Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Saturday, February 06, 2010

Property rights: overrated?

Overrated?A friend of mine posted on an interesting topic, and I thought it might be worth actually posting a response to theoncominghope's most recent post, "Piracy: Capitalism at work."

While I agree that piracy involves stealing and violating rights, remains a major concern amongst almost all sectors, and for the person whose product has been pirated the experience is far from pleasant, I'm not sure if one can make the leap from 'piracy' to the 'annihilation' of property rights.

For example, in the context of pharmaceuticals, I think you have to look at why piracy occurs to begin with - that is, the unavailability of certain pharmaceuticals. If everyone had access to most drugs when they needed it for a reasonable cost, I don't think you would have the same kind of problem of 'piracy' (or in this case, violation of intellectual property rights). On the one hand, such a situation would virtually nullify any incentive to reproduce a drug because it wouldn't make economic sense; if you can purchase it at a reasonable price/cost, then why spend the time, effort, and money to reproduce it? On the other hand, the same situation would also incentivise those who think they can reproduce the drug at a lower cost, supply it at the same price as the original, and make a profit.

In either of those scenarios, property rights aren't completely annihilated, because while pirated products do tend to find themselves distributed widely, the market for the original product continues to exist (albeit arguably in a less dominant manner than in previous generations). The products and processes used to create that product have been adapted. And for all intents and purposes, until a new form of technology comes along (which is probably more just a matter of time), or the downsides of a less-quality product are heartfelt by its consumers, the effects of one act of piracy are quite temporary.

This, of course, is not to say that the various consequences of these actions are any less significant, and I will get to this point shortly.

Either way, whether or not property rights are destroyed in either of the abovementioned scenarios is a mull point, because neither of those situations currently exist in the pharmaceutical sector. Certain pharmaceutical products are either unreadily available because the cost of production is too high for mass production, or are mass-produce-able but supply is limited, demand is uncontrolled and unsatiated, thus artificially pushing up prices, allowing companies to make a large profit. My humble opinion is that, given the political economy of pharmaceuticals, a little bit of piracy might actually do some good.

And to quickly address the profit-making incentive: government subsidies for R&D coming out of taxation, and removal of any taxes in the production of pharmaceuticals.

I suppose the problem is that from my macro perspective, piracy, or the infringement of (I)PR, or whatever you want to call it, is actually not such a 'big deal', for a lack of a better phrase. The reality is, much like financial services regulation, people will always find new ways to produce something for a lesser cost. Not even the prospect of the death penalty, or national deportation, will stop them; in fact, the higher you raise the stakes, the more profitable, and more criminal, of an industry it will become. If you really wanted to address 'piracy', you have to look at what incentives are, either by chance or purpose, in place that are driving certain people to forge a product.

The other issue I have with the violation of IPP/property rights in general from a more philosophical standpoint (wince!), is our continued obsession with the territoriality of material things. It's not that I've turned into a materialism-hating hippie overnight, but that the obsession itself is unsustainable. The reason why I take issue is because the world is changing. The best example is media. In about two or three decades, there will no longer be CD's - in fact, they will be super-expensive to produce and buy. Around the same time, broadsheets will disappear, as will consumer magazines, books, concert tickets, and flyers. My not-very-well-thought-out but gut-feeling is that the pulp and paper industry will actually turn into a consumer discretionary sector from the non-cyclical industrial sector it is now. This is to say that paper will become a luxury item, and there will only be a select few companies that will produce it. In fact, it's already starting. A Canadian newsprint company, AbitibiBowater, filed for bankruptcy in April this year, because newsprint consumption in the US fell off the cliff by 29%.

