Jose Carlos Matos Wed, 13 Oct 2021 14:32:08 +0000 en-US hourly 1 Jose Carlos Matos 32 32 An In Depth Guide to Consolidating Your Payday Loans Wed, 13 Oct 2021 14:32:08 +0000 If you are looking for a way to consolidate your payday loans, this is the post for you. We will take an in-depth look at what consolidation is and why it may benefit you and your financial situation. We’ll also explore some of the best ways to go about consolidating your payday loans so that you can get on with the rest of your life!

What is Consolidation?  

Consolidating payday loans means rolling all your payday loans into one loan with a longer repayment term to make the payments easier for you while keeping the interest rates lower than they would be on separate smaller debts. 

This lets you pay off multiple bills in one lump sum instead of making them due separately every month. The result is that you’ll have fewer bills to keep track of each month – but still enough funds to cover them all! Here are some reasons why consolidation might benefit you financially:

  • It reduces stress. With only one bill per month or less, there’s no extra work involved when it comes to keeping up with your bills each month. You can’t forget about them if you don’t have any, right?
  • It helps manage debt. Many companies offer consolidation services that work the same as payday loans – except they usually require a cosigner who has good credit scores and is willing to take responsibility for your loan payments if you cannot make them on time. This means that paying back the amount plus interest may be easier for some people because there’s someone else helping out along the way!
  • It allows more spending flexibility. With only one bill per month instead of multiple ones due at different times throughout the month, it becomes simpler to plan financially. Instead of worrying about how you’ll pay all those bills every month, you’ll only need to manage the one payment.
  • It keeps rates lower. Sometimes it can be difficult paying back several payday loans with high-interest rates and fees every month – and this is where consolidation comes in handy! When you take out a new loan for your consolidated debt at a reduced rate of finance charges (or even none at all), these additional costs will help pay off your debts faster without putting too much strain on your budget or bank account.

If that sounds like something that might work well for your situation but are still wondering if consolidating is right for you, give us a call today! We’ll look over some of the best options available in how to consolidate payday loans so that we can find an option that works for you and your needs.

It’s also important to note that consolidating payday loans is not always the best option – but we’ll help guide you through it so that you can make an informed decision! We’re here 24/seven to answer any questions or concerns and provide personal guidance throughout the entire process.

How to consolidate loans?

When you consolidate payday loans, the first step is deciding how much money you want to borrow and for what period (usually ranging from six months up to five years). 

Consolidating your payday loans with a longer repayment term means that you’ll end up paying more in interest charges overall – but it can be beneficial if this option lets you pay off multiple bills with only one payment per month. 

While consolidating may help reduce some stress associated with managing several different debts every month, there are still risks involved when taking out a new loan, as well as potentially negative consequences over time.

Consolidation might not always benefit everyone either! Some people even find it more difficult trying to manage just one large debt on their own instead of many smaller ones. This is why it’s essential to consider all of the options before deciding on one – and we’ll help you do that! 

Our goal at Cash Cow is to give people access to the best payday loans available to make informed decisions about their financial future. Just call us today if you have any questions, concerns, or are ready to get started!

The result might be easier when making monthly payments, but there can still be consequences involved with consolidating your payday loans. Interest rates will also increase over time, which means that debt won’t go away as quickly. 

There are many reasons why consolidation might benefit someone financially, including reduced stress, better management of debt, more spending flexibility, lower finance charges, etc.

Consolidating payday loans might not be the best option for everyone as well! The main downside is that debt won’t go away any faster. This can make it even more challenging to manage one large payment per month instead of several smaller ones and could potentially create other problems down the road. 

That’s why we’re here to answer any questions or concerns you may have and help guide you through the entire process – so give us a call today if you need assistance with anything at all!

Who should consolidate Payday Loans?

We recommend consolidating your payday loan only when necessary, such as when multiple bills are and due very close together or if repaying them becomes too demanding on your own. 

Consolidation allows people who cannot afford these payments many different ways to create a plan that works for you and your financial situation.

What happens if I don’t repay my loans on time?

Suppose you fail to repay the total amount borrowed plus finance charges by the due date every period (usually one month). In that case, the lender may use any legal means available under state law to collect from you: collection agencies, garnishment of wages, lawsuits against persons with interest in property such as owners and lessors of real estate, and lenders who lend money secured by an interest in real estate; and repossession of vehicles and other personal property.

