Grammy-nominated cellist Matt Haimovitz is no stranger to performing in public spaces and alternative venues. Haimovitz is the first classical artist to play at the legendary punk club CBGB, he played for Occupy Wall Street, and went on a 50-state tour celebrating living American composers. On November 3rd MH will perform J.S Bach's universally beloved Cello Suites, as well as works by American composers Philip Glass and Vijay Iyer, for voters at in Des Moines Iowa, home of the first in the nation political contest. This performance is made possible by #playforthevote.
If you're familiar with composer Christopher Tin, it may be because he made history as the first composer to win a Grammy Award for music written for a video game.
"The song that I wrote a Grammy for is called Baba Yetu, and it's actually a choral setting of the Lord's Prayer in Swahili. And it was originally written for the video game Civilization IV which is a very legendary franchise in the gaming world. In 2009, I rerecorded the song and released it on my debut album, Calling All Dawns. So six years after the song was brought to the world - in this form of a video game theme - is when it was finally honored as as a Grammy winning song."
The Royal Philharmonic Orchestra was featured on that Grammy-winning song, and they're collaborating with Christopher once again on his latest solo recording, To Shiver the Sky. It's a grand production featuring three choir and two opera stars: soprano Danielle de Niese and tenor Pene Pati.
"I had an idea early on that I wanted to do an oratorio based on the history of mankind's quest to fly. The history of aviation, from Da Vinci's notebooks and the legend of Daedalus and Icarus all the way through John F. Kennedy declaring that we would be putting a man on the moon by the decade's end. And this started because, once again, I had written a theme song for a video game. In this case, it was Civilization VI. And that song became a bit of a hit.
And so I took that song, repackaged it, rerecorded it, wrote 10 other movements around it, and found a way to basically tell the story of aviation through the words of those who actually helped propel it forward.
The piece that was the origin for this oratorio was called Sogno di Volare and it was from the video game Civilization VI and it's the first track on the new oratorio. And it's also the main theme in that it's a recurring musical motif that comes back again and again across the course of the album. Anytime humanity suffers defeat or failure or setbacks, the dream of flight theme comes back and summons us back to that cockpit, back on our feet to to try to push forward to achieve our dream of flying."
One of the pieces that really caught my ear was Astronomy. It starts quietly, in polish with words by Capernicus. It's also kind of comforting, too.
"It was in this sort of spirit of comfort, of beholding the beauty of the cosmos and sort of reveling in it, that I thought, I want this particular piece to sound. I want it to sound peaceful and calm and tranquil, but give you the impression that you are gazing at the stars and the splendor of the universe.
If you were actually to look at the sheet music, I have actually drawn in - using notes played by the orchestra - the various constellations that relate to flight. So, Phoenix, Draco the dragon, Cygnus, the Swan... If you were to draw lines between the note heads on the conductor score, and we actually even created a little video that's on my YouTube channel to show just where these constellations just sort of magically appear in the music.
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During a concert of his works last year at the Miller Theater in New York, the composer and multi-instrumentalist Tyshawn Sorey, who has little patience with distinctions between genres and styles, described his artistic goal as working toward a model of "music that perpetuates itself." A new Sorey piece for violin and orchestra, "For Marcos Balter," receives its premiere during a 45-minute livestream from the Detroit Symphony Orchestra, featuring the brilliant violinist Jennifer Koh and the conductor Xian Zhang. Florence Price's "Five Folksongs in Counterpoint," arrangements of spirituals for string quartet, opens the program.
Detroit Symphony Orchestra Nov. 6, 7:30 p.m.; dso.org; available through Nov. 22.
"Nature is always more subtle, more intricate, more elegant than what we are able to imagine." ― Carl Sagan, The Demon-Haunted World: Science as a Candle in the Dark
The human hand: its fingers, bones, muscles, and more give us the ability to add a pinch of salt, play any number of musical instruments, change a tire, flip a pancake, and so much else. That our hands have the capacity to perform these movements repeatedly and without thinking about them is due to muscle or motor memory.
But suppose a hand were transplanted from another body. Could it-would it-retain unthinking memories created with that original body? If you were to ask Hollywood, the answer is a very blood-curdling scream of "YES!" As Halloween approaches, let's look at a few horror films in which pianists, or at least the hands they are attached to, are the stars.
The relationship between science fact and science fiction has always been something of a bridge, with inspiration flowing in both directions. Whether it's Leonardo da Vinci's revolutionary plans for flying machines and concentrated solar power, Jules Verne's Extraordinary Voyages series, or Star Trek's hands-free, voice-activated communicators and phasers, it's our imagination that keeps us in fear or helps us conquer it. Just as the unimaginable becomes the near-at-hand, so too do we brush aside the veils of superstition and fear. "Through the hand, human culture waves away animal nature," reflects Raymond Tallis in The hand: a philosophical inquiry into human being. Well, mostly. The ancient and universal nightmares still persist today, even, and perhaps especially, when we should know better.
