12-31-2018, 05:05 AM
Two very different artists, one of animation and one with the cello:
Donald Lusk (October 28, 1913 – December 30, 2018[1]) was an American animator and director.
Don Lusk was hired by The Walt Disney Company in 1933.[2] Some of his more notable work included Pinocchio, Fantasia, Bambi, Song of the South, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty and One Hundred and One Dalmatians.[3][4]
Lusk left Disney in 1960, but continued to work as an animator during the 1960s and 1970s. Aside from animation, Lusk also directed multiple cartoon films and series, most notably for various Peanuts TV specials and movies and for the Hanna-Barbera studio. His work at the latter included Scooby-Doo, The Flintstones, The Jetsons, The Smurfs and Tom and Jerry.[5]
In the early 1990s, Lusk retired after a career that spanned 60 years.[6]
More at Wikipedia
One has to be very good at what one does to work to age 80 or so.
Aldo Simoes Parisot[1] (September 30, 1918 – December 29, 2018) was a Brazilian-born American cellist and cello teacher. He was formerly a member of the Juilliard School faculty, and served as a music professor at the Yale School of Music for sixty years (1958 to July 2018).
Born in Natal, Brazil, Parisot began studying cello at age seven with his stepfather, Tomazzo Babini. From Babini, he learned the importance of playing without unnecessary tension—something he credits as the foundation for the rest of his career.[2] At the age of 12 he gave his professional debut as a cellist.[3] From there, he moved on to become principal cellist of the Brazilian Symphony Orchestra in Rio de Janeiro. During one of the concerts, Carleton Sprague Smith, the attaché to the American embassy was in attendance. Upon witnessing Parisot's performance of Brahms's Double Concerto with violinist Ricardo Odnoposoff, he proceeded to go backstage, and invited Parisot to attend a party thrown for Yehudi Menuhin. At the party, Smith told Parisot he would arrange for Parisot to study at the Curtis Institute of Music with Emanuel Feuermann.[2] However, Feuermann died unexpectedly on May 25, 1942, three months before Parisot's intended arrival in the US.[4]
Sometime later, Smith again approached Parisot, this time with an offer to pursue studies of music theory and chamber music at Yale University on scholarship. Accommodations were to be made such that Parisot could avoid taking lessons, as Feuermann was the only one Parisot was interested in studying with. Parisot accepted, and began at Yale in 1946. Parisot's theory professor at Yale was Paul Hindemith, with whom Parisot became close friends. However, after an argument concerning a missed rehearsal, the two got into a fight—Parisot exclaiming to Hindemith "You and your orchestra can go to hell!". A representative of the student union visited him and warned him that he could be deported. Hindemith and Parisot soon after resolved the misunderstanding.[2]
At age 26, during the start of his studies at Yale, he made his United States debut with the Boston Symphony Orchestra at the festival in Tanglewood. He embarked on his first European tour the following year. Following this he earned a degree from Yale School of Music and toured throughout the United States, Canada, and South America.[5] According to Margaret Campbell, in her book The Great Cellists,[6]
“
Parisot was a brilliant soloist, chamber musician and teacher who based his ideas on the playing of Emanuel Feuermann.
”
In the 1950s Parisot appeared in numerous solo concerts and soloed in many concertos with orchestras. During this time, he also premiered works by composers such as Heitor Villa-Lobos, Camargo Guarnieri, Jose Siqueira, Quincy Porter, Mel Powell, Claudio Santoro, Donald Martino as well as other works that where written and dedicated to him.[7] He is recognized for his musicality, temperament and virtuoso playing as well as his teaching abilities.
