The Jalisco Philharmonic Orchestra

Dublin Philharmonic Orchestra

An orchestra is a large instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments. The term orchestra derives from the Greek ορχήστρα, the name for the area in front of an ancient Greek stage reserved for the Greek chorus.^[1] The orchestra grew by accretion throughout the 18th and 19th centuries, but changed very little in composition during the course of the 20th century.

A smaller-sized orchestra for this time period (of about fifty players or fewer) is called a chamber orchestra. A full-size orchestra (about 100 players) may sometimes be called a "symphony orchestra" or "philharmonic orchestra"; these modifiers do not necessarily indicate any strict difference in either the instrumental constitution or role of the orchestra, but can be useful to distinguish different ensembles based in the same city (for instance, the London Symphony Orchestra and the London Philharmonic Orchestra). A symphony orchestra will usually have over eighty musicians on its roster, in some cases over a hundred, but the actual number of musicians employed in a particular performance may vary according to the work being played and the size of the venue. A leading chamber orchestra might employ as many as fifty musicians; some are much smaller than that. Orchestras can also be found in schools. The term concert orchestra may sometimes be used (e.g., BBC Concert Orchestra; RTÉ Concert Orchestra)—no distinction is made on size of orchestra by use of this term, although their use is generally distinguished as for live concert. As such they are commonly chamber orchestras.

Instrumentation[link]

Viotti Chamber Orchestra performing the 3rd movement of Mozart's Divertimento in D Major (K136)

The typical symphony orchestra consists of four proportionate groups of similar musical instruments called the woodwinds, brass, percussion, and strings, and also the fifth proportionate group of similar musical instruments like the rhythm section in modern times. The orchestra, depending on the size, contains almost all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time, often agreed to have been standardized by the classical period^[2] and Beethoven's influence on the classical model.^[3]

Beethoven's influence[link]

The so-called "standard complement" of double winds and brass in the orchestra from the first half of the 19th century is generally attributed to the forces called for by Ludwig van Beethoven. The exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No. 4, which each specify a single flute. The composer's instrumentation almost always included paired flutes, oboes, clarinets, bassoons, horns and trumpets. Beethoven carefully calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, and 9 for an innovative effect. The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but also the effect of "choral" brass in the Trio. Piccolo, contrabassoon, and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver storm and sunshine in the Sixth. The Ninth asks for a second pair of horns, for reasons similar to the "Eroica" (four horns has since become standard); Beethoven's use of piccolo, contrabassoon, trombones, and untuned percussion—plus chorus and vocal soloists—in his finale, are his earliest suggestion that the timbral boundaries of "symphony" might be expanded for good. But for several decades after his departure, symphonic instrumentation was faithful to Beethoven's well-established model, with few exceptions.

Expanded instrumentation[link]

Apart from the core orchestral complement, various other instruments are called for occasionally.^[4] These include the classical guitar, heckelphone, flugelhorn, cornet, harpsichord, and organ. Saxophones, for example, appear in a limited range of 19th and 20th century scores. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Prokofiev's Romeo and Juliet Suites 1 and 2, Vaughan Williams Symphony No.6 and Symphony No.9 and William Walton's Belshazzar's Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben. The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Richard Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major.^[5] Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

The 20th century orchestra was far more flexible than its predecessors.^[6] During composers Beethoven and Felix Mendelssohn's time, the orchestra was composed of a fairly standard core of instruments which was very rarely modified. As time progressed, and as the Romantic period saw changes in accepted modification with composers such as Berlioz, followed by Johannes Brahms and eventually Gustav Mahler, the 20th century saw that instrumentation could practically be hand-picked by the composer. Today, however, the modern orchestra has generally been considered standardized with the modern instrumentation listed below.

With this history in mind, the orchestra can be seen to have a general evolution as outlined below. The first is a typical classical orchestra (i.e. Beethoven/Haydn), the second is typical of an early/mid-romantic (i.e. Brahms/Dvořák/Tchaikovsky), late romantic/early 20th century (i.e. Wagner/Mahler/Stravinsky), to the common complement of a present day modern orchestras (i.e. Adams/Barber/Copland/Glass).

Organization[link]

Conducting an orchestra

Among the instrument groups and within each group of instruments, there is a generally accepted hierarchy. Every instrumental group (or section) has a principal who is generally responsible for leading the group and playing orchestral solos. The violins are divided into two groups, first violin and second violin, each with its principal. The principal first violin is called the concertmaster (or "leader" in the UK) and is considered the leader of not only the string section, but of the entire orchestra, subordinate only to the conductor.

The principal trombone is considered the leader of the low brass section, while the principal trumpet is generally considered the leader of the entire brass section. Similarly, the principal oboe is considered the leader of the woodwind section, and is the player to whom all others tune. The horn, while technically a brass instrument, often acts in the role of both woodwind and brass. Most sections also have an assistant principal (or co-principal or associate principal), or in the case of the first violins, an assistant concertmaster, who often plays a tutti part in addition to replacing the principal in his or her absence.