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Girl power: the Women Who Rock event takes place at Stage AE Wed, 13 Oct 2021 10:01:00 +0000

These females rock, literally.

The annual Women Who Rock concert features Rita Wilson, Sheila E, Orianthi, Lauren Monroe, Jackie Popovec with the Vindys and DJ Femi. They will perform starting at 7 p.m. Saturday at Stage AE on the North Rim of Pittsburgh.

The evening will be hosted by Pittsburgh’s own woman of rock, WDVE disc jockey Michele Michaels.

The musical evening benefits the Magee-Womens Research Institute. Michael Annichine, CEO of the Magee-Womens Research Institute, said the partnership with Women Who Rock has created an additional voice for women’s health.

He said the funds can continue research that covers women from in vitro to adulthood and into their retirement years.

“The musicians are so talented and the event helps us reach new audiences and the funds raised have a direct impact not only on what we do for women in Western Pennsylvania, but around the world,” Annichine said.

Melinda Colaizzi, founder of Women Who Rock, said the bottom line is fundraising for research aimed at curing cancer and finding advanced medical treatments for other women’s health issues that are under-researched.

“They are doing an amazing job,” said Colaizzi. “They raise awareness of the importance of women’s health. We can use the music of Women Who Rock as a megaphone to promote the Magee-Womens Research Institute and the musicians.

National and local musicians will perform, including the winner of the Rising Star Contest, organized to help the next generation of singers / songwriters.

Last year, the event was virtual due to the pandemic. This allowed the event to reach a global audience, said Colaizzi, which includes a partnership with guitar maker Gibson and his nonprofit Gibson Gives.

He has raised over $ 2.5 million to support nonprofits in their efforts to help musicians. Guests can bid on a personalized limited-edition modern Gibson double-cut semi-hollow guitar. Auction items are available to bid online or at the event.

“It’s good to come back in person,” said Colaizzi.

Annichine accepted.

“There is so much energy in this piece when they perform,” Annichine said. “Women are just as capable as their male counterparts when it comes to music and we want to help find ways to keep them healthy.”

Tickets are available here. Proof of covid-19 vaccination required.

JoAnne Klimovich Harrop is the editor of Tribune-Review. You can contact JoAnne at 724-853-5062, or via Twitter .

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Tradition, rather than trying to emulate 6 Music, is the future of BBC Radio 4 Wed, 13 Oct 2021 04:00:00 +0000

And there’s the potential catch, with a music chat program like this, presenters sounding a bit like tiresome music snobs fighting over the stereo at a party. Luckily, veteran music radio DJ Cerys Matthews was a star here, remembering to keep bringing the conversation back to the listener.

Add to playlist was strangely like music radio, maybe 6 Music in particular, sometimes. Boakye kicked off the summit, for example, by announcing ‘let’s do this’. Not your typical Radio 4 intro, but then maybe that is the point; this is part of an attempt by Radio 4 controller Mohit Bakaya to freshen things up. If he can settle down, find his style, and stay focused on how music is made, thankfully he should fill the musical void in Radio 4’s artistic cover.

But Radio 4 shouldn’t think they invented the art of discussing music in a culturally educated way. On Radio 3, Between the ears: a tapestry from Orkney (Sunday, Radio 3) showed effortlessly how to be daring, creative and culturally mixed. Composer Erland Cooper and violinist Daniel Pioro embarked on a musical pilgrimage around the Orkney Islands to commemorate the literary achievements of George Mackay Brown, playing music among brochs and rock formations, singing sheep and seals of the coast . It was wild and inspiring.

Meanwhile, a much more confident start to Radio 4’s new artistic installment was the inaugural episode of This cultural life (Radio 4, Saturday), a long-running interview series in which John Wilson will speak to cultural figures about their creative process, inspirations and experiences. The first guest was Kenneth Branagh, partly there to film his new film, Belfast, but also to talk about his earliest memories of performing, his love for Shakespeare and what it was like to play at the ceremony. opening of the London 2012 Olympics.

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Twisted Sister guitarist expresses resentment after KISS rejects him Tue, 12 Oct 2021 19:17:10 +0000

Twisted Sister Guitarist Jay Jay French spoke in a recent interview with Mike Brunn and spoke about the time he auditioned for TO KISS back in 1972.

In the conversation, Jay Jay brought up the fact that the audition took place a long time ago, and he barely remembers what happened then. As the guitarist said, they don’t stuck several times at the time. However, the band decided to continue with Ace Frehley, the original KISS guitarist, and Jay Jay never closed the deal.

