James Last orchestra & singers: " The world of the gentleman of music", ...

1.- "Fanfare" - 14.05.2002 & 15.05.2002 in "Stadthalle", Zwickau (Germany). 2.- Medley: "Bésame mucho"/ "A Gay Ranchero"/"Volare" - 14.05.2002 & 15.05.2002 in "Stadthalle", Zwickau (Germany). 3.- "My Heart Will Go On" (Titanic Love Theme) - 29.01.2000 & 30.01.2000 in Bayreuth (Germany).

Joni Mitchell - her music and her life

 Joni Mitchell, born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Alberta, Canada, is one of the most influential singer-songwriters of the 20th century. Her early years in music laid the foundation for a remarkable career that would see her become a defining voice in folk, rock, and jazz.

Mitchell's musical journey began in her childhood, where she showed an early interest in the arts. She started playing the piano at age seven and later taught herself to play the guitar. Her early influences included folk legends like Pete Seeger and Woody Guthrie, as well as the traditional folk music of her Canadian roots.

In the early 1960s, Mitchell began performing in small clubs and coffeehouses in Saskatoon and throughout western Canada. She adopted the stage name Joni Mitchell after marrying fellow folk singer Chuck Mitchell in 1965. The couple moved to the United States, where Joni's career began to gain traction.

Mitchell's breakthrough came with her move to New York City, where she became a fixture in the Greenwich Village folk scene. Her unique voice, intricate guitar work, and deeply personal lyrics set her apart from her contemporaries. Songs like "Urge for Going" and "Both Sides, Now" were covered by other artists, helping to establish her reputation as a gifted songwriter.

In 1968, Mitchell released her debut album, "Song to a Seagull," produced by David Crosby. The album showcased her poetic lyrics and innovative guitar tunings, earning her critical acclaim and a growing fan base. Her subsequent albums, including "Clouds" (1969) and "Ladies of the Canyon" (1970), solidified her status as a leading figure in the folk music movement.

Joni Mitchell's early years in music were marked by a relentless pursuit of artistic expression and a willingness to push boundaries. Her contributions to the music world have left an indelible mark, and her influence continues to resonate with artists and fans alike.

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'Killing Me Softly' singer Roberta Flack passes away, 88

BY ROBERT REQUINTINA

Feb 24, 2025 11:48 PM

  

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AT A GLANCE

• The demise of Roberta was announced by her representative. No cause of death was cited in the statement.

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Roberta Flack (Facebook)

Roberta Flack, the singer behind the No. 1 songs "Killing Me Softly," "The First Time Ever I Saw Your Face," and "Feel Like Makin' Love," has passed away. She was 88.

The demise of Roberta was announced by her representative. No cause of death was cited in the statement, according to multiple reports in the US on Feb. 24.

“We are heartbroken that the glorious Roberta Flack passed away this morning, February 24, 2025. She died peacefully surrounded by her family. Roberta broke boundaries and records. She was also a proud educator," the statement read. 

Born on Feb. 10, 1937, Roberta debuted as a recording artist in 1969 with the single "Compared to What."

But it was only in 1972 that her career took off after actor Clint Eastwood used her two-year-old song "The First Time Ever I Saw Your Face" for his directorial debut "Play Misty For Me" in 1971.

"The First Time Ever I Saw Your Face" went to No. 1, followed by another chart-topper, "Killing Me Softly," in 1973. Both songs were awarded back-to-back Grammys for Record of the Year.

In 1974, Roberta hit No. 1 for the third time with "Feel Like Makin' Love." Other chart busters were "The Closer I Get To You," "Making Love," "Jesse," and "Set the Night to Music." 

Filipino music fans will never forget Roberta for her love songs "If Ever I See You Again," "Maybe," and "Tonight, I Celebrate My Love," both tracks performed with Peabo Bryson.

Roberta Flack (Facebook)

Roberta Flack, the singer behind the No. 1 songs "Killing Me Softly," "The First Time Ever I Saw Your Face," and "Feel Like Makin' Love," has passed away. She was 88.

The demise of Roberta was announced by her representative. No cause of death was cited in the statement, according to multiple reports in the US on Feb. 24.

“We are heartbroken that the glorious Roberta Flack passed away this morning, February 24, 2025. She died peacefully surrounded by her family. Roberta broke boundaries and records. She was also a proud educator," the statement read.

Born on Feb. 10, 1937, Roberta debuted as a recording artist in 1969 with the single "Compared to What."

But it was only in 1972 that her career took off after actor Clint Eastwood used her two-year-old song "The First Time Ever I Saw Your Face" for his directorial debut "Play Misty For Me" in 1971. 

"The First Time Ever I Saw Your Face" went to No. 1, followed by another chart-topper, "Killing Me Softly," in 1973. Both songs were awarded back-to-back Grammys for Record of the Year.

In 1974, Roberta hit No. 1 for the third time with "Feel Like Makin' Love." Other chartbusters were "The Closer I Get To You," "Making Love," "Jesse," and "Set the Night to Music."

