Bolero is a form of slow-tempo Latin music and its associated dance and song. There are Spanish and Cuban forms which are both significant and which have separate origins.

The term is also used for some art music. In all its forms, the bolero has been popular for over a century.

Spain

The bolero is a 3/4 dance that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana. Dancer Sebastiano Carezo is credited with inventing the dance in 1780. It is danced by either a soloist or a couple. It is in a moderately slow tempo and is performed to music which is sung and accompanied by castanets and guitars with lyrics of five to seven syllables in each of four lines per verse. It is in triple time and usually has a triplet on the second beat of each bar.

Cuba

In Cuba, the bolero is perhaps the first great Cuban musical and vocal synthesis to win universal recognition. In 2/4 time, this dance music spread to other countries, leaving behind what Ed Morales has called the "most popular lyric tradition in Latin America".

The Cuban bolero tradition originated in Santiago de Cuba in the last quarter of the 19th century; it does ''not'' owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning their living by singing and playing the guitar.

"Pepe" Sanchez (born José Sánchez at Santiago de Cuba, 1856–1918) is known as the father of the ''trova'' style and the creator of the Cuban bolero. Untrained, but with remarkable natural talent, he composed numbers in his head and never wrote them down. As a result, most of these numbers are now lost, but two dozen or so survive because friends and disciples wrote them down. He was the model and teacher for the great trovadores who followed.

The Cuban bolero traveled to Mexico and the rest of Latin America after its conception, where it became part of their repertoires. Some of the bolero's leading composers have come from nearby countries, most especially the prolific Puerto Rican composer Rafael Hernández; another example is Mexico's Agustín Lara. Some Cuban composers of the bolero are listed under Trova.

Bolero fusions

José Loyola comments that the frequent fusions of the bolero with other Cuban rhythms is one of the reasons it has been so fertile for such a long period of time: :"La adaptación y fusión del bolero con otros géneros de la música popular bailable ha contribuido al desarrollo del mismo, y a su vigencia y contemporaneidad."

:(The adaptation and fusion of the bolero with other types of popular dance music has contributed to their development, and to its validity and modernity)

This adaptability was largely achieved by dispensing with limitations in format or instrumentation, and by an increase in syncopation (so producing a more afrocuban sound). Examples would be:

Bolero in the ''danzón'': the advent of lyrics in the danzón to produce the ''danzonete''.

The ''bolero-son'': long-time favourite dance music in Cuba, captured abroad under the misnomer 'rumba'.

The ''bolero-mambo'' in which slow and beautiful lyrics were added to the sophisticated big-band arrangements of the mambo.

The ''bolero-cha'': many Cha-cha-cha lyrics come from boleros.

The lyrics of the bolero can be found throughout popular music, especially Latin dance music.

Ballroom dance

International ballroom

A version of the Cuban bolero is danced throughout the Latin dance world (supervised by the World Dance Council) under the misnomer 'rumba'. This came about in the early 1930s when a simple overall term was needed to market Cuban music to audiences unfamiliar with the various Cuban musical terms. The famous ''Peanut Vendor'' was so labelled, and the label stuck for other types of Cuban music.

In Cuba, the bolero is usually written in 2/4 time, elsewhere often 4/4. The tempo for dance is about 120 beats per minute. The music has a gentle Cuban rhythm related to a slow ''son'', which is the reason it may be best described as a bolero-son. Like some other Cuban dances, there are three steps to four beats, with the first step of a figure on the second beat, not the first. The ''slow'' (over the two beats four and one) is executed with a hip movement over the standing foot, with no foot-flick.

American Rhythm

In the dance known as Bolero is one of the competition dances in American Rhythm ballroom dance category. The first step is typically taken on the first beat, held during the second beat with two more steps falling on beats three and four (cued as "slow-quick-quick"). In competitive dance the music is in 4/4 time and will range between 96 to 104 bpm. This dance is quite different from the other American Rhythm dances in that it not only requires cuban motion but rises and falls such as found in waltz and contra body movement. Popular music for this dance style need not be latin in origin. Lists of music used in competitions for American Rhythm Bolero are available.

In art music

There are many so-called boleros in art music (i.e., classical music) that may not conform to either of the above types.

Ravel's ''Boléro'' is one of his most famous works, originally written as a ballet score for his patron Blanche Lapin or commissioned by Ida Rubinstein, but now usually played as a concert piece. It was originally called ''Fandango'' but has rhythmic similarities with the Spanish dance form as described in this article, being in a constant 3/4 time with a prominent triplet on the second beat of every bar.

Chopin wrote a bolero for solo piano (Op. 19), but its rhythms are more that of the polonaise. He was a close friend of Pauline Viardot, the daughter of the famed Spanish tenor Manuel García, who had introduced the bolero to Paris

Debussy wrote one in ''La Soirée dans Grenada''

Bizet wrote a bolero in ''Carmen''

Saint-Saëns wrote a bolero, ''El desdichado'', for 2 voices and orchestra

Moszkowski's first set of Spanish Dances (Op. 12) ends with a bolero.

Lefébure-Wély wrote ''Boléro de Concert'' for organ

The bolero from Hervé's ''Chilpéric (operetta)'' has been immortalized in Toulouse-Lautrec's famous painting (above).

Friedrich Baumfelder wrote a Premier Bolero, Op. 317, for piano.

In some art music boleros, the root lies not in the bolero but in the habanera, a Cuban precursor of the tango, which was a favourite dance rhythm in the mid-19th century, and occurs often in French opera and Spanish zarzuela of the 19th and 20th centuries.

In popular music

The bolero form is used in the following instrumentals:

"Beck's Bolero," from the 1968 album ''Truth'' by Jeff Beck.

"Chunga's Revenge," from the 1970 album of the same name by Frank Zappa.

"Bolero: The Peacock's Tale," part of the "Lizard" suite from the 1970 album ''Lizard'' by King Crimson.

"Abaddon's Bolero," from the 1972 album ''Trilogy'' by Emerson, Lake & Palmer.

"Tenth of Nisan," from the 1989 album ''One of Several Possible Musiks'' by Kerry Livgren.

"Celtic Bolero," from the album ''Bagrock to the Massess'' by The Red Hot Chili Peppers.

Notes

References

See also

Fandango

Sevillanas

Chamarrita

Waltz

Bourrée

External links

Lefebure-Wely: "Bolero de concert" for organ">Louis Alfred James Lefebure-Wely: "Bolero de concert" for organ (mp3)

Category:Cuban music Category:Cuban styles of music Category:Cuban music history Category:Mexican music Category:Spanish music Category:Ballroom dance Category:Latin dances Category:Latin music Category:Triple time dances

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Christoph Eschenbach (), born February 20, 1940, Breslau, Germany (now Wrocław, Poland) is a German-born pianist and conductor. He currently holds positions in Washington, D.C. as music director of the National Symphony Orchestra and music director of the John F. Kennedy Center for the Performing Arts.

Early life

Eschenbach's parents were Margarethe (née Jaross) and Heribert Ringmann. He was orphaned during World War II. His mother died giving birth to him; his father, a politically active anti-Nazi, was sent to the Eastern front as part of a Nazi punishment battalion where he was killed. As a result of this trauma, Eschenbach did not speak for a year, until he was asked if he wanted to play music. Wallydore Eschenbach (née Jaross), his mother's cousin, adopted him in 1946 and began to teach him to play the piano. At age 11, he attended a concert conducted by Wilhelm Furtwängler which had a great impact on the youngster. In 1955 Eschenbach enrolled at the Musikhochschule in Cologne, studying piano with Hans-Otto Schmidt-Neuhaus and conducting with Wilhelm Brückner-Rüggeberg.

