I. FLASHBACK TIME – 2005 – PART I
\nII. MEMBER COMMENT I
\nIII. MEMBER COMMENT II –
\nIV. VIENNA SCORING STAGE REACHES OUT
\nV. EVENTS<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’
\nscoring musician
\n…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
\n…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician<\/p>\n
===============================<\/p>\n
I. FLASHBACK TIME – 2005 – PART I<\/p>\n
In 2005, a highly placed group of musicians, frustrated with the
\ndestruction of work in recording, put forward this proposal.
\nEven then the damage to recording because of the unusable recording
\ncontracts forced down the throats of AFM Members because of the
\nRMA leadership was losing us major work – and that was almost 11
\nyears ago.<\/p>\n
AS A REMINDER, THIS WAS ALMOST 11 YEARS AGO….<\/p>\n
MAY 2, 2005<\/p>\n
Recording music for film, TV and video games is a commercial business. While
\nthe music itself is a creative art form utilizing many talents \u2013 negotiations with
\nproducers, directors and composers, in addition to the preparation of budgets
\nand contracts is nothing less than running a business.<\/p>\n
Recorded music becomes a product for sale, a commodity. What does the
\nmarket demand and what will it bear? How can the musicians who record this
\nmusic be fairly compensated, without giving away or compromising their product?<\/p>\n
How can their product result in a steady revenue stream while competing in a
\nglobal economy that has changed the way we do business forever? These are
\nthe questions we must face and respond to when considering and ultimately
\nproposing monumental changes to the national AFM Motion Picture Agreement.<\/p>\n
The rapid and dramatic decline of motion picture union recording projects in the
\nU.S. during the last 10 years coincides with a substantial and devastating
\nincrease in recording projects outsourced in non-union environments as well as
\nforeign unionized countries. The historical pattern of how and why we got to this
\npoint must be reviewed and analyzed. We must then make an organized and
\nthoughtful effort to recapture and reinvent our recording opportunities by creating
\na new business model.<\/p>\n
The current longstanding business model \u2013 reflected in AFM recording
\nagreements \u2013 has failed to maintain a regular flow of recording opportunities for
\nthe majority of our rank and file recording musicians. The agreements are
\noutdated and woefully inadequate to compete in today\u2019s global market.<\/p>\n
Producers consistently seek a buyout alternative so they can close out their
\nbooks once the music is recorded. In addition, many composers confined with
\npackage deals and a restricted budget are forced to go non-union or with a
\nforeign orchestra “buyout”, rather than face the unknown back-end charges
\nassociated with our current motion picture agreements.<\/p>\n
There is a significant financial burden placed on our locals and the AFM due to
\npolicing and enforcing the secondary market issues on these outdated contracts,
\nnot to mention the consuming hours of labor in order to impose compliance.
\nMoney and time would be much better spent on lobbying for more work for our
\nmusicians through federal and state tax incentive legislation.<\/p>\n
The complexity of the agreements themselves consistently turn off producers
\nbecause they are difficult to read and the terms and conditions challenging to
\nunderstand. A more user-friendly and concise agreement is necessary.<\/p>\n
We have just witnessed video game recording \u2013 a new and explosive opportunity
\nfor recording soundtracks \u2013 fly right out of California, where most of the larger
\nvideo game companies reside, and go directly to Seattle and London. It is a fact
\nthat only one video game score has been recorded on an AFM contract in the
\nU.S. since early December 2004, compared with 14 projects recorded last year.<\/p>\n
The business model that resulted in the outsourcing of motion picture production
\nand recording \u2013 a process over the last 15 years \u2013 is the same model in its
\ninfancy used for video game projects, which are running away at warp speed. It
\nhas taken just four months for this new industry to be almost completely
\noutsourced.<\/p>\n
This broken business model \u2013 with new use provisions attached \u2013 is driving work
\naway at an amazingly accelerated speed. This recording work must be recaptured
\nimmediately or we will be lamenting about these runaways for many years to come,
\njust as we are now looking back at years of motion picture scores being recorded
\nelsewhere.<\/p>\n
As long as other viable options (i.e. non-union; buyout agreements in foreign
\ncountries) exist for film producers, the U.S. will never see a substantial amount of
\nwork return to this country without adopting a \u201cbuyout\u201d option in our agreements.