Therefore, he reminded everyone that there is no such thing as “Jay Jay in KISS”. While saying he was never a member of KISS, the veteran guitarist also admitted that he was not good enough to be chosen by KISS, and that was the main reason he couldn’t do it.

Moreover, French also praised Ace’s talents and admitted that he was much better than him. In fact, after seeing KISS with Frehley, Jay Jay realized they had found the right person for the job.

Jay Jay French on his KISS auction:

“You know, it’s been so long that I barely remember. I just remember they called me a few times to get me down, and I got down and jam a few times. But I’ve never imbued it with much more history than … I have never been a KISS player, I never made a deal. This whole ‘Jay Jay in KISS’ thing is crap.

Once a guy said to me, ‘Have you ever been in another band?’ I said, ‘Well, not really but I auditioned for KISS in 1972, it did not work.’ How honest can you be? I was not good enough, I was not chosen. Ace was much better. I saw them and I was like, “Whoa, they have the right guy! Ace was great.

You can check out the full interview below.

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Kadarius Toney is the new ‘Human Joystick’ and a fun addition to the Giants’ offense – New York Giants blog Tue, 12 Oct 2021 10:06:14 +0000

EAST RUTHERFORD, NJ – The New York Giants have something in wide receiver Kadarius Toney. The 20th overall selection in the 2021 NFL Draft is simply moving differently than most. This was evident when looking at Sunday’s 44-20 loss to the Dallas Cowboys at AT&T Stadium.

It’s like he’s sliding instead of running, like quick receiver DeSean Jackson, who has consistently left defensemen in the dust over the years and will be on the opposing sideline on Sunday when his Los Angeles Rams visit the Los Angeles Rams. Giants (1 p.m. ET, Fox).

There aren’t many receivers who catch the ball like Toney did at the end of the second quarter, go from zero to 100 seemingly within a yard, put their foot in the ground and split a pair of defenders about to be tripped. near the goal line. On the play when Toney was kicked out for throwing a punch in the fourth quarter, he first caught a pass near the numbers, stopped, started, jumped back and slid through a pair. defenders before turning and carrying the stack a few more yards.

No wonder his varsity trainer at the University of Florida, Jim McElwain, once called Toney the “human joystick”.

His game resembles former receiver / returner Dante Hall, who also wore that nickname. It’s like a player slamming the A, B, X, and Y buttons simultaneously when the ball is in Toney’s hands. He finished with 10 catches on 13 targets for 189 yards against the Cowboys and has shown he can catch, run, miss people, throw and jump over defensemen. He even took a straight snap, gaining seven yards at the Dallas yard line early in the fourth quarter.

“[Toney’s] special, ”said Mike Glennon, who took over as quarterback when starter Daniel Jones left the end of the second quarter with a concussion. “I think he has shown what he can do. It was fun to watch. … You throw him a short pass and he takes it, you don’t see him very often at the NFL level, which makes guys miss out on like that. He has a unique skill set that we are all finally seeing. I’m glad he’s on our team. “

Among the 57 players with a minimum of 20 receptions this season, Toney has the fourth-highest number of yards after catches at 8.25 per reception (third among receivers), according to ESPN Stats and Information.

Hesitation, dead leg, supersonic spin, and high speed cuts are all part of his repertoire. They’ve played a much bigger role over the past two weeks with the Giants running out of receivers and Toney more ready to play after a spring and summer where he hardly ever trained for various reasons, illnesses and injuries.

“The process is really more than, if he’s going to the left, I have to go to the right,” Toney said last week of missing defenders. “It’s kind of like playing freeze tag, something like that. It’s that kind of feeling when you’re there.”

Either way, it’s special and has to be a big part of the offense to move forward.

Toney was hit late against the Cowboys and faces an ankle problem that calls into question his status for Sunday’s game against the Rams. Still, he proves he could be the scariest weapon on this offense, even when running back Saquon Barkley (ankle) and wide receiver Kenny Golladay (knee) are healthy. The game plan will certainly put him a lot more forward than at the start of this season, when he was still in the process of getting up to speed.

Toney’s unmissable ability hasn’t been seen in these areas since the Giants last recruited an SEC school receiver, LSU’s Odell Beckham Jr., in 2014. And similar to the time of day. ‘OBJ with the Giants, the drama seems to find Toney – see Sunday’s ejection, when he came out after punching Cowboys safety Damontae Kazee following a minor scrum. This drew the wrath of coach Joe Judge.

