Biography of Eric Bonheur

Eric Bonheur

Born in Martinique in 1962, Eric began studying music at age 14 by the battery, but very quickly goes to the guitar. His first real contact with the instrument began in styles as well as modern classics. It includes small local training, but already his taste for the expression he went solo in standard Latin, jazz and Afro-Cuban. Eric then passes the A-Levels and incorporates a computer school in Paris, while continuing to practice with the guitar as the main engine, jazz. He obtained his degrees and analyst-programmer creates using different employees his own computer company. However, accounting prefers "blue notes" and joined the American School of Modern Music in Paris.

Very quickly, Eric is done heard and noticed by his professors who see him one promising musician, so much so that these the send represent his school in Congress International du Jazz in Maastricht. It is again noted on that occasion and he even offers a scholarship to the Berklee College of Music in Boston, but unfortunately it will decline.

From 1991, he won first prize three times in jazz composition in Martinique, which leads him to make his first album, "After the break," which appears in 1994. He has the opportunity to interpret his repertoire in many festivals on the mainland, the Caribbean and Guyana where he settled elsewhere. We listen well both at Montsegur St. Lucia, Trinidad, Cayenne and even Caracas. In 2003 he was on stage at the Jazz Festival Pointe-à-Pitre Crossroads Music Creoles. During these years he has the opportunity to play with many musicians Caribbean (Andy Narell, Luther Francois, Canonge, Michel Alibo among many others) and is found again in Guadeloupe alongside Chris Combette at Creole Blues of 2006. It is this same year released his second album, "Eclectic Project."

Eric is not limited to the Caribbean and also met musicians such as Dave Liebman, Charnett Moffett and Ahmad Jamal, and obviously many guitarists including Earl Klugh, Kenny Burrell, Philip Catherine and Louis Winsberg. Four years after the release of her second album, Eric Product Cap Sud, a Caribbean fusion album in which he brings together his many influences into a rich and tasty cocktail.

Merle Alcock - Biography

Merle Alcock

Biography of Merle Alcock

Alcock, Merle, American born and American trained contralto, has distinguished herself equally in opera, oratorio and recitals. She was born in Andover, Missouri, about 18900. Her study of music was begun in Mitchell, South Dakota, with Grace Goodyknootz. After being graduated from the Drake Conservatory of music in Des Moines, she continued her music study with William Wade Hingham and Paul Savage. Subsequently, she became a pupil of a famous vocal coach, Mrs. Bacchus-Behr, of Herbert Witherspoon and of Bruno Hahn.

We present another Biography Of Musicians - Merle Alcock

Mrs. Bacchus-Behr took Alcock to London where, in 1914, she made her debut at the Coleridge before a select and distinguished audience. Returning to New York, Alcock was heard by Walter Damrosch who engaged her as a soloist with the New York Symphony Society on its tour. After this, she was engaged by Margaret Anglin to sing the prologue to her productions of the Greek plays in the open air theater in Berkley, California. This, in turn, brought Alcock an invitation to participate in the Worcester, Festival. On December 17, 1915, Merle Alcock debut as a soloist with the New York Symphony Society.

Her New York debut in recital took place on November 25, 1918. James Gibbons Huneker spoke well of her performance, “Her Voice is rich in quality, as warm and lovely as the low register of the B-Flat clarinet. She is also human … Merle Alcock can melt the heart in your bosom.” Reginald de Koven was also enthusiastic, “Her Upper tones are as pure and unforced as her medium and lower register is round and pleasing. Merle Alcock is less a singer than a songstress, and her seemingly unpremeditated art is vastly more enjoyable than the carefully studied airs of the average concert platform artist.”

Continued success in recitals, and as soloist with outstanding American orchestras, brought Alcock a contract with the Metropolitan Opera Company, New York. On November 15, 1923, Alcock made her debut at Beppe in revival of Mascagni’s D’Amico Fritz and some more biography of Merle Alcock to be offered in this website.

Besides her honors in Opera, Merle Alcock earned prestige by singing in performances of great choral music with the leading orchestras. She has sung under Toscanini, Stokowski, Mengelberg, Gabrilowitsch and other leading conductors in performances of the Bach Passion According to St. Matthew, the Bach B-Minor mass, the second Symphony of Mahler, Handel’s Messiah, Parker’s Hora Novissma.

For the past few years, Merle Alcock has been in comparative retirement from concert work, devoting herself more specifically to teaching singing and to acting as vocal advisor to young and promising students.

Merle Alcock has also appeared in many joint recitals with her husband, the tenor, Bechtel Alcock.

