#SOFIA VOCAL ENSEMBLE | Explore Tumblr Posts and Blogs

buddyrock · 5 years

Audio

VIE “Smerichka” (Ukraine)

The legendary Ukrainian Vocal Instrumental Ensemble “Smerichka” was founded in 1966 by a young graduate of the music school Levko Dutkovsky.

The talented musician managed to combine the beat-style, which was gaining huge popularity in Europe in those years, with Ukrainian folklore, thereby securing the popular name “Carpathian Beatles” to “Smerichka”.

And so ... The second half of 1966, the town of Vizhnitsy, Levko Dutkovsky's group is still without a name. The repertoire of the collective was mainly rock and roll, shake, blues and consisted of famous western hits “The Beatles”, “Rolling Stones”, “Louis Armstrong”, “Tom Jones”.

The fame of the new team scattered far beyond the boundaries of Vizhnitsa

Young people gathered at the “dances” from all the surrounding villages and even from Cherepovets.

New Year's holidays were approaching and for a big performance at the local cultural center, Levko writes his first author’s song - “Snowflakes Fall.” Especially for this song, backing vocalists Raisa Khotinskaya, Maria Nagolyuk, Stella Frunze, Nina Tsopa (vocal quartet of the local culture house) are invited, and Alexey Goncharuk is the lead vocalist.

The Christmas chimes struck, the group sang “Snowflakes”, the audience burst with applause, the song was performed “encore”, then again and again ... As Levko recalled on this New Year’s Eve, he came up with a name for his VIE. In the courtyard of the house of culture grew a huge Carpathian spruce, which in Ukrainian is "Smerichka".

Success needs to be developed

New young soloists Lydia Shevchenko and Vladimir Matvievsky are invited to the team. Stage costumes were instructed to simulate then a student of the art school of applied art, and in the future, the most famous Ukrainian fashion designer - Alla Dutkovskaya.

Alla took the folk costume as a basis and added a modern style to it. Variety costumes “Smerichki” were distinguished by their bright originality and always unique national style.

Levko Dutkovsky continues to write his own blues and rock works, they determined the creative path of the ensemble, and the whole Ukrainian stage for many years.

"Smerichka" is often invited to national television and radio, by the style of performance of the VIE they recognized even without performance. But behind this success lies the tremendous work of both the whole team, and especially its leader, who is madly in love with his job, who trained most of his musicians from scratch.

Levko literally infected everyone with music; rehearsals sometimes began at 4 o’clock in the morning. In 1968, Levko’s song “Desire” was performed by a student at the medical school, and in the future, Ukrainian pop star Vladimir Ivasyuk.

Thus began the creative collaboration of two great Ukrainian musicians Levko Dutkovsky and Vladimir Ivasyuk

Vladimir writes for “Smerichka” such hits as “My Sweetheart” and “Echo of Your Steps”. In early 1970, VIE became a laureate of the Republican Festival of Amateur Art. Especially for this festival new concert costumes were sewn, the first VIE vinyl minion is released.

Smerichka is touring Romania in triumph, and in the same very successful year for the band, Ivasiuk writes immortal hits for Chervona Ruta and Vodograi for Smerichka. The company "Melody" releases a record of the series "Ukrainian Variety", which includes "Chervona Ruta" performed by VIE "Smerichka".

The next year was no less successful for the collective, the musical film “Chervona Ruta” was shot, the main roles in it were played by the soloists of “Smerichka” and then teacher of the music school Sofia Rotaru. Vladimir Ivasyuk and the vocalists of the ensemble were invited to shoot the program “Song-71”, where they performed “Chervona Ruta” accompanied by the orchestra of Yuri Silantyev.

In the next 1972, VIE takes part in the popular All-Union television competition “Hello, we are looking for talent”, where they win with Levko Dutkovsky’s song “Goryanka” and this victory paves the way for Smerichka to the professional stage.

The ensemble successfully combines folk melodies with modern rhythms and central television now invites the entire ensemble to “Song-72” with Ivasyuk’s composition - “Vodograi” (initially the central editorial office approved Dutkovsky’s song for the contest, but Levko refused and insisted that it was exactly “Vodogray” Ivasyuk).

The final touch in the career of an amateur ensemble is a joint concert with “Songs” in the columned hall of the House of Unions. The Moscow public warmly accepted the performance of ensembles from the Union republics.

In 1973, VIE made its first steps on the professional stage from the Chernihiv Philharmonic. Triumphal tours throughout the Soviet Union. Estonia, Ukraine, Belarus, Kazakhstan, two or three concerts a day and everywhere a full house.

1975, the All-Union record company “Melody”, in a huge edition, releases the first VIE giant disc.

Movie, movie, movie ...

Estonian television makes the musical film “Smerichka Performs,” which was shown on Central Television, but was removed from the air on Ukrainian TV and has never been broadcast, even after the collapse of the Soviet Union, while Estonians sold the film to 15 foreign countries.

Black streak

After the film, the band begins a “black streak”. Dutkovsky leaves the collective, works as a sound engineer on Chernivtsi TV, records “Golden Eagle”, “Gutsulochka”, S. Rotaru, writes phonograms for the central part and “Melodies”.

The composition of the ensemble is constantly changing, V. Taperechkin becomes the leader, VIE records the next record in 1978, tours in Czechoslovakia and the German Democratic Republic, but Smerichka is rapidly losing its former popularity.

In 1979, Dutkovsky returned to the leadership of the ensemble and tried to revive “Smerichka” with new soloists, but at that time, under mysterious circumstances, Vladimir Ivasyuk was killed (according to the official version - suicide).

At the time of his death, Vladimir Ivasyuk was 30 years old. When they found him, his fingers were broken and his face was disfigured. The musician’s friends later said that a few weeks before the tragedy, Ivasyuk was shadowed by some people and threatened. The funeral in Lviv develops into protest movements.

In 1980, VIE participated in the cultural program of the XXII Olympic Games in Moscow. In 1981, “Smerichka” won the Audience Award at the Bratislava Lyre with Raymond Pauls' song “I Draw You”.

But the party leadership of the republic accused the collective of excessive nationalism and forced “Smerichka” to perform songs by Soviet composers, while editors of central music channels in Moscow asked for more national songs to be performed.

In 1982, the non-party leader Levko Dutkovsky charter of constant pressure, forever leaves the team. But “Smerichka” continues to exist for another 13 years, thanks to the efforts of the talented vocalist of the ensemble Nazariy Yaremchuk.

With his death, “Smerichka” ceases to exist and forever becomes a legend of the Ukrainian and Soviet music of the 60–80s.

#rare_footage #soviet #funk #rock #soul #ultimate #breaks #beats #ukraine #smerichka #psycodelic #jazz #fusion #instrumental #fresh

3 notes · View notes

brothermarc7theatre · 5 years

Text

“West Side Story” show #812

There is a timelessness to West Side Story, one that blends racial, gender, ageist, and societal issues into a cacophony of music, dance, and romance. With themes that stretch across the aforementioned groups, West Side Story, at its core, is a humanity story; one that we in 2020 can still relate to, and it’s most likely because we know the issues dealt with between the Jets and Sharks, the hoodlums and the PRs, will never be resolved. Pacific Coast Repertory Theatre is currently playing the iconic musical, and has entrusted Noel Anthony Escobar with its direction, Joy Sherratt with its choreography, and Nick Perez with its musical direction. It is my pleasure to report that this trio has brought the East Bay a West Side Story that is bone-chilling, pitch-perfect, and incredibly moving whether you’ve seen the play before or not, because no matter your background with this play, you will be deeply affected.

What makes this West Side Story approachable, not preachy, is Mr. Escobar’s light-handed approach in ensuring the audience has to lean forward and do some of the work Arthur Laurents’ book provided us. The direction, and for that matter the choreography, doesn’t hit the audience over the head with forced empathy and cheap tears. It’s an honest, well-breathed and paced production that gives the performers time to emote, deliver nuance, and tell the story from a place of musical legitimacy and humane honesty. Led by Sam Faustine’s gorgeous tenor as Tony and Alexis Vera’s vulnerably engaging Maria, the romance is instant but different from any production I have previously seen. It is shown in Mr. Faustine’s beautifully-sung opening soliloquy, “Something’s Coming,” that he’s an old soul in a Jets’ body, looking for the next thing to excite him and give him youthful vigor. It is then shown through the following dress shop scene that Maria is a true youth, filled with excitement and impatient anticipation for the dance to mature her into a desirable young woman. When the two meet at the dance, and follow with harmoniously intoxicating turns at “Tonight” and a fun-filled-yet-intimate, “One Hand, One Heart,” they meet where the other is, with Tony now being more earnest and youthful and Maria maturing and learning how to love deeply. Ms. Vera’s journey as Maria a heart wrenching one to behold, and her final scene in the street is the source for a bone-chilling ending.

Christian Castillo delivers a wonderful Riff, mastering the vocal-acting chops in “When You’re a Jet” and “Cool,” with gusto and gruff. However, it is among the universally strong Jet ensemble that Danila Burshteyn stands out as the angry, something-to-prove, Action. His leadership of “Gee, Office Krupke” is a culmination of an act-and-a-half’s worth of yelling, fighting, and being held back, a top-level energy choice that infiltrates throughout the Jets, showing them as ruffians who are ready to pounce. But after the vaudevillian skills are shown well in the number, their quiet disposition, post-Anita accosting, hits louder than any of their previous dialogue. Sofia Costantini leads a stellar Sharks female ensemble as the passionate Anita. Ms. Constantini is a proper role model to Ms. Vera’s Maria, and delivers enough attraction and love for Bernardo that her stakes in the outcome of the Rumble are just as high as anybody else’s. Her vocal turns in “America,” the “Tonight” quintet, and especially in her duet with Ms. Vera, “A Boy Like That/I Have a Love,” are perfectly in Ms. Constantini’s range and gives way for her arc as Anita to fill out well and effectively.

Brian Conway has exceptional moments as Bernardo, namely in the “Dance at the Gym” and in his scene work leading up to the Rumble. His dialect work is contextually pleasing and his energy is that of a stalwart Bernardo. Supporting the youth are some great performances by a sincere, loving Jon Blytt as Doc, and Jeff Seaberg doubling as Gladhand/Lt. Schrank. Ms. Sherratt’s choreography makes the stage explode with lifts, leaps, and turns. Her honoring of Robbins’ original staging is coupled with the succinct clarity of her own take on select numbers, especially the “Dance at the Gym,” “Cool,” and “Gee, Office Krupke.” Mr. Perez’s music direction leaves no note missed and no accent skipped the score is given its lush diligence and the vocals are top-notch.

With so much negativity and youthful participation in today’s news reports, social media posts, and viral videos, I urge you to take a break from the noise and go surround yourself in a story that comments while still delivering hope. Hope is what we need. “There’s a place for us, somewhere, a place for us,” as is sung in the “Somewhere Ballet,” a moment of highlighted perfection and hopeful sincerity in this production, that will stick with this reviewer for quite some time. Go see this show.

#westsidestory #pacificcoastrepertorytheatre #bayarea #bayareatheatre #theatre #musical #musicaltheatre #theatrereview

1 note · View note

latter-ace-saint · 6 years

Text

Day of Xmas Music

We are a week away from my favorite thing about Xmas.

Every year, on the third Sunday of advent (this year, that is December 16), the European Broadcast Union presents a day of Xmas music. There is an hour (in one case two hours) of music presented from different cities across Europe (and, this year, Canada). The music can vary from folk to renaissance to baroque to classical to modern to jazz; instrumental or vocal; a small ensemble or a large orchestra and choir.

This year, the music will begin on December 16th at (All time UTC):

9:00 am - Leipzig, Germany

10:00 am - Montreal, Canada

11:00 am - Klostar Ivanic, Croatia

12:00 pm - Sofia, Bulgaria

1:00 pm - Helsinki, Finland

2:00 pm - Tallinn, Estonia

3:00 pm - Copenhagen, Denmark

4:00 pm - Munich, Germany

6:00 pm - Prague, Czechia

7:00 pm - Tjorn, Sweden

8:00 pm - Reykjavik, Iceland

9:00 pm - Lisbon, Portugal

10:00 pm - St. Polten, Austria

Various radio stations will present part of the music. The German station HR2 Kultur will present the whole day in its entirety.