Musical career

As a pianist, Eschenbach has won numerous first-place piano competition prizes, including first prize in the Clara Haskil Competition in Vevey, Switzerland in 1965. In 1964, he made his first recording (of Mozart) for Deutsche Grammophon and signed a contract with the label. Eschenbach continued to study conducting with George Szell, with whom he worked for more than three years. In addition, Herbert von Karajan was his mentor for nearly twenty-five years.

In 1981, Eschenbach became principal guest conductor of the Tonhalle Orchestra Zurich, and was chief conductor from 1982 to 1986. Other posts have included Music Director of the Houston Symphony Orchestra (1988–1999), where he now holds the title of Conductor Laureate; co-artistic director of the Pacific Music Festival, from 1992 to 1998; chief conductor of the NDR Symphony Orchestra, Hamburg (1998–2004); and music director of the Ravinia Festival, summer home of the Chicago Symphony Orchestra (1994–2005). In addition, he was artistic director of the Schleswig-Holstein Musik Festival from 1999 until 2003. Since 2000, Eschenbach has been the Music Director of the Orchestre de Paris; in May 2007, it was announced that Eschenbach would conclude his tenure with the Orchestre de Paris in 2010. In addition, from 2003 till 2008 Eschenbach was the Music Director of the Philadelphia Orchestra. In 2010 he assumed his position as Music Director of both the National Symphony Orchestra and the Kennedy Center for Performing Arts in Washington, D.C.

Christoph Eschenbach has made more than 80 recordings as piano soloist, conductor, or both, has appeared in several television documentaries, and has made many concert broadcasts for different European, Japanese and U.S. networks.

Having received great mentoring guidance in his early years as a conductor through both Herbert von Karajan and George Szell, Eschenbach is credited with helping and supporting talented young musicians in their career development, including soprano Renée Fleming, pianists Tzimon Barto and Lang Lang, cellists Claudio Bohórquez, and Daniel Müller-Schott, and soprano Marisol Montalvo.

Houston Symphony

Eschenbach was music director of the Houston Symphony Orchestra from 1988 to 1999. In that period, he has been credited with enhancing the symphony's both in terms of national and international prominence and well as musical quality. The orchestra toured Japan and Europe under his tenure as well made several recordings with Koch International Classics and RCA. Eschenbach's era was marked by a strong relationship with the musicians, who admired him on and off the stage.

Yet the most pronounced characteristic of Eschenbach's tenure has been the continuing worship of him by the orchestra's musicians. "He's the kind of person who inspires absolute loyalty," said Fliegel, who ticked off some of the things that have made Eschenbach so unusual. "With him all rehearsals are special. They're so instructive." Eschenbach always seems to find a new detail to emphasize or a new insight to impart, even with pieces everyone has played many times.

The musicians have also adored Eschenbach's sensitivity to them as human beings. In the months before Fliegel retired in September 1995, for example, his wife was seriously ill; Eschenbach showed great sensitivity to Fliegel's schedule in caring for her. ...

The Houston Symphony has had an extraordinary list of music directors during Fliegel's association with the orchestra, but Fliegel ranks Eschenbach first.

In honor of his many achievements and tenure with the Houston Symphony, the City of Houston placed a bronze commemorative star with his name in front of Jones Hall, the performance home of the Houston symphony.

Philadelphia Orchestra

Eschenbach was named the seventh Music Director of The Philadelphia Orchestra, effective as of 2003. Some considered this a controversial appointment because, at the time of the announcement, Eschenbach had not conducted the orchestra in over 4 years and there was a perceived lack of personal chemistry between him and the musicians prior to the appointment. One musician from the orchestra had stated, after the announcement:

"'When this announcement was proclaimed after a half-hour meeting with us, there wasn't applause; there was criticism,' recalled a musician with the Philadelphia Orchestra. 'One member of the search committee got up and said, "You'll see, you'll like him."

'The orchestra was taken aback by the attitude because there was no meeting to verify what we thought,' the musician said. 'There was no chemistry with Eschenbach. He hasn't conducted us in four or five years and 20 to 30 persons had never played with him.'"

In a 2004 article, Eschenbach tried to downplay such statements, and noted his own particular style of interpretation:

"I prefer to have flexible tempos and not be fixed. Quicker tempos tend to court superficiality."

Partway into his tenure, his initial 3-year contract was renewed to 2008.

However, in October 2006, the orchestra and Eschenbach announced that he would conclude his tenure in Philadelphia at the close of the 2007-2008 season. In the weeks prior to his departure, ''Philadelphia Inquirer'' music critics Peter Dobrin and David Patrick Stearns had contrasting articles whether or not he should be retained, with Dobrin suggesting that Eschenbach should move on and Stearns arguing that Eschenbach should remain. Other harsh criticism of Eschenbach's tenure in Philadelphia has been aired.

Following the announcement, Dobrin in the ''Inquirer'' wrote that Eschenbach's tenure in Philadelphia has been difficult for many musicians:

"In three seasons, Eschenbach and the orchestra have produced a handful of brilliant concerts. More often, though, his rehearsals and performances have elicited a long list of complaints from musicians: getting lost in the score at concerts; leading disorganized rehearsals and then asking for overtime; and insisting on a peculiar rushing and slowing of tempos."

The paper also cited a number of accomplishments including a new recording contract and the appointment of nine musicians, four of whom were principals. In addition, Eschenbach has received praise for his work in fund-raising for the orchestra.

Following the announcement and Dobrin's ''Inquirer'' article, The Philadelphia Orchestra Association posted a letter on its website, dated 27 October 2006, which also was sent by e-mail to orchestra patrons. A quote from this letter condemned Dobrin's criticism:

"We, and many in the community, feel that in recent press coverage there have been personal attacks on Maestro Eschenbach, along with negative innuendo about his relationship with The Philadelphia Orchestra. ...These types of comments about Maestro Eschenbach and our orchestra are ridiculous, offensive and defamatory. Our entire orchestra family is profoundly disappointed when reporters report the news in such an ungracious way."

Dobrin, in turn, responded in a 29 October 2006 ''Philadelphia Inquirer'' article by quoting one of his 2001 ''Inquirer'' articles around the time of the Eschenbach announcement:

"....let me quote from something I wrote in March 2001 that might be an important reminder about how we got to this dangerous place:

''It hit many musicians like the dull thud of pragmatism, this decision in January to hire Eschenbach as the orchestra's seventh music director, starting in September 2003. At a meeting announcing the decision, players responded with silence. No applause, no excited stamping of feet. Silence. And then the resentment poured forth.

One musician used the word "underwhelmed." Another said he felt "betrayed."...''

This contrasts with earlier reports of how the musicians "had input" in the choice of the previous Philadelphia music director, Wolfgang Sawallisch. In addition, the new orchestra president (as of 2006), James Undercofler, had spoken with orchestra musicians, and had told Eschenbach this summary of his discussions with them:

"-that 80 percent of the musicians did not agree with his artistic interpretations;
-that 80 percent of the musicians left concerts feeling great anger;
-and that the orchestra was a "ticking time bomb."