Allegory and The Communism w/ Music

The allegory of the cave

Most of the philosophical views are so strongly built regarding the allegory of the cave. When he talks about the spiritual enlightenment, he tries to tell the readers to possess the knowledge superior to the material entities. With the help of the spiritual realm, a person can be able to see reality in the shadows; he can grow accustomed to the sight of the upper world. Similarly, the next strength can be his saying about the ideal entities. He says that the soul is the actual instrument of knowledge. No professors can put knowledge into the soul. The wisdom is innate whereas the knowledge is acquired by learning to the sight of being good. Finally, the next strength would be the ideal rulers should rule the state. The most educated, enlightened and intelligent people who have the spiritual pleasures of the upper world can only bring happiness to the world. But, all these points are not that suitable in this highly materialistic and selfish world. The sensory perceptions rather than the spiritual realms are true today’s world. Similarly, knowledge doesn’t exist in the soul. Senses are superior to spirit. And, if all the best people be the rulers, who will run the other professions equally responsible for the development of the nation?

Plato makes a contrast between the people living in a world of senses and the world of ideal entities. The former belongs to the sensory perceptions whereas the latter belongs to the spiritual perceptions. In platonic views, the first is the world of ignorance, innocence and illusions, but the second one is the world of knowledge, enlightenment and realities.

The world in which we live is like a cave. People are mostly like prisoners-ignorant, innocence and unenlightened. And, those who are enlightened live far in comfort. Those educated people who enter this world with all wisdom are considered to be insane. These wise people have much difficulty in adjustment. Lincoln and Gandhi can be considered as those educated people.

(think about the contemplations as I couldn’t think abt that now)

Socrates outlines a programme for an ideal state where the happiness is to be for all the citizens, to be in the whole state. A according to Plato, the best minds of the state must continue to ascend until they arrive at the good. These enlightened and educated philosophers have to take care and providence of others. Though they cant be obliged to do the service of the people, they can be convinced that they are brought in this world to be the true rulers of the state. They can be the kings of themselves as well as the other citizens. They can educate others too. They have the ability to see much more than the inhabitants in the den. They can see the truth and beauty. When such enlightened people rule the state, the state will get its best and will be quietly governed. There can be a great possibility of happiness to many people. On the other side, these highly educated people don’t show any enthusiasm or willingness to rule the lower world because they are provided with the best spiritual delights in the upper world. Because of their wisdom and virtues, they are already richer than the rich. So, they are reluctant towards governing the state. In spite of this, if they are really obliged by the needs of people, they will serve the state best for the sake of humanity.

            This programme looks more suitable in Socrates’ time. At the present time, the highly educated people are running after luxury and comfort. Instead of spreading their wisdom and virtues, they seem busy filling their pockets. Today, both the educated and uneducated are running after their selfish personal interests. As a result, many people are still in darkness. The educated people like politicians in our country can act as the best example. These people seem busy fulfilling their mere personal desires instead of utilizing their wisdom for the nation.

The Communist Manifesto

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            The most famous generalization of Marx is “The history of all hitherto existing society is the history of class struggles”. Marx has shown the development of the human society which seems progressive. He has shown how the society has been constantly developing due to the class struggles.

            In the earlier epochs, the history had many orders. The society got arranged with the many stages of social rank. In the ancient Rome, there were patricians, knights, slaves, plebeians, etc. In the middle ages, feudal lords, vassals, guild-masters, serfs, journeyman, apprentices, etc came and under them also different stages of classes came. From the serfs of the middle ages, the chartered burghers came and later with them the first element of the bourgeois came. And, with the ruins of the feudal society, the modern bourgeois society came into existence. The modern bourgeois came with a long course of development with a series of revolutions in the modes of production and exchange. They developed all the instruments of production, extended industry, markets, commerce, navigation, railways, political power, etc. With the religious and political illusions, they have brought shameless and brutal exploitation. They became the oppressor; as a result, the oppressed class originated as the proletariat class i.e. the class of workers. At the present, the class antagonism exists between the two classes i.e. the bourgeois and the proletarians. The other classes also got mixed up in the proletarians. Today, the only intention of the working class is to raise the proletarians to get the political power of the nation. In this way, Marx makes the analysis of history clear. 

Short Biography of Abendroth, Herman

Abendroth Herman - A Highly Researching Musician

Abendroth, Herman - Biography

 He is one of the most gifted of present day German conductors, a particular competent interpreter of the classic German repertoire of the symphonic music. He was born in Frankfort-on-the-Main on January 19, 1883. He studied the piano with Anna Langenhan-Hirzel and theory with Ludwig Thule. He also attended the Gymnasium at Frankfort. After finishing his academic schooling, he became a bookseller – abandoning this profession in 11903 to become a conductor of the Orchestra Verein in Munich, his first important experience with the baton. Some years later he conducted orchestral concerts in Essen, after which he went to Cologne, and, in 1915, succeeded Fritz Steinbach as director of the famous Gurzenich concerts. He remained in Cologne for many years, and it was there that he acquired an international reputation for his authoritative performances of the classical repertoire. In 1918, he was appointed general music director of Cologne, and one year later he was given a professorship in music. In 1922, Abendroth

conducted the Lower Rhine Music Festival with great success.

