Joel Thome - Revision history

Spider of Destiny at 23:29, 15 August 2026

2026-08-15T23:29:32Z

Spider of Destiny: /* Joel Thome about Frank Zappa */

2026-07-05T16:26:45Z

Joel Thome about Frank Zappa

Spider of Destiny: /* See Articles */

2026-06-29T21:41:13Z

See Articles

Jason.Kreitzer at 14:54, 30 November 2021

2021-11-30T14:54:19Z

Jason.Kreitzer at 03:00, 22 July 2021

2021-07-22T03:00:51Z

Spider of Destiny: Clean-up

2020-11-19T21:00:53Z

Clean-up

Propellerkuh at 10:26, 13 May 2007

2007-05-13T10:26:14Z

New page

From Wikipedia, the free encyclopedia: 

'''Joel Thome''' is the conductor and artistic director of ''Orchestra of Our Time.'' A Grammy Award recipient, Thome has been acclaimed internationally as an accomplished conductor and composer of classical and contemporary orchestral music, as well as a strikingly effective conductor of opera and other music/theater works. His conducting credits include many prominent and international orchestras. He has worked with such noted artists as pianists Vladimir Feltsman and Lorin Hollander, violinist Jaime Laredo, Metropolitan Opera singers Florence Quivar and Roberta Alexander. His modern opera performances include the Weill/Brecht Threepenny Opera with the Opera Company of Boston and the Thomson/Stein Four Saints in Three Acts at Carnegie Hall.
==See Articles==
*[[The David Ocker Interview]] 
*[[Zappa's Swedish Universe]] 
*[[Stevie's Enormous Mouth]] 
*[[You're So Vai]] 
*[[Frank Zappa, Musician, February 1994]]

Further reading: 
[[wikipedia:Joel Thome|Joel Thome]] 
[[Category:Supporting Cast]] 
[[Category:Conductors]]

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 In November 1991 Thome conducted, arranged and directed the ''[[Zappa's Universe]]'' concert at the Ritz Theatre in New York City. The album received a Grammy Award for Best Rock Instrumental (1994).
-He also conducted ''The Music of Frank Zappa and Edgard Varèse'' at the Great Performers Series in Avery Fisher Hall at Lincoln Center and ''An Evening of the Music of Frank Zappa'' with the Seattle and Oregon Symphony Orchestras.
+He also conducted ''The Music of Frank Zappa and Edgard Varèse'' at the Great Performers Series in Avery Fisher Hall at [[Lincoln Center]] and ''An Evening of the Music of Frank Zappa'' with the [[Seattle]] and [[Oregon]] Symphony Orchestras.
 ==Joel Thome about Frank Zappa==

