William Harvey's thoughts about cultural diplomacy and news about Cultures in Harmony, the non-profit he founded in 2005.
- Name: William Harvey
- Location: Mumbai, India
violinist, violist, educator, composer, conductor, arranger, cultural diplomat
Monday, July 27, 2015
What two things are simultaneously the same and different?
Humanity, and a passacaglia.
In a passacaglia, the bass line stays the same throughout, just like certain traits and values are common to people from all cultures. What keeps a passacaglia interesting is the difference between the variations—and that’s what keeps humanity interesting also!
We are grateful to all of providing the support that has enabled us to take the Passacaglia Project, begun in Pakistan in February, to Tunisia, the Bahamas, Egypt, Turkey, and Zimbabwe in July and August of 2015, our 10th anniversary year. It is especially meaningful to return to Tunisia—a country where we’ve been almost every year since our inception—this year, when the country has endured an increase in terrorism in an attempt to drive it away from the community of nations.
Tunisia has always been, and must remain, a beacon in the region, standing for women’s rights and personal liberty while offering a warm welcome to all visitors. We salute the courage and dedication of our partners, the Atlas Music Academy; our students; and especially our three musicians who started teaching there today: Kimball Gallagher, piano; Anya Yermakova, piano and singing; Vova Kuperman, guitar.
Our Tunisia project has resulted in extraordinary ramifications over the years. In 2005, I met a young man named Nidhal Jebali, who was convinced that he would have to leave music, as there was little opportunity for professional advancement in Tunisia as a violinist. I persuaded him to apply for Indiana University, and recommended him highly to my former teacher there, Mimi Zweig. He has now graduated with a Bachelor’s and Master’s degree from IU, and by a happy coincidence, today he starts in my former job as concertmaster of the orchestra in San Juan, Argentina!
CiH has also encouraged the talents of Souhayl Guesmi, a talented young composer. Kimball has played his solo piano piece in various concerts, and Classical Revolution/Chicago (led by CiH flutist Allie Deaver-Petchenik) premiered his trio for flute, cello, and piano, a work inspired by the Tunisian revolution. Souhayl also came to a prestigious summer program called Hamptons Music Sessions twice.
Please allow us to sustain our relationship with Tunisia by donating to Cultures in Harmony today. As the young Tunisian violinist Amal wrote me in 2008, “It was terrific to meet you and I hope that I will see you again next year and I’m awfully happy to know and to meet you. Besides, you’ve changed the image that I had about Americans because you’re completely different. You’re nice, kind, friendly, generous, awesome, beautiful.”
Saturday, July 25, 2015
Thursday, July 23, 2015
Books for the Bahamas
“Please, I wanna come back at 4:00 and make more music. I mean, that’s why you came here right?” Frederick pleaded with me. We were chatting after the composition workshops that were supposed to conclude for the day at 1:00 p.m.
I arched an eyebrow. “You were talking a lot today. Why do you want to come back this afternoon?”
“Sitting at home is like watching paint dry. I can’t even watch TV.”
“Why not read a book?” I suggested.
His face fell. “I love books, but we don’t have many books here.” He perked up. “Will you get me a book?”
My heart broke. He asked not for a Kindle, a Powerbook, a Galaxy, or an iPad. He asked for a book, here in the Bahamas, one of the world’s most luxurious vacation destinations, and where he lived—in the beautiful settlement of Sandy Point on Abaco Island, far from the madding crowds of American tourists—there were almost none.
I’m here to work with the Island Waves program, founded by the incredibly hard working, determined, entrepreneurial, multi-talented, multi-tasking Garnell Limperes Stuart. Within the Bahamas, Abaco Island is the fourth largest by area and third largest by population. The few tourists who come to the island come to Marsh Harbour. Garnell teaches general music classes in settlements throughout the island.
In Marsh Harbour, I had a taste of the tourist life (and tourist prices) when we shared a wonderful conch-themed lunch at Conky Joe’s waterfront restaurant overlooking some ramshackle docks, destroyed (but never re-built) during the most recent hurricane. Judging by the price of that lunch, I could get an inkling of how much money tourists bring to the Bahamas. But who makes sure that this money provides benefit to the people?
