‘Schön Rosmarin’, Gidon Kremer and Martha Argerich
Video Attribution Passion For Violin
Source Attribution https://www.youtube.com/watch?v=jH_VJFzFiHE
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Pablo Casals, (1876 – 1973), Spanish-born cellist and conductor, known for his virtuosic technique, skilled interpretation, and consummate musicianship.
Casals made his debut in Barcelona in 1891 after early training in composition, cello, and piano. After further study in Madrid and Brussels he returned to Barcelona in 1896 as principal cellist at the Gran Teatro del Liceo.
By this time Casals had established his innovative technique; by making his left-hand positions more flexible and using a freer bowing technique, he created an individual style marked by seeming effortlessness and a singing tone.
Casals toured internationally between 1898 and 1917 and formed a celebrated trio with Alfred Cortot (piano) and Jacques Thibaud (violin). Having won an international reputation as a cellist, Casals helped found in 1919 the École Normale de Musique in Paris and also established and conducted the Orquestra Pau Casals in Barcelona.
An outspoken opponent of Fascism, he was forced to move in 1936 to Prades in Catalan France.
He refused to return to Spain after the Spanish Civil War (1936–39) and announced his retirement from public performance in 1946 to protest worldwide recognition of the Franco regime in Spain; in 1950, however, he returned to recording and conducting, choosing spoken over silent protest.
In 1956 he moved to Puerto Rico, from which place he continued his personal musical crusade for peace until his death.
Casals was a romantic who eschewed the drier, literal interpretations of modernism. His love for the works of J.S. Bach formed the core of his sensibilities. He revitalized appreciation of Bach’s cello music, especially with his masterful rendition of the six unaccompanied suites for cello.
Bio Reference Attribution https://www.britannica.com/biography/Pablo-Casals
Photo Attribution © Erich Auerbach—Hulton Archive/Getty Images, Pablo Casals, 1965
Source Attribution https://www.britannica.com/biography/Pablo-Casals
Music Attribution © Pablo Casals, Sheku Kanneh-Mason, Song of the Birds
Video Attribution Sheku Kanneh-Mason
Source Attribution https://www.youtube.com/watch?v=o0uJoJh0gl8
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Sidney Bechet (1897 – 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz, beating trumpeter Louis Armstrong to the recording studio by several months. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim.
Bechet learned several musical instruments that were kept around the house, mostly by teaching himself; he decided to specialize in the clarinet (which he played almost exclusively until about 1919).
At the age of six, Bechet started playing with his brother’s band at a family birthday party, debuting his talents to acclaim. Later in his youth, Bechet studied with Lorenzo Tio, “Big Eye” Louis Nelson Delisle, and George Baquet.
Bechet played in many New Orleans ensembles using the improvisational techniques of the time (obbligatos with scales and arpeggios and varying the melody).
Bechet performed in parades with Freddie Keppard’s brass band, the Olympia Orchestra, and in John Robichaux’s dance orchestra. From 1911 to 1912, he performed with Bunk Johnson in the Eagle Band of New Orleans and in 1913–14 with King Oliver in the Olympia Band. From 1914 to 1917 he was touring and traveling, going as far north as Chicago and frequently performing with Freddie Keppard. In the spring of 1919, he traveled to New York City where he joined Will Marion Cook’s Syncopated Orchestra.
Soon after, the orchestra travelled to Europe; almost immediately upon arrival, they performed at the Royal Philharmonic Hall in London. The group was warmly received, and Bechet was especially popular.
While in London, he discovered the straight soprano saxophone and developed a style unlike his clarinet tone. His saxophone sound could be described as emotional, reckless, and large. He often used a broad vibrato, similar to what was common among some New Orleans clarinetists at the time. On July 30, 1923, he began recording.
The session was led by Clarence Williams, a pianist and songwriter, better known at that time for his music publishing and record producing. Bechet recorded “Wild Cat Blues” and “Kansas City Man Blues”. “Wild Cat Blues” is in a ragtime style with four 16-bar themes, and “Kansas City Man Blues” is a 12-bar blues.