Parisot gave first performances of composers such as Carmago Guarnieri, Quincy Porter, Alvin Etler, Claudio Santoro, Joan Panetti, Ezra Laderman, Yehudi Wyner, and Heitor Villa-Lobos always trying to enlarge the cello repertoire. Villa-Lobos composed his Cello Concerto No. 2 for Parisot, and dedicated the concerto to him. Parisot gave the first performance at his debut with the New York Philharmonic. Orchestras such as the Amsterdam, Berlin, Chicago, London, Los Angeles, Munich, Paris, Pittsburgh, Rio de Janeiro, Stockholm, Vienna and Warsaw, have played with him with prestigious conductors such as Stokowski, John Barbirolli, Pierre-Michel Le Conte, Leonard Bernstein, Eleazar de Carvalho, Zubin Mehta, Claude Monteux, Paul Paray, Victor de Sabata, Sawallisch, Hindemith, and Heitor Villa-Lobos.[8] In this period, he was also the cellist with the Yale Quartet, with Broadus Erle, Syoko Aki and Walter Trampler.[9]
From 1956 to 1996, Parisot owned the De Munck Stradivarius.[citation needed]
Parisot's performance at Tanglewood of Donald Martino's Parisonatina al'Dodecafonia for solo cello—a piece written for Parisot—received many favorable reviews, including from Harold Schonberg of The New York Times and from the Boston Globe.[2]
Parisot was renowned for his teaching, having held posts at Peabody Conservatory, Mannes College of Music, the Juilliard School, and the New England Conservatory in addition to his current position at Yale, which he has held since 1958. Throughout the years, his students have gone on to careers as prominent concert artists, teachers and players in major symphony orchestras. Some better-known former students of his include Jesús Castro-Balbi, Shauna Rolston, Bion Tsang, Ralph Kirshbaum, Han-na Chang, Robert deMaine, Johann Sebastian Paetsch, Jian Wang.[7] According to Kirshbaum:
“
Parisot had a virtuoso left hand technique and was a great teacher. He also furthered the use of my musical imagination in a technical sense.[7]
”
In addition to maintaining a private studio, Parisot conducted the Yale Cellos since 1983. Formed as an ensemble of his current students, the group has since released a number of award-winning CDs, one of which received a Grammy nomination.[10] Parisot formally retired from Yale in July 2018, having been the longest-serving faculty member of the Yale School of Music and also the oldest member of the Yale University faculty.[11]
Parisot regularly gave master classes at the Banff Centre from 1980 to 2007, in addition to his regular teaching at the Yale Summer School in Norfolk, and at several other summer festivals. He gave master classes at the Sibelius Academy in November 1991. In Seoul, South Korea Parisot has offered courses of master classes at the Chung-Ang University since May 1994. He also held master classes at the Manchester International Cello Festival, and conducted a large cello ensemble. In January 2000 he toured Taiwan performing with the teaching staff to aid earthquake relief victims.
In 1984, Parisot gave a month's worth of master classes in China, where he auditioned prospective students, and the following year he was invited back. Beginning in 1987, he gave master classes and performances at the Jerusalem Music Center in Israel. He also taught at the Great Mountains Music Festival and School at the Yongpyong resort.
Alan Rich of New York Magazine has commented about these master classes:[3]
Parisot regularly gave master classes at the Banff Centre from 1980 to 2007, in addition to his regular teaching at the Yale Summer School in Norfolk, and at several other summer festivals. He gave master classes at the Sibelius Academy in November 1991. In Seoul, South Korea Parisot has offered courses of master classes at the Chung-Ang University since May 1994. He also held master classes at the Manchester International Cello Festival, and conducted a large cello ensemble. In January 2000 he toured Taiwan performing with the teaching staff to aid earthquake relief victims.
In 1984, Parisot gave a month's worth of master classes in China, where he auditioned prospective students, and the following year he was invited back. Beginning in 1987, he gave master classes and performances at the Jerusalem Music Center in Israel. He also taught at the Great Mountains Music Festival and School at the Yongpyong resort.
Alan Rich of New York Magazine has commented about these master classes:[3]
“
The master classes are extraordinary – Parisot has that enormous, rare gift of translating musical feeling into solid information about what to do with a set of fingers and a bow. Maybe there are master classes for clarinet, or trombone, somewhere in the world, but I doubt that they operate on the level of intensity that you find at Parisot's classes at Yale…as a teacher, he is an object of pilgrimage.
”
More at Wikipedia
...on a university faculty until retiring at age 99.