“There is a pretty distinct line in terms of competing and doing the things that we are not going to tolerate as a team that has sidelined us. It will not be accepted,” said Judge. “It’s not going to be tolerated. It’s as far as I’m going to go with this.”

Toney is expected to avoid a suspension, a league source told ESPN on Monday. He goes through the standard disciplinary process with the league which will likely result in a fine.

The young playmaker seems to recognize his mistake and apologized to the entire organization on Monday morning.

Now it is a matter of learning from one’s mistakes.

“At the end of the day, he’s still a rookie and he’s got a lot to learn. He’s going to make mistakes,” Golladay said. “I’m pretty sure he wishes he could get that moment back. Turn the other cheek. He will learn from it.”

If he does, it’ll put all the attention on the unique things he can do on the pitch. The “Human Joystick” is more than just a description, and it embraces the nickname, even though it calls itself Yung Joka online and as a musical artist.

“At the time, I really didn’t think of anything [the nickname]. It was just me who wanted to play and do what I could, “Toney said.” I didn’t really think about it, but now I kind of thank you. [McElwain], do you know what I’m saying? Because it’s kind of like a brand in that I play the way I play. “

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today in history | Region Tue, 12 Oct 2021 04:00:08 +0000

Today in history

Today is Tuesday, October 12, the 285th day of 2021. There are 80 days left in the year.

The highlight of today’s story:

On October 12, 2000, 17 sailors were killed in a suicide bombing attack on the destroyer USS Cole in Yemen.

To this date :

In 1792, the first American celebration of Columbus Day was held to mark the tercentenary of the landing of Christopher Columbus.

In 1933, bank robber John Dillinger escaped an Allen County, Ohio jail with the help of his gang, who killed sheriff Jess Sarber.

In 1942, during World War II, US naval forces defeated the Japanese in the Battle of Cape Hope. Attorney General Francis Biddle announced during a Columbus Day celebration at Carnegie Hall in New York City that Italian nationals in the United States would no longer be considered enemy aliens.

In 1973, President Richard Nixon appointed the leader of the parliamentary minority Gerald R. Ford of Michigan to succeed Spiro T. Agnew as vice-president.

In 1976, it was announced in China that Hua Guofeng had been appointed to succeed the late Mao Zedong as President of the Communist Party; It was also reported that Mao’s widow and three other people, known as the “Gang of Four”, had been arrested.

In 1984, British Prime Minister Margaret Thatcher escaped an assault on her life when an Irish Republican Army bomb exploded at a hotel in Brighton, England, killing five people.

In 1986, the meeting of the superpowers in Reykjavik, Iceland ended in stalemate, with President Ronald Reagan and Soviet leader Mikhail S. Gorbachev unable to agree on arms control or a date for a full-fledged summit in the United States.

In 1997, singer John Denver was killed in the crash of his privately-built plane in Monterey Bay, California; he was 53 years old.

In 2002, bombs blamed on militants linked to al-Qaida destroyed a nightclub on the Indonesian island of Bali, killing 202 people, including 88 Australians and seven Americans.

In 2007, former Vice President Al Gore and the UN Intergovernmental Panel on Climate Change won the Nobel Peace Prize for sounding the alarm bells on global warming.

In 2017, President Donald Trump lashed out at hurricane-devastated Puerto Rico, saying the federal government could not continue to send aid “forever” and suggesting that U.S. territory was to blame for its efforts. financial difficulties.

In 2019, a black woman, Atatiana Jefferson, was shot and killed by a white officer in Fort Worth, Texas, inside her home after police were called to the residence by a neighbor who reported the door entrance was open. (Officer Aaron Dean, who shot Jefferson through a back window, resigned in the days following the shooting and is charged with murder; he has pleaded not guilty and is due to stand trial in November.)

Ten years ago: A Nigerian al-Qaida agent pleaded guilty to attempting to bring down an airliner with a bomb in his underwear; Umar Farouk Abdulmutallab (OO’-mahr fah-ROOK ‘ahb-DOOL’-moo-TAH’-lahb) defiantly told a federal judge in Detroit that he acted in retaliation for the murder of Muslims around the world . Eight people were killed in a shooting at a barbershop in Seal Beach, California. (Scott Dekraai, whose ex-wife Michelle Fournier was among the victims, pleaded guilty to murder in 2014 and is serving a life sentence.)