\nA successful business model, offering attractive economic incentives must be
\nprocured to bring back work to our U.S. recording centers and to help foster new
\nrelationships with film producers and composers.<\/p>\n
WHAT IS A SUCCESSFUL MODEL<\/p>\n
A successful business model takes an idea and converts it into an
\neconomically viable business. It defines how an entity is positioned
\nin a specific industry and market, and how its value can be maximized
\nand sustained. A consistent and successful generation of revenue is
\nrelated to strategy, economics, operations, finance, innovation and
\n marketing.<\/p>\n
“The classic business model that has dictated the structure of every
\ncompany from General Motors to Microsoft is so at odds with contemporary
\neconomic currents that it must and will disappear. The old principles no
\nlonger work in the new age. Businesses have reached the old model’s limits
\nwith respect to complexity and speed. The real problem is a ruinously
\ndysfunctional mismatch between today’s business environment and the
\nclassic business model… Quite simply, the wrong model may transform a
\ncompany into the vehicle of its own death.\u201d 1<\/p>\n
The successful entities of the future need to harness the full potential of
\nthe entire organization in the rapidly changing business environment.
\n“The world is going to be too tough and competitors too ingenious as companies
\nare shaken loose from traditional ways of conducting business. The winners
\nwill be the unbridled firms that are responsive to challenges and adroit in both
\ncreating and capturing opportunities.\u201d 1 Consistent ineffectiveness in how we
\nhave been doing business requires new strategies and thoughtful innovation.<\/p>\n
HOW DO WE COMPETE?<\/p>\n
A sustainable competitive advantage that positions our recording industry in
\nthe market to effectively maintain a steady flow of business, while surviving
\nagainst the competition over a long period of time needs to be implemented.
\nThis requires constant reinvention of the terms and conditions of our agreements
\nand resources, adaptability of ever-changing global market conditions and
\nthe creation of value-added incentives for new and sustained business.<\/p>\n
Now is the time to take advantage of favorable economic conditions in the
\nU.S., when the British pound is strong and the dollar\u2019s purchasing power
\nis considerably diminished in other countries. In addition to the proposed
\nchanges to the Motion Picture Agreement, there should be continuous lobbying
\nfor taxincentives through federal and state legislation to keep production in this
\ncountry.<\/p>\n
Foreign governments have been extremely aggressive in this area, in order
\nto attract U.S. businesses and keep them returning. In some instances, there
\nare partnerships (government and production company) encouraging foreign
\ninvestment in the local economy.<\/p>\n
We would prefer to maintain a national agreement that represents ALL recording
\nmusicians, rather than shift to the current and popular idea of negotiating
\nseparate local agreements in individual cities. Now is the opportunity for us
\nto leverage our negotiating power and lead our recording industry into a
\nnew level of sustainability and prosperity in the U.S.<\/p>\n
NEXT TIME – HISTORY
\n…and London<\/p>\n
===============================<\/p>\n
MEMBER COMMENT I -DUPLICITOUS CONDUCT?<\/p>\n
Dear Editor,<\/p>\n
Contrary to the initial reasons offered by the Local to sell Vine Street, e.g.