A section string player plays unison with the rest of the section, except in the case of divided (divisi) parts, where upper and lower parts in the music are often assigned to "outside" (nearer the audience) and "inside" seated players. Where a solo part is called for in a string section, the section leader invariably plays that part. Tutti wind and brass players generally play a unique but non-solo part. Section percussionists play parts assigned to them by the principal percussionist.

In modern times, the musicians are usually directed by a conductor, although early orchestras did not have one, giving this role instead to the concertmaster or the harpsichordist playing the continuo. Some modern orchestras also do without conductors, particularly smaller orchestras and those specializing in historically accurate (so-called "period") performances of baroque and earlier music.

The most frequently performed repertoire for a symphony orchestra is Western classical music or opera. However, orchestras are used sometimes in popular music, extensively in film music, and more and more often in video game music. The term "orchestra" can also be applied to a jazz ensemble, for example in performance of big band music.

History of the orchestra[link]

Early history[link]

Image of an Assyrian Orchestra, from a slab in the British Museum, dating from 7th century BC. There are 7 portable harps, a dulcimer, two double reed-pipes (aulos), and a drum.

The modern orchestra has its historical roots in Ancient Egypt. The first orchestras were made up of small groups of musicians that gathered for festivals, holidays or funerals. During the time of the Roman Empire, the government suppressed the musicians and informal ensembles were banned^[why?], but they reappeared after the collapse of the Empire. It was not until the 11th century that families of instruments started to appear with differences in tones and octaves. True modern orchestras started in the late 16th century when composers started writing music for instrumental groups. In the 15th and 16th centuries in Italy the households of nobles had musicians to provide music for dancing and the court, however with the emergence of the theatre, particularly opera, in the early 17th century, music was increasingly written for groups of players in combination, which is the origin of orchestral playing. Opera originated in Italy, and Germany eagerly followed. Dresden, Munich and Hamburg successively built opera houses. At the end of the 17th century opera flourished in England under Henry Purcell, and in France under Lully, who with the collaboration of Molière also greatly raised the status of the entertainments known as ballets, interspersed with instrumental and vocal music.

In the 17th century and early 18th century, instrumental groups were taken from all of the available talent. A composer such as Johann Sebastian Bach had control over almost all of the musical resources of a town, whereas Handel would hire the best musicians available. This placed a premium on being able to rewrite music for whichever singers or musicians were best suited for a performance—Handel produced different versions of the Messiah oratorio almost every year.

As nobility began to build retreats away from towns, they began to hire musicians to form permanent ensembles. Composers such as the young Joseph Haydn would then have a fixed body of instrumentalists to work with. At the same time, travelling virtuoso performers such as the young Wolfgang Amadeus Mozart would write concerti that showed off their skills, and they would travel from town to town, arranging concerts along the way. The aristocratic orchestras worked together over long periods, making it possible for ensemble playing to improve with practice.

Mannheim school[link]

This change, from civic music making where the composer had some degree of time or control, to smaller court music making and one-off performance, placed a premium on music that was easy to learn, often with little or no rehearsal. The results were changes in musical style and emphasis on new techniques. Mannheim had one of the most famous orchestras of that time, where notated dynamics and phrasing, previously quite rare, became standard (see Mannheim school). It also attended a change in musical style from the complex counterpoint of the baroque period, to an emphasis on clear melody, homophonic textures, short phrases, and frequent cadences: a style that would later be defined as classical.

Throughout the late 18th century composers would continue to have to assemble musicians for a performance, often called an "Academy", which would, naturally, feature their own compositions. In 1781, however, the Leipzig Gewandhaus Orchestra was organized from the merchants concert society, and it began a trend towards the formation of civic orchestras that would accelerate into the 19th century. In 1815, Boston's Handel and Haydn Society was founded, in 1842 the New York Philharmonic and the Vienna Philharmonic were formed, and in 1858, the Hallé Orchestra was formed in Manchester. There had long been standing bodies of musicians around operas, but not for concert music: this situation changed in the early 19th century as part of the increasing emphasis in the composition of symphonies and other purely instrumental forms. This was encouraged by composer critics such as E. T. A. Hoffmann who declared that instrumental music was the "purest form" of music. The creation of standing orchestras also resulted in a professional framework where musicians could rehearse and perform the same works repeatedly, leading to the concept of a repertoire in instrumental music.

Performance standards[link]

In the 1830s, conductor François Antoine Habeneck, began rehearsing a selected group of musicians in order to perform the symphonies of Beethoven, which had not been heard of in their entirety in Paris. He developed techniques of rehearsing the strings separately, notating specifics of performance, and other techniques of cuing entrances that were spread across Europe. His rival and friend Hector Berlioz would adopt many of these innovations in his touring of Europe.