#merry xmas

5 notes · View notes

ofoatd · 6 years

Text

ZAYN 'Entertainer' & Panic! At The Disco 'High Hopes' Track Review

Opening up to optimism on the other hand closing up to falseness. Panic! At The Disco and ZAYN dropped new completely contrasting singles 'High Hopes', a bashful, bold and brass crusade of utter fanaticism following 'Entertainer', exposing an evaluation of foreseeing truth amongst a forage of fetching fibs.

"I spent too long not setting my expectations high enough, worried about how it felt to fail. I hit a point where I realised I had to aim high and fail, fail, fail in order to keep growing. This one is for all of you who helped me go through it all." Boasts the brains behind brand new hit 'High Hopes' ahead of the underpinning record Pray For The Wicked emancipate m, amongst heavily UK based appearances ahead of the one man and his touring members band's promotional pit stops. Performing at BBC Radio 1's Biggest Weekend costal city spot Swansea, a speedy signing for all sinners who snatched up the pre-order packages for the religiously inclined record at HMVs oxford street flagship, before bolting to a secret event for the select few fans picked throughout the websites sign up database dubiously surrounding the sixth studio album in comparison to ZAYN's empty 'Entertainer' events, with Asian apparel endorsement Penshoppe posters popping up in paramount points in the Philippines, plastering over 'Entertainer' eventual parade.

'High Hopes' terrific trumpets, tapping snares and ornate orchestral instruments makes a pompous big band meet an organised organisation of wooden stringed assortments rendering a relation to 2011's Vices and Virtues melancholy orchestra cross contaminating with 2018's Pray For The Wicked wacky and wonderous marching band, to curate a sub era of Panic! At The Disco that hones in on 'High Hopes' for the foreseeable future balancing a familiar struggle to set free from the past. With dipping drops and honourable horns, a consummate candidate set to be a fixture of a US hockey campaign for its 2018 cup competition, a fitting song synchronisation showcasing the singles morale boosting and motivational boasting thesis. As Brendon Urie proudly pronounces a futuristically optimistic outlook under an entirely incentive, momentum and stimulating vocal demure, a typical tenor tone Urie possesses to present a problematic and turbulent musical career influenced under the financial and emotional pressures of industry tribulations, turned realiser of attainable achievements and fulfilling paramount prophecies and major manifestations singing "Had to have high, high hopes for a living/ Shooting for the starts when I couldn't make a killing/ Didn't have a dime but I always had a vision/ Always had high, high hopes". Both lyrical and production value hitting a sanguine spirited sound to the bands follow up song ahead of Pray For The Wicked exports 'Say Amen (Saturday Night)', Silver Lining' and 'High Hopes' with the full length LP launching 22nd June.

'Entertainer' chattering and pattering production pronounces Zayn's maturity in music. From banal Bubblegum Pop to undisputed Urban, a short stint of a 3 minuet song is enough to evoke an electro-R&B artistry to flow seemingly through the single's entirety. Accompanied by the 'LIKE I WOULD' crooners accomplished vocals, settling at a somber and steady technique somewhat restricting Malik's famous falsetto with the looming lack of high hitting notes in dim dismay. Yet with the single making it's worldwide debut on Apples acquisition Beats 1 Radio with DJ Zane Lowe, a significant stakeholder in propelling the 25 year olds solo success with one of the important initial interviews with the star subsiding on the platform his smoky and sleek sounds exhibited a voice that suits the accompanying music videos sultry scenes model Sofia Jamora portrays in her major follow up role from the precursory 'Let Me'. In the representation of a provocative worker sporting a platinum blonde Malfoy inspired bob cut, to ZAYN sitting comfortably relishing the scenes sings "Don't you take me for a fool/ In this game, I own the rules/ You were my favourite entertainer". Expressing an ensemble of lyrics letting listeners tune in to a confident confrontation of lies and lust of a lover, playing a dangerous game and gambling with Malik's emotions.

Listen to 'High Hopes' by Panic! At The Disco and 'Entertainer' by ZAYN on all major music platforms here:

Panic! At The Disco - 'High Hopes' - Spotify

Panic! At The Disco - 'High Hopes' - Apple Music/iTunes

Panic! At The Disco - 'High Hopes' - Amazon Music

Panic! At The Disco - 'High Hopes' - Google Play

Panic! At The Disco - 'High Hopes' - Deezer

Panic! At The Disco - 'High Hopes' - YouTube

ZAYN - 'Entertainer' - Spotify

ZAYN - 'Entertainer' - Apple Music/iTunes

ZAYN - 'Entertainer' - Amazon Music

ZAYN - 'Entertainer' - Google Play

ZAYN - 'Entertainer' - Deezer

ZAYN - 'Entertainer' - YouTube

(All photographic content curtesy of RCA/Fueled By Ramen/DCD2)

#zayn #zayn malik #entertainer #track review #panic at the disco #high hopes #pray for the wicked #brendon urie #music

1 note · View note

themusicpilgrim · 3 years

Text

Come and celebrate the end of the long holiday weekend with Argentinian singer/songwriter Sofia Juan and her group tomorrow night Sunday November 28th at 7:00pm at Starr Bar (224 Starr St., Brooklyn, NY 11237).

The ensemble will be performing one hour of original Latin-Pop music which draws heavily from its multi-cultural South American roots while exploring the possibilities of merging electronic and acoustic instruments and effects in real time.

https://sofiajuan.com

Sofia Juan - Vocals, Keyboard

Martin Fuks - Guitars & Electronics

Sean Dixon - Percussion, Keyboard, Electric Bass & Electronics

Chris Howard - Percussion

#contemporaneateam #coopermanframedrums #evansdrumheads #gatorcases #gmsdrums #greatleatherdrumstickbags #latinpercussion #mariopazbombos #orugadrumeffects #paistecymbals #rocknrollermulticart #rocnsoc #snareweight #treeworkschimes #vaterdrumsticks

#contemporaneatean #coopermanframedrums #evansdrumheads #gatorcases #gmsdrums #greatleatherdrumstickbags #latinpercussion #mariopazbombos #orugadrumeffects #paistecymbals #rocknrollermulticart #rocnsoc #snareweight #treeworkschimes #vaterdrumsticks

0 notes

riffsstrides · 3 years

Text

Trondheim Jazz Orchestra With Sofia Jernberg & Olav Luksengård Mjelva (2019)

The project is based on enlarging the richness of details in the solistic Hardanger fiddle tradition, which traditionally has been the most usual way to use the instrument. The big ensemble works as a magnifying glass where they search for the details, mixing them up, throwing them around, and evaluating. With Olav and the Hardanger fiddle in the centre.

Olav Luksengård Mjelva Hardanger fiddle, Violin · Sofia Jernberg Vocals · Jens Linell Drums & Percussions · Tor Haugerud Drums & Percussions . Alexander Zethson Piano · Ole Morten Vågan Bass · Lucy Railton Cello · Kari Rønnekleiv Violin, Hardangerfiddle · Eivind Lønning Trumpet · Espen Reinertsen Saxophones, Bass Clarinet · Eirik Hegdal Saxophones, Clarinet, Bass Clarinet

#Spotify

0 notes

balarouge · 5 years

Text

The sound of Toronto right now: this music is setting the tone in 2020 - NOW Magazine

As Toronto grows and gets more expensive, there’s angst about displacement of DIY communities and spaces for creativity to flourish. But we’re still thriving. Globe-trotting sounds are meeting on the dance floor, toxicity is being worked out through rockstar swagger, disco is returning to its radical roots.

Here are eight snapshots of artists pushing the scene forward and more to watch in 2020. The music they’re making is strong, vibrant and diverse – the whole world in one city’s music scene.

The sound: Dance music for rule-breakers

Bambii is part of the lifeblood of Toronto’s dance music scene. She’s a leader in the collective of cool, queer and diasporic DJs who are working to make the city’s dance music culture reflective of their realities.

Committed to Black women and queer folk from the very beginning, she’s turned her biannual party, JERK, into an institution. Known internationally for genre-defying sets, she’s left a string of sweaty dance floors from Berlin to Ho Chi Minh City. But in 2020, she’s stepping away from touring as a DJ to focus on releasing her own music.

Bambii calls her recently released debut single, Nitevision, a “future dancehall” track, which is interesting – considering she was adamant at the outset of her career about not being labelled a dancehall DJ. Being Caribbean, she was concerned she would be pigeonholed by narrow-minded categorization.

“I’m at a place now where I understand Caribbean music and diasporic music to be so vast in terms of something to reference or to be inspired by,” she says. “It’s just so rich. I no longer feel like I’m being put in a box.”

As a song and as a music video, Nitevision is an ode to Black women – to people Bambii admires, to her friends, to her community. It’s an ode to the dance floor as a conduit for powerful feminine energy.

“It just felt like it was the most sincere point I could make, coming out as a producer.”

And it’s just the beginning. She plans on dropping several singles this year. She says the songs will sound like her DJ sets. So expect more future dancehall, but also high tempo house, ballroom, Jersey club and reggaeton. She even hints at some songs using her own vocals.

Like the city she’s from, Bambii is perpetually evolving – she’s never settled on just one thing.

“The real Toronto, to me, just sounds like everything – which is what’s cool about it.”

Bambii has been in the party scene for years and the idea to produce came to her four years ago, but it took some time to conquer the intimidation of producing and get comfortable putting out her own music. But she also felt DJing no longer allowed her to express everything she needed to say and represent everyone she needed to represent. Her work has an overarching intention to reclaim Black women’s stories, and to counteract the narratives that are imposed on them.

“When I think about what inspires me or encourages me, it’s people suspended in joy and dance,” she says. “It’s what spaces feel like when there’s a majority of women in them, a majority of Black women.” KELSEY ADAMS

More Artists To Watch

Demiyah Pérez

A student of Intersessions DJ workshops led by Chippy Nonstop, Demiyah Pérez spent 2019 pivoting from being every Toronto DJ’s favourite dancer to a purveyor of sounds in her own right. Her sets, a high-energy mix of dancehall, reggae, house and hip-hop, cater to dancers who aren’t ashamed to leave it all on the floor. Last May, she helped launched Ahlie, a party series designed to create common ground between queer and straight people who love dancehall and bashment culture.

The brainchild of DJs Hangaëlle, Minzi Roberta and Kiga, Kuruza is a collective and a monthly party. Already the go-to Afro dance music party in the city, Kuruza settled into its new home at the Drake Underground late last year. Think African pop music, gqom, baile funk, Afrohouse, soca and dancehall. You can also catch them on underground radio station ISO Radio, where they spotlight different DJs and provide a glimpse into their events.

Sofia Fly

DJ/producer/rapper Sofia Fly's 2019 EP, Rosé, is a reflection of her trans Latina identity set to nebulous house and ballroom beats. Her inspired downtempo remixes of pop faves like Kehlani and Shakira to indie rap darlings like Princess Nokia prove she knows how to parse a song down to its core. Her live sets are opulently layered, genre-jumping feats, from hip-hop to disco to deep house.

Shan Vincent de Paul

The sound: Grimy flows and globetrotting beats

Shan Vincent de Paul’s ruthless collaborations with fellow Tamil musician Yanchan on Mrithangam Raps scored more than half a million views last summer. Fans ate up the video series in which Vincent de Paul’s staccato rhymes chase the percussion from Yanchan’s mrithangam (or mridangam), an Indian drum commonly used at Hindu weddings and Carnatic ensembles.

“It was an authentic bridge between the classic South Asian sound and modern rap,” says Vincent de Paul about the genre fusion that brought him back around to his Tamil roots.

Outkast, Hieroglyphics, Pharoahe Monch and their contemporaries are primary influences on the Sri Lankan-born, Brampton-raised refugee artist who has been grinding out music since 2005, first with Soliva Spit Society, then as half of experimental duo Magnolius and finally alongside the collective sideways.

