Space Flute Duet

NASA Astronaut Cady Coleman, Jethro Tull's Ian Anderson Perform First Space-Earth Duet. NASA Astronaut Cady Coleman, circling Earth aboard the International Space Station, and musician Ian Anderson, founder of the rock band Jethro Tull, joined together for the first space-Earth duet.




The duet took place to celebrate the 50th anniversary of Russian astronaut Yuri Gagarin’s first manned space flight in 1961. In her introductory remarks Coleman said that in addition to recognizing Gagarin, "We would like to celebrate the role that humans play in the exploration of our universe - past, present, and future.” She performed in zero gravity and whimsically let her flute float around as Anderson spoke at the end.

"We should remember that today's cosmonauts,scientists and astronauts are are still every bit the rocket heroes they were fifty years ago," the musician observed before saluting Coleman's image with the admonishment, "Go safely."

MozART GROUP

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Classical Violinist Gareth Johnson helps teenagers

by Jessica Fairley


ALBANY, GA -- You don't see many teens listening to classical music like Bach, but at Albany State University's campus on Monday, you could find plenty.

You don't see many teens listening to classical music like Bach, but at Albany State University's campus on Monday, you could find plenty.

Violinist Gareth Johnson showed up to the campus to keep his profession alive.

"Our genre of music will fall off if we don't spread it among the youth," said musician Gareth Johnson.

Among the students was Amy Brooker. She brought her instrument to the course to pick up some lessons and take the once in a lifetime opportunity to play with the master.

"He helped me with a bunch of techniques and also gave me good information as far as practicing and things I can do at home to improve," said student Amy Brooker.

Gareth told Fox 31 News that his audience is usually filled with older people. Monday's class was different because ASU's auditorium was filled with bright eyed students and only a sprinkle of faculty.

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Prodigy : A Short Film About Music, Happiness and Choices

http://responsibility-project.libertymutual.com

Classical: Music's Newly Cool

As Tracy Smith Reports, Everything Old Is New Again


By Ellen Crean

(CBS) If your New Year's Eve plans include listening to an orchestra (like the Boston Pops, the Atlanta Symphony, or any number of other groups around the U.S. which are offering concerts), you might be surprised by the number of teenagers listening right along with you. The Early Show's Tracy Smith has more in this week's "Study Hall" report. Thanks to younger, hipper artists, classical music is slowly finding a younger, hipper audience, as teens are discovering that Beethoven and Bach can actually rock.

Take, for instance, Joshua Bell, a musician who has won the hearts of teens all over the world – by playing the violin. While no one's rushing the stage at his concerts, 11,000 fans log on to the Joshua Bell fan site each month to chat about him, including 16-year-old Sarah Bollenbach, who says, "I was surprised by how many teenagers there were. They had a topic, 'How old are you?' And a lot of them were 15, 16, 17. You know? And I was like, 'Wow. OK!' I thought it was cool." Bell dispelled the stuffy stereotype of the old classical musician more than 15 years ago, when he released his debut solo album, complete with a music video. He recalls, "My first record cover when I was 19, I had jeans on, which was almost never done. I got a lot of flack about it from the critics. And it took me a while to win them over." He easily won over audiences, too. His latest work, "Romance of the Violin," was the no. 1-selling classical CD in 2004. And now, record labels eager to capitalize on the craze are signing "classical crossovers," young musicians with an edge, like violinist Vanessa-Mae, pianist Maxim, and the all-girl quartet Bond.

Even "American Idol" curmudgeon Simon Cowell has gotten into the classical game, forming Il Divo, the boy band of the classical crossover world. Classical fan Sarah and her friends even started their own group, Volante. It's more Bach than Britney, and they like it that way. They're currently playing the elementary school circuit, but who knows? If they can strike a chord with even younger kids, they may be fighting it out with Joshua Bell on the charts someday. As Bell himself explains, classical music is cool. He adds, "You don't have to change the music. You don't have to make it hipper. It's the things around it that we need to take opportunities to reach younger people in the way that other forms of music do." And this phenomenon isn't limited to the United States. Great Britain's classic FM TV plays classical music videos 24 hours a day, and they say that nearly a quarter of the 9.1 million viewers who have tuned in are under age 20.


http://www.cbsnews.com

Jessye Norman Sings Schubert's Der Erlkonig

Jessye Norman is one of the most celebrated artists of our century. She is also among the most distinguished in a long line of American sopranos who refused to believe in limits, a shining member of an artistic pantheon that has included Rosa Ponselle, Maria Callas, Leontyne Price and now this daughter of Augusta, Georgia. "Pigeonholing," said Norman, "is only interesting to pigeons." Norman’s dreams are limitless, and she has turned many of them into realities in a dazzling career that has been one of the most satisfying musical spectacles of our time.

How to listen to a classical concert

http://www.bachtrack.com

The nice thing about most “classical” music is that it was written long before any kind of recording technology was available. Unlike today, when you can listen to almost any piece of music whenever, and as often as you like, composers knew that you might only get one chance to hear their music. So most good classical music is written to be understood and enjoyed the first time you hear it.

That’s not to say that it doesn’t benefit from careful listening, from repeated listening, and maybe even doing the odd bit of homework in advance. Lots of traditions have grown up around classical concerts, and they’re all there to help you enjoy a piece of music the first time you hear it. A century ago, that might have been the only chance you ever got to hear it the way the composer intended! So concert programmes include programme notes, giving the background on a piece; concerts are listened to in silence (so everyone has the chance to hear the music); and sometimes there are pre-concert talks explaining the music (check the venue’s website to find out). These are all, still, great ways to help you get the most out of a live performance.

But really, you just need to listen. That’s something different from the way you hear music during everyday life. We’re always hearing music from the TV and in shops, and many of us use it as a background while working or relaxing. A live concert is different. You can’t just switch it on or off – what you hear is completely unique, and it’ll only happen once. It’s not available on any recording, and it’s being performed by living, highly-skilled people, right in front of you. They’ve dedicated years of their lives to preparing what you hear tonight. What they do is difficult, nerve-racking and unrepeatable – and they want you to enjoy and respond to it.

So prepare yourself for a concert. Get there a little beforehand, give yourself time to relax and get into the mood for a very special experience. And once the music starts, give it a chance to work on you. If it’s exciting, go with that, and don’t worry if you find yourself tapping your feet or nodding your head a bit. If it seems boring, or you can’t make out the tune – well, odds are that’s what the composer intended. Trust them - they know what they’re doing. They may be preparing the ground for a surprise, or deliberately trying to lull you into a dreamy state. Enjoy it for what it is. Adjust yourself to the music’s pace, and keep listening. Music is all about taking you to a different world, and giving you the chance to experience emotions you never knew you had.

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Richard Bratby is a music critic for Metro and The Birmingham Post, writes programme notes for various UK orchestras and music festivals, and works as Events Officer for the City of Birmingham Symphony Orchestra.