The music industry has already changed in this way. We went through a period where music became a hotly demanded commodity, and it was a ludicrous business on the production side to enter as long as you were at the right place at the right time with the right shit. On the consumer side, before MP3's became rampantly distributed, we all had to buy CD's or tapes, which we then developed the technology to copy at home and then re-distribute to our friends. But with the advent of MP3s and other alternative digital sound files that are easily distributable, CDs, tapes, and records became massively expensive to produce, and hugely inconvenient to purchase. The demand for music hardware (CDs) from consumers went down, pushing down supply (as well as the incentive to supply), while the production side of the music industry wanted to maintain the same level of income and profit. The business model is completely unsustainable. Something has to give.

Unfortunately, it will remain unsustainable until the music industry figures out a different way to fix the imbalance, or else the economy will do it on its own by scrapping the current music industry-model all together. Most likely - and this is where I stand with theoncominghope - not only will musicians have to be more creative in the way they produce and distribute their work, but their expectations for profit will also have to come down, especially given that the advertising industry will also undergo a massive change in the next few years. What the greater implications are of such changes - well, I'll leave it to your imagination to speculate.

Now, to address the more tangible issues arising from piracy: the micro perspective. Even though I basically say above in a more nuanced way, that property rights are somewhat overrated, the protection of individual rights to property ownership is quite important. In the far, tiny land of East Timor, one of the major obstacles to infrastructural development and peace, no less, is the lack of a legal framework about property rights. During its conflict with Indonesia, the Timorese underwent a series of uprooting from, and redistribution of, land the people formerly lived on. In post-conflict Timor-Leste, people continue to fight - physically and legally (in the latter case, as much as they could) - over ownership of certain pieces of land. It doesn't help that the country had been in conflict for so long that not only are 'official' records unavailble, the people themselves don't exactly have matching accounts of their ownership. The cases are also exacerbated by each party's familial (read: ancestral) attachment to the land and are wrapped up in many layers of tradition and practice with regards to conflict resolution. Many NGOs and IOs working on consultation programmes, therefore, have unilaterally pointed to the lack of property rights law as one of the most signficant obstacles to peace in Timor-Leste.

So at the micro-level, property rights are far from overrated. However, whether they are implicated in the music industry or in a small, undeveloped, post-conflict country, the importance of active regulation of property rights should be emphasised. But, that's not to say that you can just overburden them with regulation. The question to consider is the type of incentives, to place where, and when, and also recognising that even with adequate incentives, people will find ways to get around it. The fear is not underregulation, but overregulation. Some freedom - read: leniency and ability to change - will be key.

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Sunday, January 31, 2010

February Classicals

Everyday I wake up wishing it were spring. I feel as though this winter has gone on too long this year.

But a cold, blistering month doesn't mean a dull one - in addition to Vancouver 2010 shenanigans (which is still happening - details to come soon) and Chocolate Appreciation Day, London's three symphonies (plus Philharmonia Orchestra, resident at the Southbank Centre) will be hosting a handful of wonderful concerts.

Now, to set the record straight, in my frank opinion last night's London Philharmonic playing Sibelius' 2nd symphony was possibly the best concert of the year. You can't get any better. Whenever an orchestra has Sibelius 2 lined up in the season, there are very few other shows in the year that top it - it's always been that way. I won't go into the details of how and why the symphony is so great, but an immediate standing ovation for four rounds of clapping should be proof enough that somehow that symphony strikes a chord - no pun intended - to all those present.

I say 'possibly' though, because - lucky London in 2010 - it seems like everyone is playing Sibelius this year. A rarity, because Sibelius is not easy to play. London Phil is at the moment in the process of playing Symphonies 1-7 by Sibelius. And fortunately for all who missed last night's show, Philharmonia Orchestra will be hitting up Sibelius 2 at the end of May. And now that I look at May's schedule, that's going to be a very exciting month for classical music..

But back to February. As usual I attach short commentaries on the pieces, and make an X stars out of 5 recommendation - obviously the more stars, the better. No need to reply unless you are buying tickets. I've found my favorite seat at Royal Festival Hal though - row Z in the left or right Side Stalls, so that is where I'll be buying most of my tickets going forward.


