t amazes me how many films today have a soundtrack that isn't informed by the movie itself. This interchangeable claptrap has made it almost impossible to review. But composer William Susman flavors the setting of Sarah Sifer's Fate of the Lhapa beautifully. Interestingly enough, I saw this documentary many, many years ago, and it truly affected me, but I never knew the soundtrack was available until it was sent to me to review 13 years after its original release. Go figure.
While there are certainly traditional forms of Western instrumentation such as harp, Susman has incorporated sounds we would associate with Nepal: There is no list, but I believe we are hearing drums - such as the dhimay, madal, and khin - a bansuri (a bamboo flute), a plucked string (perhaps the tunga), tingsha cymbals, a sringa (a large "C"- or "S"-shaped horn which is also a political symbol), and more. Along the way is minimalism that is so transporting it would make Philip Glass proud, as it helps achieve a sense of bittersweet spirituality so prevalent in the film. (Glass is also a fierce proponent for Nepal's freedom and Buddhist principles - the latter evidenced in his opera, Satyagraha.)
At first, part of the fun for me was parsing out the instruments (wait - is this sound that conch shell that has both ritual and religious importance in Hinduism?), but magically by the seventh of eleven tracks, they merge into a higher plane of trance-inducing balminess that lovingly elucidates the subject matter. While it's accurate to say that the music of Susman (who also performs) blends that mysterious, uncanny long-established Asian music with those soul-moving Western strings evokes what the press notes call an "ancient healing tradition in danger of extinction," this is music that stands alone from the film - in fact, this journey requires you to listen with headphones on and your eyes closed. The mixing by Stephen Hart at Berkeley's Fantasy Studios makes everything sound crystal clear.
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James Whale's film classic Frankenstein (1931), starring Boris Karloff, was released without a musical score, as were many films in those early days of the talkie. A number of critics, including Leonard Maltin, have remarked that Frankenstein is badly in need of music. Michael Shapiro's 70-minute score is written to be played simultaneously with the screening of the film. For modern-day concert- and moviegoers, his haunting music adds significantly to the emotional impact of the film.
Harmonious World Podcast's Hilary Robertson interviews composer and conductor Michael Shapiro.There's a good chance that I'll be jumping on a plane as soon as such things are possible again - this time to see the operatic version of Michael's film score to the original film of...
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Ben Rosenblum plays both piano and accordion on this pastoral session with the blended horns of trumpeter Wayne Tucker, Jasper Dutz on tenor sax or bass clarinet, guitarist Rafael Rosa, bassist Marty Jaffe, drummer Ben Zweig and guests Jake Chapman/vib, Sam Chess/tb and Jeremy Corren/p. Chapman's vibes team with Tucker's horn on an Old World tango of a title track with added accordion atmosphere, with similar moods with Corren replacing Chapman on the European "Motif From Brahms". A fun tarantella with Tucker out in front gets you dancing on "Fight Or Flight" with the horns in gorgeous harmony on the elegiac "Bright Above Us" and the folk tune "Izpoved". The team takes a dreamy read of Leonard Bernstein's "Somewhere" with Neil Young's "Philadelphia" a rich vehicle for Rosa and Chess. Sounds of the piazza.
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Labrinth pulls off yet another pristine, passionate endeavour through his latest number ‘No Ordinary.' The British singer-songwriter has always displayed a knack for taking simple melodies and working wonders with them, and he does so again with this latest feature.
The composition is gentle but magical in its own way, especially when coupled with Labrinth's soulful, touching voice that seems to hit every feeling in the range. The first verse makes use of light bass instrumentation that is resounding without being overpowering; the vast majority of the focus is on Labrinth's phenomenal vocal range that's underscored at each and every step of the way. What gives the composition the extra edge is the vocal layering and overlapping that carries us all the way to the chorus. His voice is so powerful that even the moderate notes are charged with an all-consuming force. The lyrics refer to both ‘devotion' and ‘Holy Ghost,' hinting to the religious stylings of the melody, though they're never hammered in.
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NPR Music and Lara Downes announce the launch of AMPLIFY With Lara Downes, a new bi-weekly series of intimate and deeply personal video conversations with visionary Black musicians who are shaping the present and future of the art form, premiering Saturday, October 17 on NPRMusic.org, YouTube, and social media platforms.
Created and hosted by pianist and artist Lara Downes, and co-produced by NPR Music's Tom Huizenga, this series invites viewers to experience raw, revealing, and open-hearted conversations reflecting on how artists are responding and creating in this time of profound challenge and change. Downes and her guests-initially including MacArthur Fellow vocalist and multi-instrumentalist Rhiannon Giddens, 2020 Avery Fisher Prize-winning clarinetist Anthony McGill, multidisciplinary artist Helga Davis, and vocalist Davóne Tines, with other guests such as Sheku Kanneh-Mason and family to follow-connect and reflect on highly relevant themes ranging from music and mission, legacy and lineage, to transformation and change.
Guests to include Rhiannon Giddens, Anthony McGill, Helga Davis, Davóne Tines, and Sheku Kanneh-Mason and family.
Series premieres today!! Saturday, October 17 on NPR Music.org and NPR's YouTube and social media platforms.
Says Downes of the series: "In this time of our collective reckoning about historical inequities in American life and art, I'm excited to amplify the voices of extraordinary artists of color, shining a bright light on a diverse and rich future that is, in the words of James Weldon Johnson, 'full of the hope that the present has brought us.'"