“I never want to classify myself as a Tamil rapper,” says Vincent de Paul, about why he didn’t tap into his heritage until recently. “I want to compete with the best of them. [And] I always had this fear that if I was going to be speaking about our story, it’s going to be falling on deaf ears.”

His first two solo albums, Saviours (2016) and Trigger Happy Heartbreak (2017), scored with U.S.-based music blogs like Okayplayer and Afropunk. But as Tory Lanez, Drake or the Weeknd will tell you, homegrown love is hard to find.

He went beast mode on tracks like Die Iconic, unleashed bangers like Bitch Go and Warning Shot and lifted spirits with the refugee anthem Out Alive. But for years, Canada slept on him.

“The art I’m making is undeniable,” says Vincent de Paul, letting out his frustration about being ignored by the industry he once catered to. “I can out-rap 99 per cent of the people in this country. I’ll put that on my life. Canada has some of the best artists in the world, but our industry is a high school shitshow.”

Vincent de Paul eventually found support within the South Asian community, who were thrilled to find a brown rapper whose rhymes are tight. And then he hooked up with Yanchan. Their Mrithangam Raps paved the way for an upcoming tour through India in February and a collab LP called IYAAA dropping March 27. And in early summer Vincent de Paul will release his third solo album, Made In Jaffna.

“Now I don’t give a fuck about the Canadian industry,” he says. “Because I have all these other people that are legit supporting me and uplifting me.

“Now the Canadian industry is outnumbered.” RADHEYAN SIMONPILLAI

If you’ve seen their name in red stencil all over the streets of Toronto and wondered what the fuc Fuctape might mean, it’s an anonymous Toronto collective with over 30 members. None of them are identified, but listen to their album and scattered singles – all up on YouTube – and there are a few you might recognize. It’s somewhere between the give-no-fucks energy of early Brockhampton and Odd Future with the way-too-online pranksterism of Death Grips, with some other electronic and indie rock pastiche in the mix.

Swagger Rite

The first song on Swagger Rite’s The Swagged Out Pedestrian, released late last year on Sony, is called Mosh Pit – and that’s the vibe throughout the spare and bone-rattling trap of the five-song EP. The Jane and Weston rapper’s single In Love With The K was a viral hit on WorldStarHipHop and attracted Drake collaborator BlocBoy JB for a new version. His energy is infectious, and you can already see it starting to spread beyond Toronto.

Jon Vinyl

Jon Vinyl has a pretty good friend in his corner: pop sensation Shawn Mendes. The young R&B singer/songwriter got a shout-out from his old Pickering high school pal on Instagram last year for his Nostalgia EP, and the music stood up to the sudden influx of rabid Mendies (is that what his stans are called?). His upcoming single Moments (out January 31), produced by fellow Torontonian GOVI, shows his star potential – timeless smooth soul meets 2020 pop hooks.

Nyssa calls her music “repurposed rock.”

With her bleached-blond hair, intense eyes and undeniable swagger, she’s seven decades of rock star energy channelled into one person. You can hear it all in her electro-glam pop songs: outlaw country, 60s Motown, singer/songwriter folk, pulsing 80s pop and plenty of old rock and roll.

But there’s one thing missing: guitars.

“I’m not saying I’ll never use guitars. I mean, I love guitars,” says Nyssa. “But I want to challenge myself, and this kind of music is usually so guitar-driven, part of the challenge is to find that energy somewhere else. I want to take all the things I love and then break all the moulds so you hear them in a different way.”

As a solo artist, Nyssa has an EP, Champion Of Love, and a handful of singles to her name. But she’s a long-time veteran of the local rock scene. She fronted the girl group/rockabilly-indebted band the Superstitions (later Modern Superstitions) starting when she was 15 years old.

She’s been through the record-label wringer and is now purposefully independent and self-sufficient. She produces all her music herself, and even her powerful and intense live shows are 100 per cent solo – though she cherishes the visceral communal experience of live music.

One collaboration Nyssa does have on the way is with Meg Remy of U.S. Girls, who co-produced her cover of Ann-Margret’s psychedelic Lee Hazlewood collaboration It’s A Nice World To Visit (But Not To Live In). That will appear on an upcoming vinyl box set from local label Fuzzed and Buzzed and also on Nyssa’s otherwise self-produced debut album, Girls Like Me, which she plans to release sometime this year. The songs, all primarily beat- and lyric-driven, tell the stories of female outcasts at odds with the modern world.

Nyssa is long-time regular and now co-organizer at Dan Burke’s annual Death To T.O. Halloween shows, where local musicians dress up and play full sets as other bands. She’s channelled Rod Stewart, INXS, Robert Palmer, Mick Jagger and Elvis. This year, for a special Valentine’s Day edition, she’ll perform as Meatloaf. She always chooses artists she wants to “become a little bit,” and it’s inspired her own music, but she won’t forget the baggage that comes with it.

“In rock and roll we still have all these very out-of-date male archetypes of excess. Just pure appetite,” she says. “And there are obviously a lot of troubling stories.”

“So I would like to take the good and the fun and the no-holds-barred sexuality and take away all of the uh…” she pauses for a second, searching for the right word and then lets out a bemused laugh, “...horrible bullshit.” RICHARD TRAPUNSKI

Nyssa plays (as Meatloaf) at Death To T.O. On Valentine’s Day on February 14 at Lee’s Palace.

More Artists To Watch

Jesse Crowe launched Praises to focus on more personal inner questions about gender expression and health than they could tackle in their main project, Beliefs. But with the recent Hand Drawn Dracula release of the addictive three-song EP Three – co-produced by their Beliefs collaborator Josh Korody – it’s overtaken that shoegaze band as the project to watch. The songs are stark and dramatic, minimalist and heavy, with a voice that makes you stop dead in your tracks. After recuperating from cancer surgery, Crowe will return to the stage this year and finish the follow-up to their 2018 debut album In This Year: Ten Of Swords.

Praises plays the Monarch Tavern on March 27.

Cindy Lee

Patrick Flegel, formerly of the short-lived but influential Calgary post-punk band Women, calls Cindy Lee the culmination of a lifelong exploration of guitar, queer identity and gender expression. The songs on the upcoming album What’s Tonight To Eternity (out February 14) are ethereal in the literal sense, exorcising ghostly echoes of the Supremes, Patsy Cline and Karen Carpenter – pop’s uncanny valley.

Scott Hardware

After a stint in Berlin, electronic art-pop artist Scot Hardware has spent the last few years back in Toronto making his new sophomore album Engel (Telephone Explosion), and he’ll release it on April 3 before another extended jaunt in Europe. Inspired by Wim Wenders’s film Wings Of Desire, it’s an eclectic and uncategorizable piano-and-strings-speckled meditation on queerness, shame, death and the afterlife.

Scott Hardware plays at the Boat on January 30.

The sound: Soft sounds for the comedown

Ziibiwan is an electronic musician, but they don’t make music for the club.

“[Musician/artist] Melody McKiver explained it nicely: [my music] is what you play after the club when you’re like, ‘I’ve had too many gin and tonics and I need to chill out,’” Ziibiwan says with a smile.

While living in foster care, music was a release for Ziibiwan. They played piano and guitar, and later experimented with electronic music through a digital audio work station. They covered Radiohead and Foo Fighters songs, and were enamoured with whatever was playing on BET. But it wasn’t until they moved to Jane and Finch that Ziibiwan made their own music.

“I was working at Loblaws on St. Clair West, doing the graveyard shift, and I would commute from Jane and Finch. I was on my laptop most of the time and I would record everything,” Ziibiwan says about the making of their 2016 debut EP Time Limits, a collection of beat-centric songs that evoke textured imagery.

“There were a lot of problems going on in my life then, and I felt like the land was giving me something. Not just the land but the cultures around me at Jane and Finch,” continues the musician, who’s currently living in Hamilton to care for their family. “It was one of the most beautiful experiences I’ve had in my life.”

Following the EP’s release, Ziibiwan, who also performs as DJ Nimkiiwitch, opened for acts like A Tribe Called Red, played at Venus Fest and composed scores for two short animated films by Amanda Strong. Next month, Ziibiwan and McKiver will perform their original score for the play God’s Lake as it tours throughout British Columbia. This week at the Music Gallery, Ziibiwan will celebrate the release of their new album, Giizis.

Ziibiwan describes Giizis as more soft and introspective than their previous music, and it will feature their voice for the first time. For Ziibiwan, Giizis – an Anishinaabemowin word they define as, “the moon, the sun and the eastern direction, which is all kind of a new beginning” – is the start of a new and more intimate creative chapter.

“I want to introduce this version of who I am to people because people don’t really know me beyond making beats,” they explain.

“My friend once said that we don’t have to always be performative with [our] Indigeneity and we also don’t always have to protest in our music. That’s what most Native rap is. It’s always they, they, they and us. It’s always plural and not really introspective at all.

“We deserve our own music.” LAURA STANLEY

Ziibiwan plays an album release show on Saturday (January 25) at the Music Gallery at 918 Bathurst with Phèdre and Melody McKiver.

More Artists To Watch

Xuan Ye

Interdisciplinary artist Xuan Ye approaches sound manipulation with boundless curiosity. The improvised electronic pieces on her debut LP xi xi 息息 (out now via Halocline Trance) shudder, whine, whisper and shout. The detailed sonic layers force you to drop everything, breathe and listen.

Xuan Ye performs as part of Convergence Theory on Saturday (January 25) at the Victory Social Club.

Astro Mega

Listening to Astro Mega’s (aka Jermaine Clarke) extensive catalogue of songs feels like slipping into a warm bath while a party happens on the other side of the door. His 80s- and 90s-hip-hop-inspired beats are muted and chill, often with a collage of sampled voices. Listen to 97’ Kobe from his recent LP GodBodyDevine if you want a vivid memory of playing NBA Live 97 in somebody’s basement.

BisonBison is a new multi-genre collaborative project between electronic producers Dani Ramez (Spookyfish) and Chad Skinner (Snowday) with producer and drummer Brad Weber (Caribou), multi-instrumentalist Sinéad Bermingham and vocalist Sophia Alexandra. On their upcoming debut album Hover (due out February 7), they meld the gentle sensibilities of folk with disquieted electronics in hypnotic convergence.

BisonBison play a release party on February 1 at the Garrison with ANZOLA and Kira May.

Luna Li

The sound: The all-ages scene grows up

As a teenager, Hannah Bussiere Kim straddled two worlds. Her mother ran a music school in Roncesvalles, and she trained in classical piano and violin, taking Royal Conservatory exams and performing at recitals. On weekends, though, she was at DIY shows at now-shuttered all-ages venues like D-Beatstro and the Central.

She left Toronto to study violin at McGill, but dropped out after one semester. She wanted to start her own band.

In 2015, she started a garage rock group, Veins, which morphed into her solo project Luna Li two years later.

“When I was first starting out, I thought, ‘Rock and roll is cool, the violin is not,’” says the 23-year-old. “It took me a long time to figure out how to incorporate my classical background into Luna Li.”

On her debut full-length, to be self-released this spring, she combines swelling psychedelic guitar and chiming keys with soulful orchestral arrangements of violin, harp and cello. She enlisted her brother, Lucas Kim, to play the cello and her producer, Braden Sauder, for drums. Everything else she plays herself. And she’s putting new parts of herself into the songs, too.

“Many of my older songs were crafted out of poems or were vague in meaning,” says Bussiere Kim. “A lot of [the new ones] deal with mental health, loneliness and friendship. They’re more direct and clear, and vulnerable.”

She’s also inspired by a new wave of Asian American female musicians like Japanese Breakfast, Jay Som and Mitski. “I’m half-Korean and that kind of representation – of actually going to shows and seeing people who look like me – was key,” she says. “When I was in high school, I never saw a band fronted by an Asian person.”

Last fall, Luna Li played festivals almost every weekend with her live band – Sauder, Hallie Switzer, Charise Aragoza and Sabrina Carrizo Sztainbok – and landed big opening slots for bands like Hollerado.