Donald Lusk (October 28, 1913 – December 30, 2018[1]) was an American animator and director.
Don Lusk was hired by The Walt Disney Company in 1933.[2] Some of his more notable work included Pinocchio, Fantasia, Bambi, Song of the South, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty and One Hundred and One Dalmatians.[3][4]
Lusk left Disney in 1960, but continued to work as an animator during the 1960s and 1970s. Aside from animation, Lusk also directed multiple cartoon films and series, most notably for various Peanuts TV specials and movies and for the Hanna-Barbera studio. His work at the latter included Scooby-Doo, The Flintstones, The Jetsons, The Smurfs and Tom and Jerry.[5]
In the early 1990s, Lusk retired after a career that spanned 60 years.[6]
More at Wikipedia
One has to be very good at what one does to work to age 80 or so.
Aldo Simoes Parisot[1] (September 30, 1918 – December 29, 2018) was a Brazilian-born American cellist and cello teacher. He was formerly a member of the Juilliard School faculty, and served as a music professor at the Yale School of Music for sixty years (1958 to July 2018).
Born in Natal, Brazil, Parisot began studying cello at age seven with his stepfather, Tomazzo Babini. From Babini, he learned the importance of playing without unnecessary tension—something he credits as the foundation for the rest of his career.[2] At the age of 12 he gave his professional debut as a cellist.[3] From there, he moved on to become principal cellist of the Brazilian Symphony Orchestra in Rio de Janeiro. During one of the concerts, Carleton Sprague Smith, the attaché to the American embassy was in attendance. Upon witnessing Parisot's performance of Brahms's Double Concerto with violinist Ricardo Odnoposoff, he proceeded to go backstage, and invited Parisot to attend a party thrown for Yehudi Menuhin. At the party, Smith told Parisot he would arrange for Parisot to study at the Curtis Institute of Music with Emanuel Feuermann.[2] However, Feuermann died unexpectedly on May 25, 1942, three months before Parisot's intended arrival in the US.[4]
Sometime later, Smith again approached Parisot, this time with an offer to pursue studies of music theory and chamber music at Yale University on scholarship. Accommodations were to be made such that Parisot could avoid taking lessons, as Feuermann was the only one Parisot was interested in studying with. Parisot accepted, and began at Yale in 1946. Parisot's theory professor at Yale was Paul Hindemith, with whom Parisot became close friends. However, after an argument concerning a missed rehearsal, the two got into a fight—Parisot exclaiming to Hindemith "You and your orchestra can go to hell!". A representative of the student union visited him and warned him that he could be deported. Hindemith and Parisot soon after resolved the misunderstanding.[2]
At age 26, during the start of his studies at Yale, he made his United States debut with the Boston Symphony Orchestra at the festival in Tanglewood. He embarked on his first European tour the following year. Following this he earned a degree from Yale School of Music and toured throughout the United States, Canada, and South America.[5] According to Margaret Campbell, in her book The Great Cellists,[6]
“
Parisot was a brilliant soloist, chamber musician and teacher who based his ideas on the playing of Emanuel Feuermann.
”
In the 1950s Parisot appeared in numerous solo concerts and soloed in many concertos with orchestras. During this time, he also premiered works by composers such as Heitor Villa-Lobos, Camargo Guarnieri, Jose Siqueira, Quincy Porter, Mel Powell, Claudio Santoro, Donald Martino as well as other works that where written and dedicated to him.[7] He is recognized for his musicality, temperament and virtuoso playing as well as his teaching abilities.