1. 11 February 2010 7:30 pm

Philharmonia Orchestra
@ Royal Festival Hall
Mahler's 2nd Symphony

MAHLER: Symphony No. 2, "Resurrection"

Tickets: £8 - £38
Available on Southbank Centre website

Recommendation: 3.5 stars out of 5


2. 14 February 2010 3:00 pm (OR 17 February 2010 7:30pm, see below)

Philharmonia Orchestra
@ Royal Festival Hall
Valentine's Day Gala Concert

TCHAIKOVSKY: Fantasy Overture, Romeo & Juliet
BRUCH: Violin Concerto No.1 in G minor
KHACHATURIAN: Spartacus - Adagio
DVORAK: Romance in F minor for violin, Op. 11
BIZET: Carmen Suite

Tickets: £8 - £38
Available on Southbank Centre website

Recommendation: 3 stars out of 5


3. 16 February 2010 7:30 pm

Steve Reich
@ Queen Elizabeth Hall
Reich Drumming - International Chamber Music Season

Lots of drumming - of all sorts, I imagine.

Tickets: £9 - £25
Available on Southbank Centre website

Recommendation: 3 stars out of 5


4. 17 February 2010 7:30 pm (OR 14 February 2010 3:00pm, see above)

London Philharmonic Orchestra
@ Royal Festival Hall
Romeo & Juliet

TCHAIKOVSKY: Fantasy Overture, Romeo & Juliet
PROKOFIEV: Piano Concerto No. 1
PROKOFIEV: Romeo and Juliet, Op. 64 - excerpts

Tickets: £9 - £38 (going quickly!)
Available on Southbank Centre website

Recommendation: 3 stars out of 5


My Two Pence:
I was also going to add to the list an LSO concert on 24 February, playing Berlioz' Symphonie Fantastique as it's a really nice one to listen to, but unfortunately tickets are totally sold out for that show. It's coupled with Mendolssohn's Violin Concerto and I didn't think that people would know about Berlioz, so the "SOLD OUT" sign came as a surprise. Sorry, guys.

The month, however, kicks off with Mahler's Second Symphony. This symphony, called "Resurrection," is probably one of the most famous of Mahler's symphonies. It was his first big piece, and ponders the meaning of life, death, afterlife, you get the idea - hence the title. It's a big piece - Mahler usually likes to take it to a larger level - and requires an expanded orchestra plus a choir. 10 French horns and 8 timpani! There's even an organ involved, plus a brass and percussion ensemble off stage. Fun stuff. Tickets are flying out the door for the good and cheap seats, so get one fast - my favourite seat in the house has been taken, so I will be retreating to the balcony level. £8 tickets are still available!

As you may have noticed, the groups are taking advantage of Universal Chocolate Appreciation Day this year (do they do this every year? I don't know) and embarking on two separate compositions of our beloved Shakespeare's mother of all cliches, Romeo & Juliet. Don't ask me what the link is between chocolate and Shakespeare. Between Tchaikovsky's and Prokofiev's versions, I prefer Prokofiev because it's more subtle and delicate and moving, but Tchaikovsky's is, as he always is, quite bold and complex. I know this is starting to sound like a wine tasting class but perhaps this will be a good opportunity for you to settle the preference once and for all - you'd never do such a thing otherwise. I will warn that LPO's Feb. 17 show is selling out quite quickly - people love cliches - but like all cliches there's some truth and value in them and I'd definitely say either the Feb. 14 matinee or the Feb. 17 evening show (but not both, that would be too much) are worth a visit. Call me a scrooge but I will most likely take the Feb. 17 show because I don't want to be surrounded by smooching, chocolate-smothered couples on Feb. 14, and prefer enjoying my own Green & Black's dark chocolate bar cleanly sans tongue and saliva, thank you very much.