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 ==Joel Thome about Frank Zappa==
-''"I remember working on Zappa's Universe, and mentioning to him what I wanted to do with "[[Oh No]]," which I heard as a full-blown orchestra piece. I said, "I'm going to set this in a Webernesque way," and after I explained more he said, "Sounds like [[Anton Webern|Webern]]'s chamber Symphony, opus 21." Believe me, few musicians would have known that. When I mentioned that I'd end it in a [[wikipedia:Gustav Mahler|Mahleresque]] way, he loved that too. His compositions became more articulate as the years went by; there were certain compositional problems he was solving. There was a period when he said, "I'm not going to write for human beings anymore" – the mid-'80s, maybe earlier. He couldn't stand the lack of rehearsal time, people coming in unprepared, and unsatisfying performances. I knew where the statement was coming from. Not from the fact that he didn't want humans to hear his music, but from the fact that his electronic work was becoming more and more in tune with what he heard in his head. It definitely precipitated the Synclavier stuff, largely because he could do things with instrumental sounds that he couldn't achieve with live instruments; technically they wouldn't have the range. I remember he called me late one night and played a passage on Synclavier that sounded like traditional instruments, but at a speed that never would have been humanly possible. He spoke from the heart about the ways that he was robbed by the cancer. "I used to be able to work 22 hours a day, and now I'm only going to be able to work 18. Rats." He worked right till the end. His creative soul was always filled with music. The silence of Frank's voice is deafening; the sound of his music will live forever."''
+''"I remember working on [[Zappa's Universe]], and mentioning to him what I wanted to do with "[[Oh No]]," which I heard as a full-blown orchestra piece. I said, "I'm going to set this in a Webernesque way," and after I explained more he said, "Sounds like [[Anton Webern|Webern]]'s chamber Symphony, opus 21." Believe me, few musicians would have known that. When I mentioned that I'd end it in a [[wikipedia:Gustav Mahler|Mahleresque]] way, he loved that too. His compositions became more articulate as the years went by; there were certain compositional problems he was solving. There was a period when he said, "I'm not going to write for human beings anymore" – the mid-'80s, maybe earlier. He couldn't stand the lack of rehearsal time, people coming in unprepared, and unsatisfying performances. I knew where the statement was coming from. Not from the fact that he didn't want humans to hear his music, but from the fact that his electronic work was becoming more and more in tune with what he heard in his head. It definitely precipitated the [[Synclavier]] stuff, largely because he could do things with instrumental sounds that he couldn't achieve with live instruments; technically they wouldn't have the range. I remember he called me late one night and played a passage on Synclavier that sounded like traditional instruments, but at a speed that never would have been humanly possible. He spoke from the heart about the ways that he was robbed by the cancer. "I used to be able to work 22 hours a day, and now I'm only going to be able to work 18. Rats." He worked right till the end. His creative soul was always filled with music. The silence of Frank's voice is deafening; the sound of his music will live forever."''
 - Joel Thome in ''[[Frank Zappa, Musician, February 1994]]''.
 ==See Articles==

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 *''[[Stevie's Enormous Mouth]]''
 *''[[You're So Vai]]''
-*''[[Frank Zappa, Musician, February 1994]]''
+* Joel Thome is interviwed in ''[[Frank Zappa, Musician, February 1994]]''
 ==Source==

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	[[File:Joel Thome and Frank Zappa.jpg\|500px\|thumb\|right\|Joel Thome and Frank Zappa, 1980.]]		[[File:Joel Thome and Frank Zappa.jpg\|500px\|thumb\|right\|Joel Thome and Frank Zappa, 1980.]]

