ARTefacts ensemble — AMOK, a tribute to Fausto Romitelli / Onassis Cultural Center
Опубликовано: 2 февр. 2015 г.Performed by ARTefacts ensemble at Onassis Cultural Center, Athens at 12/11/2014.
Zoe Zeniodi, conductor
Myrsini Margariti, soprano
Alexandros Drymonitis, electric guitar
Paolo Pachini, video (An Index of Metals)
Louizos Aslanidis, video (Amok Koma, Trash TV Trance)
Опубликовано: 21 нояб. 2013 г.Philip Glass — The Hours, 2002. Michael Riesman transcription.
Branka Parlić, piano. Synagogue, Novi Sad. 5.VII.2005
«The Hours», Music from the Motion Picture for piano.
There are movies where you notice the soundtrack, and others where you don't. The latter is usually considered ideal, and yet it's impossible to ignore Philip Glass' pervasive, all-encompassing soundtrack while watching Stephen Daldy's celebrated follow-up to Billy Elliot (the same could just as easily be said of Elmer Bernstein's majestic music for Far From Heaven). This isn't such a bad thing — far from it. The piano-dominated score, incorporating motifs from Glass' Satyagraha, Glassworks, and Solo Piano is, by turns, lush, sumptuous, and stirring.
Philip Glass' score for the film The Hours is very typical of Glass, with its nearly constant repetition and slowly evolving variations on a theme. It suits the moods of the film perfectly, reflecting mesmerically the inner thoughts and emotions of the characters, but remaining subservient to the film itself. Michael Riesman, a long-time associate of Glass, has transcribed the score of The Hours for piano. It wasn't hard for him to do this: the score prominently features the piano alongside the orchestra, and Riesman performed the piano part in the soundtrack recording. His solo piano version covers exactly the same music as on the soundtrack album, but to call it a «reduction» of an orchestral work would be unfair. Yes, it is one instrument instead of many, but just by the facts that it's a single performer being responsible for realizing the music and it's no longer an accompaniment to screen images, Riesman is able to add to it more expression and more life. Even though his tempos and the track times match the soundtrack almost exactly, he is able to take tiny liberties with the phrasing of themes so that the quiet desperation of the music isn't quite as desperate. It doesn't matter if he uses a larger array of dynamics and is not quite as strict with time. Whereas listening to the soundtrack without the film can be almost unbearably boring or depressing, depending on your state of mind, listening to Riesman's version is less so. Although the track titles make no sense without film, in this version, the music is able to stand on its own as a distinct creative work, with more vitality and wider-ranging sentiment than the soundtrack.
The complicated storyline, based on Michael Cunningham's Pulitzer Prize-winning novel (which was, in turn, inspired by Virginia Woolf's Mrs. Dalloway) is inherently dramatic and emotionally compelling enough that it doesn't really «need» music to get its message across. And the actors, including Nicole Kidman (Virginia Woolf), Julianne Moore (Laura Brown), and Meryl Streep (Clarissa Vaughn), breathe such life into these three distinct characters, living in three different time periods, that they don't need really need the music either. But it's always there, like a ghostly presence in each woman's life, helping to tie their divergent storylines together as much as the themes that are common to each. In the end, the score is as much a unifying force as Peter Boyle's deft editing and, most importantly, Woolf's Mrs. Dalloway, which was originally to be called The Hours.
Pianist Branka Parlić is one of the most prominent interpreters of contemporary classical music in Eastern Europe. She graduated from the Belgrade University of Musical Arts in the late 1970s and studies under Professor Olga Mihailović. She later honed her craft at the Summer Music Academy in Nice under Professor Pierre Sancan of the Paris Conservatory. While studying, she also co founded the well-known Ensemble for Different New Music.
Taking on the task of presenting the cycle of the legendary Phillip Glass' «Metamorphosis,» is probably the most challenging task in the sphere of contemporary minimalism since Parlic's classical undertaking of Erik Satie's ''Gnossiennes'' in the 1980s. The album which she released back then, called «Initiés,» was the first album that contained one of Satie's compositions ever recorded here.
Branka Parlić premiered the Glass' pieces in Novi Sad in 2004 and the performance of «Metamorphosis No.2» recorded at this show was broadcasted regularly on prestigious British TV channel Classics FM. Recently, another British TV channel C Music TV http://www.cmusic.tv/cmusic/ started to broadcast two videos in Parlic' rendering: «Opening» by Philip Glass and «Spiegel im Spiegel» by Arvo Pärt. She also act as Artistic Director of the Concert Series «New Ears for New Music» in Novi Sad.
Опубликовано: 5 окт. 2013 г.HECQ / BEN LUKAS BOYSEN http://hecq.de/
Since 2003, Ben Lukas Boysen is writing, producing and performing music, specializing in sounddesign and composition.
The focus of every project is to find an efficient and direct way to leave a strong emotional impact, whether it is the production of an album or the conception and completion of a commercial project.
The concept of investing a lot of thought and therefore making every production special rather than settling with something fast and convenient is the driving force behind every project as well as the thought that every score, commission, track, or remix should get the same amount of attention and detail. In short: moving away from music and sound as a product and perceive every project as a customizable and individual challenge.
I do not claim ownership for any of the contents on the video. If you like it, you can support the artist buying from his own website. http://hecq.de/discography/0000/
Enigma — Platinum Collection Full album 2009 Mix HQ
Опубликовано: 8 янв. 2014 г.Enigma — Platinum Collection Full album 2009 Mix HQ — 3 hours long
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Playlist:
Title: The Greatest Hits — The Platinum Collection CD1
==========================================
01 — Sadeness (Part 1)
02 — Mea Culpa (Orthodox Version)
03 — Priciples Of Lust
04 — Rivers Of Belief
05 — Return To Innocence
06 — Age Of Loneliness
07 — Out From The Deep
08 — Beyond The Invisible
09 — T.N.T. For The Brain
10 — Gravity Of Love
11 — Push The Limits
12 — Voyageur
13 — Turn Around
14 — Boum — Boum
15 — Following The Sun
16 — Seven Lives
17 — La Puerta Del Cielo
The Remix Collection — The Platinum Collection CD2
==========================================
01 — Sadeness (US Violent Mix)
02 — Mea Culpa (Fading Shades Mix)
03 — Principles Of Lust (Everlasting Lust Mix)
04 — Return To Innocence (Long & Alive Version)
05 — Age Of Loneliness (Enigmatic Club Mix)
06 — Out From The Deep (Trance Mix)
07 — T.N.T. For The Brain (Midnight Man Mix)
08 — Gravity Of Love (Judgment Day Club Mix)
09 — Push The Limits (ATB Remix)
10 — Voyageur (Club Mix)
11 — Boum — Boum (Chicane Club Edit)
12 — Dreaming Of Andromeda (Jean F. Cochois Remix
The Lost Ones — The Platinum Collection CD3
==========================================
01 — Lost One
02 — Lost Two
03 — Lost Three
04 — Lost Four
05 — Lost Five
06 — Lost Six
07 — Lost Seven
08 — Lost Eight
09 — Lost Nine
10 — Lost Ten
11 — Lost Eleven