Instrumental craftsmanship[link]

The invention of the piston and rotary valve by Heinrich Stölzel and Friedrich Blühmel, both Silesians, in 1815, was the first in a series of innovations, including the development of modern keywork for the flute by Theobald Boehm and the innovations of Adolphe Sax in the woodwinds. These advances would lead Hector Berlioz to write a landmark book on instrumentation, which was the first systematic treatise on the use of instrumental sound as an expressive element of music.^[7]

The effect of the invention of valves for the brass was felt almost immediately: instrument-makers throughout Europe strove together to foster the use of these newly refined instruments and continuing their perfection; and the orchestra was before long enriched by a new family of valved instruments, variously known as tubas, or euphoniums and bombardons, having a chromatic scale and a full sonorous tone of great beauty and immense volume, forming a magnificent bass. This also made possible a more uniform playing of notes or intonation, which would lead to a more and more "smooth" orchestral sound that would peak in the 1950s with Eugene Ormandy and the Philadelphia Orchestra and the conducting of Herbert von Karajan with the Berlin Philharmonic.

During this transition period, which gradually eased the performance of more demanding "natural" brass writing, many composers (notably Wagner and Berlioz) still notated brass parts for the older "natural" instruments. This practice made it possible for players still using natural horns, for instance, to perform from the same parts as those now playing valved instruments. However, over time, use of the valved instruments became standard, indeed universal, until the revival of older instruments in the contemporary movement towards authentic performance (sometimes known as "historically informed performance").

At the time of the invention of the valved brass, the pit orchestra of most operetta composers seems to have been modest. An example is Sullivan's use of two flutes, one oboe, two clarinets, one bassoon, two horns, two cornets (a piston), two trombones, drums and strings.

During this time of invention, winds and brass were expanded, and had an increasingly easy time playing in tune with each other: particularly the ability for composers to score for large masses of wind and brass that previously had been impractical. Works such as the Requiem of Hector Berlioz would have been impossible to perform just a few decades earlier, with its demanding writing for twenty woodwinds, as well as four gigantic brass ensembles each including around four trumpets, four trombones, and two tubas.

Wagner's influence[link]

The next major expansion of symphonic practice came from Richard Wagner's Bayreuth orchestra, founded to accompany his musical dramas. Wagner's works for the stage were scored with unprecedented scope and complexity: indeed, his score to Das Rheingold calls for six harps. Thus, Wagner envisioned an ever-more-demanding role for the conductor of the theater orchestra, as he elaborated in his influential work "On Conducting".^[8] This brought about a revolution in orchestral composition, and set the style for orchestral performance for the next eighty years. Wagner's theories re-examined the importance of tempo, dynamics, bowing of string instruments and the role of principals in the orchestra. Conductors who studied his methods would go on to be influential themselves.

20th-century orchestra[link]

As the early 20th century dawned, symphony orchestras were larger, better funded, and better trained than ever before; consequently, composers could compose larger and more ambitious works. The influence of Gustav Mahler was particularly innovational; in his later symphonies, such as the mammoth Symphony No. 8, Mahler pushes the furthest boundaries of orchestral size, employing huge forces. By the peak years of Shostakovich, orchestras could support the most enormous forms of symphonic expression. With the recording era beginning, the standard of performance reached a pinnacle. In recordings, small errors in a performance could be "fixed", but many older conductors and composers could remember a time when simply "getting through" the music as best as possible was the standard. Combined with the wider audience made possible by recording, this led to a renewed focus on particular conductors and on a high standard of orchestral execution.^[9] As sound was added to silent film, the virtuoso orchestra became a key component of the establishment of motion pictures as mass-market entertainment.

Counter-revolution[link]

In the 1920s and 1930s, economic as well as artistic considerations led to the formation of smaller concert societies, particularly those dedicated to the performance of music of the avant-garde, including Igor Stravinsky and Arnold Schoenberg. This tendency to start festival orchestras or dedicated groups would also be pursued in the creation of summer musical festivals, and orchestras for the performance of smaller works. Among the most influential of these was the Academy of St Martin in the Fields under the baton of Sir Neville Marriner.

With the advent of the early music movement, smaller orchestras where players worked on execution of works in styles derived from the study of older treatises on playing became common. These include the Orchestra of the Age of Enlightenment, the London Classical Players under the direction of Sir Roger Norrington and the Academy of Ancient Music under Christopher Hogwood, among others.

Recent trends in the United States[link]

In the United States, the late 20th century saw a crisis of funding and support for orchestras.cite needed The size and cost of a symphony orchestra, compared to the size of the base of supporters, became an issue that struck at the core of the institution. Few orchestras could fill auditoriums, and the time-honored season-subscription system became increasingly anachronistic, as more and more listeners would buy tickets on an ad hoc basis for individual events. Orchestral endowments and—more centrally to the daily operation of American orchestras—orchestral donors have seen investment portfolios shrink or produce lower yields, reducing the ability of donors to contribute; further, there has been a trend toward donors finding other social causes more compelling. Also, while government funding is less central to American than European orchestras, cuts in such funding are still significant for American ensembles. Finally, the drastic falling-off of revenues from recording, tied to no small extent to changes in the recording industry itself, began a period of change that has yet to reach its conclusion.