In an article by Cragg Hines in the newspaper ''The Washingtonian'' on December 1, 2009 Eschenbach was quoted:

"They said there was a survey of the whole orchestra and more than 80 percent of the orchestra was against me. I asked the management 'was that true?' and was told, ‘Yes, it's true.' It was not true at all. As I found out a little later, this survey never happened [...] All of the musicians regretted very, very much that [it] was reported like this."

In a 2007 article, Mark Swed of the ''Los Angeles Times'' has written about the Eschenbach/Philadelphia Orchestra situation:

"{Eschenbach} is one of the world's finest musicians and widely recognized as such. He has ideas. He has sophisticated tastes. He is cosmopolitan. He is an exciting interpreter. Colleagues speak of him warmly, and he is a favorite accompanist for singers.....So what's wrong? Just about everything. It is well known that the orchestra opposed the hiring of Eschenbach. He hadn't conducted in Philadelphia for five years when the appointment was made, and a memo was leaked to the press with 75 players' signatures asking management to hold off any decision until the orchestra got a chance to work with him. From the beginning, the relationship started off on the wrong foot...But the Philadelphia orchestra has not been exactly transformed by Eschenbach. I've been hearing reports of players looking bored onstage. Audiences walk out during performances. Even two years ago, at my last visit to Verizon Hall, the atmosphere was palpably unpleasant."

In a June 2007 article, Stearns reported Eschenbach as commenting on the Philadelphia Orchestra management as follows:

"The management in both cases [Paris and Philadelphia], I'm sorry to say, is amateurish"...."The management knows what I think ... it's not a secret".

In a July 2007 article, Dobrin emphasized that the problems in the Eschenbach/Philadelphia Orchestra relationship were not related to personality, but rather to musical quality:

"While many refuse to believe it, the factor that has undermined Christoph Eschenbach's tenure is not personality. He's a lovely guy; he and the players have a cordial off-stage relationship. The problem is the music. If 80 percent of the musicians leave concerts angry - as Eschenbach told players that president James Undercofler had told him - that's corrosive to the music and the institution."

In August 2007, the orchestra announced extended guest-conducting periods for Eschenbach with the ensemble in the 2008-2009 and 2009-2010 seasons, after the scheduled conclusion of his tenure as music director.

Philadelphia Orchestra European tour

Prior to the announcement of Eschenbach's departure from Philadelphia, Eschenbach and the Philadelphia Orchestra received both positive and negative reviews during the Orchestra's European Festivals Tour in 2006.

"The members of The Philadelphia Orchestra played as though their lives depended on it. The strings are both sturdy and responsively supple to Eschenbach's calculated spontaneity; their woodwind soloists, particularly the liquid-amber principal clarinet, are to die for."

"[In Hamburg, Eschenbach] was in what might be called Leopold Stokowski mode, drawing out climaxes with apparent spontaneity, sometimes reaching a nearly unbearable state of tension, and handling the tricky transitions with a daring that bordered on brinksmanship."

"The Philadelphia Orchestra, under its Music Director, Christoph Eschenbach, commended itself completely unostentatiously as one of the leading orchestras not only of America, but of the world... One listens to this masterfully delicate playing in near amazement... They are masters of sound."

"Christoph Eschenbach's monumentally slick account of Beethoven's Fifth took the shock of the new out of the shock of the old...The sense of striving in the piece was nowhere. It sat smugly, contentedly, in a comfort zone of its own making.....{Tchaikovsky's Symphony No. 5} was rendered merely showy by Eschenbach's portentousness."

"Christoph Eschenbach....evinced a passion that was communicated through the orchestral playing as well. In Tchaikovsky's Fifth, there was a mellifluous continuity of thought....In Beethoven's Fifth, Eschenbach exercised similarly good judgment."

"Christoph Eschenbach...gave this over-familiar classic {Beethoven's Symphony No. 5} newly minted status in a reading that never overstepped the line between vehemence and exaggeration.....Tchaikovsky's Fifth followed: the playing reinforced the Philadelphia's reputation as a virtuoso ensemble, with a particularly fine exposition of the second movement's famous horn solo. But Eschenbach's interpretation was less secure, inconsistently maintaining the level of nervous energy needed to fire the symphony's momentum and motivate its grand rhetoric."

"The sound this orchestra makes is legendary...Whether the results are so convincing interpretatively is another matter. The articulation in Beethoven's Fifth Symphony was vigorous, if not downright oppressive....A predilection for idiosyncratic gestures became even more pronounced in Eschenbach's reading of Tchaikovsky's Symphony No. 5 in E minor.....Such idiosyncrasies are unexceptionable, even welcome, when well motivated and provoke reappraisal. Here they seemed perverse....Great sound. Shame about the rest."

National Symphony Orchestra (United States)

On September 25, 2008, the National Symphony Orchestra announced that Eschenbach would become the orchestra's sixth music director in the 2010-11 season, though he is scheduled to conduct subscription concerts and auditions earlier. He was also named to the newly created post of music director of the Kennedy Center.

Honours and awards

Eschenbach was made a ''Chevalier'' (knight) of the French ''Ordre des Arts et des Lettres'', presented by French Culture Minister Renaud Donnedieu de Vabres in June 2006; in October 2002, he was present with the ''Legion d'honneur'' by French President Jacques Chirac; and in August 2002, the Officer's Cross with Star and Ribbon of the ''Verdienstorden der Bundesrepublik Deutschland'', and the Commander's Cross in 1993. He received the Leonard Bernstein Award (1993) presented to him by the Pacific Music Festival, where he served as co-artistic director from 1992 to 1998.

References

Further reading

Hines, Cragg. "Making Musicians Play Like Devils & Angels", ''Washingtonian'', December 1, 2009.

External links

Christoph Eschenbach official website

Ondine biography of Christoph Eschenbach

Category:1940 births Category:German classical pianists Category:German conductors (music) Category:Living people Category:People from Wrocław Category:Texas classical music Category:Officers Crosses of the Order of Merit of the Federal Republic of Germany Category:Chevaliers of the Ordre des Arts et des Lettres Category:Chevaliers of the Légion d'honneur Category:Hochschule für Musik und Theater Hamburg

de:Christoph Eschenbach es:Christoph Eschenbach fr:Christoph Eschenbach ko:크리스토프 에셴바흐 it:Christoph Eschenbach he:כריסטוף אשנבאך ja:クリストフ・エッシェンバッハ pt:Christoph Eschenbach ru:Эшенбах, Кристоф fi:Christoph Eschenbach sv:Christoph Eschenbach uk:Крістоф Ешенбах zh:克里斯托弗·埃申巴赫

name	André Rieu
background	non_vocal_instrumentalist
birth name	André Léon Marie Nicolas Rieu
birth date	October 01, 1949
origin	Maastricht, Holland
instrument	Violin
genre	Waltz
occupation	Conductor, violinist
years active	1978–present
label	Denon Records , Philips
website	www.andrerieu.com
notable instruments	Stradivarius violin (1667) }}

André Léon Marie Nicolas Rieu (born 1 October 1949) is a Dutch violinist, conductor, and composer best known for creating the waltz-playing Johann Strauss Orchestra.

Early life and studies

André Rieu was born into a Christian musical family, on 1 October 1949 in Maastricht in Holland. The name Rieu is of French Huguenot origin. He began studying violin at the age of five. His father, of the same name, was conductor of the Maastricht Symphony Orchestra. From a very young age he developed a fascination with orchestra. He studied violin at the Conservatoire Royal in Liège and at the Conservatorium Maastricht, (1968–1973). His teachers included Jo Juda and Herman Krebbers. From 1974 to 1977, he attended the Music Academy in Brussels, studying with André Gertler, getting his degree "Premier Prix" from the Brussels Royal Conservatory.

