Camino Bakery in downtown Winston-Salem puts the "art" in artisan breads and pastries with outstanding selections for lunch and after dinner treats as well. On Tuesday's from 5:00pm to 6:00pm it's free wine, beer, coffee and tea tastings and on Monday, January 16 at 7:00pm it's a concert you won't want to miss. The Forget-Me-Nots are national fiddling champions Maura Shawn Scanlin, Ledah and Willa Finck and guitarist David Finck. Willa, Maura, and Ledah began playing together at the ages of 6, 7, and 8 years old respectively, and a decade later, with three CDs under their belts, the trio is sounding better than ever.
TAW host David Ford sits down with Camino owner Cary Clifford for a view of the bakery biz from the pastry counter in a special Triad Tarts Up Close edition.
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Yes, Ember Audio Video on Trade Street in Winston-Salem is a high performance stereo shop, but, as we’re about to find out from Ember owners (and identical twin brothers) Blake Stewart and Chris Livengood, that’s just the tip of the iceberg. Hear them talk shop (in stereo) on TAW! Ember Gallery is currently exhibiting the work of artist Mike Shepherd.
Here's a review of a recent Shepherd exhibit from SAVORNC.
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The Winston-Salem Symphony is gearing up for an international evening of music from Brazil, Italy, Russia and Swiss-born American composer Ernest Bloch. Cello soloist and artist/professor of cello at the University of North Carolina School of the Arts Brooks Whitehouse shares his insights into Bloch's Schelomo Rhapsodie for cello solo and large orchestra with TAUC host David Ford.
From A Brief History and Analysis of Ernest Bloch's Schelomo
by Tracie D. Price
Schelomo
Following the outbreak of World War I in 1914, Bloch became increasingly concerned regarding the misery of the war. During this time, he was particularly moved by the Biblical book of Qohelet , and began sketches for a work for voice and orchestra based on the book as an outlet for his feelings regarding the pain of war. The following text which served as inspiration for what was to become Schelomo, is an excerpt from Ecclesiastes as presented by Avraham Soltes in his book Off the Willows: The Rebirth of Modern Jewish Music:
"Vanity of vanities, all is vanity.
What profit hath man of all his labor
Wherein he laboreth under the sun?
One generation passeth away and another generation cometh;
And the earth abideth forever.
The sun also ariseth,
And the sun goeth down,
And hasteth to his place where he ariseth.
The wind goeth toward the south,
And turneth about unto the north;
It turneth about continually in its circuit.
And the wind returneth again to its circuits.
All the rivers run into the sea,
Yet the sea is not full;
Unto the place whither the rivers go,
thither they go again.
All things toil to weariness:
Man cannot utter it.
The eye is not satisfied with seeing,
Nor the ear filled with hearing.
That which hath been
Is that which shall be,
And that which hath been done
Is that which shall be done;
And there is nothing new under the sun.
(Ecclesiastes 1:2-9)"
In 1933, Bloch wrote program notes for a performance of Schelomo by the Augusteo Orchestra of Rome in which he related the circumstances and inspiration that resulted in the composition of the work.
"This is the story of Schelomo. Towards the end of 1915 I was in Geneva. For years I had been sketching a musical setting of the Book of Qohelet , but neither French, German, nor English suited my purpose and I did not know enough Hebrew. Consequently the sketches accumulated-and slept. One day I met the cellist Alexander Barjansky and his wife. I heard Barjansky play and immediately became his friend. I played him my manuscript works-the Jewish Poems, the Israel Symphony, and the Psalms -- all of which were then unpublished and had failed to arouse anyone's interest. The Barjanskys were profoundly moved. While I played, Mme. Barjansky, who had borrowed a pencil and a piece of paper, sketched a little statue -- her 'sculptural thanks,' as she put it. At last, in my terrible loneliness, I had found true, warm friends. My hopes revived and I began to think about writing a work for that marvelous cellist. Why not use my Ecclesiastes material, but instead of a human voice, limited by a text, employ an infinitely grander and more profound voice that could speak all languages -- that of his violoncello? I took up my sketches , and without plan or program, almost without knowing where I was headed, I worked for days on my rhapsody. As each section was completed, I copied the solo part and Barjansky studied it. At the same time Mme. Barjansky worked on the statuette intended as a gift for me. She had first thought of sculpting a Christ, but later decided on a King Solomon. We both finished at about the same time. In a few weeks my Ecclesiastes was completed, and since the legend attributes this book to King Solomon, I gave it the title Schelomo.
"As will be seen, I had no descriptive intentions. I was saturated with the Biblical text and, above all, with the misery of the world, for which I have always had so much compassion."