Five years ago: Wells Fargo announced that its struggling CEO John Stumpf was resigning as the nation’s second largest bank was troubled by a scandal over its sales practices.

A year ago: At the start of the expedited Senate confirmation hearings, Supreme Court candidate Amy Coney Barrett presented her approach to the law as conservative and fair, while Democrats presented it as a threat to the law. health care coverage for Americans during the coronavirus pandemic. During his first campaign rally since contracting COVID-19, President Donald Trump insisted to his supporters in Florida that he had brought the nation a “rapid recovery” from the pandemic. A Wisconsin judge allowed the state’s mask tenure to continue, rejecting an attempt by the Republican-controlled legislature and a conservative law firm to overturn it even as coronavirus cases rose and that the number of people hospitalized with COVID-19 reached a new high. Facebook has said it will ban posts that deny or distort the Holocaust. Roberta McCain, mother of the late Arizona Senator John McCain, has died at the age of 108.

Today’s Birthdays: Former Senator Jake Garn, R-Utah, is 89 years old. Singer Sam Moore (formerly of Sam and Dave) is 86 years old. Broadcast journalist Chris Wallace is 74 years old. Actress-singer Susan Anton is 71 years old. Jane Siberry is 66 years old. Actor Hiroyuki Sanada is 61 years old. Actor Carlos Bernard is 59 years old. Jazz musician Chris Botti (BOH’-tee) is 59 years old. R&B singer Claude McKnight (Take 6) is 59 years old. Rock singer Bob Schneider is 56 years old. Actor Hugh Jackman is 53 years old. Actor Adam Rich is 53 years old. R&B singer Garfield Bright (Shai) is 52 years old. Country musician Martie Maguire (Courtyard Hounds, The Chicks) is 52 years old. Actor Kirk Cameron is 51 years old. Olympic gold medalist Bode Miller is 44 years old. Rock singer Jordan Pundik (New Found Glory) is 42 years old. Actor Brian J. Smith is 40 years old. Actor Tyler Blackburn is 35 years old. Actor Marcus T. Paulk is 35 years old. Actor Ito Aghayere is 34 years old. Actor Josh Hutcherson is 29 years old.

Copyright 2021 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

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Symphony in C Brass and Organist Matthew Smith in concert at Haddonfield on November 7th Mon, 11 Oct 2021 21:28:41 +0000


originally published: 10/11/2021

(COLLINGSWOOD, NJ) – The Symphony in C Brass, a 10-piece ensemble will collaborate with organist Matthew Smith for a free concert at Haddonfield United Methodist Church on Sunday, November 7, 2021 at 4:00 p.m. The concert will be conducted by Paul Bryan. This diverse program includes two selections by Venetian composer Giovanni Gabrieli, an arrangement of the Virtual Choir 2020 hymn by Eric Whitacre Sing Gently and the magnificent Grand Choeur Dialogue by French composer Eugène Gigout, arranged for organ and brass.

The concert is free, but you can register in line. COVID-19 vaccination masks and documents required. Please have proof of vaccination ready to show. The concert will last one hour without an intermission. The Haddonfield United Methodist Church is located 29 Warwick Road at Haddonfield, New Jersey.

Matthew Smith is organist at Haddonfield United Methodist Church. Matt received a Masters of Music in Organ Performance from Westminster Choir College in May 2017. Born and raised in Geneva, Ill., He attended Carthage College in Kenosha, Wisconsin, where he earned a Bachelor of Arts in Music with a concentration in Organ and Piano. While there he worked mainly as an accompanist for the vocal faculty studios and as an assistant music director / keyboardist in the pit orchestra for various musical theater productions. He received first place in the Joan Lippincott Competition for Excellence in Organ Performance at Westminster Choir College in February 2017 and has given organ recitals at various venues including Princeton University Chapel and the Marble Collegiate Church in New York.

Paul Bryan has a distinguished career as a performer and educator. In addition to being dean of the Curtis Institute of Music, he is director and conductor of Bravo Brass, the brass ensemble of the Philadelphia Youth Orchestra; musical director of the Philadelphia Wind Symphony and Symphony at C’s Symphony Summer Camp; and conductor of the Young Artists Summer Program at Curtis Summerfest.

Mr. Bryan has been a conductor of the Drexel University Orchestra and of Philadelphia’s All-City Concert Band; and has performed with the New York Summer Music Festival, Play On, Philly !, and numerous honorary groups in the Delaware Valley. He has conducted concerts with a wide range of groups, wind and brass ensembles from the Philadelphia Chamber Orchestra to Boyz II Men.

