Saturday November 12 Champagne Rain, piano

CHAMPAGNE RAIN, piano and voice
SAT Nov 12 @ 12 PM
Music Island, Sea Turtle Island
http://slurl.com/secondlife/Sea%20Turtle%20Island/56/23/25



ABOUT THE ARTIST:
Champagne Rain is an Eastern European born Classical Pianist. She has devoted most of her life to acquiring performing skills at the Kiev Conservatory and has, in real life, performed in the world's most prestigious concert venues, including Vienna's Musikverein Golden Hall. She has recorded 6 CD's of concert and solo work.

In SL, she is also sharing her second musical talent, a lovely operatic voice, sharing some of her favorite arias and lieder.

Conservation and Innovation in Early Music

Three events over the next week will explore this theme:

Nov 13 12 noon Christine Montgomery, violin & compostion "Plugged-In Vivaldi"

ABOUT THE ARTIST:
Chrissie Caulfield is a violinist and composer working principally in contemporary, ambient and rock idioms. She plays electric violin in the Progressive Rock band Catscans, has played solo at various venues including Colchester New Music and will be holding a masterclass in electric violin techniques in that city later this year. She is also a founder member of the contemporary music band ‘Midnight Llama’ based in West Yorkshire, UK. She has toured Europe with the rock band Crippled Black Phoenix and appears on the latest album “Relic” by guitarist Matt Stevens.

As a composer, Chrissie is largely self-taught, but has taken tuition and advice from Ben Oliver, John Habron, Scott McLaughlin and anyone else who will listen. Her compositional style is eclectic and takes in a number of diverse influences from the baroque masters to Schnittke, Swedish folk music, Pink Floyd, distortion pedals and the noise cats make when licking foil. She is, as Douglas Adams would have it, “a great fan of science” and frequently uses scientific and mathematical themes in her music, though is not above tweaking mathematical systems for musical effect.

She lives in Leeds with a large number of cats, some strange instruments, and possibly too many computers and/or effects pedals.

This is what happens to classical music when you remove its inhibitions, lend it to a prog-rocker and then try to play the tattered remains when it comes back two years later covered in cat pawprints

http://www.facebook.com/l/wAQGGmtt9AQEGqxUtPqsoJM_0Q4SMmCty0uRrX-KVH5-1sw/chrissieviolin.info
http://www.facebook.com/l/fAQH94bDEAQGNluN6kIaT6bP9CPC-LDYLo-YK8IsbNOPQDw/midnightllama.info
http://www.facebook.com/l/4AQGNdWpjAQEISPTEtuBssF9ZRn8ddoMiqU-4vnVdjeb7zA/catscansband.com


Nov 19 11 am Aelthing Aeon, guided listening Conservation and Innovation

Like to listen and learn about classical music? Whether you are new to classical music or an avid collector of recordings, you are always sure to learn something new at this monthly talk. Aelthing Aeon, a guest lecturer with the National Federation of Recorded Music Societies in the UK will present an informative talk on selected classical recordings, including some rare performances on CD. This month, Ael will be talking about and contrasting performances on period & modern instruments.

Nov 20 12 noon Atheene Dodonpa, Early Music

ABOUT THE ARTIST:
Lady Atheene Dodonpa is the leading Lady minstrel performing medieval music in SL. She is a professional musician in both worlds, so her live medieval music moments are guaranteed to be authentic and unique.

Lady Atheene accompanies her voice with several instruments: recorders and pipes, bells, rebec, symphonie, bowed psaltery, 5-stringed kantele, organ and celtic harp. Her performances have already been a source of joy for hundreds of people in SL and she will continue to sing and tell the enchanting stories for the recidents of all regions she is invited to also in the future, of course, God willing.

