Colin Stetson is the featured guest on Sony Soundtracks Keeping Score podcast, produced and hosted by Crossover Media's Max Horowitz. The Color Out of Space composer breaks down his process of layering different sounds in order to find the sonic representation of a color that is between magenta and hot pink.
Listen to the attached podcast
Color Out of Space is based on the short story by H.P. Lovecraft. After a meteorite lands in the front yard of their farmstead, Nathan Gardner (Nicolas Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare. Color Out of Space stars Nicolas Cage (Mandy, Leaving Las Vegas), Joely Richardson (The Rook, Nip/Tuck), Madeleine Arthur (Snowpiercer), Brendan Meyer (The OA), Julian Hilliard (The Haunting of Hill House), Elliot Knight (How to Get Away with Murder), with Q'orianka Kilcher (The New World) and Tommy Chong (Cheech & Chong). The film is directed by Richard Stanley (Hardware, Dust Devil). He co-wrote the screenplay with Scarlett Amaris (The Theatre Bizarre). The film was produced by SpectreVision and ACE Pictures and is being distributed domestically by RLJ Entertainment.
Colin Stetson, born and raised in Ann Arbor, Michigan, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player before eventually settling in Montreal in 2007. Over the years he has worked extensively with a wide range of bands and musicians, including Tom Waits, Lou Reed, Arcade Fire, Bon Iver and The National. Stetson has developed an utterly unique voice as a soloist, principally on saxophone and clarinet. His astounding physical engagement with his instruments produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. He is at home in the avant-jazz tradition of pushing the boundaries through circular breathing and embouchure, and his noise/drone/minimalist sound encompasses genres like dark metal, post-rock and contemporary electronics. More recently, Stetson has focused on scoring a number of original soundtracks, including Lavender (2016), Hereditary (2018) and Hulu series The First (2018).
The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music's Tiny Desk (home) concerts, bringing you performances from across the country and the world. It's the same spirit - stripped-down sets, an intimate setting - just a different space.
"I hope everybody stays safe and is good to each other," Víkingur Ólafsson says at the end of this beautiful four-song set.
Before he packed his final bags to return to his native Iceland, the pianist gave one last performance from his home in Berlin. His career has moved from strength to strength, releasing three terrific albums in a row (Philip Glass, J.S. Bach, Debussy-Rameau). And now that he has a young son, he wants to spend as much time with the family as possible these days.
After grounding us in the resilient music of Bach, Ólafsson offers a crash course in the fascinating music of Jean-Philippe Rameau and Claude Debussy, two French composers who lived nearly 200 years apart. Ólafsson connects the dots between the two seemingly strange bedfellows, illustrating his points with demonstrations on his Steinway.
Ólafsson has penchant for making transcriptions, taking pieces written for other instruments and making them his own. He closes with "The Arts and the Hours," his mesmerizing arrangement of a scene from Rameau's final opera, which he plays as a farewell to his Berlin apartment.
J.S. Bach (arr. Stradal): "Andante" (from Organ Sonata No. 4)
Rameau: "Le rappel des oiseaux"
Debussy: "The Snow is Dancing" (from Children's Corner)
Rameau (arr. Ólafsson): "The Arts and the Hours" (from Les Boréades)
Víkingur Ólafsson: piano
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Video by: Anusch Alimirzaie; Audio by: Anusch Alimirzaie; Producer: Tom Huizenga; Audio Mastering Engineer: Josh Rogosin; Video Producer: Morgan Noelle Smith; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann
Two time Emmy winning composer Michael Whalen sits down for an in depth interview to discuss music production, his new album, and the music biz with Rob Mullins. They covered a lot of ground in 50 minutes. Music. Life. Rhodes pianos. Advice for young composers. Duran Duran. Quincy Jones. David Foster. The "three questions" that every young musician asks me and much, much more. Enjoy the attached wide ranging conversation.
Data Lords is the new double-album by Grammy Award-winning composer and bandleader Maria Schneider. Inspired by conflicting relationships between the digital and natural worlds, the recording features Schneider's acclaimed orchestra of 18 world-class musicians.