Career

At University he performed the ''Gold And Silver Waltz'' by Franz Lehár. Encouraged by the audience reaction he decided to pursue the waltz form. Rieu formed the Maastricht Salon Orchestra and performed as a violinist with the Limburg Symphony Orchestra. In 1987, he created the Johann Strauss Orchestra and his own production company. Since then, his melodramatic stage performances and rock-star demeanor have for some been associated with a revival of the waltz music category. André Rieu plays a 1667 Stradivarius violin.

In April 2009 (Australia)/June 2009 (UK), he made a cameo appearance as himself on "Ramsay Street" in the long-running Australian soap opera ''Neighbours''.

Johann Strauss Orchestra

The Orchestra began in 1987 with 12 members but now performs with between 40 and 50 musicians. At the time the Orchestra first toured Europe, there emerged a renewed interest in waltz music. The revival began in the Netherlands and was ignited by their recording of the ''Second Waltz'' from Shostakovich's ''Jazz Suites''. As a result, Rieu became known as the waltz King.

Rieu and his orchestra have performed throughout Europe, in North America, and Japan. Winning a number of awards including two World Music Awards, their recordings have gone gold and platinum in many countries, including 8-times Platinum in the Netherlands. In September 2007 Rieu performed in Australia for the first time solo, without his Orchestra at the Eastland shopping centre in the Melbourne suburb of Ringwood playing "My Way" and "Waltzing Matilda"—and the next day appeared at Sydney's Arena Cove, Warringah Mashopping with the same set. Rieu and orchestra returned to Australia in November as part of his world tour. Rieu and his orchestra played 3 concerts at Melbourne's Telstra Dome from 13–15 November and continued their tour throughout Perth, Sydney, Brisbane and Adelaide, through to December 2008. The concert theme is 'A Romantic Vienna Night' and the set comprises a life-size reproduction of the Viennese imperial Schönbrunn Palace, complete with 2 ice-skating rinks, 2 Fountains, and a ballroom dance floor situated above and behind the Orchestra. Rieu's largest concert attendance to date in Australia was 38,000 on Saturday 15 November in Melbourne. The Perth concert did not feature the replica of the Viennese Palace as it was stated in the press because it would not fit into the front doors of Subiaco Oval.

He records both DVD and CD repertoire at his own recording studios in Maastricht in a wide range of classical music as well as popular and folk music plus music from well-known soundtracks and musical theatre. His lively orchestral presentations, in tandem with incessant marketing, have attracted worldwide audiences to this subgenre of classical music.

Some of his orchestra's performances have been broadcast in the United Kingdom and the United States on the PBS television network such as the 2003 airing of ''Andre Rieu Live in Dublin'', filmed in Dublin, Ireland, and 2005's ''André Rieu Live in Tuscany'' filmed in the Piazza Della Repubblica in the village of Cortona in Tuscany.

Reception

Rieu's recorded music and live performances have been a cause of controversy in the music and popular press. He has attracted criticism from the artistic director of the Australian Chamber Orchestra, Richard Tognetti, who called Rieu's music Schlagermusik, among other things.

Eamon Kelly writing in ''The Australian'' newspaper, in an article that discusses the controversy that Rieu engenders, said: "He depicts his critics as members of a stuffy musical elite with narrow aesthetic tastes, yet regularly demeans in interviews music that is not to his taste and classical musicians who choose not to perform in his manner."

Of Rieu's popularity and the debate in the media over criticism of him, Eamon Kelly says:

It is disappointing to see professional journalists indulging in cheap, inaccurate stereotypes to dismiss criticism of Rieu.

But he goes on to add:

Equally misguided are those who cursorily dismiss Rieu. Rieu's live and recorded performances have brought joy to millions of people. Few in his audiences are regular classical music attendees and it could be seen as promising that, via Rieu, they are listening to standards of the classical canon. The fact that Rieu's focus is on highly accessible, enjoyable repertoire is not an argument against his musical credentials.

Eamon Kelly further adds, after hearing the orchestra perform, that there is "no cause" for Rieu's boast his orchestra was "superior to the many other orchestras that specialise in ... Viennese and popular classical repertoire." Additionally, he found that in musical terms "the performance did not surpass playing standards in Australia's major symphony orchestras". He did add that the "oboist, Arthur Cordewener, provided the most impressive musical performance with a sublime introduction to an otherwise unremarkable performance of [Ravel's] ''Boléro''."

David Templeton, writing in the magazine ''All Things Strings'' says:

Ironically, it is Rieu’s own success that has earned him a horse-drawn carriage full of criticism, a pot-shot laden backlash aimed chiefly at the calculated emotionalism and theatrical flourishes of his performances, which, according to many, only cheapen the classical-music experience. Classical radio stations avoid his music as they might avoid a leper in the mall, though—let’s just say it plain and clear—Rieu is a superb violinist.

Chris Boyd, a critic writing for Melbourne's ''Herald Sun'' newspaper, finds that he could not give a general criticism of the playing of Rieu, as, except for "a clean and lyrical solo in ''Waltzing Matilda''", his main stage function was apparently "blarney and delegation". However, Boyd also comments that the quality of the artists that Rieu works with is "extraordinary". Boyd assesses the low points of the concert as the "Three Tenors-style" rendition of "Nessun dorma" which he finds was an "abomination", while saying the concert's highlights included "a sugar-shock sweet rendition" of "O mio babbino caro" as well as Strauss's ''Emperor Waltz'' and ''Blue Danube'', Clarke's ''Trumpet Voluntary'' and the ''Boléro''.

Personal life

He is married to Marjorie, who works with him full-time as production manager, and has two sons, Marc and Pierre. He speaks (in order of fluency) Dutch, English, German, French, Italian and Spanish.

Honours

Knight of the Order of the Netherlands Lion (Netherlands, 2002)

Honorary Medal of the Province of Limburg (Netherlands, 2009)

Knight of the Ordre des Arts et des Lettres (France, 2009)

== Selected discography ==

''Moonlight Serenade'' (2011) – Australian Albums: No.17

''You Raise Me Up – Songs for Mum'' (2010) – Australian Albums: No.8

''Forever Vienna'' (2009) – UK: #2, IRE: No.4

''The Best of André Rieu'' (2009) – Australian Albums: No.23

''Masterpieces'' (2009) – Australian Albums: No.9

''You'll Never Walk Alone'' (2009) – Australian Albums: No.2

''Live in Australia'' (2008) – Australian Albums: No.14

''Waltzing Matilda'' (2008) – Australian Albums: No.1

''The 100 Most Beautiful Melodies'' (2008) – Australian Albums: No.2

''Live in Dresden: The Wedding at the Opera'' (2008)

''In Wonderland'' (2007)

''Live in Vienna'' (2007)

''Auf Schönbrunn'' (2006)

''New York Memories'' (2006)

''Songs from My Heart'' (2005)

''Christmas Around the World'' (2005)

''Live in Tuscany'' (2004)

''The Flying Dutchman'' (2004)

''New Year's Eve in Vienna'' (2003)

''André Rieu at the Movies'' (2003)

''Live in Dublin'' (2003)

''Romantic Paradise'' (2003)

''Maastricht Salon Orkest – Serenata'' (2003)

''Love Around the World'' (2002)