I know that one guy and a percussion ensemble doesn't count as an orchestra. But Steve Reich is possibly one of the greatest composers alive at the moment, and for us percussion students, he's pretty close to an idol. He'll be putting on a show of contemporary percussion music (which could get crazy, I admit) with a very strong group of percussionists and a voice ensemble, but if you want a taste of something different this month - this is like taking a vodka martini amidst all the chocolate - this might be for you.

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Monday, January 04, 2010

January Classicals

This is part of my resolution this year, to listen to more live classical music and learn more about the music that I listen to. Monthly posts on classical music concerts in London-town!

Let's not talk about how quickly December came and is now going, it's too crazy and scary. The winter holidays can't get here soon enough, because it's frankly too cold to wake up in the morning and the sun sets way too early.

But not all is lost! Some of the world's best orchestras, resident here in London-town, will be playing some awesome tunes in January to quench our thirst for great music - it should go pleasantly hand-in-hand with the stuff-fest upcoming in the next few weeks...

As always, pass this email along to any and all friends who are interested, and respond if you are purchasing tickets. The cheaper tickets often go quickly, so be sure to book a couple weeks in advance!

1. 20 January 2010 7:30 pm

Royal Philharmonic Orchestra
@ Royal Festival Hall
Vadim Repin performs Tchaikovsky Violin Concerto

STRAVINSKY: Symphonies of Wind Instruments
TCHAIKOVSKY: Violin Concerto
RIMSKY-KORSAKOV: Scheherazade

Tickets: £9 - £55
Available on Southbank Centre website


2. 30 January 2010 7:30 pm

London Philharmonic Orchestra
@ Royal Festival Hall
Sibelius

SIBELIUS: Symphony No. 3
SIBELIUS: Selected songs - "Autumn Nightfall," "The First Kiss," "A Girl Came from Her Lover's Tryst," "A Ballgame in Trianon", "Arioso," "Duke Magnus," "Was it a Dream?"
SIBELIUS: Symphony No. 2

Tickets: £9 - £55
Available on Southbank Centre website


My Two Pence

If you don't intend on listening to classical music for the rest of 2010, read no further - just go to either or both of these concerts, because you really can't top the line-up of what's being played in January.

RPO (Concert recommendation: 5 stars out of 5): There's surely no better way to start the new year than with the Russians! You've all heard my two pence on Stravinsky so I won't add very much there other than that it looks like this piece will not have any strings in it, which is great for those of you who've never heard a wind ensemble play.

Tchaikovsky's Violin Concerto is one of the most difficult concertos to play, apparently. The first violinist Pyotr dedicated the piece to, Leopold Auer, refused to premier it, because the solo part was too difficult and (arguably) not musically suitable for the violin. Poor Pyotr was recuperating from his shit marriage to Antonina amidst Swiss fresh air when he wrote this piece in collaboration with Yosif Kotek, a violinist. It's been used quite often in popular culture, so you'll probably recognise it when you hear it, especially the first movement.

Whenever someone wants a good recommendation for classical music, Rimsky-Korsakov's Scheherazade is one of the first pieces I point to. Based on the stories of Arabian Nights, Nicolai weaves the tale of Scheherazade (pronounced: sheh - hera - zaad), a well-read, super-smart Persian queen who herself is the storyteller of One Thousand and One Nights. Don't we like the story already?

Every day, Sharyar, a Persian king, would marry a new virgin, and then the following morning he would have the new wife killed. What a sicko - but you see, Sharyar's first wife cheated on him, and he couldn't get over that anger - so he wed and killed, wed and killed. After wedding and killing 3,000 women, Scheherazade stopped by to say hello and agreed to spend the night with Sharyar. Scheherazade asked Sharyar if she could say goodbye to her sister, Dinazade, who then asked Scheherazade if she could tell a story.