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What is multiple Grammy-winning classical guitarist Sharon Isbin's response to everyone wearing masks to stay healthy? "Welcome to my world!" she says. "I've been wearing an N95 mask for almost 20 years on every single airplane flight, and since doing that, I've never gotten sick from flying."
In this 90.1WRTI: Philadelphia TIME IN interview, Sharon talks about navigating the pandemic with more healthy habits, including Transcendental Meditation, and learning the technology to create new ways (beyond Zoom) of teaching her guitar students at Juilliard, where she directs the department she founded in 1989.
Sharon met with me on Zoom on September 22nd, 2020 to talk about life during the panedemic. Here are edited excerpts from our conversation:
For her latest studio album, pianist Hélène Grimaud travels to Salzburg where she creates a fascinating juxtaposition between the eternal Mozart and the Ukrainian composer Valentin Silvestrov. In selecting the music for this album, Grimaud has carefully chosen music by Mozart that fits into an overall dramaturgy: from his famous unfinished D minor Fantasy, she transitions seamlessly into the great D minor concerto, K. 466. The C minor Fantasy then signals "the end of Mozart" and a new beginning: Silvestrov's The Messenger starts with a theme reminiscent of Mozart and creates a connection between the present and the world that existed before.
For October 15 2020, Hélène Grimaud: The Messenger is the WFMT: Chicago 'Featured New Release'
Inspired by the ground-breaking mission of NASA's Juno space probe and its ongoing exploration of Jupiter, Juno to Jupiter is a multi-dimensional musical journey through electronic, progressive, ambient, techno, orchestral, and vocal music.
Milan Records today announces the release of Luca Guadagnino's WE ARE WHO WE ARE (ORIGINAL SERIES SCORE) featuring music by producer, multi-instrumentalist, composer, songwriter and vocalist DEVONTÉ HYNES.
Simone Dinnerstein interview on Tempe AZ's Classical KBAQ
Posted: July 1, 2014 12:00 AM
| By: Admin
About 7 years ago, New York pianist and teacher Simone Dinnerstein took a leap of faith. She herself raised the money to have her performance of Bach's goldberg variations recorded on a major record label. The gamble paid off, and during its first week of commercial release, the recording was at No.1 on the Billboard classical music CD sales chart. From there, Simone's career took off like wildfire, and she's had several more successful recordings. Just this year, she released another Bach CD-this time of Inventions and Sinfonias on Sony Classical. K-Bach's Janine Miller catches up with Simone about her passion for Bach and education. Listen to the interview on KBAQ: Tempe, AZ.
Sony Classical has released acclaimed pianist Simone Dinnerstein's new album, Mozart in Havana. The new album, recorded in Cuba, may be her most ambitious to date and is a testament to music's ability to cross all cultural and language barriers.For it, Dinnerstein has collaborated with the virtuosic Havana Lyceum Orchestra to perform Mozart's Piano Concerto Nos. 21 and 23. In June, the Orchestra will also make their American debut in a series of concerts, the first time an orchestra of this size has traveled to the U.S. from Cuba since the revolution.
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Sony Classical releases the new CD from pianist Simone Dinnerstein - Broadway-Lafayette on February 24, 2015. The music on this album celebrates the time-honored transatlantic link between France and America through the music of George Gershwin (Rhapsody in Blue), Maurice Ravel (Piano Concerto in G Major), and Philip Lasser (The Circle and the Child: Concerto for Piano and Orchestra, written for Dinnerstein). The album was recorded with conductor Kristjan Järvi and the MDR Leipzig Radio Symphony Orchestra, by Grammy-winning producer Adam Abeshouse.
24 New 'ON' 158 TOTAL
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Simone Dinnerstein's new CD of J.S. Bach's Inventions and Sinfonias has been released on Sony Classical. The pianist made the recording at the Academy of Arts and Letters in New York and worked on the project along with Grammy-winning producer Adam Abeshouse. Bach's Inventions and Sinfonias, originally written in 1723 as musical guide for keyboard players, remain a core part of the piano repertoire for students, amateurs, and professional musicians alike and have been lifelong companions for Dinnerstein.
32 New 'ON' this week: 154 TOTAL
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Sony Classical will internationally release pianist Simone Dinnerstein's second album Something Almost Being Said:The Music of Bach and Schubert. The new album combines J. S. Bach's Partitas Nos. 1 and 2, with Schubert's Four Impromptus, Op. 90, and was recorded at the Academy of Arts and Letters in New York by Grammy-winning producer Adam Abeshouse. The album's title is taken from English poet Philip Larkin's poem, The Trees.
27 New 'ON' this week: 148 Total
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"An utterly distinctive voice in the forest of Bach interpretation..." The New York Times
Simone Dinnerstein's first album on Sony Classical Bach: A Strange Beauty sees the pianist return to Bach, this time combining three transcriptions of his Chorale Preludes with one of his English Suites and two of his Keyboard Concerti. Simone Dinnerstein's special affinity to the music of Bach was cemented when her self-funded recording of Bach's Goldberg Variations took the US Billboard charts by storm on its release in 2007. The album drew intense critical acclaim and Dinnerstein's unique playing garnered such impressive reviews as that from The New York Times "An utterly distinctive voice in the forest of Bach interpretation."
7 New 'ON' this week: 175 Total
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