Garnell, or Miss G as her students affectionately call her, has taken matters into her own hands, insuring that even the most impoverished settlements have music education. Yet even though I’m a lifelong musician, I can admit that books are more important than music, so tears stuck at the corners of my eyes when Frederick asked his question. Someone could launch a program convincing travel agencies to ask American tourists to bring their old books to the Bahamas. Or, the government could raise the cost of every hotel room by $1 a night, and provide enough books for the island’s children in perpetuity. But growing up with books, libraries, and skilled, compassionate librarians is even more fundamental a human right than the right to listen to and enjoy music.
People don’t usually think of the Bahamas as a place to go for social causes. Many friends and Cultures in Harmony donors rolled their eyes and laughed when I told them I was going to Bahamas. Basing a donor pitch on our new project here will be difficult, although I will certainly try.
But there is a Bahamas tourists don’t see. Children, hungry for intellectual stimulation, eager for a book, a piano keyboard, a drum. They did talk and move a lot during the workshops, which will (hopefully) result in the creation and world premiere of a passacaglia tomorrow as part of the Passacaglia Project. However, I have enough experience working with children to know that this was part of their excitement, their joy of making music. They want to do everything, to make all possible sounds, at all times. The space of their lives can never be too full with music.
Garnell is doing phenomenal work, and it is a privilege for Cultures in Harmony to begin a new collaboration to support her mission of ensuring that Bahamian children grow up with a musical education. I patiently convinced children that there was some value in learning to play one note at a time on the keyboard, instead of banging on it, and I was rewarded when, at the end of the day, they said that the drums should not play all the time, or they wouldn’t hear the softer instruments. They had understood my lesson on the concept of balance.
If it is a privilege to teach music here, it is also a pleasure. After the morning workshop, we headed to the beach to pick conch shells to add to our new composition. Little Chrissy, a tiny girl who preferred smiling and hugging to saying much, exclaimed, “I can go on your back!” It wasn’t a question, and of course I was happy to give her a piggyback ride.
The utter calm and tranquility of Sandy Point are quite something. I don’t mean to give a negative impression of it when I call attention to the fact that its children—and their educators—deserve more resources. It is idyllic in a way that many modern tourists claim to search out. Its position at the narrow southern tip of Abaco Island means that the beach is never more than a minute’s walk in any direction.
But Sandy Point doesn’t need the tourism industry to “discover” it, and I don’t see where a resort hotel would be built anyhow. Sandy Point needs for the tourism industry to consider what it might owe the people of the Bahamas.
At the very least, it owes Frederick—and every girl and boy in this paradise of a country, whose citizens fight overwhelming want with unflagging hope—some books.
Thursday, July 16, 2015
Raag Bhopali in India
On June 26, I played Raag Bhopali in Mumbai, India, with the talented, brilliant, and beautiful Vishala and Kamakshi Khurana of The Sound Space. Please enjoy the video here:
Wednesday, July 15, 2015
Why There's No Such Thing as Cultural Appropriation
Recently, a well-meaning liberal friend on Facebook posted yet another sermonizing article demonizing the concept of cultural appropriation and explaining why it's so terribly wrong and racist for people, especially privileged white people, to enjoy or practice the products of a culture outside their own.
Opposition to cultural appropriation is frequently coupled with opposition to “cultural assimilation” or “cultural imperialism,” which imply that non-white people should not appreciate or enjoy aspects of Western culture. My Afghan boss in Afghanistan would receive criticism for supporting Western classical music at the music school there. White liberal Americans get criticized by even more liberal Americans for an interest in yoga.
What are today's social justice warriors asking? Do they really want a world where everyone is only allowed to enjoy the products of their own culture?
That attitude is not only racist, it perpetuates racism. We can come to know each other through our culture, and through the living artifacts of our culture—food, music, art, fashion, and more—we can come to respect and love one another as equals.