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The joyful duo Shunia (Lisa Love and Suzanne Jackson) is back to infuse a bit of sanity and peace to our turbulent times with their new single "Sa Re Sa Sa"– a song based on the popular mantra
"Sa Re Sa Sa, Sa Re Sa Sa, Sa Re Sa Sa, Sa Rung
Har Re Har Har, Har Re Har Har, Har Re Har Har, Har Rung"
and if you watched the video, it will simply rub off on you–the chemistry, the colors, the vibrancy that they all have brought together make you forget the dark and uncertain period of the past few months.
I remember their last single "Akal," and whenever I hear it, I get goosebumps. It feels like the duo is on a crusade to drive out the negativity, the gloom, and the directionlessness that the world is engulfed with, and what could be more powerful than to do it with the power of sound–a sound replete with the power of mantras, variety of instrumentation, vocals, and vistas of hope and joy! It is a complete package!
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DECADES AGO at a Carmel Bach Festival solo violin recital the young man sitting next to me struck up a conversation. When he told me he had come from Fresno I asked him if it was to escape the summer heat there. "No," he said, "I wanted to hear how a fugue can be played on a solo violin." Good answer, I thought.
The fugue in question is the second movement from JS Bach's Sonata in A minor, the very work that opens this new Delos recital by the extraordinary Greek guitarist Smaro Gregoriadou. She uses Bach's own transcription for harpsichord of the sonata, to D minor, and plays it on a "high-tuned pedal guitar in scalloped frets of the Kertsopoulos Aesthetics.*"
For the rest of her program, titled "A Healing Fire," she uses a classical pedal guitar of the same aesthetics, a technical platform that expands the timbral colorations available to the performer. In her opening remarks, Gregoriadou writes, "The compositions in this collection offer encouragement and hope against today's dystopia and chaos; they explore spirituality, self-knowledge and transcendence, illuminating dark and ambiguous regions of the human psyche with a different kind of light, a different sort of fire. They are conduits for catharsis, an escape from conflicts, antinomy and traumas this world torments us with.
From Bach's ecstatic Credo to Gubaidulina's submersion into the most transparent awareness prayer can bring; and from Hétu's suspended scream to Britten's self-absorbing surrender to Sleep and Nothingness, these towering masterpieces are, above all, essays on the mystical, reflections of the sacred!" Britten wrote his circumspect Nocturnal after John Dowland for the late Julian Bream; its eight variations, ending in a large passacaglia are based on "Come, heavy Sleep, the image of true Death, and close up these my weary weeping eyes" from Dowland's First Book of Songs (1597), cast as a journey through the night, often meditative and tranquil, sometimes restless or agitated. Sofia Gubaidulina, a Shostakovich protégée who turned 89 on Saturday, is a woefully underrepresented yet hugely prolific Tatarstani composer of deep spiritual affect and a cheeky sense of humor, witness her The Unasked Answer for three orchestras, an obvious play on Ives' The Unanswered Question. Her Serenade for guitar, at just three minutes, doesn't really rectify her status in the West. Jacques Hétu's five-movement Suite for guitar of 1986 makes plain his French aesthetic. Why Gregoriadou calls it a ‘suspended scream' I cannot explain; Hétu (1938-2010) is a self-described melodist with a keen grasp of musical form, harmonic relationships and the guitar itself. Sure there are rigorous challenges for both the guitarist and the listener but ultimately a satisfying adventure. SM
Based on the events from the past two weeks, the word "midterm" likely provokes flashbacks of absent guidance from professors and feelings of dread while opening LockDown Browser. Hopefully, most of us have survived by now. The end of October is arguably one of the best times of the year; a time when orange, black, purple, and green seem to be the only appropriate colors and ghosts and jack o'lanterns thrive on front porches. Although there's nothing scarier than taking exams during an online semester, spookiness has only just arrived. For this week's column, I thought it'd be best to share some Hollywood-inspired sinister tunes, leaving midterms as a repressed memory and embracing the spirit of Halloween, which happens to be right around the corner.
In contrast to my love for "Psycho," I think one of my biggest regrets in life is seeing "Hereditary." The fact that sleep, an activity I was quite fond of prior to watching the film, had become impossible during the full week it took me to recover only serves as a testament to Ari Aster's talent at scaring audiences out of their wits. There are many aspects of the movie that contribute to its spine-chilling abilities, but it'd be fair to give its score some credit. "Reborn" is probably the most well-known piece from the score, partly due to its loud use at the end and its popularity as a sound on TikTok. The best (or worst) part about it is its unnatural celebratory undertone, which makes sense in the context of the scene. On the other hand, objectively hearing it makes me want to rip off my toes. Despite my love-hate relationship with the film, I can't help but admit the music is a premier feature. While watching "Hereditary" on Halloween night is quite the opposite of what I endorse, I can condone listening to "Reborn."
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To commemorate what would have been the 92nd birthday of iconic Italian composer Ennio Morricone, his home label Decca joins forces with CAM Sugar to present Morricone Segreto, a brand-new collection featuring seven previously unreleased tracks.