She’s still involved in the tight-knit all-ages scene from her high school days. It’s just all grown up now.

In addition to Luna Li, she plays guitar in the psych band Mother Tongues (also with Aragoza) and drums in the art pop group Tange, which is made up of ex-Pins & Needles members Deanna Petcoff and her Luna Li bandmate, Carrizo Sztainbok. Meanwhile, her boyfriend Jacob Switzer plays in indie rock group Goodbye Honolulu.

In 2020, she plans to focus on Luna Li and tour in the spring when the album is out. And hopefully, many of those shows can be all-ages.

“It’s hard to do all-ages shows because so many DIY spaces have shut down,” says Bussiere Kim. “But it’s really important that everyone feels welcome at my shows, and that includes young people.” SAMANTHA EDWARDS

More Artists To Watch

Goodbye Honolulu

While they were still in high school, Jacob Switzer, Emmett S. Webb, Max Bornstein and Fox Martindale started Goodbye Honolulu and the label Fried Records as a home for their music and their friends in the all-ages scene. The garage rock band has a penchant for punchy riffs and gang vocals, and it’s taking them beyond the city. Next month, they’re supporting the Beaches on their cross-country tour and then heading down south to play SXSW.

Goodbye Honolulu opens for the Beaches at Danforth Music Hall on February 28 and February 29.

This year brings good news for longtime fans of Sam Bielanski’s grunge-pop project. After two EPs, countless Toronto shows and playing in Pretty Matty’s live band, Pony’s finally releasing their debut full-length this year. On the woozy first single Limerence, Bielanksi sings about the crushing feeling of unrequited love. Fittingly, this February she’s playing the emo-themed tribute night Taking Back Valentine’s Day (February 14 at Junction City Music Hall) in a Paramore cover band.

Moscow Apartment

In the three years since Brighid Fry and Pascale Padilla formed their indie folk-rock band Moscow Apartment, they’ve released their debut self-titled EP, won a Canadian Folk Music Award and toured across the country – all before they graduated high school. This spring, the teenagers are releasing their sophomore EP and playing shows during March Break (they’re still in high school, after all), while being outspoken advocates for the all-ages scene and climate justice.

Moscow Apartment plays the Paradise Theatre on January 30.

The sound: Disco reconnected to its roots

A half century after the heyday of disco, Tush is helping the genre stay alive.

The project, which started as a seven-piece live disco band called Mainline in 2015, now consists of just two core members: vocalist Kamilah Apong and bassist Jamie Kidd.

While their music draws from funk and soul and follows the four-to-the-floor beat typified by disco, they’re more than a vintage throwback.

“Disco is such a loaded term,” says Apong, who previously played in the band Unbuttoned. “For us, it means thinking about how music was made in the origins of [the genre] and keeping to those practices, which was experimentation and [that it was] so much of a social, cultural music.

“Black women were such a huge cultural connection, and disco is deeply ingrained in Black and queer communities.”

Naming Universal Togetherness Band and the Brothers Johnson as some early influences, Tush released an EP, Do You Feel Excited?, in 2018. Their latest single, Don’t Be Afraid, is an atmospheric slow burn propelled by Apong’s gospel-style vocals exhorting us to love defiantly. This summer, they’re planning on releasing their first full-length album.

“What we strive for is depth in the music, lyrics and themes that you don’t find in what most people think of as disco – like more of the later, whitewashed, commercial stuff,” Kidd explains. “We’re making lyric-based dance music that incorporates live instrumentation and more contemporary electronic techniques.”

Tush are a versatile band, and they’ve performed in grand ballrooms like the Palais Royale, rock clubs like the Baby G and underground warehouse parties. Recently, in order to tour more freely and take on gigs at intimate clubs, they’ve distilled their seven-piece live band into a live PA trio that includes Alexa Belgrave on keys.

Kidd, a veteran of Toronto’s electronic scene who co-founded long-running event promoters Box of Kittens and puts on their popular Sunday Afternoon Social parties, has witnessed the gradual loss of the city’s live music venues, especially those accommodating of dance music. But his genuine love for the local scene and all the talent in it encourages him to continue on.

“Something I’ve always strived for is authenticity and doing it for the right reasons,” he says. “With Tush, we’re just doing what we feel most connected to.”

Apong agrees, adding that there’s strong support for contemporary disco in the city. “Everyone dances, no one’s trying to flex or look cool,” she says. “When we throw our own shows, our people show up.” MICHELLE DA SILVA

More Artists To Watch

Born Ryan Anthony Robinson, R. Flex is a queer Black singer, electronic producer and cabaret performer blending R&B and dance music. A backing vocalist in Tush’s seven-piece live band, R. Flex released their own EP, In & Out, in 2018, and since performed in Glad Day’s Black Power Cabaret and at Queer Pop: LGBTQ+ Music & Arts Festival.

Catch R. Flex singing covers as part of Just Like A Pill on January 31.

The DJ, producer, composer and keyboardist born James Harris has been releasing music spanning disco, funk, deep house, dub and jazz since his 2017 debut EP, Memoirs. When he’s not performing or creating visuals for the electronic monthly Astral Projections, he’s co-running Cosmic Resonance, Toronto’s most exciting progressive jazz-fusion electronic label.

Babygirl

One of Toronto’s hardest-working DJs, Katie Lavoie is a fixture on the queer dance party circuit. Catch her spinning everything from Hi-NRG to juke house, pop bangers and big gay anthems at her monthly residency Freak Like Me at the Black Eagle, and on her ISO Radio show Therapeutic Hotness. Babygirl is also part of the team at Intersessions, which teaches women and LGBTQ-identifying folks how to DJ.

Babygirl plays Freak Like Me with Chippy Nonstop and Karim Olen Ash this Friday (January 24) at the Black Eagle.

The sound: Exploding the “Canadian sound”

Haniely Pableo is a cardiac nurse by day, rapper by night. As Han Han, she sings and raps in Tagalog and Cebuano, challenging notions of what makes music “sound” Canadian.

Hip-hop once seemed like an unlikely career for Pableo, but she’s driven by a desire to overthrow patriarchal-racist-exploitative systems. She enjoys creating positive change through challenging conversations, like one she recently had with a man in Tanzania.

“He said that his daughter could go to school and get educated all she wants but when she’s home, she needs to respect and serve her husband,” she recalls. “I argued with him – wouldn’t he want his daughter to be treated like an equal by the husband, [not] a servant? We went on and on.

“I [have] a lot of conversations like this when I travel or go home to the Philippines.”

Her passion for changing the narrative first collided with Toronto’s arts and music scene in 2006, when she immigrated to Canada and took a poetry workshop. After years of performing around the city as part of the collectives Santa Guerrilla and PSL (Poetry is our Second Language), she released her self-titled debut album in 2014. On her upcoming second album, URDUJA, she delves even deeper.

“Each song is different, but [it’s] mostly about the complexities of being a woman,” she explains. “How to be strong. How to be vulnerable. That you can’t always be fierce.”

Inspired by her late grandmother, she named the album after the folkloric Filipino warrior princess revered for power and leadership.

“She’s the opposite of the stereotype that we have today – that Filipina women have to be submissive and happy. That’s what I want to manifest on the album, that we’re more complex. We can be angry, sad, happy, confident and all those emotions exist on an equal spectrum.”

Pableo, who will play a Venus Fest-presented release show with fellow Filipina-Canadian acts Charise Aragoza and sketch comedy troupe Tita Collective, hopes it also challenges the idea that there’s such a thing as a unified Canadian sound.

“We’re missing out on a lot of talent and creativity [when] we stick to a narrow-minded view on what Canadian music is and is not. It’s not progressive or empowering to those communities who are always neglected and ignored,” she argues. “Canada always prides itself [on] diversity and multiculturalism, so it should follow naturally that the music scene reflects those values.”

Pableo acknowledges a growing celebration of diverse Canadian music and cites acts like Maylee Todd as important trailblazers. But she’s committed to making her music until she’s just one of many.

“My hope is that Filipino-Canadian music and talent [become] appreciated, recognized and respected. That’s my personal goal. That’s why I’m still here.” CHAKA V. GRIER

Han Han plays an URDUJA release show at Lula Lounge on January 30.

More Artists To Watch

Honest, empowering lyrics. Self-love and body positivity. A voice that blows the roof off. No, it’s not Lizzo. It’s LU KALA. The Congolese-Canadian singer is known for her flaming orange hair and songs like DCMO (Don’t Count Me Out) that you want to cry and dance to. She’s worked behind the scenes as a songwriter, and now she’s preparing to release her debut album. Its first single, Body Knew, will be out next month.

Duo Elizabeth Rodriguez and Magdelys Savigne released their lush debut, Sombras, in 2019. OKAN's vocal- and percussion-driven tracks evoke their homeland yet also reflect the vibrant Cuban-Canadian community. On their album artwork they’re in full Latin garb, perched regally against a snow-covered landscape – the perfect illustration of their sound. This summer they’ll release their sophomore album, Espiral, and tour through North America and India.

Amaka Queenette

In the summer of 2018, Amaka Queenette quietly released her astute and far-too-brief Vacant EP. At just 19, the Nigerian-born singer’s lyrics and voice hold the composure of someone twice her age. Soulful and elegant, she moves between jazz, R&B and gospel with ease while singing about isolation and soul-searching. This spring she’ll release a visual EP, Fleeting, Inconsequential.

The sound: Heavy psych from the depths

Paul Ciuk laments the lack of meaningful connections in Toronto’s music scene.

“The sense of community we have here is totally broken,” explains the drummer for proto-metal quartet Häxan.

In the band’s experience, power dynamics are often unbalanced and musicians are reluctant to help others unless it helps themselves. But Häxan has seen that there’s an alternative – they’re proof of how supportive a small but dedicated community can be, especially if they have a space to congregate.

Though some of the friendships in Häxan span decades, the real genesis of the band happened at now shuttered Kensington Market metal venue Coalition. In 2015, with only a theatre degree in her performance arsenal, vocalist Kayley Bomben (also one of Coalition’s founding bartenders/promoters/managers) made the leap to front a Germs cover band with guitarist Paul Colosimo and bassist Eric Brauer for a one-off covers night.

“Coalition acted like a big tent because you could see all different kinds of metal there,” Brauer explains. “It was a pivotal venue for us to be able to work out the band dynamic,” Bomben agrees.

Häxan matured from punk cover band to Stooges-inspired grunge act and slowly conjured the fiery intensity of the psychedelic metal they play now. After finalizing their lineup with Ciuk, they quickly slipped into a heavy vintage groove.

A fascination with the occult didn’t hurt, either. Their name is a reference to a 1922 silent film that explores how superstition wrongly linked mental illness to witchcraft. “When we think of people as evil because they’re different, that leads to a lot of horrible things,” Bomben says.

Their debut album, set to be released this spring, furthers the fascination. It’s named Aradia, after a tome of Italian folklore that positions witchcraft against hierarchy and oppression. (The first single, Baba Yaga, just dropped on Bandcamp.)

The album was produced by Alia O’Brien of Badge Époque Ensemble and Blood Ceremony, who knows a thing or two about how pagan rituals and witchy vibes should sound. Häxan credit that connection to Fuzzed and Buzzed. The local label took a chance on them early, putting them on last year’s half-cover/half-original Altar Box 7" compilation where the band first collaborated with O’Brien.

“Nobody has ever done anything like this for any of our other bands before,” Colosimo says. Bomben agrees, pinpointing the key to thriving in the city’s metal scene. “You really have to find the people who are willing to help each other out.” MICHAEL RANCIC

More Artists To Watch

Look out for this mysterious project to make waves later this year. More within the psychedelic camp than metal, ROY still bring plenty of heaviness – biting, raw guitar lines rendered through a thick cloud of analog tape haze. But they temper that weight with dreamy keyboard-conjured paisley sublimities. Think the schoolhouse rock of Darlene Shrugg, or the dense psychedelic tapestries of Tony Price.