The author of this article selects a wide variety of examples. Some were carefully selected to avoid similar but less obviously offensive examples, and others make no sense whatsoever. I’ll rebut them one by one.
First, it’s easy to oppose the Washington Redskins using that name, but we don’t have to invent a false and insulting idea of “cultural appropriation.” The word “redskin” is and has always been insulting and degrading. There is a world of difference between using a name or projecting an image which is incontrovertibly insulting, and simply learning more about another people’s culture. For instance, white women have been excoriated for showing an interest in belly dancing. While belly dancing’s status as an authentic representation of an increasingly conservative Arab culture can be disputed, it is ludicrous to suggest that white women belly dancing is racist or disrespectful. Should white women only be allowed to participate in dance forms originated by whites?
Second, the article condemns white people who want “authentic Mexican food” but want to avoid “sketchy neighborhoods.” From this, the article leaps to the assumption that those white people are racist and wish to avoid actual Mexicans. Wow, that’s harsh, and false. Yes, there are some interesting ways to unpack the desires of these anonymous, presumed white Yelp reviewers. What they probably wish to avoid are neighborhoods with a higher risk of violence. Such neighborhoods are disproportionately likely to be dominated by people of color, since systemic racism has closed off economic opportunities. Let’s absolutely discuss how the Affordable Care Act can reduce medical costs for people of color. Let’s fight to stop our lust for incarcerating people of color at a disproportionate rate for non-violent drug offenses. There are real, actionable ways to address the sad association of violence with neighborhoods where Hispanic-Americans and African-Americans might live. But to lay the blame at the feet of anonymous Yelp reviewers (whose race cannot be proven based on the evidence given) is absurd. Such reviewers don’t wish to avoid Mexicans; it’s clear they wish to avoid the risk of being mugged.
Third, the writer criticizes the way fashion magazines seem to have embraced Kylie Jenner’s cornrows and dreadlocks while simultaneously denigrating those adopted by Black women. I agree that it’s wrong to criticize Black women’s hairstyles. That doesn’t mean it’s also wrong for a white celebrity to adopt those hairstyles. We know two wrongs don’t make a right, but it’s equally important to assert that one wrong (the risk Black women take in adopting certain hairstyles), plus some whites’ decisions to show respect for Black culture by adopting their hairstyle do not equal two grave, contemptible sins. According to Maisha Johnson, am I guilty of cultural appropriation if I, as a white man, listen to Miles Davis? As a violinist, if I perform music by African-American composer William Grant Still, is that racist? What if Black violinists like Tai Murray perform Prokofiev? Is she a victim or perpetrator of cultural imperialism for performing and enjoying the music of a white Russian composer? Once again, Ms. Johnson’s logical conclusion is that each of us may only adopt the hairstyles, music genres, or tastes of our ancestral culture.
Fourth, the author criticizes white women profiting from their adoption of Native American spirituality. Again, various wrongs are conflated with a decision that must be considered separately. When your strongest argument for a position is that someone is guilty of the crimes of a system by participating in that system, then we are all guilty, and the very concept of guilt becomes meaningless. Yes, the situation of Native Americans is awful. Yes, they are historically oppressed. How does telling white women not to show an interest in or sell products related to Native American spirituality help change the situation for Native Americans? I’ll stand with Maisha Johnson if she wants to work to find ways to create economic opportunities for Native Americans to profit from their rich cultural heritage. But the clear implication is that a white woman interested in that heritage is racist based on her interest.
Fifth, she condemns white musicians who borrow from black ones, thereby finding success that racism prevented black musicians from achieving. Ms. Johnson is clearly far more ignorant of music history than she would like to admit. Musical borrowing has occurred throughout history, and all cultures who have traveled beyond their own have borrowed from one another. The ciaccona traveled from the New World to Spain to Italy before reaching its finest expression in the 1720 composition by the German J. S. Bach. The subcontinent absorbed the British-imported violin and harmonium into their own music so successfully that, after a violin performance in Karachi, Pakistan, an older gentleman who only knew the violin from South Asian classical music asked me, “What possessed you to learn this South Asian instrument?” I didn’t have the heart to tell him that the violin’s ancestor probably traveled west from Central Asia before reaching its modern form in Italy in the 1500s, eventually making its way to Britain and from there, eventually, to the subcontinent.