"No one can deny the great impact that the data-hungry digital world has had on our lives. As big data companies clamor for our attention, I know that I'm not alone in struggling to find space – to keep connected with my inner world, the natural world, and just the simpler things in life," says Schneider. "Just as I feel myself ping ponging between a digital world and the real world, the same dichotomy is showing up in my music. In order to truly represent my creative output from the last few years, it felt natural to make a two- album release reflecting these two polar extremes."
Here and Now host Robin Young speaks with Schneider about "Data Lords." (Photo by Briene Lermitte)
LISTEN TO THE Here and Now SEGMENT
When the coronavirus forced concert halls and opera houses to close in March, a flood of music came online. The livestreams proved especially gratifying, offering a jolt of you-are-there excitement. Many of these programs were offered for free.
But musicians and institutions have to make money. Will the public pay for music online?
The answer is just beginning to emerge. The artists and organizations who can draw sizable numbers of paying customers may be those who already had globally prominent brands before the pandemic. The Metropolitan Opera, for example, has recently begun a series of livestreamed recitals featuring star singers, sophisticated camerawork and vibrant audio. The tenor Jonas Kaufmann's recital last month, tickets for which cost $20, was viewed by 44,000 people - not a bad gross.
The second program in the series took place on Aug. 1, with the soprano Renée Fleming and the pianist Robert Ainsley performing live from Dumbarton Oaks in Washington, D.C. (The film is available through Friday, and Sunday afternoon brings a new livestream featuring Roberto Alagna and Aleksandra Kurzak.)
Ms. Fleming was in splendid voice, singing with honeyed tone and elegant phrasing. She delivered some favorites, like "O mio babbino caro." But she also included novelties, like a coquettish aria from Leoncavallo's - not Puccini's - "La Bohème" and lesser heard arias from operas and oratorios by Handel and Korngold. And she began with a premiere composed for her: John Corigliano's eloquently understated "And the People Stayed Home," a setting of a poem written by Catherine M. O'Meara that went viral at the start of the pandemic.
Prerecorded offerings might seem less fulfilling to music lovers who are longing for the live concert experience. Yet if the content is substantive and the quality of the video high, these programs can be rewarding. Caramoor, in Katonah, N.Y., is streaming the four musicians of Sandbox Percussion and the pianist Conor Hanick, through Sunday, for $10.
Caramoor, usually a summer favorite just north of New York City, has this year presented a series of livestreams, with tickets for purchase, from its intimate, elegant Music Room. The programs have been adventurous and excellent, including a recent one featuring members of the Knights, a chamber orchestra, playing a premiere by Anna Clyne and a Brahms sextet.
The Sandbox Percussion program had to be filmed in advance, since the works being performed utilized an enormous array of unusual and cumbersome percussion instruments. The concert included inventive pieces by Andy Akiko, Juri Seo, Amy Beth Kirsten and David Crowell, variously complex and demanding contemporary scores.
But the premiere of Christopher Cerrone's "Don't Look Down," an 18-minute concerto for prepared piano and percussion quartet, was the highlight. As he explained in an interview before the performance, Mr. Cerrone began composing the score just as the shutdowns started in March, and finished it only recently. So it's a piece written in lockdown. The piano is prepared similarly to John Cage's innovative techniques, but with fewer screws and pieces of metal inserted between the piano strings, and more materials like putty - which dampens and distorts sounds - and fishing wire, which allows the strings to be bowed to create eerie, whining tones.
The first movement, "Hammerspace," begins with the whooshing of a bike pump and droning gongs. In time, restless riffs played with mallets burst forth. Amid rushes of rhythmic, spiraling figures on the prepared piano, fragments for the percussion instruments coalesced into fleeting almost-melodies.
The second movement, "The Great Empty," is more elemental, with music gurgling and heaving over ominous bass tones in the piano. The final movement, "Caton Flats," is named for the mixed-use development in Brooklyn where Mr. Cerrone lives. As he said in the interview, the music recalls the metallic noise of construction crews at work in his neighborhood this summer.
Tanglewood, perhaps America's most eminent summer music festival, has opted for offering only prerecorded online programs - some from its archives, but many filmed earlier this summer. One, recorded in June, was put online on Saturday evening: the pianist Daniil Trifonov playing Bach's "The Art of the Fugue" in one of the studios of Tanglewood's new Linde Center. (The program is available for $12 through Saturday, when a recital by another pianist, Conrad Tao, goes online.)