\nthe need of a new roof, electrical upgrades, and the desire for ADA
\ncompliance, the real reason to sell Vine Street appears to be about
\n having enough money to continue doing business as usual. \u00a0To get
\nthe referendum passed, the Local spent thousands of dollars of its
\nresources beyond the the costs of promotional materials and mailings
\ncharged to the “Club”. \u00a0The Local by their own admission generated
\n20,000 phone calls encouraging members to vote YES.<\/p>\n
What the membership might not know, is that the Union hired a person
\nby the name of Erick Cruz at the beginning of the referendum process in
\nOctober. \u00a0Erick, who only one month prior, looks to have been an employee
\nof the same company that was hired by the Local to promote the sale of
\nVine Street.<\/p>\n
Erick Cruz was assigned to help the Election Board and indeed was the
\nperson identified by the Election Board Chair as the person who helped
\nscan the ballots.<\/p>\n
Erick Cruz’s LinkedIn profile identifies his job description at Bridge Street
\nas “Social Innovation Organizer” and subsequently Local 47 “Campaign
\nManager.” Does anyone see a problem with this? <\/p>\n
A partisan with his hands all over the ballots? In what universe does the
\nadministration reside in thinking this is appropriate?<\/p>\n
An attempt to speak with Erick Cruz on the day of the referendum count
\nconcerning his participation was thwarted by the gruff intentional intrusion
\nby the Local’s attorney. Not only was the conversation interrupted
\nbut, the attorney physically removed him from member inquiry.<\/p>\n
In an event that appears to be related, the Board minutes of 2\/16\/16
\nreflect the resignation of a member of the Election Board. \u00a0As a member
\nobserver at that Executive Board meeting, I can attest to the naming
\nof Erick Cruz and that certain of Cruz’s actions were disturbing.\u00a0<\/p>\n
Member Observer<\/p>\n
[EC: What was the attorney afraid of? More and more questionable
\nconduct,… and the board says nothing. do ethics mean anything
\nanymore?]<\/p>\n
===============================<\/p>\n
III. MEMBER COMMENT II<\/p>\n
The local put in a formal bid several weeks ago.
\nI don’t know what that was or whether or not they
\nreceived a response yet.<\/p>\n
Using the facts that are known and methods of deductive
\nthinking, 47 has some real challenges going forward.
\nAcosta stated in this month’s electronic newsletter that
\nthey will not sell the Vine street property until the new
\nproperty is secured first. That means that for all practical
\npurposes they will have to put up some cash as deposit on a
\nnew property to secure it.<\/p>\n
So, how much money would it take in deposit to secure a
\n$10M property, and does 47 have that cash?<\/p>\n
I think what really has not been available is full disclosure
\nto the membership. What I’m not sure about is how much of that
\nis being deceitful and how much of that is ignorance, It seems
\nthat nobody on that Board knows what to do, let alone just what
\nis going on.<\/p>\n
[EC: According to the record of the 2\/9\/16 EC Meeting, Acosta
\naccepted an offer on the Vine Street building (We further heard
\nthat the bid was for 25 Million). We’ve also been told that the
\nAlameda building is still in play, but no word that it has been
\ndefinitely secured. So did he misrepresent the situation to the
\nmembership? If the bid was accepted before a building was
\nsecured, it’s just another example of the President printing
\nuntruths in his articles. and yet the membership just sits idly by.]<\/p>\n
===============================<\/p>\n
IV. VIENNA SCORING STAGE REACHS OUT<\/p>\n
…another result of our unusable contracts<\/p>\n
Info from Postcard….<\/p>\n
HOLLYWOOD MUSIC WORKSHOP 2016
\nLearn hands on from Hollywood’s Music Elite<\/p>\n
3-day and 6-day Master Classes
\nfrom July 6- August 11,2016
\nWork with top Composers, Arrangers and Orchestrators<\/p>\n
Record your composition with an 18pc orchestra at the brand new
\nVIENNA SCORING STAGE<\/p>\n
www.hollyoodmusicworkshop.com<\/p>\n
\n===============================<\/p>\n
V. EVENTS<\/p>\n
DEAN AND RICHARD<\/p>\n
DEAN AND RICHARD are now playing every third Friday
\nat Culver City Elks 7:30pm-10;30pm,
\n11160 Washington Pl.
\nCulver City, 90232
\n310-839-8891<\/p>\n
————————————-<\/p>\n
LA WINDS JAZZ KATS 584<\/p>\n
NO COVER, NO MINIMUM.
\nEvery 2nd and 4th Tuesday of the month at Viva Cantina
\n7:30-10:00.
\n900 Riverside Drive, Burbank.<\/p>\n
Free parking across the street at Pickwick Bowl.