U.S. orchestras that have gone into Chapter 11 bankruptcy includes the Philadelphia Orchestra (in April 2011), and the Louisville Orchestra, in December 2010; orchestras that have gone into Chapter 7 bankruptcy and have ceased operations include the Northwest Chamber Orchestra in 2006, the Honolulu Orchestra in March 2011, the New Mexico Symphony in April 2011, and the Syracuse Symphony in June 2011. The Festival of Orchestras in Orlando, Florida ceased operations at the end of March, 2011.

Critics such as Norman Lebrecht were vocal in their diagnosis of the problem as the "jet set conductor" (whose salaries were presumably bleeding the orchestras dry); and several high-profile conductors have taken pay cuts in recent years; but the amounts of revenue involved are too small to account for the crisis. Music administrators such as Michael Tilson Thomas and Esa-Pekka Salonen argued that new music, new means of presenting it, and a renewed relationship with the community could revitalize the symphony orchestra. The influential critic Greg Sandow has argued in detail that orchestras must revise their approach to music, performance, the concert experience, marketing, public relations, community involvement, and presentation to bring them in line with the expectations of 21st century audiences immersed in popular culture.^[10]

It is not uncommon for contemporary composers to use unconventional instruments, including various synthesizers, to achieve desired effects. Many, however, find more conventional orchestral configuration to provide better possibilities for color and depth. Composers like John Adams often employ Romantic-size orchestras, as in Adams' opera Nixon in China; Philip Glass and others may be more free, yet still identify size-boundaries. Glass in particular has recently turned to conventional orchestras in works like the Concerto for Cello and Orchestra and the Violin Concerto No. 2.

Conductorless orchestras[link]

The post-revolutionary symphony orchestra Persimfans was formed in the Soviet Union in 1922. The unusual aspect of the orchestra was that, believing that in the ideal Marxist state all people are equal, its members felt that there was no need to be led by the dictatorial baton of a conductor; instead they were led by a committee. Although it was a partial success, the principal difficulty with the concept was in changing tempo. The orchestra survived for ten years before Stalin's cultural politics effectively forced it into disbandment by draining away its funding.^[11]

Some ensembles, such as the Orpheus Chamber Orchestra, based in New York City, have had more success, although decisions are likely to be deferred to some sense of leadership within the ensemble (for example, the principal wind and string players).

Others have returned to the tradition of a principal player, usually a violinist, being the artistic director and running rehearsals (such as the Australian Chamber Orchestra and the New Century Chamber Orchestra).

Multiple conductors[link]

The techniques of polystylism and polytempo^[12] music have recently led a few composers to write music where multiple orchestras perform simultaneously. These trends have brought about the phenomenon of polyconductor music, wherein separate sub-conductors conduct each group of musicians. Usually, one principal conductor conducts the sub-conductors, thereby shaping the overall performance. Some pieces are enormously complex in this regard, such as Evgeni Kostitsyn's Third Symphony, which calls for nine conductors.

Charles Ives often used two conductors, one for example to simulate a marching band coming through his piece. Realizations for Symphonic Band includes one example from Ives.

One of the best examples in the late century orchestral music is Karlheinz Stockhausen's Gruppen, for three orchestras placed around the audience. This way, the sound masses could be spacialized, as in an electroacoustic work. Gruppen was premiered in Cologne, in 1958, conducted by Stockhausen, Bruno Maderna and Pierre Boulez. Recently, it was performed by Simon Rattle, John Carewe and Daniel Harding.

[edit] Other meanings of orchestra

In Ancient Greece, the orchestra was the space between the auditorium and the proscenium (or stage), in which were stationed the chorus and the instrumentalists. The word orchestra literally means "a dancing place".

In some theaters, the orchestra is the area of seats directly in front of the stage (called primafila or platea); the term more properly applies to the place in a theatre, or concert hall reserved for the musicians.

See also[link]

• Classical music
• List of symphony orchestra concert halls
• List of symphony orchestras
  • List of symphony orchestras in Europe
  • List of symphony orchestras in the United States
• List of youth orchestras in the United States
• Orchestral enhancement
• Orchestration
• Radio orchestra
• Shorthand for orchestra instrumentation
• Conductorless orchestra
• String orchestra
• Jazz ensemble
• Rhythm section
• World music
• Film score

Notes[link]

References[link]

• Raynor, Henry (1978). The Orchestra: a history. Scribner. ISBN 0-684-15535-4. 
• Sptizer, John, and Neil Zaslaw (2004). The Birth of the Orchestra: History of an Institution, 1650-1815. Oxford University Press. ISBN 0-19-816434-3. 