Mr. Trifonov played this work, Bach's final piece, at a recital at Alice Tully Hall in early March, one of the final concerts in New York before the lockdown. His performance then was magnificent, combining youthful inventiveness, crisp articulations and, for a performer still in his 20s, profoundly insightful musicianship. The Tanglewood performance was even better, though the chance it offered to see Mr. Trifonov up close - to watch as a finger on his right hand gave extra pressure to a crucial note - may have made it especially absorbing.
Though he was not required to do so, Mr. Trifonov performed wearing a mask, which came across as a gesture of solidarity with those watching from home. Playing these complex and compelling fugues, Mr. Trifonov displayed an unusual kind of virtuosity - not flashy, but precise, nuanced and subtle. Rippling passagework was not like filigree but substantive: Each note mattered.
For Fugue 14, which Bach died before finishing, Mr. Trifonov, who is also a composer, dared to do the job and played his own completion. Good for him that, rather than feeling intimidated, he paid homage to Bach by adding his own personal take. The intricate contrapuntal lines unfolded effectively, the music taking a quasi-mystical turn and becoming harmonically elusive delicate and gentle, with a cushioned landing at the end instead of a full stop.
Worth paying for? Worth waiting for? I'd say yes, on both counts.
Australian violin virtuoso Ray Chen has established himself as one of the most prodigiously talented and captivating instrumentalists to emerge internationally. A graduate of the Curtis Institute of Music, where he studied with Aaron Rosand, Ray is a former 1st prize winner at the Menuhin and Queen Elisabeth International Violin Competitions.
His debuts include solo engagements with major international orchestras – including ongoing collaborations with the San Francisco Symphony, Chicago Symphony and the London Philharmonic. Ray was announced as one of Forbes Magazines' 30 Under 30 recipients, an ambassador for Sony Electronics – and a collaborator and consultant on a number of film score and video game projects.
Last week, he released his new ‘Solace' album on the Decca Classics label – recorded professionally from his home during the current COVID-19 pandemic.
Ray currently performs on the 1735 ‘Samazeuilh' Stradivarius violin, on generous loan from the Nippon Music Foundation – and is under world-wide general management with CAMI Music, in New York.
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Intimate original chamber music John Finbury – AMERICAN NOCTURNES/FINAL DAYS OF JULY: In June of 2020, I reviewed producer/arranger John's wonderful "Quatro" album, which got near perfect marks… on this new album, John and his players give you some of the most intimate original chamber music you will ever listen to… here's a video clip for the album…
…since you're there already, I strongly recommend that you SUBSCRIBE to John Finbury's YouTube channel, so you can watch many more exciting performances.
The players on this new excursion are Tim Ray – piano; Eugene Friesen – cello; Roni Eytan – harmonica; and Roberto Cassan – accordion… Produced and arranged by John Finbury and Bob Patton… though the album is partially classified as New Age, John's music is always unique and different… the beautiful "Winter Waltz" even has some strong elements of jazz, and will be a favorite among DJ's, I believe.
The gentle guitar on "Black Tea" melds seamlessly in with the other instruments, giving you the gift of pleasant (yet stirring) memories… the relaxed pacing makes the tune a total winner.
I had no trouble (at all) in making my choice for personal favorite of the eleven enchanting songs offered up… the title track, "Final Days Of July", will touch your heart deeply with its' beautifully crafted tones!
I give John and his musical partners a MOST HIGHLY RECOMMENDED rating, with an "EQ" (energy quotient) score of 4.98 for this fine album. Get more information on the Green Flash Music page for the release. Rotcod Zzaj
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The first-time teaming of Poland's dynamic Marcin Wasilewski Trio and big-toned US tenorist Joe Lovano brings forth special music of concentrated, deep feeling, in which lyricism and strength seem ideally balanced.
Sony Music Masterworks today releases Not Our First Goat Rodeo, the long-awaited follow-up album to the GRAMMY Award-winning The Goat Rodeo Sessions, with Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile.
Blues Hall of Famer Bettye LaVette has decided to release her stirring rendition of "Strange Fruit" ahead of schedule as it says as much about the history of American racism and the state of the country today.