Filipino music fans will never forget Roberta for her love songs "If Ever I See You Again," "Maybe," and "Tonight, I Celebrate My Love," both tracks performed with Peabo Bryson.

I love music!

 

The nation celebrates the 84th Birth Anniversary of National Artist Francisco Feliciano

 Francisco Feliciano's oeuvre stands as a remarkable testament to the exceptional artistic capabilities of the Filipino people. Throughout his career, he consistently embodied the essence of "Asianness" in his musical endeavors, whether as a composer, conductor, or educator. His unwavering commitment significantly contributed to enhancing global awareness of Asian culture, portraying it as a rich source of inspiration and a celebration of our distinct ethnic identity, particularly that of the Philippines.

Feliciano adeptly integrated the unique sounds of indigenous music into his compositions, which required a level of technical proficiency that rivals the works of esteemed masters in the Western tradition. Through his extensive creative pursuits, he elevated Filipino artistry to a realm of profound admiration and respect on the international stage.

To read more about NA Feliciano, please visit: https://ncca.gov.ph/.../national.../francisco-felciano/

#OrderofNationalArtist

#HaligiNgHirayangFilipino

Francisco Feliciano Filipino composer, conductor and teacher Francisco Feliciano was born at Morong on 19 February 1941. He studied at the University of the Philippines, at Berlin's Hochschule der Künste and at Yale University School of Music. His composition teachers included Krzysztof Penderecki and Jacob Druckman. He was a National Artist of the Philippines for Music, and one of Asia's leading figures of liturgical music. His more than thirty major works include music dramas and operas, and his hundreds of works of liturgical music include hymns, settings of the mass and other songs used for worship. He also supervised the publication of an Asian hymnal consisting mostly of music by Asian composers. He received a John D Rockefeller III Award for Music Composition in 1977. His conducting career took him to Japan, Malaysia, New Zealand, Singapore and Taiwan, and included dates with the Chicago Symphony Orchestra and the Moscow State Symphony Orchestra. He was president of the Quezon City-based Samba-Likhaan Foundation: The Asian School of Music, Worship and the Arts. Francisco Feliciano died on 19 September 2014, aged seventy-three.

 

‘Swan Lake’ sells out fast for Ballet Manila’s pearl year

BY MARGE C. ENRIQUEZ

FEBRUARY 24, 2025

Joshua Enciso, Romeo Peralta, Mark Sumaylo, Gerardo Francisco; standing: Martin Lawrance, Lisa Macuja-Elizalde, Abigail Oliveiro, Shaira Comeros, Mitch Valdes —PHOTOS BY TEDDY PELAEZ

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Within a week of TicketWorld opening sales for Ballet Manila’s (BM) 30th-anniversary “Pearl Year” shows, “Swan Lake” achieved P1 million in advance sales, despite performances being scheduled for May 31 and June 1.

BM’s artistic director and CEO, Lisa Macuja-Elizalde, attributes this early success to “Swan Lake’s” enduring popularity as a classic, stating, “It brings people to the theater.”

The company’s 30th-anniversary repertoire focuses on its strengths: classic ballets. While some ballet aficionados might perceive the choices as predictable for such a significant milestone, Ballet Manila justifies its selections with practical reasons.

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Composers in the Spotlight at Shanghai Contemporary Music Festival

by Rudolph  Tang, Interlude

Believe it or not, I find contemporary music utterly irresistible. Day in and day out, I hunt for it wherever press trips take me across China and beyond. In 2024, I attended more new music festivals than any other type of musical event, fully immersing myself in the works of living composers. Their music tells stories that resonate deeply with me, often reflecting experiences I’ve shared or witnessed. That sense of immediacy and relevance is what keeps me endlessly fascinated.

Music by living composers creates a tangible connection between artistic expression and the world I inhabit. This connection often feels more immediate than the distant echoes of classical music from centuries past. I also relish conversations with composers, uncovering the ideas and inspirations behind their works. These exchanges enrich my understanding of contemporary music—a privilege I hold dear.

As the Beijing Modern Music Festival, once the flagship of China’s contemporary music scene, struggled with funding in 2024, the Shanghai Contemporary Music Festival emerged as a potential standard-bearer. Revamped and re branded from the former Shanghai Contemporary Music Week, this week-long festival, held in mid-November 2024, showcased a diverse and compelling program. It featured Western luminaries such as Kaija Saariaho, Henri Dutilleux, and Sofia Gubaidulina, alongside Asian trailblazers like Toru Takemitsu, Xiaogang Ye (葉小剛), and Shande Ding (丁善德).

The festival also highlighted works by its three composers-in-residence: Jiping Zhao (趙季平), Tristan Murail, and Mengdong Xu (徐孟東). Orchestral works from these and other leading composers were performed by four exceptional ensembles: the Suzhou Symphony Orchestra, Shanghai Philharmonic Orchestra, Shanghai Opera House Orchestra, and the newly founded Wuxi Chinese Orchestra.