Sure, it’s wrong if we labor under the misconception that Elvis invented rock and roll. But if people who enjoy rap music enjoy the music of Iggy Azalea, it doesn’t, and cannot, logically follow that they’re racist cultural appropriators.
Sixth, the author directly denies the value of cultural exchange, the practice to which I have dedicated my entire post-9/11 life. What would she say about the Silk Road Ensemble? The group does contain white Americans, who do play music from cultures that have suffered, directly or indirectly, from US foreign policy. But, it’s founded by the great Yo-Yo Ma, a Paris-born Chinese cellist. If Ms. Johnson considers his life story, she may have a tough time determining if he’s a cultural appropriator (he’s renowned for Western classical music but takes the music of his ancestral continent of Asia and works with other musicians to find innovative ways to fuse it with Western music) or a victim of cultural imperialism (Chinese people within China and around the world have shown a keen interest and ability in Western classical music). Would she be open to considering the possibility that he’s neither?
Ms. Johnson condemns the Disney version of Pocahontas, as though that’s clear evidence that although “people say that sharing between cultures is supposed to help us learn, ... cultural appropriation is teaching us all the wrong lessons.” Disney modified most of its stories, based on fact or fiction, in order to market them and provide a happy ending. We could have a separate, and fascinating, discussion about Disney’s role in our culture and the ways its movies have perpetuated patriarchy, racism, and capitalism, but let’s not tar all cultural exchange with the Disney brush.
Seventh, Ms. Johnson castigates whites who pretend to be a race they’re not. I suppose she would accuse me of this. I’ve appeared as a guest judge on Afghanistan’s most popular TV show, the singing contest Afghan Star, wearing the Afghan shalwar kameez, speaking Dari, and playing Afghan music on my violin. As a result of that appearance, Afghans would smile when they recognized me on the street. I once received a free meal at an Afghan restaurant in the US because the owner was so proud to have me in his restaurant. The overwhelming reaction of Afghans to my choice to wear their clothes, speak their language, and play their music was that they were glad I showed them respect by doing so. Yet in the sad world desired by Ms. Johnson, I would be racist, and they would be brainwashed victims who should not actually respect me for what I did in their country.
In her 8th point, Ms. Johnson starts to realize the contradictions of her argument. After protesting the way yoga has become trendy, she quotes Susanna Barkataki as saying that of course, no one thinks “white people can’t practice yoga.” I’ll admit to being guilty (in the past) of agreeing with Ms. Johnson. I had studiously avoided yoga studios, believing that there was no way to practice yoga as a white man without being racist. Then I actually went to India. Lots of my new friends in Mumbai tried to get me to study yoga. When I was initially resistant, they seemed a bit crestfallen, as though it hurt that I wasn’t interested in this aspect of their culture. On International Yoga Day, I finally took a class, and loved it. The attitude Ms. Johnson and Ms. Barkataki advocate—that there is a racist and a non-racist way to do yoga—is so confusing that it had prevented me from wanting to try it.
I would argue that any time someone studies yoga, they are honoring and respecting one of the most magnificent contributions of India to world civilization. Period.
In the ninth point, the boat of Ms. Johnson’s argument looses its moorings from the Pier of Rationality and goes adrift in the Sea of Lunacy. Does she really expect me to compare my desire to incorporate the tiyayi from South Asian classical music into my Western classical compositions to British subjugation of the subcontinent? Is my father’s affection for jazz truly comparable to slavery?
She closes her article with an attempt to assure us that she’s not against people “using” things from other cultures: a participle, by the way, which should be offensive to any artist. I’ve “listened” to Ravi Shankar, but never “used” him or his music.