Milan Records announces the Friday, August 21 release of I Am Woman (Original Motion Picture Soundtrack), an album of music from the biographical film surrounding Australian singer Helen Reddy as performed by Chelsea Cullen.
Praised by The Washington Post for playing with "an easy warmth, drawing the orchestra after him like a halo around a candle flame," cellist Kian Soltani follows his DG debut album, Home, with a Dvořák album centered on the famous cello concerto.
A Conversation with Lang Lang and HuffPost's Mike Ragogna
Mike Ragogna: Sir, with your new album Lang Lang In Paris, you are a bit subversive. How I mean that is in the West, Chopin compositions are traditionally performed very lightly and meditative with Tchaikovsky are bombastic. However, you seemed to have flipped the approaches. Tell me what your philosophy was when you approached the album.
Lang Lang: I had planned this recital for the whole year. I love Tchaikovsky's Seasons. I did it when I was a kid, "May," "June" and "October," those very famous pieces. It's actually very nice to do all twelve together. It really shows the change of the seasons, from January to February, February to March and all this. There are very subtle, very delicate changes between each month. Then I saw the Chopin Scherzo, two years ago I did Chopin's Ballade so I thought this is a continuation of bringing more of Chopin's major pieces into the continuity. Maybe every two years, maybe every three years, I just want to maybe one day complete the Chopin circle.
MR: What do you think of the relativity of the two pieces you performed on this album? Do you see a relationship between them?
LL: Yes. The melodic things in Tchaikovsky make it almost like a song. You can put lyrics in it. For many passages in the Chopin etudes there are a lot of technical turns. But I also heard Polish lullabies in it, from my Polish friend. They say absolutely every song has lyrics. As you know in Tchaikovsky not only does it have lyrics, but every song is actually inspired by a famous Russian poem. There's Pushkin, there's Tolstoy, it's really inspired by the words and the lyrics.
MR: How did you shift between the seasons internally while recording?
LL: The music speaks for itself. It's not so difficult because when you have a melody like June it's very obvious that June is coming. I don't need to push myself because letting the music speak naturally is kind of the best way to do it. Between each piece I actually did not really stop playing. March, April, May and June I actually played as one piece so I could save a little bit of time in between but you could see the leaf changes colors, becomes really green and the water melts from the frozen winter. I'm trying to create a poetic moment. Especially in the DVD you can really see it because the video was one shot in those four months in a row.
MR: How did recording it at the Opera Bastille influence or affect the recording?
LL: Paris in general is a city which is very beautiful. Near the Opera Bastille, there is a beautiful park right on the river. In between the sessions I always go out and enjoy the sun a little bit and have a coffee along the river. That gave me some inspiration. But honestly for me the most inspiring experience was to tape the little concert at the Versailles Hall of Mirrors. That was really inspiring, because that room is so beautiful with the mirrors all over. It has the most beautiful garden in the world as well. During the recording, in the beginning, it was raining and then later it was cloudy and then in the evening it became sunshine. It was really weird. One day felt like all four seasons.
MR: So the quality of life had a lot of impact on both recordings. What you took in from Paris you brought into the studio with you.
LL: Yeah. I prefer live, personally, especially with floating music. Pieces like Tchaikovsky. A studio is fine, but I prefer live, so that's why we did both. Somehow I feel more comfortable recording live. The vibe of the room is different when I play with people. It's more enjoyable. But it's fine, because in the studio you can really work on the sound, you can get whatever sound you want, but as a live performer I prefer live. I would like to think live without being on stage. I can not just live in a studio.
MR: When you were only seventeen, you replaced André Watts for a Ravinia concert, and coincidentally, you played Tchaikovsky's first piano concerto. So Tchaikovsky and you have had a very long relationship.
LL: Yes. I really admire Tchaikovsky as a composer because he has the most beautiful passion and emotions in his music. He really put his heart into the music, but at the same time he's very elegant as well. By listening to the music you really hear the ballerinas, you really hear Swan Lake, you really hear the nutcrackers. He's very deep, very powerful, but very elegant. It's a really incredible combination to have in one composer. Sometimes when you're so passionate you're music is beautiful, with a lot of meat, but not a lot of depth. But Tchaikovsky has all of the qualities in music but he's still very elegant.