Rough Spells

Häxan’s Fuzzed and Buzzed labelmates occupy similar psychedelic and doomy territory and also have a full-length ready. They match Häxan’s occult metal intensity with stellar vocal harmonies and incisive lyrics. Their most recent single, Grise Fiord, is named for Canada’s most northerly community and a site of forced Inuit relocation in the 50s. All proceeds from the track go to It Starts With Us, an organization that honours the memory of Missing and Murdered Indigenous Women, Two-Spirit and Trans people.

Erythrite Throne

Mysterious figure Wyrm has completely thrown themselves into the dark and dank atmospherics of dungeon synth, a black-metal-adjacent style that emerged in the 80s. They’ve released a ridiculously prolific amount of music in little over a year under the Erythrite Throne moniker: 18 albums on Bandcamp starting in 2018, including one on January 1 of this year. Don’t be overwhelmed: their mostly instrumental music is moody and wholly engrossing. Start with The Blind Hag’s Lair.

This content was originally published here.

1 note · View note

sciscianonotizie · 5 years

Text

Domus Ars: al via l’ottava stagione della rassegna “Autunno Musicale”, a cura dell’associazione Musica Libera

#ILMONITO

Dalla musica da camera al recital pianistico romantico sino alle serenate per strumenti a fiato. Un programma che spazia tra nuove proposte e graditi ritorni, quello dell’Autunno Musicale dell’associazione Musica Libera che coinvolge sempre giovani e talentuosi musicisti campani

Al via l’ottava stagione della rassegna “Autunno Musicale”, a cura dell’associazione Musica Libera ospitata da Il Canto di Virgilio. Dal 27 ottobre al 22 dicembre 2019, 4 concerti tra il Centro di Cultura Domus Ars (via Santa Chiara, 10) e la Sala Armonia Cordium (Piazza Museo Nazionale, 9).

“Il primo appuntamento di questa stagione è con una coppia di giovani, valenti musicisti, per una disamina delle diverse forme di musica vocale da camera nel corso dei secoli, dal ‘600 al ‘900. La bellissima voce del mezzosoprano Emanuela de Rosa, accompagnata dal pianoforte sapiente di Adrianalfonso Pappalardo, condurrà il pubblico nei meandri di ascolti rari e significativi di quest’immenso repertorio. Per continuare il 9 novembre con il recital pianistico di Alessandro Meloni, allievo di un nostro socio onorario, Genny Basso che ha studiato con Luigi Averna e poi con Aldo Ciccolini di cui è stato assistente negli ultimi anni. Per il 24 novembre ci sarà il gradito ritorno del trio Sophia: violino, flauto e pianoforte che incastonerà una rara esecuzione di un brano di Niccolò Porpora, fra l’ascolto di J. S. Bach prima, e di suo figlio Philip Emanuel poi.

Chiuderemo per i saluti di buone feste, con il concerto del 22 dicembre, in cui il Megaride Ensemble, formato da giovanissimi alunni del Conservatorio S. Pietro a Majella di Napoli, sotto l’attenta guida del direttore, Demetrio Moricca ci porterà nel mondo delle serenate per strumenti a fiato, dal classicismo di Mozart, all’ottocento francese di Gounod, e tedesco di J. J. Raff. Una rassegna in linea con i nostri dettami, dando spazio alle nuove generazioni, senza dimenticare chi ha più esperienza, e alle presenze sul nostro territorio”, spiega Lucio De Feo, presidente di Musica Libera.

Ad inaugurare la rassegna, domenica 27 ottobre alle ore 11 presso la Domus Ars di via Santa Chiara 10, il concerto “La voce nella musica da camera dal ‘600 al ‘900” con Emanuela de Rosa mezzosoprano e Adrianalfonso Pappalardo al pianoforte. A seguire, sabato 9 novembre ore 11 alla Sala Armonia Cordium di Piazza Museo Nazionale, 9 il Recital pianistico di Francesco Alessandro Meloni. Musiche di Beethoven, Chopin, Rachmaninoff. Unico concerto della rassegna ad ingresso gratuito.Domenica 24 novembre, ore 11 si ritorna alla Domus Ars con il Trio Sofia formato da Viviana Correra al flauto, Luca De Angelis al violino e Filomena Scala al pianoforte. Musiche di J. S. Bach, N. Porpora e E. Bach. La rassegna si conclude domenica 22 dicembre alle ore 11alla Domus Ars con “Le serenate per fiati” a cura della Megaride Ensemble, diretta da Demetrio Moricca. Musiche di W. A. Mozart, C. Gounod, J. J. Raff.

Per i concerti alla Domus Ars: biglietto di ingresso 12 euro

Il concerto alla Sala Armonia Cordium è ad ingresso gratuito.

Info:

Centro di Cultura Domus Ars: tel. 081- 3425603

Associazione Culturale Musica Libera: tel 329 8366678

Saranno attive tutte le convenzioni

L'articolo Domus Ars: al via l’ottava stagione della rassegna “Autunno Musicale”, a cura dell’associazione Musica Libera di Redazione

source http://www.ilmonito.it/domus-ars-al-via-lottava-stagione-della-rassegna-autunno-musicale-a-cura-dellassociazione-musica-libera/

#ILMONITO

0 notes

gigsoupmusic · 5 years

Text

Le Guess Who? Festival reveals full 2019 lineup

New additions include the premiere of AEAEA (Patrick Higgins & Nicolas Jaar), Aldous Harding, Deerhoof & Tigue performing Friend Opportunity, Quelle Chris, a special collaboration between William Tyler and Mary Lattimore, and new project ‘Hidden Musics’

Le Guess Who? has announced the full line-up for the 2019 edition, following the announcement of the curated programs by Fatoumata Diawara, Iris van Herpen & Salvador Breed, Jenny Hval, Moon Duo, Patrick Higgins, and The Bug. Le Guess Who?, taking place in Utrecht on November 7-10, is the Netherlands’ most forward-thinking festival, dedicated to boundary-crossing and genre-defying music from all over the world. Take a look at some of the newly announced artists and the full lineup below... AEAEA AEAEA is the new duo from composers and performers Patrick Higgins and Nicolas Jaar. Utilizing instrumental performance and live digital resampling, the aim of the group is to develop immersive musical environments—sonorous desert islands that both react to, and redevelop against, the live compositions. Both Higgins and Jaar will be using computer processes to resample and reprocess each other’s instruments in real time, unfolding a new vision of modern ritual music and electro-acoustic experimentation. Le Guess Who? is proud to present the premiere of this new project by two of today’s most acclaimed musical visionaries and explorers. The name AEAEA derives from the mythical Greek island of Circe, where Homer’s Odysseus was trapped without time or history. Hidden Musics In collaboration with producer Ian Brennan and Glitterbeat Records founder Chris Eckman, Le Guess Who? presents the first installment of a new program entitled Hidden Musics. The project aims to present global music traditions that normally don’t reach our shores, often from more remote parts of the world. This is music that has been developed with little to no Western influence, but with a very rich, and often centuries-old, history. Performing as part of Hidden Musics is the all-female Greek vocal ensemble Isokratisses, who uphold and reinterpret one of the world’s oldest remaining folk music traditions, the polyphonic music of the Epirus region—a force of celebration and hardship for centuries, passed down generation by generation; as well as Pakistan’s Ustad Saami, the last living khayál master, which is a precursor of the ancient, Islamic devotional music of qawwali; and Mexico’s mystical La Bruja de Texcoco (The Witch of Texcoco), who reinvigorate the canon of Latin American folk by creating an astonishing tapestry of traditional Mexican music, baroque, and jazz. Final program additions Other final additions to Le Guess Who? 2019 include the arresting voice of New Zealand songwriter Aldous Harding; Not Waving & Dark Mark, a new collaboration between Italian electronic musician Alessio Natalizia and alt-rock minstrel Mark Lanegan; producer/lyricist/beatsmith Quelle Chris and his singular blend of punk rock, poetry, and experimental hip-hop; veteran avant-garde indie rock band Deerhoof performing their seminal album Friend Opportunity, joined by percussion trio Tigue; Ghanaian duo FOKN Bois, who highlight social and political issues with an infectious mix of satire, shocking sloganeering and performance art; Xylouris White, the alliance between Greek musician Georgios Xylouris and drummer Jim White (Dirty Three); Argentina’s Los Siquicos Litoraleños, whose music is a unique triumph of homegrown rural psychedelia; Russian collective Shortparis, who obscures the boundaries between audiovisual theatre, techno raves and punk rock performance; and the streamlined proto-goth of Holland’s The Sweet Release Of Death. Previously announced for Le Guess Who? 2019 Previously, Le Guess Who? revealed curated programs by the pioneering voice of Mali, Fatoumata Diawara; Dutch fashion radical Iris van Herpen & sound artist Salvador Breed; Norwegian multi-disciplinary artist Jenny Hval; psychedelic/kraut mystics Moon Duo; New York avant-garde composer Patrick Higgins; and shape-shifting electronic producer The Bug. Other artists performing at Le Guess Who? 2019 include Ethio-groove legend Ayalew Mesfin & Debo Band; award-winning jazz vocalist and space disco icon Asha Puthli; Atlanta art-punkers Deerhunter; Holly Herndon presenting her pioneering new album ‘PROTO’ live; Danish pop adventurers Efterklang; Nivhek, the new project of Grouper’s Liz Harris; Swedish prog/psych/counterculture trailblazers Träd, Gräs och Stenar (Träden); juggernaut industrial/metal outfit Godflesh; and many more. The full program for Le Guess Who? 2019 can be found below. Tickets Tickets for Le Guess Who? 2019 are on sale now. Tickets for the Thursday program are €43; tickets for Friday, Saturday and Sunday are €48. 4-Day Festival Passes are available for €148. All prices include service costs. Le Guess Who? cooperates with The Dutch Council for Refugees for the ‘Grant an Entry’ initiative, which gives visitors the option to buy an additional day ticket for a refugee residing in The Netherlands who would like to visit Le Guess Who? but does not have the financial means to do so. More info via www.leguesswho.com. Full line-up for Le Guess Who? 2019: curated by Fatoumata Diawara Ahmed ag Kaedy Fatoumata Diawara Master Soumy MO DJ Roberto SOLO Fonseca Films: Mali Blues & Yao curated by Iris van Herpen & Salvador Breed Amnesia Scanner (live) Blazing Suns (live) COUCOU CHLOE Djrum (live) Efterklang FIS Holly Herndon: PROTO J-E-T-S (Jimmy Edgar x Machinedrum) Klavikon Lafawndah Maarten Vos + scenography by Nick Verstand Murcof Mykki Blanco OSHUN Expo: James Merry curated by Jenny Hval DNA? AND? Felicia Atkinson Haco Jenny Hval's The Practice Of Love Lasse Marhaug Lolina Lone Taxidermist presents BodyVice Moon Relay Oorutaichi Richard Youngs Sarah Davachi Sofia Jernberg Vilde Tuv Vivian Wang Zia Anger's My First Film curated by Moon Duo Bbymutha Bridget Hayden Holly Herndon: PROTO Idris Ackamoor & The Pyramids Mary Lattimore Michele Mercure Moon Duo Mueran Humanos Nivhek Prana Crafter Sonic Boom Sudan Archives TENGGER Träd, Gräs och Stenar (Träden) curated by Patrick Higgins AEAEA Conrad Tao Dossier X (Higgins/Mirabile/Schreiber) Holly Herndon: PROTO Leila Bordreuil LEYA Lightning Bolt Mariel Roberts Miranda Cuckson Stine Janvin Tyondai Braxton Vicky Chow curated by The Bug Caspar Brötzmann Massaker Drew McDowall + Florence To present Time Machines A/V Live Earth Godflesh Jah Shaka Sound System JK Flesh B2B Goth-Trad Kali Malone Kevin Richard Martin & Hatis Noit King Midas Sound LOTTO Mala Mark Ernestus' Ndagga Rhythm Force Rabih Beaini Robert Aiki Aubrey Lowe Slikback The Bug feat. Flowdan & Manga Saint Hilare ZONAL feat. Moor Mother & Nazamba Hidden Musics A Conversation with Ian Brennan Christopher C. King Isokratisses La Bruja de Texcoco Lakha Khan Ustad Saami General Line-up 破地獄/Scattered Purgatory Acid Mothers Temple & The Melting Paraiso U.F.O. Acid Rooster AEAEA Aldous Harding Ami Dang Angel Bat Dawid & The Brothahood Arp Frique presents Improvised Suites For Analog Machines Asha Puthli Ayalew Mesfin & Debo Band Bremer/McCoy Casper Clausen Cate Le Bon Deerhoof & Tigue play 'Friend Opportunity' Deerhunter DJ Fitz & DJ Quesadilla dj. flúgvel og geimskip DJINN Doug Hream Blunt Dur-Dur Band Ed Dowie Eiko Ishibashi Empath Faten Kanaan FOKN Bois Föllakzoid Girl Band Grimm Grimm Group Listening Gruff Rhys Grupo Pilon Gyedu-Blay Ambolley & His Sekondi Band HHY & The Macumbas Italia 90 Joseph Shabason Khana Bierbood Ko Shin Moon Lalalar Lifafa Los Pirañas Los Siquicos Litoraleños Love Supreme Loving Makaya McCraven Mega Bog Melissa Laveaux Minyo Crusaders Mohamed Lamouri Mythic Sunship Negativland Nosedrip Not Waving + Dark Mark Oiseaux-Tempête & Friends Petbrick Prison Religion Quelle Chris Sarah Louise Shortparis Stranded FM The Raincoats The Sweet Release of Death Tropical Fuck Storm Visible Cloaks, Yoshio Ojima & Satsuki Shibano Vivien Goldman Vladimir Ivkovic DJ Xylouris White YĪN YĪN Yves Jarvis Collaboratorium Greg Fox - Drummer in Residence Mythic Sunship a.o. William Tyler & Mary Lattimore Utrecht Early Music Festival presents Olga Pashchenko performing Der Golem Gaudeamus presents Klang & Ivan Vukosavljević "The Burning" Vincent Moon & Priscilla Telmon present SACRED✚S - a music + cinema ritual, with special guests Angel Bat Dawid & The Brothahood Spazio Disponibile presents Crossing Avenue (live) Donato Dozzy Grand River (live) Neel Vladimir Ivkovic presents 20 years after Suba / Rex Ilusivii's death Príncipe Discos presents DJ Firmeza DJ Marfox Nídia Read the full article