Mr. Bryan is a graduate of the Curtis Institute of Music and Temple University, where he studied trombone with Glenn Dodson and Eric Carlson and conducted with David Hayes, Arthur Chodoroff and Lawrence Wagner. He joined Curtis’ staff in 1993, became a faculty member in 2009, and was appointed to his current position in 2013. He is also a faculty member at Temple University.

This FREE CONCERT is made possible in part by funds from the New Jersey State Council on the Arts, the Geraldine R. Dodge Foundation, the Presser Foundation, the Horizon Foundation for NJ, the Frank and Lydia Bergen Foundation, the William G. Rohrer Charitable Foundation, and the TD Charitable Foundation. Symphony in C is a member of ArtPride and the South Jersey Cultural Alliance (SJCA).

Symphony in C is one of three professionally-trained orchestras in the United States that prepare musicians and conductors for world-class careers through concerts, outreach programs, and professional development. Symphony in C serves over 90,000 people each year through its critically acclaimed concert series, outreach programs and radio broadcasts. Symphony in C has been named a Major Arts Institution by the New Jersey Arts Council and strives to continue to make an artistic, educational and economic impact regionally, nationally and globally.

Advertise with New Jersey Stage for $ 50 to $ 100 per month, click here for more information

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Bernie Marsden to release new album Chess, inspired by the legendary label of the same name Mon, 11 Oct 2021 15:26:30 +0000

Bernie Marsden has announced his new album, Chess, is scheduled for November 26, 2021.

Chess is the latest addition to the former Whitesnake guitarist’s “Inspiration Series”, in which he revisits and repeats influential songs from his past.

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“Mozart entered my head” Mon, 11 Oct 2021 04:00:05 +0000

English pianist Christian Blackshaw is gentle and soft-spoken. He carefully analyzes questions before answering them, not as a politician looking for the best angle, but as someone who wants to be sure that he has understood all the nuances of what he is asked.

Our Zoom conversation begins, not with Mozart – the subject of his next concert for the 40th anniversary season of Music for Galway – but with the late great John Ogdon, a giant among 20th century British pianists, who died in 1989 in the age 52. I had the privilege of interviewing Ogdon before one of his Irish appearances and he joined in our conversation for a while to praise the achievements of young pianists, with Blackshaw at the top of the list.

Blackshaw, now 72, studied with the ‘wonderful Gordon Green’ at the Royal College of Music in Manchester from the age of 16. “Gordon,” he told me, “had been John’s teacher. So maybe it was through this connection that John very generously mentioned to me. He was phenomenal talent and we missed him very much. His recording of Busoni’s Piano Concerto is absolutely amazing. He was just the sweetest, kindest man. A deep thinker. And then a lion on the keyboard.

Ogdon, of course, rose to fame early on and shared the first prize in the Tchaikovsky Piano Competition in Moscow in 1962 with Vladimir Ashkenazy. Blackshaw’s career was interrupted by tragedy – the death of his wife in 1990 – and his subsequent decision to focus on raising his family at the expense of his music career.

There is an endless fascination for: how do you articulate music that is so supremely vocal with what is a percussion instrument?

His interpretations of Mozart’s piano sonatas, recorded live at Wigmore Hall in London and released on CD from 2013, have transformed the public’s perception of him. He became a specialist in Mozart. He performed the composer’s full cycle of sonatas for the Kilkenny Arts Festival in 2016 and his concert in Galway will also be entirely dedicated to Mozart.

But the great Salzburg prodigy was not always quite to his liking. “I wasn’t particularly drawn to Mozart from the age of 10, 11, 12, 13,” he says. “Probably because I found him puzzled. In those early days, I loved Haydn. It seemed easier to grasp, somehow. But then I had to learn Mozart’s Fantasy in D minor, K397. And, maybe through that, I realized how amazing this person is.

He has an explanation for his precocious blindness. “I think the reason I couldn’t understand him is that he’s the supreme vocal composer. Maybe Haydn is a little more down to earth – that’s not a disrespect for Haydn, who is an imposing genius in our world, of course.

At that time he was playing “a very, very large repertoire” – “Bartók’s Sonata, Scriabin – we all have our Scriabin moments – the French repertoire, the Austro-German repertoire, a lot of Beethoven. But, as he puts it, “Mozart went into my head. There is an endless fascination with: how do you articulate music that is so supremely vocal with what is a percussion instrument, and with the thinnest means at your disposal?