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 In the 1960s Thome first heard Zappa: ''"What struck me about Zappa was his tremendous knowledge of music, that he was able to encompass so much music that he was hearing: [[Igor Stravinsky|Stravinsky]] and [[Béla Bartók|Bartok]] and [[Anton Webern|Webern]] and [[Arnold Schoenberg|Schoenberg]]. And he was talking about the music that influenced him and I was very struck by the fact that he gave credit to the people who had influenced him and also in the depth of the music that had influenced him."''<ref>https://bombmagazine.org/articles/joel-thome/</ref> He also added: ''"Frank was certainly a genius. I love the [[Dada]]ist concepts in his work."'' <ref>http://www.digitaljournal.com/article/326638</ref>
-In 1980 he met Frank Zappa when they worked on a tribute to [[Edgar Varèse]] at the Palladium in New York City, after which they became friends and colleagues. <ref>https://bombmagazine.org/articles/joel-thome/</ref> They collaborated on his symphony orchestra pieces with the Buffalo Symphony Orchestra. <ref>https://bombmagazine.org/articles/joel-thome/</ref>
+In 1980 he met Frank Zappa when they worked on a tribute to [[Edgard Varèse|Edgar Varèse]] at the Palladium in New York City, after which they became friends and colleagues. <ref>https://bombmagazine.org/articles/joel-thome/</ref> They collaborated on his symphony orchestra pieces with the Buffalo Symphony Orchestra. <ref>https://bombmagazine.org/articles/joel-thome/</ref>
 In November 1991 Thome conducted, arranged and directed the ''[[Zappa's Universe]]'' concert at the Ritz Theatre in New York City. The album received a Grammy Award for Best Rock Instrumental (1994).
@@ Line 13: / Line 13: @@
 ==Joel Thome about Frank Zappa==
-''"I remember working on Zappa's Universe, and mentioning to him what I wanted to do with "[[Oh No]]," which I heard as a full-blown orchestra piece. I said, "I'm going to set this in a Webernesque way," and after I explained more he said, "Sounds like [[Anton Friedrich Ernst von Webern|Webern]]'s chamber Symphony, opus 21." Believe me, few musicians would have known that. When I mentioned that I'd end it in a [[wikipedia:Gustav Mahler|Mahleresque]] way, he loved that too. His compositions became more articulate as the years went by; there were certain compositional problems he was solving. There was a period when he said, "I'm not going to write for human beings anymore" – the mid-'80s, maybe earlier. He couldn't stand the lack of rehearsal time, people coming in unprepared, and unsatisfying performances. I knew where the statement was coming from. Not from the fact that he didn't want humans to hear his music, but from the fact that his electronic work was becoming more and more in tune with what he heard in his head. It definitely precipitated the Synclavier stuff, largely because he could do things with instrumental sounds that he couldn't achieve with live instruments; technically they wouldn't have the range. I remember he called me late one night and played a passage on Synclavier that sounded like traditional instruments, but at a speed that never would have been humanly possible. He spoke from the heart about the ways that he was robbed by the cancer. "I used to be able to work 22 hours a day, and now I'm only going to be able to work 18. Rats." He worked right till the end. His creative soul was always filled with music. The silence of Frank's voice is deafening; the sound of his music will live forever."''
+''"I remember working on Zappa's Universe, and mentioning to him what I wanted to do with "[[Oh No]]," which I heard as a full-blown orchestra piece. I said, "I'm going to set this in a Webernesque way," and after I explained more he said, "Sounds like [[Anton Webern|Webern]]'s chamber Symphony, opus 21." Believe me, few musicians would have known that. When I mentioned that I'd end it in a [[wikipedia:Gustav Mahler|Mahleresque]] way, he loved that too. His compositions became more articulate as the years went by; there were certain compositional problems he was solving. There was a period when he said, "I'm not going to write for human beings anymore" – the mid-'80s, maybe earlier. He couldn't stand the lack of rehearsal time, people coming in unprepared, and unsatisfying performances. I knew where the statement was coming from. Not from the fact that he didn't want humans to hear his music, but from the fact that his electronic work was becoming more and more in tune with what he heard in his head. It definitely precipitated the Synclavier stuff, largely because he could do things with instrumental sounds that he couldn't achieve with live instruments; technically they wouldn't have the range. I remember he called me late one night and played a passage on Synclavier that sounded like traditional instruments, but at a speed that never would have been humanly possible. He spoke from the heart about the ways that he was robbed by the cancer. "I used to be able to work 22 hours a day, and now I'm only going to be able to work 18. Rats." He worked right till the end. His creative soul was always filled with music. The silence of Frank's voice is deafening; the sound of his music will live forever."''
 - Joel Thome in ''[[Frank Zappa, Musician, February 1994]]''.

@@ Line 1: / Line 1: @@
-From Wikipedia, the free encyclopedia:<br>
+[[File:Joel Thome and Frank Zappa.jpg|500px|thumb|right|Joel Thome and Frank Zappa, 1980.]]
 ==See Articles==
-*[[The David Ocker Interview]]<br>
+*''[[The David Ocker Interview]]''
-*[[Zappa's Swedish Universe]]<br>
+*''[[Zappa's Swedish Universe]]''
-*[[Stevie's Enormous Mouth]]<br>
+*''[[Stevie's Enormous Mouth]]''
-*[[You're So Vai]]<br>
+*''[[You're So Vai]]''
-*[[Frank Zappa, Musician, February 1994]]
+*''[[Frank Zappa, Musician, February 1994]]''
-Further reading:<br>
+[[Category:Supporting Cast|Thome, Joel]]
-[[wikipedia:Joel Thome|Joel Thome]]<br>
+[[Category:Conductors|Thome, Joel]]
-[[Category:Supporting Cast]]<br>
+[[Category:Arrangers|Thome, Joel]]
-[[Category:Conductors]]
+[[Category:Celebrity Fans|Thome, Joel]]