Ms. Johnson asks us to “call out appropriation” when we see it. The problem with viewing our enjoyment of culture through the lens of appropriation is that once you allow for the possibility that enjoying the products of another culture may constitute racism, the line between insult and respect is extremely difficult to draw. We may generally agree that the name “Washington Redskins” is racist. What about the use of cymbals in Mozart’s 5th Violin Concerto? Mozart was intentionally mimicking the sound of Turkish janissary bands in a time and place (18th century Europe) that regarded the Ottoman Empire with racism and suspicion. Like Ms. Johnson, I assumed during my first trips to Turkey that Turkish musicians would be offended by Mozart’s various attempts to “appropriate” their culture. On the contrary, the first Turkish violinist I met wanted to be sure to remind me that Mozart’s Rondo alla Turca is “Turkish,” and although its original connection to Turkish culture is tangential at best, he played a version that put the Turkishness back into the Turkish Rondo.
According to Ms. Johnson, who’s the racist, who’s the victim of cultural imperialism, and who’s the cultural appropriator in this scenario?
Unfortunately, I don’t have time to consult her on whether I’m being racist or not. I have to go prepare Cultures in Harmony trips to Turkey, where I’ll perform alongside Turkish practitioners of Western classical music, and Zimbabwe, where I’ll conduct orchestral arrangements of Zimbabwean popular music. In Ms. Johnson’s world, none of that should happen, but in the world I wish to live in, people in all countries and from all cultures may enjoy (or not) the music, art, dance, food, and fashion of people from all cultures, thereby gaining in empathy and stepping further along the path to a more understanding and peaceful world.
Saturday, July 11, 2015
Use of my famous letter in a homework assignment
Given that the letter I wrote describing my experience performing for soldiers on September 16, 2001, was used in a literature textbook by Pearson, I should not have been surprised to discover a PowerPoint presentation completed as a homework assignment by students who apparently learned about the attacks of 9/11 by reading my essay and watching the Oliver Stone film World Trade Center.
I was touched to discover this homage to the defining experience of my life , but must admit that I found the students' many errors amusing. A transcript of their slide presentation is below. I'd like to assure them that:
- I was not motivated by a need to get some practice in.
- My bow was never about to break.
- I did not play "God Bless America" or anything by Mozart, as should be obvious from reading the letter.
- The bow going "weak" does not throw off the pitch.
Having said that, it's not every day that you discover that high school students are comparing you to Nicholas Cage. I'm grateful if reading my essay inspired them, and as far as lifelong goals as a violinist, I could do a lot worse than "get through each song with it sounding somewhat decent."
- Bri, Lynda, and Tamara “PLAYING FOR THE FIGHTING 69TH” VS WORLD TRADE CENTER
- 2. “PLAYING FOR THE FIGHTING 69TH” ANALYSIS • The CHARACTER in “Playing for the Fighting 69th” is William Harvey, a student at Juilliard, was asked to play for a group of men that had come from Ground Zero. Harvey was motivated to do this because, not only was it good practice but, it was for a group of men that come from Ground Zero at the World Trade Center on 9/11. Harvey’s goal was to play to the best of his ability from memory. Harvey runs into a couple of conflicts. His conflicts are that he can’t think of anymore songs to play for them, his bow is about to break, and he is not happy with the way he is playing but doesn’t know how to change it.
- 3. “PLAYING FOR THE FIGHTING 69TH” ANALYSIS • The PLOT of “Playing for the Fight 69th” is Harvey playing for 69th Unit. Harvey goes up to a room where the group of men were getting massages. He begins to play everything from God Bless America to Mozart. Harvey was trying to play as well as he could but his bow was going weak which threw his pitch off. Then he asked the guy in charge if play the National Anthem in honor of those that died in 9/11 and those still trapped in rubble.
- 4. FIGHTING FOR THE 69TH REGIME
- 5. WORLD TRADE CENTER ANALYSIS • The CHARACTERs in World Trade Center are John MccLoughlin and Will Jimeno. In the movie, MccLoughlin and Jimeno get trapped under the rubble of the World Trade Center. The main conflict of the characters is that they are stuck under the rubble and do not know if they will make it out to see their families ever again. Another conflict is that they are so dehydrated and so, mentally and physically, tired that they do not know if they are going to live. However they are motivated to stay alive so that they can see their families again. Jimeno’s personal motivation to stay alive is that he wants to tell his wife that they should name their unborn baby Olivia, which Jimeno and his wife talked about earlier in the movie. MccLoughlin’s personal motivation to stay alive was so that he could take his youngest to his first major league baseball game. The two’s goal was to stay alive and to keep each other alive.