#LeGuessWho

1 note · View note

experimentik · 5 years

Text

21.August.2019 / Müller/Henkel/Wassermann/Wong

21.August.2019 / 20:30-

4tet:

Matthias Müller - trombone

Brad Henkel - trumpet

Ute Wassermann - voice, objects

Eric Wong - guitar

FB event: https://www.facebook.com/events/349637802601293/

----

Matthias Müller started playing trombone in the local brass choir at the age of 10. He studied jazz-trombone at the Folkwang Hochschule in Essen, where he also made his first steps into Improvised Music. His CD "Bhavan", which was released in 2004, was produced by Chicago based musician and journalist John Corbett. In the same year he moved to Berlin and has since been regularly playing with internationally recognized improvisers such as John Edwards, Mark Sanders, Sofia Jernberg, Eve Risser, Nate Wooley, Johannes Bauer, Tobias Delius, George Lewis, Jeb Bishop, Clayton Thomas, and many more. He is a member of the 24-member improvising ensemble, “Splitter Orchester”, and was also a member of the “German-French Jazzensemble” under the direction of Albert Mangelsdorff. In addition, Müller is also active in the field of Contemporary Music and Theatre Music. He has toured Africa, Asia, Australia, North America, and many countries in Europe, having played on numerous festivals, and released more than 40 CDs and LPs of his own projects, including a number on his own label „MaMüMusic“. His playing style is characterized by an extraordinary range of unconventional and partly self-developed techniques which stretch the boundaries of sound and improvisation while staying true to the musical process.

https://matthiasmueller.net/

Photo by Cristina Marx

----

Brad Henkel (b. 1985) is trumpeter and composer based in Berlin, Germany. His work integrates composition and improvisation with new and innovative instrumental techniques. Born in Ventura, California, he began studying trumpet at the age of 11. In 2003, he reclocated to New York to further his development. After completing his degree, he settled in Brooklyn. There, he formed, played and toured with several collaborative, creative/improvised music projects, culmination in the co-founding of the artist-run record label, Prom Night Records. In 2013, Brad relocated to Germany, where he quickly integrated himself into the improvised music scenes. Current projects of his include Merry Peers, SPOILER and Warble. He is a member of the KIM Collective.

http://bradhenkel.blogspot.com/

Photo by Cristina Marx

----

Ute Wassermann, voice artist, composer, improvisor is known for her many-voiced and extreme vocal sound-language. Ute´s unique vocal language takes the voice beyond itself. Her methods to extend the voice include the use of bird whistles, lo-fi electronics, resonators, fieldrecordings. She is engaged in the areas of composition and improvisation, music and performance art. Ute studied visual arts (sound installation, performance art) at the Academy of Fine Arts in Hamburg, and music and singing at the University of California, San Diego. Numerous performances as a vocal soloist in festivals, venues and clubs throughout Europe, Australia, Mexico, Brasil and Asia. https://vimeo.com/user20410741 https://soundcloud.com/utewassermann

Photo by Peter Gannushkin

----

Eric Wong - Born 1981 in Minneapolis, grew up in Hong Kong, studied psychology at the University of Minnesota, and subsequently audio production and engineering at the Institute of Production and Recording. He is a composer and sound artist, as well as a guitarist and computer musician. His main focus lies on sound textures, the perception of sound and spatial experience.

https://ericszehonwong.tumblr.com/

Photo by Ian Stenhouse

0 notes

pmcmlu28ass2-blog · 5 years

Text

Unit 28 Mixed Compositions

1. Three part Guitar Loop (Scales and Harmony)

Source of Inspiration

This was just an off the cuff experiment with no specific inspiration or focus and happened without over thinking.

Melodic and Harmonic Development

Using a BOSS RC2 to create a loop, Initially I put down a bass line melody using Am pentatonic scale then I composed a funky style guitar chord sequence of Am7, D7sus4, Dm7, Em7 and Em7+7 over the bass line. Then I simply soloed over this looped sequence using the Am pentatonic scale in various positions along the fretboard.

Lyrical Development

There are no lyrics in this particular piece.

Recording

https://www.youtube.com/watch?v=69M_Js48SWE&feature=youtu.be

2. Church Hymn ‘Let Us Ask’ (Lyrics and Scales)

Source of Inspiration

I was asked by a woman called Racquel Pallares to compose a hymn in English that she could use in the spiritualist works she conducts Internationally, in the Santo Daime tradition. Santo Daime is a shamanic church originating from Mapia, deep in the amazonian rain forest of Brazil. I had already played some guitar for her when she was visiting Ireland conducting some of these events.

Melodic and Harmonic Development

So the critical element was the melody lines that must facilitate the singing of the lyrics. I was not unduly concerned about harmony initially.

Then next of importance were the lyrics which must follow the melody line.

I used the scale of Am, the natural minor of C, feeling this would be accessible to a wide range of voices. And in 4/4 time. Another instrument used is a maraca ringing out the 4/4 beat. Once I had developed the melody line it was relatively easy to apply harmony by chords on the guitar. The melody is as follows :-

CDE A G E D CD CDE D C B A

E A C B C A GA E A CB A G

E GAG E CD CD C DED C B A

A key instrument in this piece is the voice(s) delivering the lyrics.

The harmony guitar chords are Am Dm Am Am G Am Dm Am

Instrumentation was a nylon string acoustic guitar and voice(s). Particularly in the Santo Daime tradition the guitar sits underneath and supports and focuses the singing by playing melodies the singers can follow which match very closely the lyrics. Also the melodies need to be relatively simple and either 4/4, 3/4 or 6/4 as all participants in a Santo Daime ritual drink an hallucinogenic tea called called ayahuasca before and during the ceremony whilst they have to dance and sing at the same time.

Lyrics

The final English lyrics I arrived at can be seen below. Each verse has a theme and is sung in its entirety twice. It probably took me about a week to finalise the lyrics and I still am not 100% happy but Racquel was and translated the hymn into Portuguese and now it is a part of her works as she travels the world conducting these spiritual rituals. There is an opening sequence where they prepare and my hymn is number 5 - Pecamos. The prayer book and Portuguese version can be seen in the pictures below, after the English verses. Sadly she omitted the Mc from my name but no one is perfect.

Verse 1 is about the fact we are human with human frailties. Verse 2 is about our innate selfishness leading to hurt of others. Verse 3 is about how strong emotion distorts our thinking. Verse 4 is about holding one’s place in the spiritual ritual which can be very challenging as the ego is deconstructed. Verse 5 acknowledges we need a Higher Power to guide us to spiritual liberation and freedom of the soul and this will come about if we stay firm in our work and concentration.

Let Us Ask

Let us ask God’s Help to do our work Let us ask with Modesty Because we are all human beings

Of flesh and blood are we So we need God’s help to shine a light On a path to set us free (repeat)

Let us ask God’s Help to do our work

Help us work very seriously

For the times we turn away from you

For the times it’s all about me

For the times we hurt our fellow man

Please forgive our humanity (repeat)

Let us ask God’s Help to do our work Let us ask for Liberty From the storms that rise up in our minds From our fear and Jealousy For the things we do we should not do We ask God to set us free (repeat)

Let us ask God’s Help to do our work Let us ask him humble eeehh We hold our place, We firm our minds All here in Unity Let ask of you, Oh Lord, Oh God Help us live in Harmony (repeat)

So we ask God’s help, We do our work Do our work with honesty Give Praise, Give Thanks to you Oh Lord Give thanks that now we see You alone have got the Power, all Power You alone can set us free (repeat)

Recording

https://youtu.be/pRNasHqSjbM

Below is Songbook and first page of Hymn

3. Folk Song ‘Soul Warrior’ (Harmony, Lyrics, Alternate Tuning)

Source of Inspiration

I was touring with Paul Brady and had to take a break and spend a couple of

weeks in a rehabilitation unit for depression after two close friends died in the same week, one from suicide the other from an accidental drug overdose when I was inspired to write this tune. Looking at all the people in the clinic I realised most people crave peace and right relationship and I was humbled by the efforts the individuals were making to try and sort out their lives.

Melodic and Harmonic Development

Paul Brady has fantastic strumming technique, coupled with alternate guitar tunings and also I liked very much the musical stylings of Luka Bloom.

I tuned the guitar in DADGAD and played around with strumming patterns and various chords. I initially came up with the refrain / chorus sequence D A Bm G - D A G G (2nd time). Then I worked out the verse chord sequence: Bm A G G. I liked the descending line Bm, A, G in the modal tuning for the verse and it was relatively easy enough to add lyrics using standard rhyme to construct the verses. It could be argued verses 1 to 3 are actually verse 1, (See song structure below). However, I realised the piece needed a hook and something to pull in the listener and catch the ear at the outset (as Paul Brady does a lot) so I messed around again until I came up with the EM F G F G F G A Bm instrumental introduction sequence, which is also repeated a couple of times throughout the song. This is an ascending sequence. And I worked out an outro just to give a clear signal the piece was ending and facilitate a nice big modal D chord flourish finish.

Lyrical Development

In this case I developed the music before I composed any of the lyrics, which is my standard approach. Initially I decided on a theme for what I call a verse ( 4 lines) and noted this down on my pad. Then it took me a couple of days to fully develop the lyrics with a lot of playing around with rhyme and using the pad jotting down words that were similar and playing with them. The repetition on line 4 was for reinforcement of the key concept of each four line part: i.e. Need for Love, Confront Fear, Right to freedom and Liberty, Resisting Temptation and Craving, Letting Go of Anger, Be Persistent and Diligent. Also I modify the length of the lyrics and instrumental lines as we work through the piece to add some structural variety and then increase tension through the longer instrumental at the end. The repetition of what I call verse 6 is to reinforce the core message of the lyrics, it is a motivational song, as stated, inspired by the bravery of the human spirit in the face of adversity. IE Never Give up the Fight. Also I dropped the tempo for the first iteration of Verse 6 again to provide reinforcement of the key message of the song and also capture a mood of hope.