Parisot gave first performances of composers such as Carmago Guarnieri, Quincy Porter, Alvin Etler, Claudio Santoro, Joan Panetti, Ezra Laderman, Yehudi Wyner, and Heitor Villa-Lobos always trying to enlarge the cello repertoire. Villa-Lobos composed his Cello Concerto No. 2 for Parisot, and dedicated the concerto to him. Parisot gave the first performance at his debut with the New York Philharmonic. Orchestras such as the Amsterdam, Berlin, Chicago, London, Los Angeles, Munich, Paris, Pittsburgh, Rio de Janeiro, Stockholm, Vienna and Warsaw, have played with him with prestigious conductors such as Stokowski, John Barbirolli, Pierre-Michel Le Conte, Leonard Bernstein, Eleazar de Carvalho, Zubin Mehta, Claude Monteux, Paul Paray, Victor de Sabata, Sawallisch, Hindemith, and Heitor Villa-Lobos.[8] In this period, he was also the cellist with the Yale Quartet, with Broadus Erle, Syoko Aki and Walter Trampler.[9]
From 1956 to 1996, Parisot owned the De Munck Stradivarius.[citation needed]
Parisot's performance at Tanglewood of Donald Martino's Parisonatina al'Dodecafonia for solo cello—a piece written for Parisot—received many favorable reviews, including from Harold Schonberg of The New York Times and from the Boston Globe.[2]
Parisot was renowned for his teaching, having held posts at Peabody Conservatory, Mannes College of Music, the Juilliard School, and the New England Conservatory in addition to his current position at Yale, which he has held since 1958. Throughout the years, his students have gone on to careers as prominent concert artists, teachers and players in major symphony orchestras. Some better-known former students of his include Jesús Castro-Balbi, Shauna Rolston, Bion Tsang, Ralph Kirshbaum, Han-na Chang, Robert deMaine, Johann Sebastian Paetsch, Jian Wang.[7] According to Kirshbaum:
“
Parisot had a virtuoso left hand technique and was a great teacher. He also furthered the use of my musical imagination in a technical sense.[7]
”
In addition to maintaining a private studio, Parisot conducted the Yale Cellos since 1983. Formed as an ensemble of his current students, the group has since released a number of award-winning CDs, one of which received a Grammy nomination.[10] Parisot formally retired from Yale in July 2018, having been the longest-serving faculty member of the Yale School of Music and also the oldest member of the Yale University faculty.[11]
Parisot regularly gave master classes at the Banff Centre from 1980 to 2007, in addition to his regular teaching at the Yale Summer School in Norfolk, and at several other summer festivals. He gave master classes at the Sibelius Academy in November 1991. In Seoul, South Korea Parisot has offered courses of master classes at the Chung-Ang University since May 1994. He also held master classes at the Manchester International Cello Festival, and conducted a large cello ensemble. In January 2000 he toured Taiwan performing with the teaching staff to aid earthquake relief victims.
In 1984, Parisot gave a month's worth of master classes in China, where he auditioned prospective students, and the following year he was invited back. Beginning in 1987, he gave master classes and performances at the Jerusalem Music Center in Israel. He also taught at the Great Mountains Music Festival and School at the Yongpyong resort.
Alan Rich of New York Magazine has commented about these master classes:[3]
Parisot regularly gave master classes at the Banff Centre from 1980 to 2007, in addition to his regular teaching at the Yale Summer School in Norfolk, and at several other summer festivals. He gave master classes at the Sibelius Academy in November 1991. In Seoul, South Korea Parisot has offered courses of master classes at the Chung-Ang University since May 1994. He also held master classes at the Manchester International Cello Festival, and conducted a large cello ensemble. In January 2000 he toured Taiwan performing with the teaching staff to aid earthquake relief victims.
In 1984, Parisot gave a month's worth of master classes in China, where he auditioned prospective students, and the following year he was invited back. Beginning in 1987, he gave master classes and performances at the Jerusalem Music Center in Israel. He also taught at the Great Mountains Music Festival and School at the Yongpyong resort.
Alan Rich of New York Magazine has commented about these master classes:[3]
“
The master classes are extraordinary – Parisot has that enormous, rare gift of translating musical feeling into solid information about what to do with a set of fingers and a bow. Maybe there are master classes for clarinet, or trombone, somewhere in the world, but I doubt that they operate on the level of intensity that you find at Parisot's classes at Yale…as a teacher, he is an object of pilgrimage.
”
More at Wikipedia
...on a university faculty until retiring at age 99.
The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated Communist but instead the people for whom the distinction between fact and fiction, true and false, no longer exists -- Hannah Arendt.