- 6. WORLD TRADE CENTER ANALYSIS • Plot: Like any other day, SGT John McLoughlin's squad was patrolling the city of New York. They were doing their normal everyday jobs when they were paged and told to go to the station. When the squad arrived, other officers were already there and they were watching the news. The news report said that a commuter plane flew into Tower 1 of the World Trade Center. McLoughlin said if your name was called that you were going to the Trade Center to help. He called his squad, put them on a bus and sent them to the building. When they arrived, McLoughlin asked for volunteers to go into the building to go help with the rescue relief, the others would help outside. Will was the first one to volunteer, then three others followed. When they entered the building, they got plenty of supplies because they knew they would need oxygen. While they were on their way up, they see a group of firemen, they didn't understand why they were leaving so they asked them. The firemen were told to head to building two. McLouglin was confused and asked that was going on. Another plane crashed into the Trade Center. When this happened, Tower 1 began to collapse.They ran to the elevator shaft but they were completely cover in debris. The conditions were horrible. Fire was following, it was so hot their guns were going off. Only 2 men survived. Will and McLoughlin. They talked to each other the whole time to make sure that they stood awake. They kept reminscing about their families, and that's was kept them alive. Will started making noises, and the Marines heard him. It took for ever to get them out, but they eventually did. Both of their families cried tears of joy because they were alive.
- 7. WORLD TRADE CENTER ANALYSIS • Motivation: Throughout the movie, the main characters McLoughlin and Will have flashbacks of their family. Their family and the friendship they were building with eachother kept them alive. If it wasn't for the flashback of McLoughlin's wife telling him that she was expecting their 4th child, and Will's wife being pregnant also, they wouldn't have made it. They kept eachother up just so they could stay alive for their family. At the end of the movie, when McLoughlin finally makes it to the hospital and sees his wife he tells her that she kept him alive. Their families were their motivation. They wanted to make it out of this tragic event so they could continue to live for them
- 8. PICTURES FROM GROUND ZERO
- 9. WORLD TRADE CENTER TRAILER • http://www.youtube.com/watch?v=kU738srDJRY
- 10. HEROES JOURNEY: WORLD TRADE CENTER • The Ordinary World: On September 11th, SGT John McLoughlin and his squad were patrolling the streets of New York City like every other day. Then they got a call saying that they needed to head back to head quarters. • http://www.youtube.com/watch?v=oG58-Vs838 • Call to Adventure: When the police arrived at headquarters they turned on the tv to see that a plane had flew into the World Trade Center. When SGT McLoughlin walked in the room he started announcing names. Those whose named were called were going to be heading to the World Trade Center to help. • Refusal of the Call: The police chief had a list of names and before he calls out the names, you could see the fear in their eyes. Once they get to the building they see people jumping out of the tower, and again they are second guessing themselves again. When they arrived at the Trade Center, McLoughlin asked for volunteers to go with him into the building. Although they were terrified, a few volunteered to go. • https://www.youtube.com/watch?v=IeFdeC6ukDY
- 11. HEROES JOURNEY: WORLD TRADE CENTER • Meeting the Mentor: MccLoughlin is walking with the group of men in Tower One. They plan to go up the elevator shafts because McLoughlin says that people will be trapped in the elevators. Then, they hear another explosion and McLoughlin yells for them to run to the elevator shaft. • https://www.youtube.com/watch?v=lPCt2BBqR2k • Crossing the Threshold: Tower One comes down on them. The men get trapped in the debris. They have so many difficulties while they’re trapped. From falling rocks, to them getting burned by fire. They are in so much pain because they have gigantic rocks crushing their bodies. • https://www.youtube.com/watch?v=eHx-v7Xto7E • Test, Allies, and Enemies: While trapped only Will and McLoughlin survived. The others die from their injuries. They try their best to keep each other awake so they won’t fall asleep and never wake up again. They each keep having flashbacks of their families. • https://www.youtube.com/watch?v=ja4l7-L7n6M