“I just watched this morning, once again, the Sonata in B flat, K281. While that’s more of Haydn’s inspiration … there’s definitely an influence there, maybe, from Johann Christian Bach. But, with very thin means, he is able to articulate the beauty of the universe. If I’m not mistaken, soprano Gundula Janowitz, to whom I am devoted as a great, great artist, recently said her inspirations were Mozart and Schubert. I think it’s because of that vocal element and their worldview, which is almost unmatched.

The perfection is such that it is dangerous because you can focus on getting all the right grades in the right order. But in the process you can lose the meaning

The other composer who attracts him the most is Schumann. “When these men enter your bloodstream, you cannot escape. There is a need and a will to continue and to do better. I hear some of Mozart’s interpretations, in particular, where the notes may be there but I don’t get the meaning. And I spent a tremendous amount of time trying to unravel the mystery of the meaning. Of course, it should never seem like studied, thought out, or tied to the earth. You have to be free, but it has to come from deep inside you, down the arm, straight through the fingers and up to the fingerboard, and be an organic experience, if you will.

I offer him a quote on Mozart’s elusiveness, that when you study his work, you become convinced that you can see what you need out of the corner of your eye. But when you turn to look, it’s always in the corner of your eye.

“I often think his music is like a slippery eel. You can see them. You can try to catch them. But you can’t. They are gone when your hands are in the water. The perfection is such that it is dangerous because you can focus on getting all the right grades in the right order. But in the process, you can lose the meaning.

We are talking about the great quote from Austrian pianist Artur Schnabel, that sonatas are “too easy for children, too difficult for artists”. Blackshaw says he knows exactly what Schnabel was talking about. “In a way, the music sounds very simple. And I think when you’re very young, whether you’re six or twelve, you might think it’s too easy, so I’m not interested in that. When you’re an adult, it’s too difficult to cross the emotional and expressive barrier. I find it hard to talk about Mozart’s music. I just have to really do it.

It’s the difficulty of being a performer – just hoping we’re on the right track, that we’ll get there, not fair, but a little better next time.

He moved on to the pandemic-related thoughts on performance. “In these times, don’t you find that another essential part of giving a concert is the audience. So the three of us – the composer, performer and listener – all play their part. We are all there for the composer. I firmly believe that we are the servants of the composer.

More than once he has expressed his disapproval of a metronomic approach. “It’s wrong, isn’t it?” But then we have to have a flowing tempo. The tempo itself is still a minefield. What is an allegro? What is an adagio? What is a largo? What is an andante? The content tells you that. That said how it should be.

Of course, it’s not really that simple. “The brain tells you very often that, yes, you have found the right tempo. And if this particular performance was recorded by any means, and if I hear it in return, I’m disappointed. Because it’s either too fast or too slow. But at the time, very often, it feels good. It’s the difficulty of being a performer – just hoping that we’re on the right track, that we’ll get there, not fair, but a little better next time. There will be more expression, more feeling. But without the academic. Being free is a real gift.

“This is something Artur Schnabel may have been referring to. The freedom you feel when you are a child. You are told that you are good or whatever, and you are encouraged to keep going. As you get older and have to make these decisions on your own, you start to wonder more about what you’re doing. It’s difficult. When you hear an artist like Maria Callas, I not only marvel at the technical brilliance, [but] respect for the score. When you hear these recitatives and barely hear it breathe, especially in the bel canto repertoire, I am absolutely amazed by this miraculous artist how, in the space of one note, she is able to convey differences of note. ’emotion. This is something that we can’t really do on the piano, because once you stroke or hit the note, it is effectively gone. There are times when you can extend a sound, intuitively. But great singers can change emotion through just one note. For me, it is truly miraculous.

Christian Blackshaw plays Mozart at the Hardiman Hotel in Galway on Friday October 22. See

Christian Blackshaw on his Galway program

Fantasy in D minor, K397
A piece that I have picked up and put down several times in my life. I had the audacity a few years ago to put a different end. It’s a student who put this pretty quick and pretty ending [Mozart never completed the work]. I don’t think it’s particularly suitable for the darkness of the opening, in particular.

Rondo in D, K485
Again, something from an earlier period in my own life. I returned there quite recently.

