|Eva Cassidy Web Site
Eva Cassidy Web Site offers information about the late singer Eva Cassidy , including articles, photographs, interviews, artwork and more.
In her one and only performance Live at Blues Alley in Washington, DC she sang song from all over the musical map. One minute she was singing Sting’s Fields of Gold, and the next Cyndi Lauper’s Time After Time, followed by Louis Armstrong’s It’s A Wonderful World. She especially loved this last song and it would be the last one she would perform in front of an audience before she died
Eva Cassidy – Somewhere Over The Rainbow
When Eva Cassidy was nine, around the time family moved from Oxon Hill to Bowie, her dad gave her a guitar and taught her chords. Hugh, who plays bass and cello, formed a family ensemble with Eva and her younger brother, Daniel, now a professional fiddler in Iceland. Sisters Margret and Anette could sing, and the Cassidys used to entertain at family gatherings.
Eva Cassidy – What a Wonderful World
“At nighttime we would sing together with my dad orchestrating,” says Margret Cassidy Robinson.
Eva spent hours in her room teaching herself guitar and listening to Stevie Wonder, Pete Seeger, Buffy Sainte-Marie, Joan Baez, Ella Fitzgerald.
Eva Cassidy – Time After Time Live
When Pandora radio first came out I tried and tried to create an Eva Cassidy and could never get any of her tunes to play. Now five years later an Eva Cassidy channel is actually possible, but they still have trouble figuring out what to play next.
I totally understand. When you listen to Eva, it’s hard to listen to anything “next.”
Igor Leschishin came to the USA in 1992 from The Ukraine to participate in the University of Wisconsin Milwaukee’s Institute of Chamber Music. When I met him then we were both part of the Wind Quintet Air Craft and he barely spoke any English…
While playing in Milwaukee, the members of Air Craft used to have great fun kidding with Igor and his difficulties with the English language. Heused to routinely confuse the words “boss” and “bus,” frequently referring to the supervisor at his part-time job as his “bus” and then tell us he rode the “boss” to work. He accepted our teasing with great humor.
|Igor Leschishin, Oboe
Igor Leschishin is the principal oboist for the Washington National Opera Orchestra at the Kennedy Center in Washington DC, a post he has held since 1998. Prior to his current appointment, Mr. Leschishin served as a member of the oboe section in the New World Symphony Orchestra (Miami Beach, FL; 1996-1998) under the direction of Michael Tilson Thomas.
Our year together as a Wind Quintet culminated in a performance in the Finals for the Concert Artists Guild International Competition in New York City where we performed Joan Tower’s Island Prelude as part of our program. It was a piece overly ambitious for us as a group, but not for Igor, who handled the immense virtuosity required of the oboist with impressive finesse.
The next year Igor was accepted into the Manhattan School of Music to study with the renowned Joseph Robinson, former principal oboist of the New York Philharmonic where he played for 27 years. Immediately after completing his Master’s Degree, Igor won a position with the premiere American training orchestra The New World Symphony under the direction of Michael Tilson Thomas.
|Caspian Monday Music – Chamber Orchestra
Caspian Chamber Orchestra – July 25, 2011Alexey Shabalin, concertmaster Igor Leschishin, oboe Andrea Breitenbach, oboe performance at 8pm, Hazen Union Highschool, Hardwick
Musicians in the New World Symphony are given room and board and a stipend and generally play in the orchestra for a maximum of two years. Igor’s stay was extended to a third year and immediately upon leaving the orchestra he won the principal oboe position with the Washington National Ballet Orchestra, where he has been ever since. He maintains a busy concert schedule playing chamber music in the off season. Below are links to some upcoming concert dates. Most recently, Igor and his wife Anna Bennewig became proud new parents of a beautiful baby girl.
Tragic death of a young entertainment diva leaves few surprised. Lindsay, are you watching?
Sometimes people are hell bent on destroying themselves, for reasons none of us understand. Often, it’s the brightest most creative and innovative people, like Amy Winehouse, Jimmy Hendrix, Jim Morrison Janis Joplin, Kurt Cobain, Jean Harlow and Heath Ledger. It’s hard to lose people who inspire us when they are so young.
Abraham Lincoln said, “Nearly all men can stand adversity, but if you want to test a man’s character, give him power.” For a lot of musicians just replace the word “power” with “money.” It’s likely that Amy Winehouse would still be alive if she’s never made it big. Why is that?
The tragedy for artists like Amy is that often. when they make it big they are surrounded by people who are living off of them. Because these agents and professional “handlers” are so dependent on the artists to whom they are attached, they profess to really care. When it comes time for a true intervention it’s an agent or a record company trying to do it. That’s ridiculous. An intervention only works when someone who truly loves you, is at the core of it.
Amy, like so many others, didn’t have that. Or, if she did, they were shoved to the sidelines so that stakeholders could manage their “product.” We’ve seen it so many times with Britney Spears, Lindsay Lohan and Charlie Sheen.
Yet when it really happens, somehow, we’re still shocked.
God be with you Amy. May you find the peace and love on the other side that eluded you here.
I played principal flute for the Ohio Light Opera Company the summer of 1991. 20 years ago I had just finished the coursework for my Doctoral degree in music from the University of Illinois, and I was hungry for a performing gig…
|The Ohio Light Opera
The Ohio Light Opera is the Resident Professional Company of The College of Wooster • Freedlander Theatre
Surprisingly, there really was no repertoire list. I had cut my teeth on many productions, many of them much more challenging so I wasn’t worried about the technical aspects of the music. Harris asked me to just bring in five orchestral excerpts and a movement from a concerto. I picked standards: Scherzo from Midsummer’s Night Dream, opening to Afternoon of a Faun, the solo from Daphnis and Chloe, Leonora Overture [Beethoven] and the flute solo from Brahms’ 4th Symphony, plus the first movement of Mozart’s Concerto in G Major.
I got the gig. I was ecstatic because it really was my first “playing gig” that was more that a per-service one shot deal. Unfortunatey, the ecstasy wouldn’t last
When I arrived in Wooster I discovered that for the $1200 they were paying me for the entire summer I would have to play a grueling schedule. We rehearsed 8 different productions. We would rehearse from 8:00am-12:00pm one show, 1:00pm-5:00pm another show and then we would perform a show from 8:00pm-11:30pm. Yes, 11 1/2 hours of playing a day