Malcolm ArnoldPublisher: Novello & CoListen2(pic)222/4331/timp.2perc/org/strHire Explain this... Study Score   Malcolm Arnold A Grand, Grand Overture (1956)Malcolm Arnold’s A Grand, Grand Overture was written for the first of the celebrated Hoffnung Concerts, held in the Royal Festival Hall, London, on 13 November 1956. Those who were involved in the performance, among them Sam Wanamaker and John Amis, have left unforgettable pictures of the rehearsals, with hard-bitten professionals helpless with laughter as they witnessed the birth of one of music’s most celebrated practical jokes. For the Overture is scored for full symphony orchestra and organ – and three vacuum cleaners, a floor polisher and four rifles, which at the climax of the piece viciously silence their heavy-breathing rivals. The work is also larded with many horrendous juxtapositions of key, and with an insanely prolonged coda – and as if all this were not enough, the main theme of the Overture is one of Arnold’s most inspired tunes ever.

Discography - Grand, Grand Overture74321 883922BNA 5155CMS7 63302-25 72480-2444 921-275605 51240-2CHAN10293CHAN 10293Original in CommentsA vacuum cleaner meets a harmonica in japan. ()submitted by π Rendered by PID 7969 on app-542 at 2016-10-02 21:50:01.528721+00:00 running 62abcea country code: US. Is there anything worse than when somebody says, “Hey, wanna see me play a musical instrument?” and then they pull out a harmonica and start blowing? dyson range of vacuum cleanersThat’s not “playing a musical instrument.” bissell vacuum cleaner petsIt’s breathing into a gross-smelling hunk of metal so that it makes a sound like a syphilitic cat. nilfisk vacuum cleanerIt’s infuriating that people like John Popper have managed to construct entire careers from this sham.

/JTZIXyrcqh— 雪夜狐みゃあ@チェロメタさん (@CelloMetalgirl) June 25, 2016 Throw a fedora onto that vacuum and play some generic blues riffs in the background, and your average Blues Traveler fan will be none the wiser. via && 48,274 notes Is is bad that I saw the video of the vacuum cleaner playing the harmonica and my brain immediately, without hesitation, jumped to this? I PEED MY PANTS #WATCH THE ORIGIONAL FIRST #AND THEN MAXS VIDEO #JUST FUCKING WATCH IT #FAV #I LITERALLY SAW IT COMING #BUT STILL PEED MY PANTS AND RN AROUND THE HOUSE DYING #BYE #i might be a little bit over tired lo #whoops Back to Orchestra Members Pianist Mary Weil Barranger grew up in Pittsburgh, Pennsylvania, where she was a winner of the Pittsburgh Concert Society Youth Auditions. She graduated magna cum laude from the University of Michigan’s School of Music and in her senior year was one of 15 women to be selected to be in the Mortar Board Society. Her Master’s Degree in Piano Performance was earned from San Diego State University.

Her musical mentors have been George Trovillo, Marion Owen and Karen Follingstad. Ms. Barranger has been the pianist for the San Diego Symphony Orchestra since 1975 and was principal pianist for the San Diego Chamber Orchestra (later Orchestra Nova) beginning in 1988. She has appeared as soloist with the SDSO, the San Diego Pops Orchestra and the Grossmont Symphony Orchestra. She is a founding member of Camarada Chamber Music Ensemble, performs regularly with duo-pianist Diane Snodgrass and has collaborated frequently in concerts and recordings with violinist Zina Schiff. Schiff’s and Barranger’s Naxos recording of the music of Cecil Burleigh was voted Critic’s Choice “Best of 2002” in American Record Guide. (In a review of that CD, The Strad magazine characterized Ms. Barranger’s playing as “endlessly sympathetic.”) Recently Ms. Barranger has presented solo harpsichord recitals at the Athenaeum, the Lyceum and the San Diego Museum of Art. In addition to her Flemish double harpsichord she is the proud owner of a rare early keyboard instrument called a clavicytherium.

Mary Barranger is proud to have been paired with The Potiker Family in the San Diego Symphony Orchestra’s “Partner with the Player” donation program since 2002. Q: How did you choose your instrument? A: My parents both played the piano. My mother’s crowd pleaser was Kitten on the Keys and my Dad played by ear. While my older brother Ed was taking piano lessons from Mrs. Folmer, the church choir director, I taught myself to read music by doing his assignments in John Thompson’s Teaching Little Fingers to Play. For my eighth birthday my parents asked me what I wanted and I promptly stated, “I want piano lessons!” My brother quit the piano soon after, but he and I would often entertain our parents and friends with his singing and my playing. The wonderful part of this story was that my brother stuttered when he spoke, but he had the smoothest singing voice you’d ever want to hear. Q: What good book have you read most recently? A: I belong to a two book clubs: one with my colleagues in the Orchestra and another with a younger set of women who are in a completely different stage of life than I.

Some of my favorites have been The Elegance of the Hedgehogby Muriel Barberry, Zahir by Pablo Coelho, The Unbearable Lightness of Being by Milan Kundera and Peace Like a Riverby Leif Enger. So many books, so little time. Q: Where might you be found on a Saturday night if you’re not performing with the Orchestra…? A: When I’m not working my sweetheart Jerry and I love to have a “date night,” be it at the movies or a playhouse. In fact, even after an SDSO concert we’ve been known to make a mad dash to a 10:30pm film. We enjoy seeing films or plays together and then we find ourselves discussing our reactions to the characters or the plot. By doing so, we enhance the experience. We both lead busy lives and this is a real treat for us. Q: What is your favorite San Diego Symphony Orchestra memory? A: I remember a concert about 20 years ago when the actor/student conductor David Ogden Stiers conducted a tricky piece with some stage business of actors walking around in the front of the stage pushing around noisy vacuum cleaners (or were they leaf blowers?).

I was playing organ on this piece (I’m not an organist, but I managed to fake it.) During the vacuum cleaner section it was obvious that we were all lost: vacuum cleaners were droning on, the rest of the orchestra was noodling around, the conductor was flailing his arms with a petrified look on his face. I had the loudest instrument on stage and I had an important cue coming up which I knew everyone would be able to hear. So above the miasma of sound I cut through with my organ “lick” and everybody jumped on board. People told me later that I saved the performance! Q: What do you love most about San Diego (besides the weather)? A: I love the fact that San Diego, despite its large geographical area, feels like a small town to me. I revel in our close knit musical community where by and large we support and respect one another. In the non-musical community the famous “six degrees of separation” is like two or three degrees in this town: I can’t tell you how many times I’ve met a stranger and before long we know someone in common.

I used to have a fantasy that I would like to live and work in the Bay Area. That fantasy is over – the Bay Area is just too frenetic. I’ll take San Diego’s more laid-back lifestyle. It suits me just fine. Q: The San Diego Symphony Orchestra is essential to San Diego because…? A: A San Diego Symphony Orchestra concert awakens the audience to the unspoken world of sounds – so much of our lives are filled with chatter, political harangues, advertisements, commercial stimulation to buy and consume. Yet audience members who come to our concerts can jump off that merry-go-round and watch a diverse group of people team up to create one voice that speaks of the ineffable. Symphonic musical concerts are unique: a sporting event is all about competition, winners and losers; a film or a play is filled with words and dramatic conflict. But music carries us along on a wave of sound in an immense variety of timbres and musical languages. It is society’s link to the past and our bridge to the future.