\nCome hear your favorite charts played the way they
\nshould be. <\/p>\n
We are in the back room called the Trailside Room. <\/p>\n
Come on down. Guaranteed to swing.<\/p>\n
————————————-<\/p>\n
NEW RUSS GARCIA BOOK<\/p>\n
Russell Garcia:\u00a0\u00a0 Russell wrote his auto-biography
\n“I Have Hundreds Of Stories, Some Of Them True” \u00a0
\nbefore he passed away at age 95 in New Zealand,
\non 20 Nov 2011. \u00a0The book is out now.<\/p>\n
Russell was a world renowned composer-arranger-conductor
\nwho wrote music for over 100 films.\u00a0 He is known for his
\ninnovative music score for the film \u201cTime Machine\u201d.\u00a0 Garcia
\nis also known in both the TV and recording fields and has
\ncomposed music for countless TV shows such as, Rawhide,
\nTwilight Zone, Laredo, The Virginian.\u00a0 He has recorded many
\nCDs\u00a0 in his own right, as well as with stars such as, Louis
\nArmstrong, Ella Fitzgerald, Vic Damone, Judy Garland,
\nOscar Peterson, Julie London, to name a few.\u00a0\u00a0<\/p>\n
Garcia has also written 2 best-selling text books The Professional
\nArranger-Composer \u201c Book I and Book II, which have been translated
\ninto 6 languages.\u00a0 He is known also for his symphonic and classical
\nworks which have been performed by the New Zealand Symphony,
\nMunich Symphony, the Vienna Symphony, plus countless Radio
\nSymphony Orchestras throughout Europe.\u00a0 He was often a guest
\nlecturer at many universities around the world on Symphonic
\nComposition Techniques.\u00a0 Russell and his wife Gina made New
\nZealand their home in 1971 while continuing to work in the Music
\nand Film Industry.\u00a0 He was awarded the Queens Service Medal
\nfor his service to music in 2009.
\n(www.buildabetterworldproductions.com)<\/p>\n
—————————————————<\/p>\n
3\/31\/16<\/p>\n
DIANE HUBKA<\/p>\n
Thursday, March 31, 2016\u2028@ 7:00 PM – 9:30 PM\u2028Canyon Bistro in Topanga\u2028120 N. Topanga Canyon Blvd. #119\u2028Topanga, CA 90290\u2028310-455-7800
\nDiane Hubka – vocalist, guitar\u2028Chili Corder\u00a0–\u00a0 guitar
\nHarvey Barkan,\u00a0LA JAZZ SCENE\u00a0 –\u00a0“Delightful crystal clear vocals,
\nwith a jazz-attitude presentation.”\u00a0
\nAll About Vocals\u00a0–\u00a0“Hubka has an unaffected style that feels
\nhonest and organic. She truly conveys the story of the lyric”\u00a0<\/p>\n
——————————————-<\/p>\n
4\/6\/26<\/p>\n
ASMAC PRESENTS: FIRST WEDNESDAYS<\/p>\n
\u2028CONCEIVING\u00a0 AN ORIGINAL ARRANGEMENT
\nEliot Deutsch and Patrick Williams <\/p>\n
FIRST WEDNESDAY’S
\nWed. April\u00a06, 2016 – 7:00pm
\nELLIOT DEUTSCH\u00a0and PATRICK WILLIAMS<\/p>\n
\u00a0Wednesday April 6, 2016\u00a0\u00a0 7:00 p.m.- 10:00 p.m.\u2028Free Event for members of Local 47 and ASMAC, $10 for guests\u2028AFM Local 47, 817 Vine St. Hollywood CA 90038
\n\u2028Elliot Deutsch is a rising star among young arrangers in
\nLos Angeles. Patrick Williams is one of the most accomplished
\nand in-demand arrangers today. They will each present an
\narrangement that they have written and recorded and talk
\nabout their process. Come and learn how an accomplished
\narranger conceives of his or her unique vision through the
\nscope of a familiar tune.<\/p>\n
PATRICK WILLIAMS
\n\u2028Having composed the music for over 65 feature films,
\n100 television films, 25 television series, as well as 19
\nalbums and 30 concert works, Patrick Williams has established
