Gideon Freudmann
CelloBop
I just returned from a 3 week tour in Montana and Idaho and Eastern Washington. The audiences were enthusiastic, the theatres, alternately state-of-the-art and historic, were phenomenal, and the weather and scenery were outstanding.
Most of the shows on the tour included the Buster Keaton 1924 film, Sherlock Jr, though the final show was the 1925 Phantom of the Opera. This was because it was near halloween and they wanted something ominous and creepy and so I slunk in from the shadows with my cello.
During my travels I further immersed myself in the Keaton era by reading books by PG Wodehouse and Ivan Doig. Bouncing between the Paris Opera House underbelly, stately old English Manors, coal mines in Butte and Keaton's surreal mind all added to the adventure. The hot springs were nice too.
I'm sometimes persnickety with grammar, but I try be careful when choosing between correcting people and maintaining friendships. Still, I do like to say things correctly and I learned that I'd been mispronouncing some theater names. The Argyros, it turns out, rhymes with Arduous. In Sandpoint (on the PANhandle of IDAho) I played at the Panida, which rhymes with Canada. I'm pleased to report that I nailed The Roxy and The Myrna Loy perfectly on my first attempt.
Back home now, I have two final performances of Sherlock Jr. The first is on Whidbey Island at Dancing Fish Vineyards this Friday Nov 8th at 5:30pm
The other one is further south in Puget Sound at the Vashon Center for the Arts on Vashon Island on Saturday Nov 9th at 2pm.
Perhaps this pairing of shows should be called the Sound of Silents.
Here's a little ditty for cello and melodica. Since music sounds better when accompanied by an image, this now resides on YouTube. Come and look at how it sounds!
https://www.youtube.com/watch?v=tWiWnfTwCLE
I recently scored a documentary film called, Max: A Short Life, and I'm honored to learn that it was awarded Best Original Score at Touchstone Independent Film Festival! YouTube Channel
I scored Clocking The T a few years ago. It was the first feature film that I did all the music for. It recently went live on Amazon Prime: Clocking The T
Spotify tells me (well, YELLS at me in all caps ) that:
IN THE PAST 28 DAYS, GIDEON FREUDMANN HAD 6,284 LISTENERS. OUT OF THOSE, 3,494 WERE NEW LISTENERS. 2,755 LISTENERS ARE IN THEIR ACTIVE AUDIENCE, INCLUDING 42 SUPER LISTENERS THAT'S AN INCREASE OF 31% COMPARED TO LAST MONTH.
This explains why I feel 31% better than I did last month. Math doesn't lie. It deceives, leads the witness and traumatizes junior high students - all the high students for that matter. But it doesn't lie.
I don't know what a "super listener" is but I'm grateful for any and all listeners. The ones who come to shows and buy recordings are extra super.
Remember when we used to listen to the radio to hear music, not just the torrent of stories about calamities? Well, it turns out that some people still do that. A radio DJ (and friend from college days) on WPKN in Connecticut recently did a 1 hour feature of my music which begins about an hour and half into the show. It's streamable here until 11/18.
Over the years I have watched my online biography gradually devolve as some journalists comb the web for info to help "write" a piece. Don't get me wrong, I'm grateful for the press, but there's a lot of recycling. As mistakes get repeated, they become perceived as facts. At some point a writer said I was born and raised in New Hampshire. Nope. So I'm working on my new fake bio. Here's what I have so far: –– Gideon Freudmann was born and raised in New Hampshire where he studied bass for the first 9 years of his life. Then at age 8 he switched to the bassoon. He eventually went to trade school in Taipei where he majored in cultural engineering with a focus on cello performance.
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