External links[link]

Wikimedia Commons has media related to: Orchestras

• The Orchestra: A User's Manual—A fairly concise overview, including detailed video interviews with players of each instrument and various resources
•  Chisholm, Hugh, ed. (1911). "Orchestra". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

A major contributor to this article appears to have a close connection with its subject. It may require cleanup to comply with Wikipedia's content policies, particularly neutral point of view. Please discuss further on the talk page. (December 2010)

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Walt Ribeiro, a New Jersey native, is a composer of classical music. His work has been primarily distributed via the internet. His symphony I.I was written for an 80-piece orchestra, but produced using orchestral sampling software.^[1] Ribeiro is also notable for his music tutorials available via web sites such as YouTube,^[2] which he ended in October 2009. That same year he launched For Orchestra^[3] where he arranged pop songs for orchestra. His arrangements have covered songs by Lady Gaga, Radiohead, Pearl Jam, Rimsky Korsakov, and MGMT to name a few. It has since been featured on Comedy Central Tosh.O,^[4] Perez Hilton,^[5] Green Plastic for his Radiohead arrangement^[6] and more.

Ribeiro was born January 25, 1984.^[7]

References[link]

External links[link]

• The Official Walt Ribeiro Site
• http://www.fororchestra.com ForOrchestra.com

Amanda Palmer
Palmer playing at the Music Box Theatre, Hollywood, California; December 2008.
Background information
Birth name	Amanda MacKinnon Palmer
Also known as	Amanda Fucking Palmer[1][2]
Born	(1976-04-30) April 30, 1976 (age 36) New York City
Genres	Alternative rock, punk cabaret
Occupations	Artist, performer, musician, songwriter
Instruments	Vocals, keyboard, piano, ukulele
Years active	1989–present
Labels	8ft Records / Formerly Roadrunner Records (until April 2010)[3]
Associated acts	The Dresden Dolls Evelyn Evelyn
Website	Amanda Palmer.net

Amanda MacKinnon Gaiman Palmer^[4] (born April 30, 1976), sometimes known as Amanda Fucking Palmer,^[1][2] is an American performer who first rose to prominence as the lead singer, pianist, and lyricist/composer of the duo The Dresden Dolls.^[5] She has since started a solo career, and is also one half of the duo Evelyn Evelyn.

Biography[link]

Palmer was born in New York City's Mount Sinai Hospital,^[6] and grew up in Lexington, Massachusetts.^[7] She attended Lexington High School, where she was involved in the drama department,^[8] and attended Wesleyan University^[9] where she was a member of the Eclectic Society.^[10] She staged performances based on work by the Legendary Pink Dots, an early influence, and was involved in the Legendary Pink Dots electronic mailing list, Cloud Zero.^{[citation needed]} She then formed the Shadowbox Collective, devoted to street theatre and putting on theatrical shows (such as the 2002 play, Hotel Blanc,^[11] which she directed).

With an interest in the performing arts, both in music and in theatre, Palmer spent time busking as a living statue called "The Eight Foot Bride" in Harvard Square, Cambridge; Edinburgh, Scotland; Australia (where she met Jason Webley);^[12] as well as many other locations. She references this line of work on The Dresden Dolls' self-titled CD, with the song "The Perfect Fit":

"I can paint my face
And stand very, very still
It's not very practical
But it still pays the bills"

as well as on the A is for Accident track "Glass Slipper":

"I give out flowers
To curious strangers
who throw dollars at my feet."

The Dresden Dolls[link]

Amanda Palmer performing with The Dresden Dolls at Kings Arms Tavern in Auckland, New Zealand, September 2006

At a Halloween party in 2000, Palmer met drummer Brian Viglione and afterwards they formed The Dresden Dolls. In an effort to expand the performance experience and interactivity, Palmer began inviting Lexington High School students to perform drama pieces at her live shows. The Dirty Business Brigade, a troupe of seasoned and new artists, performed at many gigs. The invited costumed characters mingled with the crowd before and during the show, and veteran groups sometimes joined in with a choreographed stage act. Life-sized marionettes, coin-operated boys, living statues, and other undergroundlings greeted fans while circus and burlesque drew the audience into the Dolls' music, creating a participatory atmosphere that allowed the audience to experience numerous types of art simultaneously.

After developing a cult following, the band recorded their eponymous debut album, The Dresden Dolls in 2002 with producer Martin Bisi (of Indie, Brooklyn, New York fame). They produced the album before being picked up by Roadrunner Records.

In 2006, The Dresden Dolls Companion,^[13] was published, with words, music & artwork by Amanda Palmer.^[13] In it she has written a history of the album The Dresden Dolls and of the duo, as well as a partial autobiography. The book also contains the lyrics, sheet music, and notes on each song in the album, all written by Palmer, as well as a DVD with a 20 minute interview of Amanda about making the book.

In June 2007, as part of the Dresden Dolls, she toured with the True Colors Tour 2007,^[14] including her debut in New York City's Radio City Music Hall,^[15] and her first review in the New York Times.^[15]

July 2008 saw the release of the second Dresden Dolls book, the Virginia Companion.^[16] It is a follow-up to The Dresden Dolls Companion, featuring the music and lyrics from the Yes, Virginia...(2006) and No, Virginia... (2008) albums.