\nhimself as one of the most accomplished and prolific
\ncomposers in the music industry today. He has received
\nfour Emmy awards with twenty-two nominations and two
\nGrammy awards with twenty-one nominations, two of
\nwhich come from his latest release, \u201cHome Suite Home\u201d.\u00a0
\nHe has also been nominated for both an Academy Award
\nand the Pulitzer Prize in music. He is a recipient of the
\nRichard Kirk Award from BMI and the Golden Score Award
\nfrom the American Society of Music Arrangers and
\nComposers.\u2028
\n\u2028Born in Missouri, Williams grew up in Connecticut and received
\na degree in history from Duke University. His first love, however,
\nwas always music, and when he went on to Columbia to study
\nmusic composition and conducting, his passion became
\nhis profession. He quickly became busy as an arranger in New
\nYork, and then in 1968, he moved to California to pursue work
\nin the film and television industry while continuing to write
\nand arrange jazz albums. Proficiency in composing for
\nsymphony orchestras as well as jazz bands has offered
\nWilliams an opportunity to create a wide variety of works. <\/p>\n
Among his critically acclaimed compositions are An American
\nConcerto, a piece featuring a jazz quartet and symphony orchestra,
\nfor which he received a 1977 Pullitzer Prize nomination; Gulliver,
\nfeaturing a symphony orchestra with narrator, for which he received a
\nGrammy nomination (narration by Larry Gelbart and performed by Sir
\nJohn Gielgud); Suite Memories, which features a solo trombone with
\nsymphony orchestra and won a Grammy award; Theme for Earth Day,
\nan overture, recorded by the Boston Pops; Spring Wings, a double
\nconcerto written by saxophonist Gerry Mulligan and pianist Dave
\nGrusin with symphony orchestra; Romances, a concerto for jazz
\nsaxophonist Tom Scott and orchestra; A Concerto in Swing for big
\nband and clarinet, which was dedicated to and premiered by Eddie
\nDaniels; Adagio for Orchestra composed in 2004; and August
\ncomposed in 2005. He recently completed a ballet, “Ziji”, with
\nchoreographer Edgar Zendejas to honor the 60th Anniversary of the
\nCollege of the Fine Arts at the University of Utah.<\/p>\n
Some of Williams\u2019 big band recordings are considered classics of
\ncontemporary big band instrumentals, such as Threshold for which
\nhe received a Grammy in 1974; Too Hip for the Room, for which he
\nreceived a Grammy nomination in 1983; Tenth Avenue which received
\na Grammy nomination in 1987 and Sinatraland, a big band tribute to
\nFrank Sinatra for which he received a Grammy nomination in 1998. In
\n2006, he received two Grammy nominations for the album Elevation
\nwith Tom Scott and Eddie Daniels.In September 2001, he won an
\nEmmy for his song, \u201cA Dream That Only I Can Know,\u201d from the film,
\nYesterday\u2019s Children. In 2002, he received an Emmy nomination for
\nhis score for \u201cWe Were The Mulvaneys\u201d and a Grammy nomination for
\n\u201cThe Theme from Blonde\u201d from the sountrack album for the TV
\nminiseries Blonde, a portrait of Marilyn Monroe. In 1992, Williams
\nwon the Emmy for the mini-series \u201cJewels\u201d. He has composed and
\narranged themes and scores for television series including The
\nStreets of San Francisco, Lou Grant, The Days and Nights of Molly
\nDodd, the Mary Tyler Moore Show, the Bob Newhart Show, Columbo,