SONG STRUCTURE and LYRICS (original)

Soul Warrior (Key of Bm) (DADGAD guitar tuning)

Intro / Instrumental (x 2)

Chorus

Instrumental (x 1)

Chorus

V3 (drop tempo then speed up on 2nd iteration)

Chorus x 2

Instrumental (x 3) (stagger Instrumental on 3rd iteration)

Outro

-------------------------------------------------------------------------------------------

INSTRUMENTAL (lively strong 2 part strum, bass down, treble up stroke)

Em F G F G F G A Bm (Bar chords, bottom 2 strings open)

-------------------------------------------------------------------------------------------

OUTRO (lively strum)

A aug Bm7 A aug Bm7 A aug Bm7 D (bottom 4 strings only)

-------------------------------------------------------------------------------------------

CHORUS

Sweet Soul Warrior D A Bm G

Brave Soul Warrior D A G G

-------------------------------------------------------------------------------------------

Verse 1

If love’s not alive Bm

Hate Can Thrive A

Hope Won’t Survive G

Trouble has begun Bm

When the urge is to run A

But not this one G

No not this one G

Call is be free Bm

No bonds or slavery A

All equal, You and Me G

Verse 2

Temptress she call Bm

Yes means a fall A

Warrior stands tall G

Resentment you keep Bm

When anger runs deep A

Let lying dogs sleep G

Verse 3

Change wrong to right Bm

Turn darkness into light A

Never give up the fight G

Recordings

The following are links to three different recordings of the song.

Soul Warrior - Impromptu Ensemble recording

The link to the MP3 above was an impromptu recording one night when a group of us were hanging out and jamming. As you can hear Keith the lead vocalist gets the lyrics wrong but the feeling is there and he improvised with Sofia the female vocalist around the original structure as detailed below. I like this recording because of the timbre of Keith’s voice and its richness captures the emotion of the piece. Unfortunate about the mispronounced lyrics as this was almost a viable releasable version.

Soul Warrior - Solo Individual recording

The second recording is one with just myself on guitar. Very obviously not as good a quality or strength, but it shows that the songs message is still there regardless of the instrumentation. This piece highlights the original pathos of the creation and the underlying strength of the guitar line to support the lyric.

Soul Warrior - Studio Recording

The third recording was done in Temple Bar studios with a wider variety of instrumentation and a full production plan and Dan Barry on lead vocals. Despite all the work this somehow lacked the feeling of Keith’s impromptu recording.

4. Midi Multi Composition(s) K1 MixT (multiple compositional technigues)

Source of Inspiration

Writing some pieces for the Public Technology Performance module and the PPP module I also wanted to produce some music for a german friend who runs unique workshops of which one component is people lying on mats and listening to music whilst breathing deeply. Pure experimentation in sound just using Midi instrumentation and audio samples and some synthesised sounds originating from a voice sample.

So this piece actually consists of five parts with two linking crossfade sections and lasts for 8 minutes and 33 seconds in total.

Melodic and Harmonic Development (all parts)

Part 1 : (0 - 1.40)

Initially I found some drum loops in a shared webspace open for all and I created a Reaper project combining the loops to create a consistent pushing semi urgent rhythm. Then I added in some synth lead sounds and some Effects sounds to add depth and body and intensify the sense of urgency and going somewhere. The melody line(s) are relatively simple interval jumps back and forth with an ascending chord harmony backing blended with the effects sounds and pulsing drum loop rhythms. This piece I also separated into a track called Bromance which was used for background music in the Arabian Night production.

Part 2 : (2.11 - 3.26)

I created a simple kick drum beat 1 2 3 4& over which I layered cymbals and then a synth lead repeating arpeggio. I altered dynamics and also increased tension by multiplying number of cymbal hits whilst adding a synth lead at higher frequency.

Part 3 : (3.27 - 5.24)

I located a pumping synth pad effect in a VST called Expand2 and put a simple repeating kick drum pattern underneath it and a high pitched bell type synth lead voice above it. The only fixed repeating pattern was the pumping synth. So three sounds. I particularly like this section for its simplicity but effectiveness.

Part 4 : (5.37 - 6.55)

I took a couple of sample parts from part 1 and edited them together and increased tempo to 120.

Part 5 : (6.56 - 8.33)

Using a tiny voice sample I put it into the Simpler in Ableton Live and created a series of tones / voices which I then layered together and into repeating sequences. So there is a kick drum layer. A horn type sound layer constructed into a simple melody. A tom tom sound. A whispering shimmering effect and then also the application of reverb, delay and I also reversed some of the loops.

Link Sections : These are just structural devices to assist in transition from a given part to another. Constructed at a) 1.41 to 2.10 Between Part 1 and 2 and b) 5.25 to 5.36 between Part 3 and 4

Lyrical Development

There are no lyrics in any of these five parts just the occasional use of midi voice synths for padding and harmonic effect.

Recording

K1 MixT

5. Arabian Night Ambibright and Apartment (specific themes)

Source of Inspiration

We were offered the opportunity to develop musical and sonic pieces to be part of the backing soundtrack for a production of Arabian Night by the BIFE Black Box Theatre group. Arabian Night is an unusual and sonic immersive play which relies on auditory experiences and audience imagination to generate imagery based on performer dialogue and sound rather than visual stimulation. I studied the script and characters and some requests from the play’s director and in addition to producing sequences of street noise and running water I composed five distinct audio parts which I called Desert, Apartment, Bromance, Ambibright and Haunted with the intention of providing specific backing to particular parts of the performance. Some of these pieces were part of the performance soundtrack, two of which I have detailed below and one is detailed above in section 4, which I also used as part one of the K1 MixT arrangement.

Melodic and Harmonic Development

Ambibright : Based on simple repeating kick drum line I then introduced an

Arpeggiated eastern type sound and then developed all sorts of layers around that and added some special effects. This piece contains Sequences, Counterpoint, Ostinato, Scales, Riffs, Modes and a variety of mid instrumental sounds. The individual components can all be accessed on my Soundcloud account Sao-Paolo. All pieces are public.

Apartment : This piece I composed by setting a repeating kick drum and bass line and then layering a simple Motif in C major with some alternating synth effects over that. The low tones and sustain and strings effects were an attempt to introduce a sense of foreboding and eeriness.

Lyrical Development

There are no lyrics in any of these three pieces.

Recordings

AmbiBright

Apartment

0 notes

brothermarc7theatre · 5 years

Text

“Mamma Mia” #787

There is an air of nostalgia, a percussive toe-tapping, and a contagious check-to-cheek grin that will inhabit audiences when watching Hillbarn Theatre’s super trouper production of Mamma Mia! Led by an infallible Merrill Peiffer as Donna, the “who’s your daddy?” musical gets the full ABBA treatment, made complete with a worthwhile book by Catherine Johnson. Made more streamlined by Dan Demers’ clipped-pace direction, the talents of the cast are highlighted well in this fun, fun, fun production.

(Merrill Peiffer (Donna); Photo credit: Mark and Tracy Photography)

Ms. Peiffer embraces Donna’s quirkiness with an ease and flow between work-hard landlord, loving mother, former-Dynamo diva, and longing-for-love woman. Her vocals are tops throughout the show, and especially in a stirring, powerful “The Winner Takes it All.” The endless musical interludes between lyrics, especially where Donna is concerned, can only be reduced in awkwardness when the right actress and right director fill the lyric-less void with vulnerable takes and astute acting chops; such is the case with Mr. Demers’ direction of the talented Ms. Peiffer. Sofia Constantini delivers a genuine, lovely performance as Sophie, the bride-to-be and daughter of one of the three invited, potential fathers. Ms. Constantini’s vocals are very well-suited for “I Have a Dream” and its reprise; in leading the fun-loving trio, “Honey, Honey;” and the otherwise-groan worthy “Under Attack.” Ms. Constantini pairs well with groom-to-be, Sky, played with charm, if not a bit too animated, by Matt Ono, in an alluring, well-sung “Lay All Your Love on Me.”

(Sofia Constantini (Sophie) and Randy Allen (Sam); Photo credit: Mark and Tracy Photography)

Randy Allen delivers a perfectly adequate performance as Sam Carmichael, the potential dad who bears the biggest burden for breaking Donna’s heart. Mr. Allen’s vocals in “S.O.S” and “Knowing Me, Knowing You” do the job of singing the tunes and exuding some turmoil, though those aforementioned interludes without lyrics are only filled with a stand-and-look mentality rather than letting the audience into more of Sam’s journey. Lawrence Long delivers a wonderful, commanding performance as Bill, the ever-lonely, always-travelling writer. His vocal contributions to “The Name of the Game” and “Take a Chance on Me” make me wish the writers had given Bill much more to sing. Not just a vibrato-delight, Mr. Long’s performance is an altogether solid performance in comedy and commitment to being a soothing potential father figure to Sophie. Brandon Savage does well as Harry, the British banker who falls back in love with his head banger days when reunited with Donna on the Greek Isle. Mr. Savage’s vocals do the job required for pulling of a serene “Our Last Summer,” and his charming smile and enthusiastic presence make his Harry one to root for.

(L to R: Lawrence Long (Bill), Randy Allen (Sam), Brandon Savage (Harry); Photo credit: Mark and Tracy Photography)

Christine Capsuto-Shulman is a dynamite Tanya, providing some stellar vocals in “Does Your Mother Know.” Her comedic chops, enhanced by the littering of f-bomb infused ad-libs galore in the book scenes and musical numbers, are a laugh-a-minute effort that pays off every time she walks on stage. Jacquie McCarley is a fun, rambunctious Rosie, matching the Dynamo-diva energy exuded from Ms. Peiffer and Ms. Capsuto-Shulman with pinpoint comedic and vocal precision in Act One, especially in the trio’s excellent performance of “Dancing Queen” and “Super Trouper.” However, when it comes to Rosie’s big song, “Take a Chance on Me,” Ms. McCarley loses the spunky, flirty nature she established opposite Mr. Long’s Bill earlier, making the song a bit more underplayed without a decipherable reason why.

(L to R: Christine Capsuto-Shulman (Tanya), Merrill Peiffer (Donna), Jacquie McCarley (Rosie); Photo credit: Mark and Tracy Photography)

Paige Collazo and Samantha Ayoob are great as Sophie’s friends, Ali and Lisa, respectively. Their dancing and harmonies are well-highlighted in “Honey, Honey” and in the all-call bash of a party number, “Voulez-Vous.” Jepoy Ramos and Jorge Diaz are featured highlights as Donna’s main hotel boys, Eddie and Pepper, respectively. Both have the gift for bro-comedy, delivering some of the more flirtatious cringe-worthy lines the book has to offer. The hardworking ensemble absolutely kicks butt in their execution of Zoe Swenson-Graham’s fantastic choreography. Even subtle movement numbers like “Honey, Honey” are given the precise look that gives off the laid back, party atmosphere Mamma Mia! provides its audiences. But numbers like “Money, Money, Money,” “Lay All Your Love on Me,” “Gimme! Gimme! Gimme!” and “Does Your Mother Know.” are given the full dance ensemble treatment, complete with some terrific towel-ography in “Voulez-Vous.”

(L to R: Paige Collazo (Ali), Sofia Constantini (Sophie), Samantha Ayoob (Lisa); Photo credit: Mark and Tracy Photography)

The technical design, as a whole, does the job in portraying a kick back island hotel without making the stage seem too squished. Michael Palumbo’s lighting design is perfectly matched with Mr. Demers’ highlighting of intimate solos and Ms. Swenson-Graham’s exciting company numbers. Y. Sharon Peng’s costumes are universally great, giving a nice variety of colors and styles which all match the Greek isle vibe.

At the time of this review, there has been an added performance for Wednesday, May 22nd, (to the otherwise sold out run) so if an evening escape to ABBA, dancing, and figuring out who the dad is suits your fancy, go book your ticket and go see this show!