 After this, he directed symphony concerts with the orchestra of the Berlin State Opera. In 1934, he was given the most important position of his career when he became the principal conductor of the Leipzig Gewandhaus Orchestra, successor to Bruno Walter who had been exiled by the Nazi Government. Abendroth also taught conducting at the Leipzig Conservatory. German critics have praised Abendroth for his vitality, personal magnetism, and adherence to the finer traditions of the German school of orchestral conducting.

He has been more successful with his passionate and an immense lust for music and serving as a conductor for the official orchestra of the Leipzig Gweandhaus. He has been teaching his personalities and has been successful for the same as well. He has been experimenting a lot with his technique of staffing and the results has been the increase of the technical proficiency, he surely has been one of the pioneers of the new effects and qualities never before achieved, including the ability to handle the complexities of octaves, time signatures and the beat patterns of the orchestra specially being served as a talent in the conductor house of music and playing and performing for the same. 

The Works Of Beethoven - A Research

The Legend Of Classical Composers - Beethoven

The Autograph of the First Movement of Beethoven’s Sonata for Violoncello and Pianoforte, Opus 69

Remarkably few of the primary manuscript sources of Beethoven’s works have yet been made accessible in reproduction, despite their acknowledged importance. Valued deeply and universally as artistic possessions, the Beethoven Autographs have been coveted, hoarded, revered – and at times dismembered – but rarely published in the complete facsimile editions that would stimulate close study of their contents. It is true that a fair number of pages are distributed widely through a thicket of Beethoven publications. But the entire group of complete manuscripts produced to date consists of eleven works: eight piano sonatas (Op: 26; 27, No. 2; 53; 57; 78; 109; 111); two symphonies (the Fifth and the Ninth); and the Kyrie of the Missal Solemnize.

For the sketches of the situation is roughly comparable: apart from single leaves, three complete sketchbooks have so far been issued in full facsimile. Yet even if these sketchbook publications have attracted less attention than they deserve, they nevertheless reinforce awareness of the great potential importance of their musical material, and a program for their publication is in course of realization. But outside of circles of specialists, the comparable documentary importance of the autographs has remained obscure and largely unsuspected, not only because of the absence of publications but because of widespread and mistaken assumption that their contents probably represented the “finished” versions as supposedly translated into the “official” versions of the 19^th Century Geasmtausgabe.

Beethoven's Score

THE AUTOGARPH AND THE REALTED SOURCES

AGAINST the background, the present publication of the entire extant autograph of the first movement of the Sonata for Vioncello and Piano in A Major, Op.69, marks a significant step forward. With this facsimile, a complete autograph of a major Beethoven movement appears for the first time in a widely circulating serial production, while at the same time an important Beethoven work for chamber ensemble is added to the small circle of published autographs.

By the way of further preface to a description of the manuscript and the sources related to it, a word should be said about terms. “Autograph” is inevitably the basic term of this discussion. While   everyone knows the common-sense meaning of the term, and while there is no reason to doubt that the musical document reproduced there is the only known source which corresponds to that meaning, there is good reason to recognize that the term in its customary usage is loose and somewhat ambiguous, at least for Beethoven’s works. 

The typical function of the term is that of an abbreviated designation (and that is its use here) for what might be termed “the last finished version of a work written down by its author” – the Fas sung letter hand. But the conveniences of terminology should not obscure the complexities lurking in the concept framed by the words “last finished,” and for complexities of this kind the material associated with Op.69 forms a masterly example.

Beethoven Diabelli Variations - Example

The earlier history of the Manuscript is not fully documented but in its essential outline it is clear enough. Accrediting to tKinsky-halm, its first owner after 1829 was the publisher Domenici Artaria, but whether the manuscript at Atari knew it considered of the entire Sonata or only the first movement we do not know. By the end of the century, at all events, the separate existence of the first-movement autograph is an established fact, as is its change of owner. While the bulk of the Artaria collection of Beethoven manuscripts eventually passed to the Berlin Library, this manuscript became the property of Heincrich Steger of Vienna, an enthusiastic collector of Beethoven treasures. Steger exhibited the first movement autograph oat an international exposition of music and theater that was held in Vienna in 1892, and the manuscript probably remained in his possession until the dispersal of his holdings between 1901 and 1907. At about this time it evidently passed to the Wittgenstein family of Vienna, from whom in turn it came in to the possession of Felix Salzer. Neither internal nor external evidence gives any clue to the earlier fate of the corresponding autograph leaves for the Scherzo, Adagio, and Finale of the Sonata, nor is anything known of their present location.

The manuscript as it exists is a complete musical and physical unit. Unless the first movement were ready for that stage, this manuscript should have formed part of a larger unified manuscript containing he enter Sonata at about its own stage of development.