In 1919, Ernest Ansermet, a Swiss conductor of classical music, wrote a tribute to Bechet, one of the earliest (if not the first) to a jazz musician from the field of classical music, linking Bechet’s music with that of Bach.
Bio Reference Attribution https://en.wikipedia.org/wiki/Sidney_Bechet
Image Attribution © (Photographer Unstated /ETH-Bibliothek Zürich, Bildarchiv / Fotograf: Comet Photo AG (Zürich) / Com_M03-0103-0002 / CC BY-SA 4.0), Sidney Bechet, 1954
Source Attribution https://en.wikipedia.org/wiki/Sidney_Bechet#/media/File:Sidney_Bechet_1954_Com_M03-0103-0002.tif
Music Attribution © Sidney Bechet & His Band, Muskrat Ramble, Writer – Kid Ory
Video Attribution GreekCallas
Source Attribution https://www.youtube.com/watch?v=ok6XlvZqvAI
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Easter Wings by George Herbert
Lord, who createdst man in wealth and store,
Though foolishly he lost the same,
Decaying more and more,
Till he became
Most poore:
With thee
O let me rise
As larks, harmoniously,
And sing this day thy victories:
Then shall the fall further the flight in me.
My tender age in sorrow did beginne
And still with sicknesses and shame.
Thou didst so punish sinne,
That I became
Most thinne.
With thee
Let me combine,
And feel thy victorie:
For, if I imp my wing on thine,
Affliction shall advance the flight in me.
Poem Attribution © George Herbert, Easter Wings
Source Attribution https://www.poetryfoundation.org/poems/44361/easter-wings
Music Attribution © David Garrett , Air (Johann Sebastian Bach)
Video Attribution Nelson Doroso
Source Attribution https://www.youtube.com/watch?v=x1ByRGNIpFA
Painting Attribution © Annette Schmucker, Wings, (Date Unstated)
Source Attribution https://www.saatchiart.com/art/Painting-Wings/733628/7452029/view
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The Donkey by G. K. Chesterton
When fishes flew and forests walked
And figs grew upon thorn,
Some moment when the moon was blood
Then surely I was born.
With monstrous head and sickening cry
And ears like errant wings,
The devil’s walking parody
On all four-footed things.
The tattered outlaw of the earth,
Of ancient crooked will;
Starve, scourge, deride me: I am dumb,
I keep my secret still.
Fools! For I also had my hour;
One far fierce hour and sweet:
There was a shout about my ears,
And palms before my feet.
Poem Attribution © G. K. Chesterton, The Donkey
Source Attribution https://www.poetryfoundation.org/poems/47918/the-donkey
Music Attribution © Frédéric Chopin, Spring Waltz, GF Music
Video Attribution 555simson
Source Attribution https://www.youtube.com/watch?v=a0hFZPvanMs
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Loveliest of Trees, the Cherry Now by A. E. Housman
Loveliest of trees, the cherry now
Is hung with bloom along the bough,
And stands about the woodland ride
Wearing white for Eastertide.
Now, of my threescore years and ten,
Twenty will not come again,
And take from seventy springs a score,
It only leaves me fifty more.
And since to look at things in bloom
Fifty springs are little room,
About the woodlands I will go
To see the cherry hung with snow.
Poem Attribution © A. E. Housman, Loveliest of Trees
Source Attribution https://www.poetrybyheart.org.uk/poems/loveliest-of-trees/
Painting Attribution © Richard Freer, Fresh Cherry Blossom
Source Attribution https://www.saatchiart.com/art/Painting-Fresh-Cherry-Blossom/35252/4854188/view
Music Attribution © John Duke (Piano Accompaniment / Eunae Ko Han), Loveliest of Trees
Video Attribution Dr. Eunae Ko Han – Collaborative Piano Studio
Source Attribution https://www.youtube.com/watch?v=q1dP8oherZ4&list=RDq1dP8oherZ4&start_radio=1
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