Details:

Mamma Mia! at Hillbarn Theatre

Runs through May 26th

www.hillbarntheatre.org

#mammamia #hillbarntheatre #musical #theatre #musicaltheatre #abba #fostercity #bayarea #bayareatheatre #theatrereview

1 note · View note

todayclassical · 7 years

Text

July 21 in Music History

1748 Birth of composer Louis-Henry Paisible. 1515 Birth of Italian Priest and composer Filippo Neri in Florence. 1608 Frescobaldi is hired as St. Peter’s organist in Rome. 1779 Birth of composer Gottlob Wiedebein. 1797 Birth of composer Franz Schoberlechner. 1835 Birth of French-Belgian soprano Marguerite Artot in Paris. 1838 Death of Bavarian inventor of the metronome Johann Maelzel on the ship Otisin harbour of La Guiara, Venezuela, en route to Philadelphia. 1863 FP of Offenbach: “Lischen et Fritzchen” Bad Ems (1863). 1864 Death of soprano Mary Ann Paton. 1865 Birth of composer Robert Kahn. 1873 Birth of American operatic bass Herbert Witherspoon in Buffalo, NY. 1874 Birth of tenor Giuseppe Agostini. 1879 Birth of baritone Waldemar Staegemann in Konigsburg. 1883 Birth of American composer and editor of The Music Quarterly Carl Engel in Paris. 1896 Birth of French composer Jean Rivier in Villemomble. 1898 Birth of composer Ernest Willem Mulder. 1903 Birth of composer Theodore Karyotakis. 1906 Birth of Mexican violinist and conductor Daniel Ayala Perez in Abalá. 1906 Birth of German soprano Annelies Kupper in Glatz.

1908 Birth of composer Zbigniew Turski. 1912 Death of baritone Antonio Magini-Coletti. 1920 Birth of Russian born-American Violinist Isaac Stern. 1920 Birth of composer Manuel Valls Gorina. 1925 Birth of composer Lovro Zupanovic. 1926 Birth of American harpsichordist Albert Fuller. 1931 Birth of composer Leon Schidlowsky. 1931 Inventor Hans Barth patents his quarter-tone piano. 1934 Birth of British opera director Dr. Jonathan Miller. 1935 Birth of German soprano Margit Schramm, in Dortmund. 1936 Birth of German soprano Ursula Schroder-Feinen in Gelsenkirchen. . 1936 Death of Italian tenor Nicola Zerola in New York City. 1938 Birth of composer Anton Emil Kuerti. 1938 FP of Paul Hindemith’s ballet St. Francis composer conducting at Covent Garden in London. 1945 Death of soprano Fanny Moody.

1949 Death of Italian baritone Cesare Formichi. 1949 Birth of Danisj tenor Poul Elming.

1960 Birth of Argentinian pianist and composer Ezequiel Viñao in Buenos Aires, Argentina.

1962 FP of Stolz: “Trauminsel” operetta, Bregenz (1962). 1965 FP of Effinger: “Cyrano de Burgerac” Boulder Co (1965). 1966 Death of soprano Sofia Preobrashenskaya. 1968 Death of tenor Karl Aagard Oestvig. 1981 Death of impressario Carole Fox. 1983 FP of Thomas Oboe Lee’s Morango …almost a tango for string quartet, by the Composers in Red Sneakers ensemble at the Sanders Theater in Cambridge, MA. 1988 Death of soprano Stanislava Zawadska.

1992 Death of vocal coach Vida Harford.

#classicalmusic #musichistory #today in music history #todayclassical #onthisday

1 note · View note

mastcomm · 5 years

Text

Carnegie Hall’s New Season: Here’s What We Want to Hear

The classical music world has been changing, and some of those shifts will be felt at Carnegie Hall.

Carnegie announced Tuesday that next season would feature the Berlin Philharmonic’s first concerts at the hall under its new chief conductor, Kirill Petrenko; the City of Birmingham Symphony Orchestra’s first with its music director, Mirga Grazinyte-Tyla; and the Carnegie debut of Teodor Currentzis and the orchestra he founded, MusicAeterna.

“With the orchestras, there are a huge number of firsts,” Clive Gillinson, the hall’s executive and artistic director, said in an interview.

Rhiannon Giddens, the singer, songwriter, banjo player and musical polymath, will be featured in a Perspectives series in which she will trace the connections between popular and classical songs, team up with other banjo players to explore the experience of African-American women and delve into the complicated history of minstrelsy.

Jordi Savall, the early-music specialist and viola da gamba virtuoso, and Yannick Nézet-Séguin, the music director of the Philadelphia Orchestra and the Metropolitan Opera, will also be featured in series. A festival called “Voices of Hope: Artists in Times of Oppression” will explore musical responses to injustice, and Andrew Norman will hold the Richard and Barbara Debs Composer’s Chair.

Among dozens of offerings, what to hear? This is the best of the best: the performances we at The New York Times are most looking forward to.

Los Angeles Philharmonic, Oct. 7-9

There are three opportunities to hear Gustavo Dudamel conduct the West Coast’s leading ensemble at Carnegie this fall, in the orchestra’s first hall appearance in 30 years. The season-opening gala on Oct. 7 features a brief John Adams fanfare, Grieg (Lang Lang playing the Piano Concerto) and more Grieg (selections from “Peer Gynt”); Oct. 9 brings Mahler’s Sixth Symphony. But in between is the most promising program, with two New York premieres: a curtain-raiser by the young composer Gabriella Smith and Andrew Norman’s Violin Concerto (with the always-fascinating Leila Josefowicz), with the gentle chaser of Ginastera’s “Estancia.” JOSHUA BARONE

City of Birmingham Symphony Orchestra, Oct. 23-24

Conducting sensation Mirga Grazinyte-Tyla and her orchestra, which is celebrating its centenary this year, give two concerts that perfectly showcase their tastes and flair for programming. One adeptly balances the familiar with the new and unusual, with Ravel’s “La Valse” and Debussy’s “La Mer” framing Mieczyslaw Weinberg’s Violin Concerto and Thomas Adès’s “Angel Symphony,” which they will premiere this spring. The other focuses on British music, with Tippett’s oratorio “A Child of Our Time” following Sheku Kanneh-Mason as the soloist in Elgar’s Cello Concerto. DAVID ALLEN

MusicAeterna, Nov. 4

One of the great stories in classical music over the past decade has been how the Greek-born, Russian-trained conductor Teodor Currentzis formed his own idiosyncratic orchestra in Siberia, garnering a Sony recording contract and triumphing around the world. Their American debut last year at the Shed was one of the major events of the cultural year, and now Currentzis and the orchestra will bring their blistering intensity to Carnegie, with Tchaikovsky’s “Pathétique” Symphony and the Adagio from Mahler’s Symphony No. 10. MICHAEL COOPER

American Composers Orchestra, Nov. 5

As part of Andrew Norman’s composing residency, this ensemble presents the New York premiere of “Begin,” a chamber-orchestra piece first heard in Los Angeles last year. The rest of the program is just as tantalizing, with world premieres by Ellen Reid, Jane Meenaghan and George Lewis. SETH COLTER WALLS

Jordi Savall, Nov. 5 and 9

Four days after Mr. Savall leads his period-instrument orchestra Le Concert des Nations and vocal ensemble La Capella Reial de Catalunya in Monteverdi’s glorious Vespers in Carnegie’s main auditorium, he’ll bring those groups downstairs, to the more intimate Zankel Hall, for Monteverdi’s complete “Madrigals of War and Love,” a rare chance to hear a collection of genre-blurring pieces that altered music history. ANTHONY TOMMASINI

Lise Davidsen, Nov. 12

In the wake of feverish hype in the opera world, the Norwegian soprano Lise Davidsen made her Metropolitan Opera debut this fall in Tchaikovsky’s “The Queen of Spades” and, if anything, surpassed the high expectations. Her silvery voice had both thrilling power and nuanced expressivity. It will be fascinating to hear her in a recital setting; with the pianist James Baillieu, she sings works by Grieg, Mahler, Berg (“Seven Early Songs”) and Wagner (“Wesendonck Lieder”). ANTHONY TOMMASINI

Berlin Philharmonic, Nov. 18-20

When I went to Berlin last year for Kirill Petrenko’s debut concerts as the Philharmonic’s chief conductor, I was struck by the excitement he generated among its players. Now New Yorkers will be able to judge for themselves. This program, featuring the great dramatic soprano Nina Stemme singing Brünnhilde’s Immolation Scene from Wagner’s “Götterdämmerung,” gives him a chance to show off his operatic chops, which he honed during a memorable run at the Bavarian State Opera in Munich. (In a rarity for Carnegie, this program is played twice, on Nov. 18 and 20; on the 19th, the Philharmonic performs Webern, Mendelssohn and Brahms.) MICHAEL COOPER

Ksenija Sidorova, Feb. 3

The Carnegie lineup is full of superb voices, violinists, pianists — the meat and potatoes of classical music. So less conventional instruments pop out, like the accordion played by this Latvian virtuoso. “Revelatory,” according to my colleague James R. Oestreich, Ms. Sidorova will perform arrangements of Bach, Mozart and Tchaikovsky alongside works tailor-made for accordion by Sofia Gubaidulina, Alfred Schnittke and others. ZACHARY WOOLFE

Louisville Orchestra, Feb. 20

Go ahead and call the Louisville Orchestra a “regional” (as opposed to “major”) ensemble. That’s a meaningless distinction for the many people excited by the adventurous programs the dynamic young conductor Teddy Abrams and his excellent players have been giving. For example, the concert they will present at Carnegie will offer Andrew Norman’s “Sacred Geometry,” Copland’s “Appalachian Spring” (with dancers from Louisville Ballet) and Jim James’s song cycle “The Order of Life,” performed with its composer, a Louisville native and the leader of the rock band My Morning Jacket. ANTHONY TOMMASINI

Boston Symphony Orchestra, April 14

For all my worries about the direction that the Boston Symphony has taken under its music director, Andris Nelsons, there have been two pluses during his tenure so far: his Shostakovich survey (steadily being released on record to considerable acclaim) and his opera. A Shostakovich opera, then, ought to come off well, especially this composer’s best, “Lady Macbeth of Mtsensk.” The soprano Kristine Opolais is scheduled as Katerina, with Brandon Jovanovich as Sergey. DAVID ALLEN

Mark Padmore and Mitsuko Uchida, April 16

The tenor Mark Padmore once told me he was reminded of all the words for “rehearsal” when working with the pianist Mitsuko Uchida: “In French, ‘répétition,’ which speaks for itself; in German, ‘probe’ — proving or trying. In English, it has nothing to do with hearing. Its etymology is to till the earth in preparation for seed. Working with Mitsuko, all three of those things, those attitudes to rehearsing, are absolutely present.” Now imagine how they’ll sound in “Dichterliebe” and other Schumann works. JOSHUA BARONE

Alexandre Tharaud, April 18

This is, as always, a good season for piano recitals at Carnegie, with Vikingur Olafsson, Daniil Trifonov, Igor Levit and Jean-Yves Thibaudet all making solo appearances worthy of anticipation. But Mr. Tharaud’s program is particularly intriguing. It bridges the gap between the French Baroque — Couperin, Rameau and the more obscure composers Jean-Henri d’Anglebert and Joseph-Nicolas-Pancrace Royer — and the French early 20th century, with works by Ravel and Reynaldo Hahn that will benefit from this artist’s sensual grace. ZACHARY WOOLFE

Met Orchestra, June 10

It’s been many years since the great mezzo-soprano Waltraud Meier last sang at Carnegie, which makes her return with this superb ensemble — freed from its Lincoln Center pit after the opera season ends — a true event. Wagner’s lush “Wesendonck Lieder” is on the agenda, conducted by Semyon Bychkov, who fills out the evening leading Shostakovich’s “Leningrad” Symphony. ZACHARY WOOLFE

from WordPress https://mastcomm.com/carnegie-halls-new-season-heres-what-we-want-to-hear/

#Entertainment

1 note · View note