The Onion Cellar and Cabaret[link]

Palmer conceived the musical/production The Onion Cellar, based on a short story from The Tin Drum by Günter Grass. From December 9, 2006 through January 13, 2007, The Dresden Dolls performed the piece in conjunction with the American Repertory Theater at the Zero Arrow Theatre in Cambridge, Massachusetts. While Palmer was openly frustrated with the direction of the show, fan and critical reviews were very positive.^[17][18]

Palmer, as part of her solo career, returned to the A.R.T. in fall 2010 for a two-month run of Cabaret, starring as the Emcee.^{[citation needed]}

2010 Reunion Tour[link]

In 2010, a reunion tour to selected venues in the United States occurred. It started on Halloween in New York City and ended in San Francisco on New Years Eve.^[19]

Solo career[link]

Palmer (left) as one half of Evelyn Evelyn, with Jason Webley.

Palmer's solo album, Who Killed Amanda Palmer, was released on September 16, 2008.^[20] Ben Folds produced and also played on the album.^[21][22] The title is a play on an expression used by fans during Twin Peaks' original run, "Who killed Laura Palmer?" A companion book of photos of Palmer looking as if she were murdered was released in July 2009 featuring photography by Kyle Cassidy and accompanying writing by Neil Gaiman.

August Strindberg was indirectly referenced in a song by Palmer titled "Strength Through Music," which contains an audio clip of a web cartoon called Strindberg and Helium. The cartoon almost exclusively quotes Strindberg's work.

In July 2007, Palmer played three sold out shows (in Boston, Hoboken, and NYC) in a rare "with band" format. Her backing band was Boston alternative rock group Aberdeen City, who also opened along with Dixie Dirt. In August 2007, Amanda traveled to perform in the Spiegeltent and other venues at the Edinburgh Festival Fringe in Scotland, and also performed on BBC Two's The Edinburgh Show. She collaborated with Australian theater company, The Danger Ensemble; both again appeared at the Spiegeltent in Melbourne and at other venues around Australia in December 2007. In September 2007 Palmer collaborated with Jason Webley to release Evelyn Evelyn's debut EP "Elephant Elephant" via Jason's Eleven Records. In June 2008, Palmer established her solo career with two well-received performances with the Boston Pops.^[23][24][25] In Autumn 2008, she toured Europe with Jason Webley, Zoe Keating and The Danger Ensemble, performing songs mostly from her debut solo album. She did most of the shows with a broken foot she had sustained in Ireland when a car ran over her foot as she stepped out into a street.^[26] In April 2009, she played at the Coachella Valley Music and Arts Festival.^[15]

In 2009, Palmer went back to her alma mater, Lexington High School in Massachusetts to collaborate with her old director and mentor Steven Bogart on a workshop piece for the department's spring production. The play, With The Needle That Sings In Her Heart was inspired by Neutral Milk Hotel's album, In the Aeroplane Over the Sea and The Diary of Anne Frank.^[27] It received an overwhelmingly positive response from the Lexington community and abroad. NPR's Avishay Artsy interviewed the cast in a piece featured on All Things Considered on closing night of the production.^[28] Amanda described this process as "what it's all about" in her blog.^{[citation needed]}

From August to October 2010, she performed in Cabaret at the A.R.T. in Boston, Massachusetts. She played the emcee, collaborating with long-time associates Lance Horne (music director), Steven Mitchell Wright of The Danger Ensemble ("movement master/choreographer"), and Steven Bogart (director, Amanda's high school drama teacher who directed the Lexington High School production of the Neutral Milk Hotel-inspired "With the Needle That Sings In Her Heart").^[29][30][31]

Palmer has increasingly used the ukulele in her career,^[32] including free ninja gigs in public locations, that are open to all ages.^{[citation needed]}

On February 9, 2012, Palmer announced on her blog^[33] that she will begin recording a new solo album in collaboration with The Grand Theft Orchestra, under the name of 'Amanda Palmer & The Grand Theft Orchestra'. Palmer stated that there are "20+ songs" ready to record, and that "almost all of them have never been heard". The album is to be recorded in Melbourne with John Congleton producing.^[33]

Use of the Internet[link]

Palmer is noted for her use of the Internet, regularly using the latest innovations to make new fans and connect with old ones. This includes her forum,^[34] her blog,^[35] use of many free music and social networking sites, fund raising, and direct-to-fan marketing.^[36]

Controversies[link]

Dispute with Roadrunner Records, fans' "ReBellyon"[link]

Photo taken during her 2008 tour promoting Who Killed Amanda Palmer?

After the release of her music video for the song "Leeds United," Palmer sparked controversy with a post in her blog. She claimed Roadrunner Records had wanted to pull certain shots from the video that exposed her stomach, because "...they thought I looked fat." After her fans read about this, they posted pictures of their stomachs online with messages to Roadrunner, lyrics, and words of comfort. They then sent their pictures to the record label, and started a web site.^{[citation needed]} The fans coined a term for the movement: The ReBellyon, and put together a book, "The Belly Book," of over 600 pictures and stories from fans. The book was sold over the internet to fans all over the world.^[37] Pitchfork Magazine^[38] and The Guardian^[39] were among publications reporting on the controversy.