''Dreaming'' (2002)

''Live at the Royal Albert Hall'' (2001)

''Musik Zum Träumen'' (2001)

''La Vie Est Belle'' (2000)

''Fiesta!'' (1999)

''100 Years of Strauss'' (1999)

''Romantic Moments'' (1998)

''Waltzes'' (1998, re-edited in November 1999)

''The Christmas I Love'' (1997)

''The Vienna I Love'' (1997)

''In Concert'' (1996)

''Strauss gala'' (1995)

''D'n blauwen aovond'' (1995)

''Hieringe biete 1 & 2'' (1995)

''Strauss & Co'' (1994)

''Hieringe biete'' (1993)

''Merry Christmas'' (1992)

''Romeo and Juliet Love Theme''

References

External links

André Rieu (official website)

Official André Rieu Facebook page

André Rieu on Twitter

Official André Rieu YouTube Channel

André Rieu's Official Australian website

André Rieu (C Music TV Biography)

The Magic of Andre Rieu

Category:1949 births Category:Living people Category:Dutch classical violinists Category:Dutch conductors (music) Category:Maastricht Academy of Music alumni Category:People from Maastricht Category:People of Huguenot descent Category:Chevaliers of the Ordre des Arts et des Lettres Category:Dutch people of French descent

ar:أندري ريو bg:Андре Рийо ca:André Rieu da:André Rieu de:André Rieu es:André Rieu fr:André Rieu hr:André Rieu it:André Rieu he:אנדרה ריו li:André Rieu hu:André Rieu nl:André Rieu ja:アンドレ・リュウ pl:André Rieu pt:André Rieu ru:Рьё, Андре sv:André Rieu war:André Rieu zh:安德烈·瑞欧

name	Maya Plisetskaya
birth place	Moscow, Soviet Union
occupation	ballerina
website	}}

Maya Mikhailovna Plisetskaya (, scientific transliteration: Majja Michajlovna Pliseckaja), born is a Russian ballet dancer, frequently cited as one of the greatest ballerinas of the 20th century. Maya danced during the Soviet era at the same time as the great Galina Ulanova, and took over from her as principal of the Bolshoi in 1960. Maya Plisetskaya is a naturalized Spanish and Lithuanian citizen.

Early life

Maya Plisetskaya was born in Moscow into a prominent Jewish family. She went to school in Spitsbergen, where her father worked as an engineer and mine director.

In 1938, her father, Michael Plisetski was executed during the Stalinist purges, possibly because he had hired a friend who had been a secretary to Leon Trotsky. Her mother Rachel Messerer-Plisetskaya (aka ''Ra Messerer''), a silent-film actress, was arrested and sent to a labor camp (Gulag) in Kazakhstan, together with Maya's seven-month old baby brother. Thereupon Maya was adopted by her maternal aunt, the ballerina Sulamith Messerer, until her mother was released in 1941.

Maya studied under the great ballerina of imperial school, Elizaveta Gerdt. She first performed at the Bolshoi Theatre when she had just turned 11 years of age. In 1943, she graduated from the choreographic school and joined the Bolshoi Ballet, where she would perform until 1990.

Career

From the beginning, Maya was a different kind of ballerina. She spent very short time in the corps de ballet after graduation and was quickly named a soloist. Her bright red hair and striking looks made her a glamorous figure on and off the stage. Her long arms had a fluidity that to this day remains unmatched; her interpretation of ''The Dying Swan'', a short showcase piece made famous by Anna Pavlova, became Maya's calling card. Maya was known for the height of her jumps, her extremely flexible back, the technical strength of her dancing, and her charisma.

Despite her acclaim, Maya was not treated well by the Bolshoi management. She was Jewish in an anti-Semitic climate, her family had been purged during the Stalinist era and her personality was defiant, so she was not allowed to tour outside the country for six years after joining the Bolshoi. It wasn't until 1959 that Nikita Khrushchev permitted her to travel abroad, and Plisetskaya could tour internationally. Her ability changed the world of ballet, setting a higher standard for ballerinas both in terms of technical brilliance and dramatic presence.

Maya's most acclaimed roles included Odette-Odile in ''Swan Lake'' (1947) and Aurora in ''Sleeping Beauty'' (1961). In 1958, she was honoured with the title of the People's Artist of the USSR and married the young composer Rodion Shchedrin, in whose subsequent fame she shared.

After Galina Ulanova left the stage in 1960, Maya Plisetskaya was proclaimed the ''prima ballerina assoluta'' of the Bolshoi Theatre. In the Soviet screen version of ''Anna Karenina'', she played Princess Tverskaya. In 1971, her husband the composer Rodion Shchedrin wrote a ballet on the same subject, where she would play the leading role. ''Anna Karenina'' was also her first attempt at choreography. Other choreographers who created ballets for her include Yury Grigorovich, Roland Petit, Alberto Alonso, and Maurice Béjart with "Isadora".

In the 1980s, Plisetskaya and Shchedrin spent much time abroad, where she worked as the artistic director of the Rome Opera Ballet in 1984–5, then the Spanish National Ballet of Madrid from 1987–9. At the age of 65, she finally retired from the Bolshoi as a soloist. On her 70th birthday, she debuted in Bejart's piece choreographed for her and entitled "Ave Maya". Since 1994, she has been presiding over the annual international ballet competitions called ''Maya''. In 1996 she was named President of the Imperial Russian Ballet.

She was forced to be member of the Anti-Zionist Committee of the Soviet Public by being threatened with having her passport revoked. When she traveled abroad in the 1960s, the Soviet secret police requested that she encourage the interest of Robert Kennedy.

On her 80th birthday, the ''Financial Times'' summed up current opinion about Maya in the following words: "She was, and still is, a star, ballet's ''monstre sacre'', the final statement about theatrical glamour, a flaring, flaming beacon in a world of dimly twinkling talents, a beauty in the world of prettiness." The following year, Emperor Akihito presented to her the Praemium Imperiale, informally considered a Nobel Prize for Art.

Later in life while touring in the United States she joined the fight for women's rights.

Awards and honors

Maya Plisetskaya has been honored on numerous occasions for her skills:

First prize, Budapest International Competition, 1949.

People's Artist of the RSFSR, 1951.

People's Artist of the USSR, 1959.

Anna Pavlova Prize, 1962.

Lenin Prize, 1964.

Hero of Socialist Labour, 1985.

Chevalier de la Légion d'honneur, 1986.

Triumph Prize, 2000.

Praemium Imperiale (in Hornor of Prince Takamatsu, Japan), 2006.

