‘Strictly a tuba raid.’
'That’s how you should do it, orchestras!'
[Flash 9 is required to listen to audio.]
J Dilla - Nag Champa Orchestral Mix
from Like Water For Chocolate - 2000
and Suite for Ma Dukes - 2009
This week sees the anniversaries of James Yancey’s birth and death [he would have been 38 today]. My annual birthday gift to Dilla is spreading his music – in February 2010 I introduced his work to orchestra audiences in Iowa, but in the absence of as grand a tribute this year I instead have two wrapped CD copies of Suite for Ma Dukes to give away, courtesy Miguel Atwood-Ferguson and Mochilla. Drop me a line with a note about what Dilla’s music means to you or like/reblog this post and I’ll randomly select two recipients.
![Monk Monday
[Image by Lawrence Shustak]](http://www.tumblr.com/photo/1280/jasonweinberger/17191337556/1/tumblr_lyqrlgcyrA1qz7osu)
Submitted by Anonymous: What was the encore piece that Tim A played last night?
Timo Andres followed up his re-invention of Mozart K537 on Saturday with an arrangement of Mahler’s Des Antonius von Padua Fischpredigt from Des Knaben Wunderhorn. I thought it was a fabulous choice and, like everything Timo does, beautifully executed.
Anyone who has been following the WCFSO for the past several years may recall experiencing some of the same music on our stage [or on Iowa Public TV] in the alternate version Mahler conceived for the third movement of his Second Symphony.
In 1851 Robert Schumann completed an extensive revision of his D minor symphony for performance and publication. Despite the composer’s own well-considered adjustments his first version of Op 120 from ten years earlier was preferred by Johannes Brahms, who subsequently published it over Clara Schumann’s objections. Conductors and composers, finding justification in these early aesthetic disagreements surrounding the symphony’s orchestration, have since made it common practice to re-revise Schumann’s own final version of the piece – most notably Gustav Mahler, whose retouching of a famous passage from the symphony for his own performances is above.
Tonight at the WCFSO we’ll leave the revisions and recompositions to Timo Andres and instead try to communicate the soundscape that Schumann himself intended for his Fourth Symphony.
![Iowa: Are you ready for the new normal?
Discover it tomorrow when Timo Andres joins us at WCFSO to present his unique version of Mozart’s twenty-sixth piano concerto, in which soloist and composer are rejoined just as they were when Mozart first played the piece in 1789.
[Read more about Andres’ approach and see his performance of the work here]](http://www.tumblr.com/photo/1280/jasonweinberger/16975327285/1/tumblr_lyrzfvmNM51qaocac)
Iowa: Are you ready for the new normal?
Discover it tomorrow when Timo Andres joins us at WCFSO to present his unique version of Mozart’s twenty-sixth piano concerto, in which soloist and composer are rejoined just as they were when Mozart first played the piece in 1789.
[Read more about Andres’ approach and see his performance of the work here]