Sharyar was enraptured by Scheherazade's story, but as dawn broke, Scheherazade stopped. "Oh don't stop, go on with your tale," Sharyar insisted. "But your majesty, dawn is breaking," Scheherazade replied. "Oh go on then," the king anxiously said. "Live another day and finish the story." When Scheherazade finished the first story, she started on a second, and so it went, day after night, night after day. After one thousand and one nights, Scheherazade ran out of stories to tell. But after all those nights (roughly equivalent to three years), Sharyar had fallen in love with Scheherazade - and not to mention had three sons with her! The end.

As you listen to the first movement, you'll hear the 'theme melody' for Scheherazade, as well as of Sharyar, and Nicolai has weaved them through the rest of the composition. Scheherazade's theme is heartbreakingly beautiful, and it really is worth a listen.

LPO (Concert recommendation: 5 starts out of 5): I'm not sure why the LPO is playing No. 3 before No.2, but they are (possibly because No. 2 is better - mwahaha). I've not ever heard his third symphony, but I'm more than curious to hear another symphony by one of my all-time favorite composers. Jean is a Finnish composer of the early 1900s and probably considered to be a hero by the Finn's. To show for it, while the rest of the world has obscure fanfares as their national anthems, Finland gets an entire orchestral work - Finlandia - as their 'unofficial' national anthem. You might think of that as a rather snobbish thing to do, but when you hear his symphonies, I think you'll understand why.

Much like Rimsky-Korsakov's Scheherazade, Sibelius' works are those that I usually recommend to anyone who's been reluctant to listen to classical music because they think it's boring or because it might just put them to sleep. They are both highly melodical, very easy to listen and to follow. From what I've read, No. 3 is supposed to be pleasant, clean, and simple (read: 'classical'), unlike his No. 2 which is grandiose and patriotic (read: 'romantic').

Now, I didn't know this, but apparently Jean started writing No. 2 in Italy. That explains my love for this symphony - I have a weak spot for all things Italian! Half kidding.. Whether Jean actually intended for No. 2 to be taken as a patriotic gesture is still debated, but nonetheless the symphony has been dubbed "Symphony of Independence" to commemorate the independence of Finland, which was declared by its Parliament on 6 December 1917. Before that, it was an autonomous region of Russia, and the Russians had imposed a rigid prohibition on Finnish language and culture. The first recording of No. 2 was with the London Symphony Orchestra, but I'm sure the LPO will do a great job performing this piece.

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Friday, November 09, 2007

The National - Best. Show. Ever.

I went to go see The National play at Shepherd's Bush Empire tonight, with a friend. It had been a while since I'd been out for a non-classical concert, so for one thing it was a nice change. I had also 'turtled' into my shell that is my room for the past two weeks, completing two presentations and two essays, so I felt like this was my reward for all the socializing time I had given up. And man, was it ever a treat! I'll be looking for a second-hand CD store the next few days to get a hold of all their CD's, because they were fucking good!! Such a presence on stage, and very intricate layers of music going on all at once. While at times percussive and explosive, they still managed to sustain the complexity that really lay at the heart of their music. At no point during the show did I feel that what they presented was clichéd, simplistic, or uncreative. A solid, solid show.
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Friday, May 18, 2007

The best find all month!

Mallet part to Colas Breugnon Overture. Hidden in the depths of the school's music library! Hells ya.
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Friday, May 04, 2007

Magical musical theatre.

Tonight, I went to the school's musical. Whenever I see musicals, I get really excited and have an urgent desire to get involved. Of course, whenever I actually get myself involved, I cringe at the amount of work involved and wince when I realize that I've been talking out the lines to myself by the 4th or 5th run, or when every song gets stuck in my head. But when everything comes together, magic happens and I'm totally drawn in. It's cool.

The school's inauguratory musical performance was The Music Man. Unfortunately, this particular show has never been my all-time favorite. The plot is slow. The story is unoriginal. But what made me stay through the show was the barbershop quartet. Hands down, it was the best part of the show. And the kids were all great - it's just that a different show would've pulled off a bigger party in such an awesome facility.