- 12. HEROES JOURNEY: CONT • Approach: Their major challenge is staying alive. They try so hard to remain awake because they want to be there for each other and they want to see their wives and children again. • The Reward: After being trapped over night. Will starts making noises. They see a light. They both start yelling and the Marine volunteers hear them. Will is so happy that they are going to be rescued that he starts crying. • https://www.youtube.com/watch?v=wEnaRGQc8Ls • The Road Back: McLoughlin’s friend calls his wife and tells her that they have found him alive. Will’s wife also gets the call. They are excited and cry tears of joy. They begin to make their way to see their loved ones. • https://www.youtube.com/watch?v=2CEYOnJqPE4
- 13. HERO’S JOURNEY: CONT • The ressurection: After the marines find McLoughlin and Will, Will tells them not to leave them. The Marines tells them that they will not leave Will and McLoughlin and that they are their mission. it takes so much time to free them. After a lot of hard work, they finally freed Will. When Will made it out, he asked a volunteer where the towers were... He had to tell them that they were gone. They are under a lot of debris, especially McLoughlin. He was there over night. • https://www.youtube.com/watch?v=VDU2I4kxPY8 • Return with the Elixir: After hours, the Marines finally reach McLoughlin. He is rescued and rushed to the hospital. When he arrives his wife meets him there. She cried tears of joys and rushes to his side. When he sees her, he tells her that she kept him alive. McLoughlin Will's flashbacks helped them get through it. The flashbacks of their families reminded them that they had something to live for. • https://www.youtube.com/watch?v=cagsLW2dKTI
- 14. HERO’S JOURNEY: “PLAYING FOR THE FIGHTING 69TH” • Ordinary World: Harvey is a Juilliard Student that plays the violin. • Call to Adventure: Harvey is asked by a man to play for some volunteers that have just come from Ground Zero, who were offered massages for volunteering. • Refusal of the Call: Harvey is a little wary about going to play. • Crossing the Threshold: Harvey gets up there and has no music in order to play. • Test, Enemies, and Allies: Harvey plays everything off the top of his head. He plays so much that he cannot move his arms but wants to play one last song. • Reward: He plays the National Anthem, all the soldiers soluted him as he played. Then they all thanks him, even though he did not play at his best.
- 15. BASIS OF COMPARISON • In the short story and the movie, both of the main characters have similar struggles. In the movie, MccLoughlin and Will are trapped under the rubble of Tower 1, at the World Trade Center. Their struggle is staying alive long enough for someone to hear and find them. Their goals were to make it back to their families, that were waiting not knowing if their husbands/fathers were still alive or not. In "Playing for the Fight Sixty-Ninth" Harvey is asked to play for volunteers coming from Ground Zero. Harvey's struggle was that he wasn't playing to the best of his ability from playing so long. Harvey's goal was to get through each song with it sounding somewhat decent.
Wednesday, July 08, 2015
Recital from Mumbai
I've uploaded the videos for nearly everything on my recital with pianist Tatyana Dichenko from last month at the Mehli Mehta Music Foundation in Mumbai, India. Please check it out at the links below.
L’Escarpolette (Swing Song), by Ethel Barns (1874-1948)
Deep River, arr. Maud Powell, by Samuel Coleridge-Taylor (1875-1912)
Alt-Wien, arr. Jascha Heifetz, by Leopold Godowsky (1870-1938)
Hopak, arr. Sergei Rachmaninov, by Modest Mussorgsky (1839-1881)
Poem, arr. Jan Kubelik, by Zdenko Fibich (1850-1900)
Hexentanz, by Franz Drdla (1869-1944)
Oblivion, by Astor Piazzolla (1921-1992)
Bollywood Selections, arr. for unaccompanied violin by William Harvey
“Yeh zindagi” from Anarkali
“Chalte chalte” from Pakeezah