Adagio in B minor, K540
One of the great works of all our piano literature. Going through so many keys is in itself remarkable. People are very moved by this piece. I certainly am.

Sonata in F, K332
It is a joy. The first movement is very lyrical and people really respond to it. It makes you smile.

Sonata in C, K545
Probably one of the most difficult. How it could be called simple is beyond me. [Mozart listed it in a catalogue as being “for beginners”.] This is one of the most difficult because it is so exposed, and like any well-known movement – like the opening movement of Beethoven’s Moonlight Sonata – having to articulate it in front of different audiences is in itself. a great task to undertake.

Sonata in C minor, K475
You can get lost in it more, because there are more notes, more expressive means. I am still puzzled as to why he wrote this sonata and the fantasy that accompanies it. Mozart lived in the Trattners’ house in Vienna. Some researchers have hinted at a possible infatuation between Wolfgang Amadeus and Theresa von Trattner. Who knows? The turbulence and mystery of the music might suggest that there could have been something. It’s a tumultuous room. And I love it.

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Review: The Return of the New Jersey Symphony Orchestra, with Gusto Sun, 10 Oct 2021 16:10:56 +0000

NEWARK, New Jersey – Since becoming Music Director of the New Jersey Symphony Orchestra in 2016, dynamic conductor Xian Zhang has worked tirelessly to reflect diversity and inclusion through the programming of the institution, awareness initiatives and guest artists. This was crucial in a city where the majority of the inhabitants were black and Latino; he also spoke about Zhang’s own experience as one of the few Asian female conductors to conduct major ensembles. Those priorities were in evidence on Friday when, 557 days after its last full orchestral concert (due to the pandemic), the New Jersey Symphony opened its new season at the New Jersey Performing Arts Center on a balmy night in Newark.

The program opened with the premiere of “Emerge” by Michael Abels. Best known for his sheet music for contemporary horror films “Get Out” and “Us,” Abels describes this eight-minute piece as suggesting that a group of highly skilled musicians get back together after a long hiatus, a script that speaks volumes. at the time.

It begins with the evocation of an orchestral chord. We hear the oboe play a single pitch of a, which the other instruments pick up. Soon the various musicians break up into short melodic three-note pieces, quivering strings, choppy rhythms and sustained tones that keep swelling and diminishing. During one episode, players seem to almost be in free mode, somewhat reminiscent of how many orchestras heat up on stage as the audience arrives, creating a mass of borderline boring sounds. But the music here becomes like an agitated sound collage pierced with flint dissonance. Soon, various players take off in bluesy solos, or engage in ephemeral counterpoints. Finally, the musicians join forces in passages of mellow lyricism, nervous bursts, manic scales, all leading to a brassy and festive coda.

Next, composer and violinist Daniel Bernard Roumain “Concerto pour violon voodou”, a 25-minute work from 2002 that reflects his Haitian heritage but also fuses elements of hip-hop, jazz and classic contemporary styles. The solo part animates this work, and Roumain played masterfully on an amplified violin, including the electronics with which he could strangely process certain sounds. In the first section, “Filter”, the violin jumps into orchestral atmospheres with repeated riffs in perpetual motion. The instruments respond with zesty backing music for the woodwinds and full, jazzy orchestral harmonies.

There have been long episodes where Roumain improvised winding strands of frenzied but lyrical lines to orchestral music that maintains a respectful distance. Although this is a shameless episodic work, with passages evoking call-and-response styles of jazz and a brave cadence that hones the “Star-Spangled Banner”, the concerto still has a compositional sweep. which continues in “Prayer”, the sweet and elegiac second section, with the violin playing to chorale-like piano music and a funky and lamentable finale “Tribe”.

Although it is hard to imagine that as a music student in a traditional Beijing conservatory, Zhang could have imagined playing a score full of jazz, blues and improvisation, she led a confident narrative and irrepressible. Romanian, who has collaborated in exciting ways with Bill T. Jones, Savion Glover and other creators outside of classical music, is starting an appointment this season as the orchestra’s resident artistic catalyst, and the title speaks volumes about his ambition in this role. After the concerto, he spoke to the audience about the responsibility we all have to love each other and be creative during what has been “a time of death and despair”.

Zhang then conducted an elegant, rich and fiery recital of Beethoven’s Seventh Symphony. The slow movement was particularly fine, taken at a true Allegretto rhythm, steady but never forceful, restrained but running with an inner intensity. It was a long awaited and rewarding return for an essential orchestra.

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