Partly because of the Leeds video controversy,^{[citation needed]} Palmer attempted to disengage from her contract with Roadrunner Records, going as far as composing and performing a song called "Please Drop Me," which asked the label to free her from the contract.^[40][41]

After a long legal battle between Palmer and Roadrunner, and her repetitive pleas to discontinue her contract with Roadrunner, Palmer announced^[3] that Roadrunner Records finally released her from their label. Her appreciation was punctuated with another new song: "Do You Swear to Tell the Truth the Whole Truth and Nothing but the Truth So Help Your Black Ass" as a free download to celebrate her new freedom. She repeated the announcement during an appearance on the Australian music quiz show Spicks and Specks.^[42]

"Oasis" controversy[link]

Palmer's song "Oasis" and its follow-up video sparked more controversy. The song's fictional story deals with an Oasis fan and rape victim who has an abortion. Despite these tragic events, she states that "I've seen better days, but I don't care", and directly after, informs the listener what just happened involving her process of communicating to Oasis through fan mail, first, "I just sent a letter in the mail", then, "Oasis got my letter in the mail", and finally, toward the end of the song, "I just got a letter in the mail."^[43] Palmer received an e-mail while she was in the United Kingdom from her label there explaining that "all" of the TV outlets in the country had refused to play the video due to its "making light of rape, religion, and abortion." Palmer, in response, wrote on her blog "I suggested that I might be allowed to play it if I just slowed it way down and played it in a minor key. Think about it. If they heard the same lyrics against the backdrop of a very sad and liliting [sic] piano, maybe with some tear-jerking strings thrown in for good measure, would they take issue?"^[44]

"I Kissed a Girl" skit[link]

In December 2008, Palmer performed an Anti Proposition 8 agitprop skit at the Henry Fonda Theatre in Los Angeles where a Katy Perry look-alike came onstage and began singing her controversial song "I Kissed a Girl," only to be interrupted, kissed, and fondled by Palmer and comedian Margaret Cho. The skit ended with the two binding and gagging "Perry," who is forced into a mock wedding with Palmer, followed by the raising of an anti Proposition 8 banner. Palmer mentioned, on her blog, the discontent some in the LGBT community had with Perry over her exploitation of their identity in her song "I Kissed a Girl," and said she meant the piece as a protest against Proposition 8.^[45][46]

Personal life[link]

Palmer resides in Boston, Massachusetts.

She has identified as bisexual,^[47] telling afterellen.com in 2007: "I'm bisexual, but it's not the sort of thing I spent a lot of time thinking about," Palmer said. "I've slept with girls; I've slept with guys, so I guess that's what they call it! I'm not anti trying to use language to simplify our lives."^[48] On her blog, Palmer has stated that she had an abortion at age 17. In the same blog post, she stated that she was date raped when she was 20 years old.^[49]

Amanda Palmer and Neil Gaiman (Vienna 2011)

On January 1, 2010, she stated on her Twitter feed that she "might have told [Neil Gaiman] [she]'d marry him but also might have been drunk."^[50] On January 15, 2010, Neil Gaiman and Palmer confirmed their engagement in an announcement made to their respective websites.^[51][52] On November 16, 2010, Amanda Palmer hosted a flash mob wedding (not legally binding) for Gaiman's birthday in New Orleans.^[53] On January 3, 2011, the couple announced, via Twitter, that they had legally married in a private ceremony.^[54] The wedding took place in the parlour of writers Ayelet Waldman and Michael Chabon.^[55]

Palmer practices meditation and wrote an article titled "Melody vs. Meditation"^[56] for the Buddhist publication Shambhala Sun, that described the struggle between songwriting and being able to clear the mind to meditate. Palmer has also mentioned her pescetarianism on her blog.^[57] She has many friends who are fellow musicians, and frequently performs alongside them, either accompanying them in their performances, or featuring them in her live shows.^{[original research?]} These performers include: Jason Webley, Kim Boekbinder, The Jane Austen Argument, Reggie Watts, Tim Minchin, Mikelangelo, Meow Meow and Neil Gaiman.^{[citation needed]}

Awards & honors[link]

• 2012 – Twitter Feed @amandapalmer in the Boston Phoenix's Best 2012 ^[58]
• 2011 – Actress in a local production: Cabaret – Boston's Best, Improper Bostonian^[59]
• 2010 – Artist of the Year – Boston Music Awards^[60][61][62]
• 2010 – Cover of Fake Plastic Trees (Radiohead) named 13th of Paste Magazine's 20 Best Cover Songs of 2010^[63]
• 2009 – No. 100 on After Ellen's Hot 100 of 2009.^[64]
• 2008 – No. 6 on the Best Solo artist list in The Guardian's Readers' Poll of 2008.^[65]
• 2007 – No. 6 on Spinner.com's Women Who Rock Right Now.^[66]
• 2006 – the Boston Globe named her the most stylish woman in Boston.^[67]
• 2006 – listed in Blender Magazine's hottest women of rock.^[68]
• 2005 – Best Female Vocalist in the WFNX/Boston Phoenix Best Music Poll.^[69][70]