Still. Pretty good. And I miss playing musicals!
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Monday, December 25, 2006

A Christmas discovery

(cont'd: And then on actual Christmas Eve...)

It's worth about $500, but costs $20 each and it's possibly the best find I've had in years. It's the Orchestra Musician's CD-ROM Library!

Late last night I was trying to come up with the easiest, cheapest way to compile all my audition materials for the University of London Symphony Orchestra. What I really should've done was to keep photocopies of the parts I had played or come across at UBC, like the xylophone part for Kabalevsky's Colas Breugnon Overture. Fuck. I hate it when I regret not doing something due to a mere lack of foresight. Dammit. In any case, I spent a couple hours looking up the library catalogues of major schools of music in Tokyo, but only found scores and no parts.

Then, on Sheetmusicplus.com, I coincidentally came across a CD-ROM series titled, The Orchestra Musician's Library. The CD's basically contained printable PDF files of sheet music by part, so all I had to do was buy a CD that featured my instrument, the composer I needed, and his entire discography would be accessible. I didn't think such a compilation would be possible!! This was like someone gathering all of my audition parts for me, photocopying them, and handing it to me.

I was, for the first time, glad that these composers have been dead for centuries (apparently copyright law doesn't apply after a certain period?).

The audition materials: I inquired the ULSO because the percussion materials weren't listed, and they promptly replied that percussion was by application only, and I will be notified of what they will expect me to play when I apply in September 2007. Well, as we all musicians know, 9 months is a long time to go without playing, and is (I figured) just enough time to prepare for a major audition. There was no way I was going to wing the audition completely unprepared. Plus, this would give me a good of a reason as any other to start practicing again. I found out via Google that most auditions require 1 keyboard, 1 snare drum, 1 timpani. At higher levels they require an excerpt and a rudiment piece of each. At still higher levels they require specific excerpts for xylophone, glockenspiel, vibraphone, snare drum, cymbals, bass drum, tambourine, triangle, timpani, and 1 xylophone solo and 1 multi-percussion piece. Good thing I found that out because that is a lot to prepare for.

So my selection?
Xylo solo: G.H. Green, Log Cabin Blues
Xylo: Shostakovich, Golden Age Ballet: Polka
Glock: Debussy, La Mer
Vibraphone: Bernstein, Symphonic Dances from West Side Story
Snare: Rimsky-Korsakov, Scheherazade: Mvt. 3 & 4
Cymbals: Tchaikovsky, Symphony No. 4
Bass drum: Tchaikovsky, Symphony No. 4 or Stravinsky, Rite of Spring
Tambourine: Dvorak, Carnival Overture
Triangle: Bizet, Carmen Suite: Mvt. 2
Timpani: Tchaikovsky, Symphony No. 4
Mulitperc: Tagawa, Inspirations Diabolique
This, to say the least, could be really interesting..

Merry Christmas! It is the 25th as we speak, and I am blogging. meh.
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Monday, December 04, 2006

"H.H."

Dear Canadians, I bet you thought that "H.H." was an abbreviation for Helly Hansen.

Very wrong! It's HERBIE HANCOCK!!

Herbie paid a nice visit to the high school yesterday afternoon and worked with the jazz kids. He did a lot of improvisation work, getting the kids to listen and feel for the keys rather than depending on a conductor. He seemed thoroughly satisfied with what the kids had been working on, and recognized immediately that the piano player was a hardcore classical pianist. (Oh Sean if only you were here to rock the show!!) I had to leave with the swim team for practice, but from what I hear of the rest of the afternoon, it went well! Such a pleasant man! (more pictures on my flickr)
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Saturday, October 14, 2006

Dancing conductors and rolling cymbals

I forget which tune it was but there's really only one notable classical piece that demands a percussionist to do a 'roll' on a pair of clash cymbals. Well, NJP proved me wrong last night when they played a piece by Rodion Shchedrin, and one guy pulled out a pair of cymbals and started 'rolling' on it. What does this exactly mean? It means you angle the uppermost tips of the cymbals against each other, and make a circular motion with your arms so that the cymbals are literally 'rolling' against each other. It's totally weird.

