My Music. My Story. is one of Classical Music Indy’s initiatives to feature music, musicians, and music lovers in a fun way. In honor of National Hispanic Heritage month, we spoke with Camille Zamora, opera singer and founder of Sing for Hope. Music, like life, is better when we embrace more than just the familiar. You can read about Camille’s story in English or Spanish!
My Music. My Story. is one of Classical Music Indy’s initiatives to feature music, musicians, and music lovers in a fun way. This week we talk to Anne Maschmeyer, Beautification Director with Downtown Indy, Inc. She shares about her career and how music influences her life and work as a proponent of improving quality of life in Indianapolis.
It was so beautiful that I actually started singing to myself! I am really impressed! I felt a lot of peace when you were performing.
Get ready to dance! Although an unfamiliar style to some, klezmer is a music that has an undeniable folk sound that is combined with rhythms of dance. This musical style uses instruments to imitate the laughter and/or weeping of the human voice and is most often heard during times of merriment. Read below to learn more, and to listen to some recordings at the end.
Classical Music Indy now brings you free weekly listening playlists through Spotify.
The thought of Johannes Brahms and Pyotr Ilyich Tchaikovsky blowing out birthday candles on the same day is enough to make some people’s heads explode. If you love classical music, it’s hard to imagine them doing anything together.
Yet these two composers had a great deal in common–starting, believe it or not, with their reverence for music of an earlier time. Brahms demonstrated that in the finale of his Symphony No. 4, which is based on a Bach chorale. The counterpart to that is Tchaikovsky’s Suite No. 4, his loving tribute to Mozart, which concludes with a theme that Mozart himself borrowed from Gluck. The unrequited love that Tatiana pours out in her Letter Scene, from Tchaikovsky’s Eugene Onegin, is balanced nicely by the conflicted feelings in Von Ewiger Liebe, Brahms’s setting of an expression of love in the face of potential shame.
Tchaikovsky and Brahms were also dismissed, now and then, for a certain less-than-adventurous, perhaps even academic, approach to music. Yet the Academic Festival Overture, by Brahms, concludes with a drinking song. And the Slavonic March, by Tchaikovsky, quotes Slavic folk music.
There are more surprising parallels to discover in the lives and works of these composers. All you have to do is listen–and enjoy!
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Indianapolis is filled with vibrant arts organizations, outstanding artists, and stellar partnerships. The Indianapolis Symphonic Choir and Butler University School of Music have teamed up to create their Conducting Fellowship which provides one-of-a-kind professional mentorship opportunities to outstanding students. Meet Dr. James Plenty, the 2016-2018 Conducting Fellow with the Indianapolis Symphonic Choir. Read about Plenty’s experience with the fellowship and what he plans to do with the skills he’s learned during his time with the ISC.
When I grow up I’m going to play the flute and write music.
As we approach the end of this year, we take time to contemplate the successes of our organization. Classical Music Indy’s President and CEO, Molly Deuberry Craft, writes that 2016 was “a notable year.” Read below to see all that CMI has achieved this year in the name of music. Happy New Year and best wishes for 2017!
This Black History Month, we take a look at two dynamic musicians of African descent and a modern organization that is spearheading a more diverse future. Read below about the French composer who led the best orchestra in Paris, the American opera star who stunned audiences with her voice, and an organization that is creating positive change on a national scale.
November is National Native American Heritage Month, and Classical Music Indy is always looking to highlight unique projects that impact our music world. This year, we were thrilled to discover the Native American Composers Apprenticeship Project, a part of the Grand Canyon Music Festival. We spoke with Clare Hoffman, Co-Founder and Artistic Director of the festival, about how their program trains Native American students from rural Arizona to compose music.
Robin Cox is a violinist and composer bringing unique performance projects to Indianapolis. Previously based in L.A., Cox has found accessibility and inclusivity in the Midwest arts scene, allowing the composer more freedom in his own work. Read below about the music and watch the amazing performances created by Robin Cox.
Classical Revolution: Casual Classical Night Eric Salazar, clarinet, and Joshua Thompson, piano Where can you go to hear classical music jam sessions? On the first Tuesday of every month, freelance musicians and members of the Indianapolis Symphony Orc …
In recognition of Jewish American Heritage Month in May, we hope you enjoy this light-hearted look at Leonard Bernstein by one of NOTE’s newest contributors – Philadelphia-based writer, Michael Silverstein.
Indianapolis has a robust local classical music scene, worthy of being treasured as one of our city’s defining assets. And with NOTE, Classical Music Indy aims to tell stories that will delight and surprise avid classical fans, as well as welcome those new to the world of classical music. For this first issue, we chose to feature Women in Music, to celebrate local influencers past and present that have made stunning accomplishments not only with their talent, but also with their leadership in the genre.
For our first blog post during Black History Month, we wanted to take a look at a time in American history when the simple act of attending a classical music concert was prohibited for people of color. Renowned African-American opera baritone Robert Honeysucker, who unexpectedly died in 2017, was a student at Tougaloo College in 1963 when he decided to attend a whites-only concert in Jackson, Mississippi. His actions and the many other brave protests of the Civil Rights Movement helped to shed light on the issue of racial prejudice, but how far has classical music really come today?
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