References

External links

Official site of the Plisetskaya-Shchedrin Foundation

The Washington Post's tribute to Maya's 80th birthday

Video: Excerpt from Maya's "Dance Studies"

Stellar ballerina's birthday 20 November 2010

The Ballerina Gallery - Maya Plisetskaya

le Gala des étoiles - Maya Plisetskaya

A national treasure - Maya Plisetskaya

Category:Prima ballerina assolutas Category:Russian ballet dancers Category:Spanish ballet dancers Category:People's Artists of the USSR Category:Lenin Prize winners Category:Spanish Jews Category:Russian Jews Category:Spanish people of Russian descent Category:1925 births Category:Living people Category:Order of Merit for the Fatherland recipients

be:Мая Міхайлаўна Плісецкая bg:Мая Плисецкая ca:Maia Plisètskaia cv:Плисецкая Майя Михайловна de:Maja Michailowna Plissezkaja et:Maia Plissetskaja es:Maya Plisétskaya fr:Maïa Plissetskaïa hy:Մայա Պլիսեցկայա it:Majja Michajlovna Pliseckaja kk:Майя Михайловна Плисецкая lt:Maja Pliseckaja nl:Maja Plisetskaja ja:マイヤ・プリセツカヤ pl:Maja Plisiecka qu:Maiya Plissezkaya ru:Плисецкая, Майя Михайловна sl:Maja Plisecka sr:Маја Плисецкаја fi:Maija Plisetskaja sv:Maja Plisetskaja uk:Плісецька Майя Михайлівна yi:מאיא פּליסעצקאיא

background	solo_singer
birth name	Geoffrey Arnold Beck
born	June 24, 1944Wallington, England
instrument	Guitar, bass, talk box, vocals, trumpet, drums, flute, contrabass
genre	Blues rock, jazz fusion, instrumental rock, hard rock, electronica, progressive rock
occupation	Musician, songwriter, actor
years active	1964-present
label	EMI, Epic (punch)
associated acts	The Yardbirds, The Jeff Beck Group, The Honeydrippers, Beck, Bogert & Appice, Stevie Ray Vaughan, Big Town Playboys, Upp, Eric Clapton, Duff McKagan
website
notable instruments	Fender Jeff Beck Signature Model StratocasterJeff Beck 1954 Les Paul Oxblood }}

Geoffrey Arnold "Jeff" Beck (born 24 June 1944) is an English rock guitarist. He is one of three noted guitarists, to have played with The Yardbirds. (Eric Clapton and Jimmy Page are the other two.) Beck also formed The Jeff Beck Group and Beck, Bogert & Appice.

Much of Beck's recorded output has been instrumental, with a focus on innovative sound and his releases have spanned genres ranging from blues-rock, heavy metal, jazz fusion and most recently, an additional blend of guitar-rock and electronica. Although he recorded two hit albums (in 1975 and 1976) as a solo act, Beck has not established or maintained a broad following or the sustained commercial success of many of his collaborators and bandmates. Beck appears on albums by Mick Jagger, Kate Bush, Roger Waters, Stevie Wonder, Les Paul, Zucchero, Cyndi Lauper, Brian May and ZZ Top. In 1988, he made a cameo appearance in the movie ''Twins''.

He was ranked 14th in ''Rolling Stone's'' list of the "100 Greatest Guitarists of All Time" and the magazine has described him as "one of the most influential lead guitarists in rock". He was also ranked second greatest rock guitarist of all time in Digital Dream Door, a site that ranks movies and music. MSNBC has called him a "guitarist's guitarist". Beck has earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times. He has been inducted into the Rock and Roll Hall of Fame twice: as a member of The Yardbirds (1992) and as a solo artist (2009).

Biography

Early life

}} Beck was born in 1944 to Arnold and Ethel Beck at 206 Demesne Road, Wallington, England. As a ten year old Beck sang in a church choir. As a teenager he learned to play a borrowed guitar and made several attempts to build his own instrument, first by gluing and bolting together cigar boxes for the body and an unsanded fence-post for the neck with model aircraft control-lines and frets simply painted on. When fabricating a neck for his next try he attempted to use measurements for a bass guitar.

Beck has cited Les Paul as the first electric guitar player who impressed him. Cliff Gallup, lead guitarist with Gene Vincent and the Blue Caps was an early musical influence, followed by B.B. King and Steve Cropper.

Upon leaving school he attended Wimbledon College of Art, after which he was briefly employed as a painter and decorator, a groundsman on a golf course and a car paint-sprayer. Beck's sister introduced him to Jimmy Page when both were teenagers.

Early career

Beck began his career in the 1960s. He joined "The Rumbles" a Croydon band in 1963 for a short period as lead guitarist, playing Gene Vincent and Buddy Holly songs, displaying a talent for mimicking guitar styles. His first appearance on vinyl was as a session guitarist on a 1964 Parlophone single by The Fitz and Startz entitled 'I'm Not Running Away' c/w 'So Sweet'.

In March 1965 Beck was recruited by The Yardbirds to replace Eric Clapton on the recommendation of fellow session man Jimmy Page, who had been their initial choice. The Yardbirds recorded most of their Top 40 hit songs during Beck's time with the band, which was short (but significant), allowing him only one full album, ''Yardbirds'' which became known as ''Roger the Engineer'', released in 1966. From September to November 1966 he shared lead guitar duties with Page, who initially joined as bass player in June of that year.

In February 1967, after recording the one-off "Beck's Bolero" (with Jimmy Page, John Paul Jones, Nicky Hopkins and Keith Moon) and two solo hit singles in the UK, "Hi Ho Silver Lining" and "Tallyman", Beck formed The Jeff Beck Group, which featured Rod Stewart on vocals, Ronnie Wood on bass, Nicky Hopkins on piano and, after a series of drummers, eventually Micky Waller.

The group produced two albums for Columbia Records (Epic in the US): ''Truth'' (August 1968) and ''Beck-Ola'' (July 1969). ''Truth'', released five months before the first Led Zeppelin album, features "You Shook Me", a song written and first recorded by Willie Dixon that was also covered on the Led Zeppelin debut. It sold well (reaching number 15 on the ''Billboard'' charts). ''Beck-Ola'', while well-received, saw drummer Micky Waller replaced by Tony Newman, and was less successful both commercially and critically. Resentment, coupled with touring incidents, led the group to dissolve in July 1969.

Nick Mason recalls in his autobiography that during 1967 Pink Floyd had wanted to recruit Beck to be their guitarist after the departure of Syd Barrett but "None of us had the nerve to ask him".

After the break-up of his group Beck took part in the ''Music From Free Creek'' "super session" project, billed as "A.N. Other" and contributed lead guitar on four songs, including one co-written by him. Next he teamed up with bassist Tim Bogert and drummer Carmine Appice, the rhythm section of Vanilla Fudge in September 1969, when Bogert and Appice came to England to resolve contractual issues, but when Beck fractured his skull in a car accident near Maidstone in December the plan was postponed for two-and-a-half years, during which time Bogert and Appice formed Cactus. Beck later remarked on the 1960s period of his life: "Everyone thinks of the 1960s as something they really weren't. It was the frustration period of my life. The electronic equipment just wasn't up to the sounds I had in my head.''

In 1970, when Beck had regained his health, he set about forming a band with drummer Cozy Powell. Beck, Powell and producer Mickie Most flew to the US and recorded several tracks at Motown Studios with Motown session men, but the results remained unreleased. By April 1971 Beck had completed the line-up of this new group with guitarist/vocalist Bobby Tench, keyboard player Max Middleton and bassist Clive Chaman. The new band performed as the "Jeff Beck Group" but had a substantially different sound from the first line-up. ''Rough and Ready'' (October 1971), the first album they recorded, on which Beck wrote or co-wrote six of the album's seven tracks (the exception being written by Middleton), included elements of soul, rhythm-and-blues and jazz, foreshadowing the direction Beck's music would take later in the decade.

A second album ''Jeff Beck Group'' (July 1972) was recorded at TMI studios in Memphis, Tennessee with the same personnel. Beck employed Steve Cropper as producer and the album displayed a strong soul influence, five of the nine tracks being covers of songs by American artists. One, "I Got To Have A Song", was the first of four Stevie Wonder compositions covered by Beck. Shortly after the release of the ''Jeff Beck Group'' album the band was dissolved and Beck's management put out the statement that: "The fusion of the musical styles of the various members has been successful within the terms of individual musicians, but they didn't feel it had led to the creation of a new musical style with the strength they had originally sought."