Discography[link]

Solo artist[link]

Demos[link]

• Songs from 1989–1995... (1996)
• Summer 1998 Five Song Demo (1997)

Studio albums[link]

• Who Killed Amanda Palmer (2008) No. 77 US^[71]
• Amanda Palmer Goes Down Under (2011)^[72]
• Amanda Palmer & The Grand Theft Orchestra (2012)^[73]

EPs[link]

• Amanda Palmer Performs the Popular Hits of Radiohead on Her Magical Ukulele (2010)^[74][75][76]

Singles[link]

• "Do You Swear to Tell the Truth the Whole Truth and Nothing but the Truth So Help Your Black Ass" (April 6, 2010)
• "Idioteque" (June 10, 2010)
• "Map of Tasmania" (December 2010)^[77]

DVDs[link]

• Who Killed Amanda Palmer: A Collection of Music Videos (2009)

As part of The Dresden Dolls[link]

• The Dresden Dolls EP (2002)
• A Is for Accident (2003)
• The Dresden Dolls (2003, reissued 2004)
• Yes, Virginia... (2006)
• No, Virginia... (2008)

As part of Evelyn Evelyn[link]

• Elephant Elephant (2007)^[78][79]
• Evelyn Evelyn (2010)

Other collaborations[link]

• "Trudy" (with Ad Frank and the Fast Easy Women on In Girl Trouble) (2003)
• "Circus Freak Love Triangle" (with Hierosonic on Pornos and Razorblades) (2005)
• "Warsaw Is Khelm" (with Golem on Fresh Off Boat) (2006)
• "Life", "Eight Days of Hell" and "Witch's Web" (with ...And You Will Know Us by the Trail of Dead on So Divided) (2006)
• "The Lovers" (with Meredith Yayanos on Brainwaves) (2006)
• "Stuck with You" (with Voltaire on Ooky Spooky) (2007)
• "Everybody Hurts" (with Cormac Bride on Stereogum Presents... Drive XV: A Tribute to Automatic For the People) (2007)
• "Black Versus White" (with Apoptygma Berzerk on Rocket Science) (2009)
• Murder By Death/Amanda Palmer Split 7" (2009)
• "Living in Misery" (with Kill Hannah on Wake Up the Sleepers) (2009)
• "János vs Wonderland" (with Tristan Allen on Tristan Allen EP) (2010)
• "The Little Prince" (with Lance Horne on First Things Last) (2011)^[80]
• Nighty Night (with Damian Kulash of OK Go, Neil Gaiman and Ben Folds as 8in8) (2011)^[81][82]
• "Such Great Heights" (with Kim Boekbinder on Such Great Heights single) (2011)^[83][84][85]

Cameo appearances[link]

• "Let Me Borrow That Top" (by Liam Kyle Sullivan aka. "Kelly") (2004) appearing briefly in the mall scene.
• "With the Needle That Sings in Her Heart" (Lexington High School's 2009 Spring Production) appearing as "The Ringmaster"

Bibliography[link]

• Palmer, Amanda (2006). The Dresden Dolls Companion. New York, NY: Eight Foot Music. ISBN 978-1-57560-888-4. 
• Palmer, Amanda; Viglione, Brian (2008). The Dresden Dolls – The Virginia Companion. Cherry Lane Music Company. ISBN 1-60378-079-3. 
• Palmer, Amanda; Gaiman, Neil; Cassidy, Kyle; Hommel, Beth (2009). Who Killed Amanda Palmer: A Collection of Photographic Evidence. New York, NY: Eight Foot Books. ISBN 0-615-23439-9. 
• Palmer, Amanda (2009). Amanda Palmer - Who Killed Amanda Palmer?. Cherry Lane Music Company. p. 112. ISBN 978-1-60378-123-7. "A songbook with the chords and lyrics to the album Who Killed Amanda Palmer" 
• Cynthia, Von Buhler; Palmer, Amanda; Webley, Jason (2011). Evelyn Evelyn (illustrated ed.). Diamond Comic Distributors. p. 144. ISBN 978-1-59582-578-0. 

Notes[link]

External links[link]

Wikimedia Commons has media related to: Amanda Palmer

Wikiquote has a collection of quotations related to: Amanda Palmer

• Amanda Palmer's official site
• Live Webcast & Ustream archive
• Amanda Palmer's autobiography on The Dresden Dolls' website
• Amanda Palmer discography at MusicBrainz
• Amanda Palmer discography at Discogs

Interviews[link]

• Conversation with Amanda Palmer and Henry Rollins – July 7, 2007

Features[link]

• "Art Endures, Capitalism Degenerates: The Evolving Career of Amanda Palmer", by Sean Bell, PopMatters, October 28, 2011