The rolling clash cymbals definitely set the tone for a peculiar, musical evening. The concert began with a snare drum set up right in the middle of the orchestra, and the principal playing a jazzy rhythm on it during the Shchedrin piece. Slightly distracting was the dancing conductor. I mean, this guy was dancing. He would jump up and down, swing his hips side to side, suggestively flare his arms here and there...it was as if he was acting out his own personal musical. Possibly because I wasn't used to seeing dancing conductors, his performance kept me from concentrating on the music.

Then of course half way through the concert I realized that the timpanist had set up his timpani backwards. It's by no means illegal in the world of percussion--whatever works goes--but I couldn't imagine how one could play like that.

The star of the show was Keiko Abe. She was featured in a piece called Lauda Concertata for Orchestra and Marimba, and I knew she had played this piece before (have read her bio). But when I heard it at first I wondered if she was having a bad day. Her mallets' stick-ends were hitting the keys on the marimba, and I thought I heard a few notes here and there that probably wasn't supposed to be there. After the performance I briefly read through the programme notes for the evening, and the piece was described as having an eery, almost rite-like air to it, with the strings playing long, legato notes and the marimba playing rhythmic, staccato notes characteristic for a percussion instrument. So I guess maybe the stick-hitting part was supposed to be a part of the piece, as with the odd notes here and there. New-age contemporary music is hard to tell in this way--you never know if it was all supposed to be there or not in the first place.

In any case it was a good evening. Sumida Triphony Hall is one amazing concert hall, and watching the New Japan Phil made me want to play percussion in an orchestral/concert setting all over again. I have to do something musical one of these days, or else I'm going to go nuts! I'm thinking of taking up the cello but access to the instrument itself is one obstacle, finding a good teacher is another, and then of course I have to pay for lessons, which is an additional obstacle.
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Sunday, May 07, 2006

whistler -- vancouver's disneyland. And recordings!

For the second time in four years, I went up to Whistler. The first time, I tried snowboarding -- a painful experience it was. So painful that, on the second day, I took my volleyball kneepads because I couldn't fathom falling on my knees ever again.

Whistler village, though, is a world on its own. Kind of like Disneyland. People go there to yes, enjoy all the winter sports that Blackcomb and Whistler mountains have to offer, but down in the foothills of these great mountains is an entire village devoted to shopping, eating, drinking, clubbing, and more shopping. There's a GAP, a Roots, a Guess store and even a Lululemon store (why anyone would wear lululemon pants in snow-weather, I have no idea). A handful of coffee shops (including 3 Starbucks), a couple of high-end grocery stores and several pretty nice restaurants of various cuisines adorn the village paths that all truly look the same. And of course, atop these stores and restaurants are private townhomes and condos--all up for grabs, for about 2 million dollars and up. Hotel room prices in the Village, of course, fare no less. It really is no wonder that the 2010 Olympics would be hosted here; in fact, Whistler is such an appropriate location!

In any case, the reason for my trip to Whistler was a youth band/choir music festival that was taking place there. The Asia tour band from UBC went up there as, I suppose, guest performers, as well as the Vancouver Gospel Choir -- these guys were pretty awesome. An okay trip.

Right now I'm listening to a recording of our most recent concert, Artunian trumpet concerto, Music for Prague (we destroyed, in the most literal sense, the third movement), and Pines of Rome. Mmm. The fourth movement of Prague sounds actually alright...surprising. I got this CD and a DVD of one of our Taipei concerts, which I'm looking forward to watching later this afternoon. Hopefully that will turn out to be a good surprise as well.
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