\nSlap Maxwell, The Tony Randall Show, and the Magician. Recent
\ntelevision projects include Hercules, starring Sean Astin, The Perfect
\nHusband: The Laci Peterson Story; When Angels Come To Town and
\nFinding John Christmas starring Peter Falk; James Patterson\u2019s First to
\nDie; Power and Beauty;The Thin Blue Lie; The Three Stooges with
\nMichael Chiklis and A Cooler Climate starring Sally Field and Judy
\nDavis. Of the 65 plus films Williams has scored in his career, a few
\ninclude Breaking Away, for which he received a 1978 Oscar
\nnomination; All of Me, The Best Little Whorehouse in Texas, Swing
\nShift, Cuba, Violet\u2019s Are Blue, Casey\u2019s Shadow, The Cutting Edge,
\nCry-Baby, and The Glass Harp. Williams is also an accomplished
\narranger with extensive credits. The album, For Ella featuring Patti
\nAustin, which he co-produced and arranged, was nominated for a
\n2003 Grammy for Best Jazz Vocal album. He was chosen by Frank
\nSinatra to act as Musical Director\/ Arranger- Conductor for his final
\nstudio recordings, Duets and Duets II. He has arranged recordings for
\nMichael Bubl\u00e9, Jack Jones, Andrea Bocelli, Paul Anka, Peter Cincotti,
\nNatalie Cole, Neil Diamond, Gloria Estefan, Michael Feinstein, Vince
\nGill, Amy Grant, Thomas Hampson, Barry Hay, Monica Mancini, Barry
\nManilow, Bette Midler, John Pizzarelli, Brian Setzer, Barbara Streisand,
\nTraincha, and Russell Watson.<\/p>\n
Williams has been a leader in the music education field for many
\nyears, holding posts as Visiting Professor and Composer in Residence
\nat the University of Utah and the University of Colorado, which
\nawarded him an Honorary Doctoral Degree. He has performed and\/or
\nlectured at many colleges including Berkeley College of Music,
\nCornell University, Duke University, Indiana University, Texas
\nChristian University, (1993 Green Honors Professor), UCLA, USC, and
\nYale University. In May 2001. he was awarded an Honorary Doctorate
\nof Fine Arts from Duke University. He served as Artistic Director of
\nthe Henry Mancini Institute from 2001 to 2006.\u2028
\n——————-\u2028\u2028Elliot Deutsch is a busy composer and arranger of large ensemble
\njazz music. In its tenth year of performing, the Elliot Deutsch Big
\nBand has released two albums, played in every major jazz venue in
\nLos Angeles, and hosted an impressive list of guest stars including
\nCheryl Bentyne, Janis Siegel, Ron Stout, and many others.\u00a0 Deutsch
\nhas written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6,
\nTerence Blanchard, and many others. In 2015, Deutsch arranged
\nseveral songs for the Kennedy Center Gala \u201cIt Don\u2019t Mean a Thing\u2026 A
\nCelebration of Swing\u201d under the musical direction of John Clayton.\u00a0
\nHis compositions and arrangements are published by Alfred and
\nWalrus Music.\u2028<\/p>\n
Deutsch is also a busy educator, serving on the faculties of Cal Poly
\nPomona and Long Beach City College. Deutsch has written numerous
\ncommissions for school jazz bands including USC, Caltech, CSULB,
\nCal Poly Pomona, Esperanza High School, and many others. He
\nlectured on arranging for Middle School Jazz Ensemble at the 2016
\nJazz Educators Network National Conference.<\/p>\n
Wednesday April 6, 2016\u00a0– 7 PM\u00a0<\/p>\n
FREE for ASMAC\/Local 47 members
\n$10 for guests and\u00a0students
\nFree parking. <\/p>\n
Meet-up & Check-in: 7:00-7:30 PM.
\nProgram: 7:30-10:00 PM.