Atheene Dodonpa stars in "Alvido in Abo"

Wondering where SL's Atheene Dodonpa has been? Here's the scoop, and the link to a recording. Her summer project was performing in a 1692 opera Alvido in Abo. Listen online. (If you don't speak Finnish advance about 10 minutes to skip the narrative introduction. )

Sept 11 "The Language of Peace" 12 noon SLT

"The language of peace"
Shprav OODLES & Sandia BEAUMONT, piano, harpsichord & organ
Sunday Sept 11 @ 12 pm (NOON)
Music Island, Sea Turtle Island
http://slurl.com/secondlife/Sea%20Turtle%20Island/54/21/23

PROGRAM:
Bartok Grasshopper Wedding
Heliodoro de Paiva Tento de IV Tom
Bartok BEAR dance
Tchaikovsky June Barcarolle
Handel Sonatina in A minor
Improv
Bartok: Slovakian Boys Dance
Sondheim: Send in the Clowns
Chopin/Beaumont: Cat & Dog
Improv
Debussy: Arabesque
Oodles: Africa Laughing

Is there a creative economy in Second Life?

In the context of a maillist discussion, this video was posted, sparking my comments as below.

SLCC 2011 The Creative Economy In Second Live by Sitearm Madonna aka James Neville from Sitearm Madonna on Vimeo.

It is interesting to note that Richard Florida moved to Canada, citing in part the Canadian national and Toronto civic understanding of the role of the public sector in supporting cultural assets for the creative economy. Second Life by contrast is a very libertarian, free-enterprise environment with extremely limited public support for the inworld arts community.

Different art forms are able to support themselves more or less in a free market system depending upon costs, popularity, and market fluctuations in ticket prices or art sales. Only the "lowest common denominator" in the arts are able to survive solely on earned revenues: pop music, mass-market films, etc. The economic formulas for successful museums, orchestras, opera companies have been remarkably stable for more than 100 years and across national borders although the form of public support may vary. In one nation it is all direct grants, in others there are mail discounts, some offer tax breaks for private/corporate donors or subsidies to concert halls for the provision of free or inexpensive facilities. I can expound in a lot of detail on this topic (and have elsewhere). In 1881 when the Boston Symphony was founded (the first professional symphony in N. America) the Board proposed a business plan to the City of Boston that showed only 50% of revenues coming from ticket sales. The rest of the income was to come from government 25% and private/corporate donors 25%. With slight variations, that is the formula for a successful orchestra today. If government support & private support goes down and you raise ticket prices, people stop coming. If you reduce costs by using lower quality musicians or a cheaper hall, people stop coming. There is no way to beat the formula in the long run. (God knows I have tried, like every other artistic manager in the biz.)

Second Life arts is full of dedicated volunteers, curious arts experimenters and trial projects. It is not home to many arts projects that are professional and sustainable. (I can't name one.) Every year that I have run Music Island, I have seen colleagues leave Second Life because their efforts have not been sustainable. Sometimes they leave happy for the good experiences and sad to not be able to continue, other times they leave bitter and disillusioned. Reasons for disillusionment vary. My own series is made possible because I elected to work parttime because I found SL music interesting and restorative. The cost to me and my family was about a $25,000 reduction in income annually for the past two years. Had I taken that step in order to launch.... oh... a chamber series in a Toronto church, I have absolutely no doubt that I could have raised more than enough from Canadian arts foundations & others to pay myself and the artists. However Second Life is a different animal. RL arts funders are interested in RL arts projects in a particular location featuring local or national artists. International virtual projects are too "far out", outside the scope of the funders, and on top of that Linden Lab seems intent on sending a marketing message about the world that is not welcoming to education and culture, but rather highlights the social and game-like elements. Within the virtual world itself I feel there is little understanding by Linden Lab of the vital role cultural assets have played in making the community attractive to its creative class, the damage that has been done to that creative class by driving out educators and non-profits, and the number of arts series, like my own, that are running out of steam. The libertarian philosophy that seems to be at the core of Linden thinking is that if something is worthwhile it will be able to raise its own funding in the free market. History refutes this view. Historically the arts have only flourished with the support of the King, the Church, or democratic governments. I'm not sure which of these the Lindens are most like, but whichever, there is little public arts support available within SL.

I'd like to add that I am far from bitter or disillusioned. I made my own decisions and I have found the generosity of the musicians that perform at Music Island, humbling and heart-warming. We are all here for the music and the fans, but persevere despite the Lindens and the crass free-enterprise, commercial & adult-entertainment community they have fostered.