These performances took place at the Shangyin Opera House, affiliated with the Shanghai Conservatory of Music (SCM). While the venue’s acoustics, designed for opera, resulted in a dry sound that challenged conductors to convey the intricate nuances of orchestral works, the performances were nonetheless remarkable.

Emerging composers took center stage in a chamber music concert that premiered nine new commissions from faculty members of SCM’s mighty Composition Department. Among these were works by three female composers, a testament to the festival’s commitment to its ongoing Diversity, Equity, and Inclusion (DEI) initiative.

In total, the festival introduced 85 works by 80 composers to live audiences through a rich tapestry of concerts, seminars, lectures, and forums. It has truly become a one-stop destination for anyone with a keen eye and fine-tuned ears for contemporary music.

Here are five of the most arresting pieces from the concerts I attended.

Ye Xiaogang: Du Fu’s Thatched Cottage 

Ye Xiaogang remains China’s most performed living composer—and with good reason. Often overrun with commissions, he’s a figure so in demand that it’s not uncommon for his music to be performed in two different venues on the same evening, with him expected to appear at both.

Ye Xiaogang © Wikipedia

Despite his prominence and political influence, Ye’s music speaks entirely for itself. Rich in texture and profound in its storytelling, his compositions encapsulate the timeless depth of Chinese intellectualism. For instance, Songs of the Earth offers a contemporary lens on the same Tang poetry that inspired Mahler’s Das Lied von der Erde, blending tradition with modern sensibilities.

If Songs of the Earth stands as Ye’s crown jewel in the lieder genre, Du Fu’s Thatched Cottage is undoubtedly his magnum opus. In this work, Ye transforms Du Fu’s austere and unyielding poetry into music that is equally forceful and resolute, delivering a powerful statement of endurance and spirit.

Zhou Xianglin (周湘林): Da Jia Ye (Build a Family Fortune) for Tujia Percussions and Orchestra 

When it comes to blending Chinese ethnic musical elements with a symphony orchestra, Zhou Xianglin stands as a trusted master. Known for composing concertos for traditional Chinese instruments like the ruan, erhu, and various percussion ensembles, Zhou skillfully harnesses the full power of orchestral richness while preserving the authenticity and spirit of ethnic music. His works often breathe new life into folklore popular among China’s minorities, adding an extra layer of sophistication to an already vibrant instrumental landscape.

Zhou Xianglin © en.riversawards.cn

Da Jia Ye, inspired by the celebratory percussion music of the Tujia ethnic group, showcases Zhou’s vision of East-meets-West. Drawing on the rhythmic power of traditional gongs, tam-tams, and small cymbals, the piece weaves these ethnic sounds into the fabric of a modern orchestra. The composition builds gradually, with a deliberate orchestral escalation that culminates in a breathtaking, celebratory coda, a tribute to masculine strength and communal festivity.

Chen Musheng (陳牧聲): La Mémoire, Cello Concerto 

In 1911, Dr. Sun Yat-sen led the revolution that toppled the Qing dynasty, ending centuries of imperial rule and sending the Last Emperor into exile (immortalised in the Academy Award-winning film The Last Emperor). This revolution paved the way for the Republic of China, laying the groundwork for modern China’s political evolution. The momentous 1911 Revolution became the inspiration for Chen Musheng’s first cello concerto, composed in 2011 and dedicated to the centennial of this historic uprising—the first of many revolutions that shaped China’s trajectory.

Chen Musheng © musinfo.ch

The concerto’s current iteration, retitled La Mémoire, is based on Chen’s 2013 revision, reflecting the composer’s years studying music in France. By shedding its original title, the five-movement work transcends its commemorative roots to become a deeply personal exploration, intertwining Chen’s life journey with the struggles and triumphs of revolutionary pioneers.

The first movement, somber and tender, takes the form of a requiem. It offers a rare moment of introspection, standing apart from much of contemporary Chinese composition. In La Mémoire, Chen weaves a narrative that is both personal and historical, creating a poignant homage to memory, sacrifice, and transformation.

Gubaidulina: Introitus 

Referring to the introductory chant of the Mass in the Roman Catholic liturgy, Gubaidulina’s Introitus finally received its long-overdue Chinese premiere nearly half a century after its debut in 1978 during the composer’s creative zenith. The Shanghai audience was fortunate to witness this extraordinary performance, with Alice Di Piazza – an undisputed piano concerto queen- delivering the solo with unmatched grace and intensity.

Sofia Gubaidulina

It was nothing short of a miracle that this deeply spiritual piece imbued with a profound sense of piety and benevolence, found its way to the stage in mainland China. The performance marked not just a milestone in musical programming but also a rare moment of artistic reverence.

Tritan Murail: Le Partage des Eaux

Tristan Murail © wihuriprizes.fi

It would only be fitting to call Tristan Murail a titan of spectral music, or perhaps even its very personification, as one of its co-founders. His masterpiece, Le Partage des Eaux, received its much-anticipated Chinese premiere during the festival, offering the captivated audience a taste of the extraordinary complexity and depth that defines this genre.