MR: Is this something that you discovered as you played his works over the years?
MR: So how do you approach Tchaikovsky differently now from when you originally played it?
LL: Now when I play it I think I'm more clear in my mind about what I want to create. When you are a teenager you play with love and passion. I used my mind and my heart to play even at seventeen, but now I think it's better. One day, I would love to record those old pieces again. I know more things and more possibilities. I have more experience.
MR: It's almost like as you get older, you temper. As a seventeen-year-old full of passion, who could you relate to? Tchaikovsky is almost a no-brainer.
LL: As I get older I read composers better. They're like your friends. You know them more after ten years, more after fifteen years, more after twenty five years. They become family. You grow up with their music and you get closer. I often listen to my old recordings, and I like them very much because I dig the freshness of making music, and that is also very good.
MR: Let's talk about your relationship with Chopin over the years. What has changed about the way you played him then and now?
LL: I like my older versions very much. Tchaikovsky and Chopin weren't really difficult for me as a kid, I've always felt really close to their music. Over the years, I improved but Chopin I felt already very close to myself as a teenager. I think you can actually feel those composers already when you're young. Chopin and Tchaikovsky are good for younger generations to perform.
MR: As you get older are you taking a different look at Chopin?
LL: Yes. I would say there are a lot of reflections over the years that I've studied by working with the best musicians. Somehow you get a lot of new ideas of how to play those pieces. I actually feel that. Playing Beethoven when I was a teenager and playing Beethoven now, it's like another person. So different. But Chopin and Tchaikovsky, it's good for every age. You don't feel such a big difference as with Mozart or Brahms or Bach. It's not because it's easier or harder, but Chopin and Tchaikovsky are friendlier to younger people. That's why when a new pianist comes out people ask them to play Tchaikovsky No. 1. You see a very young pianist and you say, "Play Beethoven No. 4." It's in people's heads, actually.
MR: What are your observations of how young people are coming into classical music since it's getting harder and harder for them to discover it in the traditional way.
LL: Yes. For me it's not that difficult because I have a foundation, we have programs in high schools, middle school and elementary schools. We also have an event called One Hundred And One Pianists that brings pianists to play together in every age. So for me I don't want to talk too much, I want to take action. I want to really show our next generation that classical music is very passionate, it's very cool, it's very updated. I never like to talk much about music. When you talk about music it's not so much fun, but when you start playing and you show them on the keys or on the method, "How do you do it?" the kids get it in one second.
MR: Have your students ever taught you anything?
LL: Absolutely. We are all human beings and we all make the same mistakes. Sometimes when I'm telling the student, "Hey, look at that, you are making these problems," I'm like, "Oh my God, I am actually talking to myself." [laughs]
MR: Are there any students that you've worked with who really impressed you in an over-the-top way?
LL: Absolutely. I think every kid from my foundation, the Young Scholars program, I believe everyone on that program will become a good pianist in the future.
MR: Beautiful. Are there any student you're listening to that make you think, "I've got to keep an eye on that one."
LL: There are a few. There's one little guy, his name is Johnson Zhongxin Li, he already played with me at Carnegie Hall, he's quite good. There are a few others, we can send you the names. I think they'll be big in the future.
MR: Because you've had experience in working with young students, what advice do you have for new artists?
LL: I know exactly the feelings, because I was a new artist for many years. It's not easy. I hope everybody will have more luck in the very beginning. In the beginning sometimes people just don't know who you are so sometimes they don't come to your concert, they don't really agree with what you do and that is very difficult. I remember when I was playing in the beginning I played in a big concert hall but only two hundred people came. I am so appreciative of those two hundred people; they are like my saviors, but at the same time of course my heart was kind of bleeding. "Oh my God, I'm not going to make a career. I will lose a future in front of me because nobody knows who I am and nobody cares about me." Sometimes our heart is very breakable. I just want to tell those new artists, "Please be strong. Ignore that." Those things will change after you play really well, because after you play really well you can grow your audience. I think everybody will face the same problem as an unknown artist and then one day I'm sure things will change, so don't give up.
MR: Nicely said. It seems like every year the field of classical music has to push the boundaries in order to survive. How do you think classical music will evolve?