Beck then started collaborating with bassist Tim Bogert and drummer Carmine Appice, who became available following the demise of Cactus but continued touring as Jeff Beck Group in August 1972, to fulfil contractual obligations with his promoter, with a line-up including Bogert, Appice, Max Middleton and vocalist Kim Milford. After six appearances Milford was replaced by Bobby Tench, who was flown in from the UK for the ''Arie Crown Theatre'' Chicago performance and the rest of the tour, which concluded at the Paramount North West Theatre, Seattle. After the tour Tench and Middleton left the band and the power trio Beck, Bogert & Appice appeared: Appice took on the role of vocalist with Bogert and Beck contributing occasionally. They were included on the bill for ''Rock at The Oval'' in September 1972, still as the "Jeff Beck Group", which marked the start of a tour schedule of UK, the Netherlands and Germany. Another US tour began in October 1972, starting at the Hollywood Sportatorium Florida and concluding on 11 November 1972 at The Warehouse, New Orleans. In April 1973 the album ''Beck, Bogert & Appice'' was released (on Epic Records). While critics acknowledged the band's instrumental prowess the album was not commercially well received except for its cover of Stevie Wonder's hit "Superstition".

On 3 July 1973 Beck joined David Bowie on-stage to perform "The Jean Genie"/"Love Me Do" and "Around and Around". The show was recorded and filmed but none of the released editions included Beck. During October 1973 Beck recorded tracks for Michael Fennelly's album ''Lane Changer'' and attended sessions with Hummingbird, a band derived from The Jeff Beck Group, but did not to contribute to their eponymous first album

Early in January 1974 the band played at the Rainbow Theatre, as part of a European tour. The concert was broadcast in full on the US show ''Rock Around the World'' in September of the same year. This last recorded work by the band previewed material intended for a second studio album, included on the bootleg ''At Last Rainbow''. The tracks ''Blues Deluxe'' and ''BBA Boogie'' from this concert were later included on the Jeff Beck compilation ''Beckology'' (1991). Beck, Bogert & Appice dissolved in April 1974 before their second studio album (produced by Jimmy Miller) was finished. Their live album ''Beck, Bogert & Appice Live in Japan'', recorded during their 1973 tour of Japan, was not released until February 1975 by Epic/Sony.

After a few months Beck entered Underhill Studio and met with the group Upp, whom he recruited as backing band for his appearance on the BBC TV programme ''Guitar Workshop'' in August 1974. Beck produced and played on their self-titled debut album and their second album ''This Way Upp'', though his contributions to the second album went uncredited. In October Beck began to record instrumentals at AIR Studios with Max Middleton, bassist Phil Chen and drummer Richard Bailey, using George Martin as producer and arranger. ''Blow by Blow'' (March 1975) evolved from these sessions and showcased Beck's technical prowess in jazz-rock. The album reached number four in the charts and is Beck's most commercially-successful release. Beck, fastidious about overdubs and often dissatisfied with his solos, often returned to AIR Studios until he was satisfied. A couple of months after the sessions had finished Martin received a telephone call from Beck, who wanted to record a solo section again. Bemused, Martin replied: "I'm sorry, Jeff, but the record is in the shops!"

Beck put together a live band for a US tour, preceded by a small and unannounced gig at The Newlands Tavern in Peckham, London. He toured through April and May 1975, mostly supporting the Mahavishnu Orchestra, retaining Max Middleton on keyboards but with the new rhythm section of Wilbur Bascomb (bass) and noted session drummer Bernard "Pretty" Purdie. In a May 1975 show in Cleveland, Ohio (Music Hall), he became frustrated with an early version of a "talk box" he used on his arrangement of The Beatles "She's A Woman," and after breaking a string, tossed his legendary Yardbirds-era Stratocaster off the stage. He did the same with the talk box and finished the show playing a Les Paul and without the box. During this tour he performed at Yuya Uchida's "World Rock Festival," playing a total of eight songs with Purdie. In addition he performed a guitar and drum instrumental with Johnny Yoshinaga and, at the end of the festival, joined in a live jam with bassist Felix Pappalardi of Mountain and vocalist Akira "Joe" Yamanaka from the Flower Travellin' Band. Only his set with Purdie was recorded and released.

He returned to the studio and recorded ''Wired'' (1976), which paired the drummer and composer Narada Michael Walden and keyboardist Jan Hammer. The album used a jazz-rock fusion style which sounded similar to the work of his two collaborators. To promote the album, Beck joined forces with the Jan Hammer Group, playing a show supporting Alvin Lee at The Roundhouse in May 1976, before embarking on a seven-month long world tour. This resulted in the live album ''Jeff Beck with The Jan Hammer Group - Live'' (1977).

At this point, Beck was a tax exile and took up residency in the US, remaining there until his return to the UK in the autumn of 1977. In the spring of 1978, he began rehearsing with bassist Stanley Clarke and drummer Gerry Brown towards a projected appearance at the Knebworth Festival, but this was cancelled after Brown dropped out. Beck toured Japan for three weeks in November 1978 with an ad-hoc group consisting of Clarke and newcomers Tony Hymas (keyboards) and Simon Phillips (drums) from Jack Bruce's band. Work then began on a new studio album at The Who's Ramport Studios in London and continued sporadically throughout 1979, resulting in ''There and Back'' in June 1980. It featured three tracks composed and recorded with Jan Hammer, while five were written with Hymas. Stanley Clarke was replaced by Mo Foster on bass, both on the album and the subsequent tours. Its release was followed by extensive touring in the USA, Japan and the UK.

1980s

In 1981 Beck made a series of historic live appearances with his Yardbirds predecessor Eric Clapton at the Amnesty International-sponsored benefit concerts dubbed ''The Secret Policeman's Other Ball'' shows. He appeared with Clapton on "Crossroads", "Further On Up The Road", and his own arrangement of Stevie Wonder's "Cause We've Ended As Lovers". Beck also featured prominently in an all-star band finale performance of "I Shall Be Released" with Clapton, Sting, Phil Collins, Donovan and Bob Geldof. Beck's contributions were seen and heard in the resulting album and film, both of which achieved worldwide success in 1982. Another benefit show, the ARMS Concert for Multiple Sclerosis featured a jam with Beck, Eric Clapton and Jimmy Page. They performed "Tulsa Time" and "Layla". This is the only time all of the Yardbirds lead guitarists appeared on stage together.

In 1985 Beck released ''Flash'', featurng a variety of vocalists, but most notably former bandmate Rod Stewart on a rendition of Curtis Mayfield's "People Get Ready".

After a four year break, Jeff made a return to instrumental music with the album ''Jeff Beck's Guitar Shop'' (1989), the first album to feature Beck as a fingerstyle guitarist, leaving the plectrum playing style. It was only his 3rd album to be released in the 1980s. Much of Beck's sparse and sporadic recording schedule was due in part to a long battle with noise-induced tinnitus.

1990s

In the 1990s, Beck had a higher musical output. He is featured on lead guitar on Roger Waters' 1992 concept album ''Amused to Death'', and on Kate Bush's 1993 album ''The Red Shoes''.

He recorded the instrumental soundtrack album Frankie's House (1992), as well as Crazy Legs (1993), a tribute album to 50's rockabilly group Gene Vincent and the Blue Caps and their influential guitarist Cliff Gallup.