\n\u00a0
\nPLEASE NOTE: \u00a0NEW\u00a0LOCATION
\nAFM Local 47 – Auditorium\u2028817 Vine St.\u2028Hollywood, CA\u00a090038\u2028\u2028* ASMAC Members who would like to share music at a\u2028FIRST WEDNESDAYS event,\u2028Contact info@asmac.org \u00a0Attn: Milton Nelson<\/p>\n
+++++++++++++++<\/p>\n
NEXT ASMAC LUNCHEON
\nASMAC LUNCHEON
\nWed. April 20, 2016
\n11:30am – 2:00pm
\nCATALINA’S JAZZ CLUB
\nSpecial Guest
\nDAVE BLACK<\/p>\n
Check out the ASMAC website – www.asmac.org\u2028to see the new master class,\u00a0luncheon and interview\u00a0
\nDVD’s in the ASMAC store, to download ASMAC
\nluncheon podcasts, and more!\u2028JUST ADDED:\u00a0
\n\u2028Special Interview with the renowned composer\/arranger\u00a0\u2028JIMMIE HASKELL
\n———————————<\/p>\n
4\/6\/16<\/p>\n
Free Admission Glendale Noon Concerts\/ Jacqueline Suzuki & Susan Svrcek perform RAUTAVAARA Lost Landscapes<\/p>\n
FREE ADMISSION GLENDALE NOON CONCERTS
\nEvery FIRST & THIRD WEDNESDAY at 12:10-12:40 pm
\nOn Wednesday MARCH 2, 2016 at 12:10-12:40 pm:
\nCrescenta Ensemble: Einojuhani Rautavaara’s Lost Landscapes<\/p>\n
APRIL 6, 2016
\nVIOLIN RECITAL
\nGINASTERA Pampeana No.1, Op.16 (1947)
\nBRAHMS Violin Sonata No.3 in D minor, Op.108
\nJacqueline Suzuki – violin
\nRosa LoGiudice – piano<\/p>\n
PLEASE NOTE:
\nThe Glendale Noon Concerts series
\nnow takes place in the Sanctuary at
\nGLENDALE CITY CHURCH
\n610 E. California Ave. (at Isabel St.)
\nGlendale, CA 91206-3701<\/p>\n
INFO:
\nPlease call Victoria Lucero (818-244-7241 office)
\nor email glendalecitychurch.org\/
\nhttps:\/\/www.facebook.com\/glendalecitychurch<\/p>\n
****************************************************<\/p>\n
UPCOMING CONCERTS in the same series:
\n(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm;
\nprograms subject to change)<\/p>\n
APRIL 20, 2016
\nCRESCENTA ENSEMBLE
\nTSCHAIKOVSKY Meditation Op.42, No.1
\nGINASTERA Piano Sonata No.1, Op.22
\nJacqueline Suzuki – violin
\nSusan Svrcek – piano<\/p>\n
CONCERT UPDATES:
\nhttp:\/\/www.glendalenoonconcerts.blogspot.com\/<\/p>\n
MORE FREE CONCERTS:
\nAt the Edendale Branch Library in ECHO PARK
\nhttp:\/\/www.edendaleupclose.blogspot.com\/<\/p>\n
>>>Saturday MARCH 12. 2016 at Noon-1pm
\nBaroque concert featuring works by
\nHandel, Monteverdi, Purcell & Scarlatti
\nBRIAN ASAWA – countertenor
\nDIANA TASH – mezzo-soprano
\nARTHUR OMURA – harpsichord
\nALEXA PILON – Baroque cello
\nhttp:\/\/www.brianasawa.com\/
\nhttp:\/\/www.dianatash.com\/
\nhttp:\/\/www.arthuromura.com\/<\/p>\n
———————————————-<\/p>\n
5\/15\/16<\/p>\n
LACESMA 75TH ANNIVERSARY DIAMOND JUBILEE GALA<\/p>\n
The Los Angeles City Elementary Schools Music Association,
\nLACESMA, is celebrating its 75th Anniversary of promoting
\nelementary music education in LAUSD with a Gala Event in
\nthe Grand Ballroom of the Dorothy Chandler Pavilion at
\nthe Los Angeles Music Center on Sunday May 15, 2016.<\/p>\n
Banquet tickets are $60.00 each and can be purchased by
\ngoing to our website at lacesmamusiced.org or by mailing
\na check made out to LACESMA to: LACESMA c\/o Jeanne
\nMitchell, P.O. Box 361 Topanga, CA 90290.<\/p>\n
For questions, please email us at lausdmusiced@gmail.com.
\nAt the celebration there will performances by over 100 singers
\nof the LACESMA Children’s Honor Chorus, some of the 2016
\nLACESMA Instrumental Scholarship winners, as well as a p
\nerformance by a celebrity TBA.<\/p>\n
We are proud to have Gail Eichenthal, Executive Producer of
\nKUSC, as the emcee of the Banquet. Please help support
\nelementary music education in LAUSD by attending this
\nGala Celebration! Click here to see the first Promotional
\nVideo Clip of the Gala. <\/p>\n