Apparantely, Haydn made a huge amount of money on this piece, causing him to comment, "a thing possible only in England." The Vivaldi Concerto, it turns out, can be played as a Lute or Guitar Concerto, with the lute being a bit more popular in Court at the time. However, because the two have small discrepencies in the way they are strung, sometimes the rhythm must be changed a

Even now music like Beethoven's seems elitist. Unlike a punk rock show, a classical music concert is attended by well-heeled individuals: people who dress up in gowns and suits and who leave their car at valet parking. The culture that surrounds classical music today is not much different than it was in Beethoven's time. In the nineteenth century, music like Beethoven's was appreciated largely by the burgeoning bourgeoisie: the

This would have sent the audience home in an upbeat mood. Fiesta sent the audience home in a chaotic, frenzied mood. I would have liked to see more pieces like Illapa that evoked the desired imagery. The pace of the music added variety and interesting, beginning with the slow rhythm of El condor pasa, then picking up the pace with Coleccion de Musica virreinal. Once again slowing the pace with

Music Producers Biographical Introduction: Teo Macero Producers work behind the scenes and are the unsung heroes of music. While some producers receive public notoriety like Brian Eno and George Martin; others like Teo Macero remain known mainly to music scholars and serious audiophiles. In 2008, when Macero died, The New York Times ran an obituary with the tagline: "Teo Macero, 82, Record Producer," as if readers would need that crucial bit of

" What I found interesting is that once the overall plot was understood via the program notes, it was not necessary to "see" the opera acted in costume. Instead, the music was quite descriptive in its comic, serious, and even somewhat bawdy (at times) portrayals of greed, young love, etc. Also, it turns out that this opera is often performed with women playing the younger men, or men playing the older

Introduction This paper will briefly review the opening night concerts/performances hosted on September 17, 2016, beginning 7.30 pm, by the Houston Symphony Orchestra at the Jones Hall, Houston, Texas (more precisely, the Jesse H. Jones Hall for the Performing Arts). The concert was conducted by Andrés Orozco-Estrada, the Houston Symphony’s music director. The performance venue is the Orchestra’s as well as the Houston Society for the Performing Arts’ permanent home (Houston