Beck rehearsed with Guns N' Roses for their concert in Paris in 1992, but did not play in the actual concert due to ear damage caused by a Matt Sorum cymbal crash, causing Beck to become temporarily deaf. The Yardbirds were inducted into the Rock and Roll Hall of Fame in 1992. In Beck's acceptance speech he humorously noted that:

}} He accompanied Paul Rodgers of Bad Company on the album ''Muddy Water Blues: A Tribute to Muddy Waters'' in 1993. Jeff's next release would not be until 1999, his first foray into guitar based electronica, ''Who Else!'' The album also marked Beck's first collaboration with a female musician, Jennifer Batten, in touring, writing, and recording as well as the first time he had worked with another guitarist on his own material since playing in The Yardbirds. Beck continued to work with Batten through the post-release tour of ''You Had It Coming'' in 2001.

2000s

Jeff Beck won his third Grammy Award, this one for 'Best Rock Instrumental Performance' for the track "Dirty Mind" from ''You Had It Coming'' (2001).

The song "Plan B," from the 2003 release ''Jeff,'' earned Beck his fourth Grammy Award for Best Rock Instrumental Performance, and was proof that the new electro-guitar style he used for the two earlier albums would continue to dominate. Jeff Beck was the opening act for B.B. King in the summer of 2003 and appeared at Eric Clapton's Crossroads Guitar Festival in 2004.

In 2007, he accompanied Kelly Clarkson for her cover of Patty Griffin's "Up to the Mountain (MLK Song)", during the Idol Gives Back episode of ''American Idol''. The performance was recorded live and afterwards was immediately released for sale. In the same year, he appeared once again at Clapton's Crossroads Guitar Festival, performing with Vinnie Colaiuta, Jason Rebello, and the then 21-year-old bassist Tal Wilkenfeld.

Beck announced a world tour in early 2009 and remained faithful to the same lineup of musicians as in his tour two years before, playing and recording at Ronnie Scott's in London to a sold out audience. Beck played on the song "Black Cloud" on the 2009 Morrissey album ''Years of Refusal'' and later that year, Harvey Goldsmith became Beck's Manager.

Beck was inducted into the Rock and Roll Hall of Fame on 4 April 2009, as a solo artist. The award was presented by Jimmy Page. On 4 July 2009, David Gilmour joined Beck onstage at the Albert Hall. Beck and Gilmour traded solos on "Jerusalem" and closed the show with "Hi Ho Silver Lining".

Beck's latest album, ''Emotion & Commotion'', was released in April 2010. It features a mixture of original songs and covers such as "Over the Rainbow" and "Nessun Dorma". Joss Stone provides some of the guest vocals. Two tracks from ''Emotion & Commotion'' won Grammys in 2011: "Nessun Dorms" won the Best Pop Instrumental Performance and "Hammerhead" won the Best Rock Instrumental Performance".

Beck's 2010 World Tour band features Grammy winning musician Narada Michael Walden on drums, Rhonda Smith on bass and Jason Rebello on keyboards. Beck collaborated on "Imagine" for the 2010 Herbie Hancock album, ''The Imagine Project'' along with Seal, P!nk, India.Arie, Konono N°1, Oumou Sangare and others. He has also released a live album titled Live and Exclusive from the Grammy Museum on October 25, 2010.

In 2011, Beck received two honorary degrees from British universities. On 18 July 2011, he was honoured with a fellowship from University of the Arts London in recognition of his "outstanding contribution to the field of Music". He was also presented with an honorary doctorate from University of Sussex by Sanjeev Bhaskar, the university's chancellor for “an outstanding musical career and celebrated the relationship between the university and the Brighton Institute of Modern Music (BIMM)" on 21 July 2011.

Influences

One of the most influential guitarists in the history of rock music, Jeff Beck has cited his major influences as Les Paul, The Shadows, Cliff Gallup, Ravi Shankar, Roy Buchanan, Chet Atkins, Django Reinhardt, Steve Cropper and Lonnie Mack. Of John McLaughlin, he said: "he has given us so many different facets of the guitar and introduced thousands of us to world music, by blending Indian music with jazz and classical. I'd say he was the best guitarist alive."

While Beck was not the first rock guitarist to experiment with electronic distortion, he nonetheless helped to redefine the sound and role of the electric guitar in rock music. Beck's work with The Yardbirds and The Jeff Beck Group's 1968 album ''Truth'' were seminal influences on heavy metal music, which emerged in full force in the early 1970s.

Technique and equipment

Beck stopped regular use of a pick (plectrum) in the 1980s. He produces a wide variety of sounds by using his fingers and the vibrato bar on his signature Fender Stratocaster, although he frequently uses a wah-wah pedal both live and in the studio. As Eric Clapton once said, "With Jeff, it’s all in his hands". Along with Fender Stratocasters, Beck occasionally plays Fender Telecaster and Gibson Les Paul models as well. His amplifiers are primarily Fender and Marshall. In his earlier days with the Yardbirds, Beck also used a 1954 Fender Esquire guitar (now owned by Seymour W. Duncan, and housed in the Cleveland Rock and Roll Hall of Fame) through Vox AC30s. He has also played through a variety of fuzz pedals and echo-units along with this set-up and has used the Pro Co RAT distortion pedal.

He is noted for changes of musical style and direction throughout his career. Ritchie Blackmore once praised this aspect of Jeff in an interview to Martin K. Webb, when the interviewer asked him what he means by "chance music", he replied:

During the ARMS Charity Concerts in 1983 Beck used his battered Fender Esquire along with a 1954 Fender Stratocaster and a Jackson Soloist. On the Crazy Legs (1993) he played a Gretsch Duo Jet, his signature Fender Stratocaster and various other guitars. Recently Fender created a Custom Shop Tribute series version of his beat-up Fender Esquire as well as his Artist Signature series Stratocaster.

Personal life

Beck has been married to Sandra Cash since 2005. Beck describes himself as a vegetarian. He has an interest in classic Ford hot rods, performing much of the work on the exteriors and engines of the cars by himself.

Discography

See also

List of rock instrumentals

Bibliography

Carson, Annette. ''Jeff Beck: Crazy Fingers''. Backbeat books (2002). ISBN 0-87930-632-7

Horjt, Chris and Hinman, Doug. ''Jeff's book : A chronology of Jeff Beck's career 1965-1980 : from the Yardbirds to Jazz-Rock''. Rock 'n' Roll Research Press, (2000). ISBN 0-9641005-3-3

Foster, Mo.''17 watts?: The Birth of British Rock Guitar''. Sanctuary (1997 and 2000). ISBN 978-1-86074-267-5

References

External links

Press conference and master class by Jeff Beck in Moscow 2010

Jeff Beck Official Site

''Rock 'n' Roll Hall of Fame: Jeff Beck'' FuseTV

Jeff Beck at Epic Records

Jeff Beck 1954 Les Paul Oxblood

Jeff Beck unofficial website

Category:English blues guitarists Category:English songwriters Category:English rock guitarists Category:Lead guitarists Category:English vegetarians Category:Musicians from London Category:People from Wallington, London Category:Rock and Roll Hall of Fame inductees Category:The Yardbirds members Category:Grammy Award winners Category:Fingerstyle guitarists Category:1944 births Category:Living people Category:Blues rock musicians Category:Musicians from Tunbridge Wells Category:British rhythm and blues boom musicians

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