LL: There are a few things that we need to change. The first thing is music education. That's number one. You can't just say, "Hey guys, come see a concert," you need to give them instructions before. Otherwise they'll probably come, but they'll probably just go right away because they don't know what they are looking at and you can not compare it to anything. It's something we really need to do much more of in music education. That's why I really strongly recommend every musician to spend some time as a volunteer to the schools, to the elementary schools, to the kindergartens. Give the kids the best first impressions of music. That's number one. Number two, we need to have very creative programs. At civic centers and concert halls, we need to find very interesting programs and interesting works. Combinations between artists, new works, new pieces to play to make it a little more updated. We cannot just be lazy and say, "Okay, I only do standard repertoire, I only do this composer, I only do this." You can not be like that. We need to be more creative on that. Then it's the image thing. For example, social media now is a perfect way to show how cool classical music and musicians can be. We are not just living in history, we are very fresh blood in the twenty first century as well. I always thought in order to show the real world we are living in, going out and having a nice time, eating good food, making good friends and talking about life in music in a way that people will think, "Oh, they are also normal people." [laughs] You know what I mean? It's not like we are hiding every day under the ground. We are sometimes. I spend a lot of time hiding underground in a concert hall, but we are also normal! We are not ghosts.
MR: You talked about fresh music. So when is the Lang Lang original compositions album coming out?
LL: [laughs] I'm now writing massive books called The Lang Lang Academy, so through those books, I will gradually proof some of my own work. But as you know, I am not a real composer. But I can do something, I can make something out. I need a collaborator, some really great composers to help me. But stay tuned. We will get there someday. I don't know how long from now, but I think gradually, we will put my own music into an album or some books.
MR: Maybe you need a return to Paris for inspiration.
LL: [laughs] Yes, maybe Paris, or New York.
MR: What else is happening that we should know about?
LL: I'm quite excited to go to Cuba today. This is my first concert in Havana.
MR: Congratulations! Is this because of the new relations between the United States and Cuba?
LL: This will be the celebration of Havana's five hundredth year as a city. This is the first concert that's going to be broadcast on American and world television. It will be broadcast on PBS, I don't know when, but soon. This is their first concert that will have a world impact.
One of the world's biggest classical stars, Lang Lang, returns with his brand new solo album ‘Piano Book' – a collection of pieces which first inspired him to play the piano and led him on his path to international stardom. The recording, his first new studio album in three years, marks his return to Universal Music Group and Deutsche Grammophon – the label he first signed to in 2003.
Lang Lang says: "I want to take every music lover on a journey through my favourite piano pieces. I hope to inspire as well as motivate every piano student to remain focused during daily practice, and to play and understand these essential pieces for what they really are: true masterpieces!"
‘Piano Book' gathers together many of the miniatures that generations of amateur pianists have grown up with. Lang Lang holds them in the highest regard, believing them to be classics in their own right. He wants to encourage piano students across the world to fully appreciate them.
The ineffable magic of New York City fires the imagination of superstar pianist Lang Lang on his new album New York Rhapsody (Sony Classical) available September 16, 2016. He is joined by a wide array of special guests including Andra Day, Herbie Hancock, Jason Isbell, Jeffrey Wright, Kandace Springs, Lindsey Stirling, Lisa Fischer, Madeleine Peyroux andSean Jones.From the haunting reveries of Gershwin and Copland to the in-the-moment intensity of songs made famous by Jay-Z and Alicia Keys, Lou Reed and Don Henley, New York Rhapsody rediscovers the dazzle and the soul of America's most symbolic city. Following the release of the album, a star-studded concert special Live From Lincoln Center will air on PBS on November 25, 2016 as part of the PBS Arts Fall Festival. The video for "Empire State of Mind" with Lang Lang and singer Andra Day premiered on Town & Country.