WaterTower Music is pleased to announce today's release of the 62-track Lovecraft Country (Soundtrack from the HBO® Original Series), featuring music from the first season of Lovecraft Country, which airs on HBO/ HBO Max, and is Based on Matt Ruff 's novel of the same name.
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.
Helene Grimaud | Douglas Gordon - 'Tears Become ... Streams Become' / New York Times
Posted: December 7, 2014 12:00 AM
| By: Admin
The Park Avenue Armory has played host to many ambitious installations in recent years, accommodating motorcycle gangs, massive video screens, multiple orchestras and Hollywood-style soundstages. Now, the artist Douglas Gordon and the musician Hélène Grimaud are flooding the armory's 55,000-square-foot Drill Hall with water for their project "Tears Become ... Streams Become ...," which opens Tuesday. It's an unusual collaboration between a multimedia artist (Mr. Gordon) and a classical pianist (Ms. Grimaud), one that promises to build on Mr. Gordon's previous music-inspired projects, like his film installation "K.364," based on Mozart's "Sinfonio Concertante" in E flat, K.364. READ THE FULL New York Times ARTICLE
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 (b. 1937). Hélène has long had a passion for Silvestrov's music, which some call post-modernist or even neoclassical. The composer's own words hint at why this is for her so intriguing: "I do not write new music. My music is a response to and an echo of what already exists."
In selecting the music for this album, Hélène has carefully chosen music by Mozart that fits into an overall dramaturgy: from Mozart's famous unfinished D minor Fantasy, Helene transitions seamlessly into the great D minor concerto K. 466 - one of the most popular amongst Mozart's 27 concertos (and one of only two in a minor key). The C minor Fantasy here signals "the end of Mozart" and a new beginning: The Messenger starts with a theme reminiscent of Mozart, and like a messenger, creates a connection between the present and the world that existed before. Melancholy and hope, sadness and exuberance can be felt emanating from both Mozart's and Silvestrov's works. The Messenger, one of Silvestrov's most performed works, is dedicated to his wife Larissa Bondarenko, who had recently passed away. The Two Dialogues with Postscript that serve here as an epilogue, leave the outcome open, leading the way to Schubert, Wagner and beyond.
Pianist Hélène Grimaud is set to release her new album Memory on September 21th on Deutsche Grammophon. The album explores the nature of recollection through a series of exquisite pianistic miniatures, with a choice of repertoire embracing everything from impressionistic reveries by Chopin and Debussy to the timeless, folk-like melodies of Valentin Silvestrov. The French pianist's latest Deutsche Grammophon recording addresses music's unique ability to bring images of the past back to life in the present moment, to conjure up vivid evocations of time and place.
Memory and music make perfect partners. Both are fleeting, never fixed, always subject to interpretation. Our identities are formed from memories, just as so many of our most enduring experiences are rooted in music. Hélène Grimaud wanted to explore the universal nature of memory, its place in the lives of us all. Memory, she explains, uses music to probe the many levels of human consciousness.
Grimaud's challenging, eloquent artistry runs throughout Perspectives, a personal selection of highlights from her Deutsche Grammophon catalog that offers a strong flavor of the pianist's penetrating insights into landmarks of her instrument's repertoire. The double-disc album, scheduled for release on 7 April 2017, embraces the composers and compositions that have left the deepest impressions on her soul. It features both extracts from monumental concertos by such titans as Beethoven, Brahms and Bartók, and transcendent solo scores by Bach, Mozart and Chopin among others. Each disc is rounded off by a delightful "encore" – Brahms's Waltz in A flat and Sgambati's arrangement of Gluck's "Dance of the Blessed Spirits," respectively – both pieces enjoying their first CD/streaming release on this album.
15 NEW 36 TOTAL
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Hélène Grimaud's latest album for Deutsche Grammophon, produced by Nitin Sawhney, was inspired by her abiding fascination with Nature's most precious gift. Water is set for worldwide release on February 5, 2016 and conveys imaginative responses to everything from mighty oceans and great lakes to raindrops and snowflakes as well as inviting listeners to contemplate the mounting threats to the safety, security and supply of this essential resource.
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With inimitable passion and spiritual dedication, Hélène Grimaud has climbed the Mount Everest of the romantic piano repertoire, performing The Brahms No. 1 and No. 2 Piano Concertos with Andris Nelsons conducting which will be released as a dual disc by Deutsche Grammophon on September 30, 2013. Believed to be the first woman pianist of the 21st century to release both the Brahms piano concertos, Grimaud recorded the Brahms Piano Concerto No. 1 in D minor, op. 15 live with the Symphonieorchester des Bayerischen Rundfunks (Bavarian Radio Symphony Orchestra) at Munich's Herkulessaal; and the Piano Concerto No. 2 in B-flat major, op. 83 with the Wiener Philharmoniker (Vienna Philharmonic) in Vienna's legendary Musikverein. It is Grimaud's first recording with the Vienna Philharmonic.
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