14 NEW 122 TOTAL
SYND: C24, CBC Direct: AccuRadio Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Atlanta, Houston, St. Louis, New Orleans, Detroit, Minneapolis, Baltimore, Seattle, Cincinnati, Tampa, Salt Lake, Madison WI, Hartford CT, Knoxville TN, Honolulu INTER: Canada, Italy, China Online: The Nerdist, Metro, Yahoo, Town & Country, AP, The Classical Arts, Comicbook, Gettyimages, The Jewish Voice, Wall Street Journal, Wireimage, Daily Herald, Music Aficionado, Green Arrow Radio, MSN Music Radio, BroadwayWorld.com, China Buzz, io9gizmodo, dnainfo, slashfilm.com, We The Unicorns, JazzTimes, billboard, Dirty Dog, WSJ, Jazz Weekly, The Jazz Intersection
Ever since his first visit to the magical space that is the Hall of Mirrors in the Palace of Versailles, Lang Lang had dreamed of performing there. When his dream came to fruition in the form of a special recital on June 22, 2015 he chose Chopin's four momentous Scherzi and Tchaikovsky's rare but masterly cycle The Seasons to present to his audience. A studio recording of the repertoire was made in the Salle Liebermann at the Opéra Bastille and the live concert was filmed in 4K in the Hall of Mirrors for release on DVD and Blu-ray.
Sony Classical is delighted to announce Lang Lang's first albumentirely devoted to the music of Wolfgang Amadeus Mozartavailable September 30. World renowned pianist, Lang Lang, will be joined by the legendary Nikolaus Harnoncourt and the Vienna Philharmonic Orchestra. Harnoncourt is famous for his ability to match deep knowledge of 17th and 18th century musical language with an interpretative mind of outstanding originality.
46 NEW 117 Total
SYND: PRI/Classical 24, CBC, The Romantic Hours Direct: SiriusXM, Music Choice, MOOD, Spafax Markets include: New York, Los Angeles, Chicago, Boston, San Francisco, Philadelphia, Wash DC, Atlanta, Dallas, Seattle, Minneapolis, Cleveland, Denver, Cincinnatti, Austin, St. Louis, Portland, Pittsburgh, Baltimore, New Orleans, Detroit, Louisville, Honolulu, Columbus OH, Madison WI, Canada Online: Taintradio, Classical Candor, ClassicallyHip
The world's best-selling pianist, Lang Lang, joins one of the most renowned orchestras, the Berliner Philharmoniker and Sir Simon Rattle for Prokofiev's Third Piano Concerto and Bartók's Second Piano Concerto.
'I've wanted to record with Maestro Rattle and his orchestra for a long time. The Berliner Philharmoniker is extraordinary to work with – the winds and brass are from a different planet and Sir Simon creates a depth of tone with the orchestra, particularly when playing quietly, that's unique. Some of my happiest musical experiences have taken place with this orchestra. We performed the Prokofiev 3 in 2007 in Salzburg and I gave four performances of the Bartók 2 earlier this year with the Berliner Philharmoniker. Both works have such life and such rhythmic vitality that to my ears they sound absolutely contemporary. I believe these concertos have a musical relevance that's absolutely right for our time," - Lang Lang
14 New 'ON' this week 115 Total
SYND: Classical 24 Direct: SiriusXM / Symphony Hall, Music Choice Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Dallas, Atlanta, Cleveland, Minneapolis, Seattle, Portland, St. Louis, New Orleans, Detroit, Pitsburgh, Cincinnati, Memphis, Indianapolis, Albuquerque, Mamphis, San Antonio, Louisville Online: Taintradio, RadioIO, WGOE
Sony Classical is proud to announce its debut release "Live In Vienna" from one of the most thrilling and inspiring musicians of our time, the world-renowned pianist Lang Lang. Recorded and filmed live in Vienna's legendary Musikverein concert hall, the Sony Classical debut will be available on August 24 in multiple formats. This release represents Lang Lang's second live recorded recital to date after the best-selling "Live at Carnegie Hall" in 2004, which marked his international breakthrough as a recording artist. He has performed the new album's program at the world's major concert venues and will continue to tour with it throughout 2011.
12 New 'ON' this week: 116 Total
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Sony Classical announces world renowned pianist Lang Lang's new recording Liszt - My Piano Hero and DVD Liszt Now! which pays tribute to the life and music of Franz Liszt whose 200th anniversary is celebrated this year. One of the most eagerly anticipated classical releases of the year, the project encompasses an album - a filmed concert and a documentary that will come out on multiple formats.
38 New 'ON' this week: 41 Total
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