“This concert is in the spirit of intergenerational support and cooperation,” said Kenji Bunch, co-artistic director of Fear No Music. “The whole trajectory of music history is this continuum of creativity and artists inspiring each other. We do not live in a vacuum. We influence each other and feed each other’s work.

Bunch was talking about Fear No Music’s Legacies I concert, which will open the set’s 31st season on Monday, November 28. FNM’s fearless musicians are known for undertaking all kinds of new music – including the electronic, the eclectic and the eccentric – but their upcoming program will start with the present and travel back in time.

In terms of contemporary music, what could be better than opening the concert with a piece by a former member of FNM’s Young Composers Project, initiated by Jeff Payne 25 years ago.

“The Young Composers Project is Jeff Payne’s baby,” Bunch said. “He started it and is still working on it with Ryan Francis and Nick Emerson. We gathered our collective heads and chose cloud valley by YCP alumnus Nathan Campbell. It’s a beautiful cello quartet that fits perfectly with the rest of the program. It has an unusual instrumentation with all four cellos, but it works with our concept of intergenerational cooperation. We bring in three cellists from the MYSfits String Ensemble that I direct. They will perform cloud valley with Nancy Ives.

To know more about cloud valleyI called Campbell, who attended the YCP in 2007. He has since earned his Bachelor of Music degree from Chapman University and a Masters degree from the San Francisco Conservatory of Music. He is now 32 and lives in Bellingham, Washington, where he teaches piano.

“I wrote cloud valley in 2014, when I was finishing my master’s degree,” Campbell said. “I had a lot of friends at the conservatory who were cellists. It was originally performed as part of my graduation recital and later at Western Washington State University. When I wrote it, I was inspired by Barber’s Adagio for stringss. So it’s in the same spirit. It is a one-movement piece that is dark and slow with shifting harmonies. It has a simple melody line that rises and falls, but the shifting harmonies propel the piece forward.

Another new work on the Legacies I program is Simurgh – quintet by Ukrainian composer Victoria Polevá. She works in a style called sacred minimalism, which is the same school as Arvo Pärt.

I exchanged e-mails with Polevá to find out more about Simurgh – quintet. Here is his response:

It is a one-part composition for two violins, viola, cello and piano. This work is inspired by a Sufi poem by Farsd ud-Dsn Attar, The Bird Conference (Manteq al-Tayr, 13th century). In the poem… the birds of the world go in search of their king, Simurgh, to escape the suffering of life. Passing the seven valleys (seven stages to betterment), passing many trials, the birds reach the abode of Simurgh – where each bird in each rose, as in a mirror, sees its own reflection. Then they discover that Simurgh – it’s themselves (“simurgh” in Farsi means “30 birds” (si – thirty, murgh – bird). Simurgh, thus, could be interpreted as a symbol of true unity.

Simurgh – quintet is organized by the interaction of a couple of antinomies: psalmodic speech (piano) and choral singing (strings), by their functional separation at the beginning, rotation, inter-translations and transformation into unity at the end .

The dramaturgy of the piece is long through the images of the feather soaring, the movement of the wings, the whispering and the sparks, which suddenly ends with the song of the fire Simurgh. The quintet’s musical material has a hidden inner text and comes from the Orthodox practice of prayer.

There is a layer of words hidden behind the musical text. The piano part features a silent recitation of the Jesus Prayer. In the finale, against the background of the dance of the firebird, a choral prayer resounds. Before the resumption, there is an important moment of the fire of the Simurgh (before its resurrection). It’s almost a theatrical image – there all the strings slide slowly.

Because of the war in Ukraine, I also asked Polevá where she lived. His response: “My hometown is Kyiv, I was born there and have lived there all my life. Now I live in Switzerland, but I dream of returning home.

According to Bunch, Pelova as a young composer was influenced by Alfred Schnittke. It makes a nice transition to the next piece in the concert, Schnittke’s 1976 meditation on Gustav Mahler. Piano Quartet in A minor.

“I’ve always been a Schnittke fan,” Bunch said. “His use of quotes and stylistic blending is engaging even if his character is dark. And after playing Schnittke, we’ll do Mahler. It was written a hundred years earlier – in 1876. So we are going to take a big step back. It’s his only room job. He was an epic symphonic composer, but it is an unfinished work. There is only one completed movement and a scherzo fragment.

The Mahler will be followed by Johannes Brahms Five songs op. 49which he wrote in 1868. Vakare Petroliunaite, one of Portland’s superb sopranos, will sing them with Jeff Payne on piano.

“These lieder are from the middle period of Brahms,” Bunch remarked. “Mahler studied in Vienna and was an admirer of Brahms, who supported and encouraged Mahler.”

Brahms idolized Clara Schumann. Thus, the concert will conclude as it should with Clara Schumann’s 1853 solo piano Variations on a Theme by Robert SchumannOp. 20. Monica Ohuchi, co-artistic director of Fear No Music will perform this beautiful piece.

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Ohuchi will perform all pieces that involve the piano except for Brahms. So I asked him by email to talk about it a bit. “All the pieces I perform at this concert (Schnittke, Poleva, Mahler and C. Schumann) are new to me,” Ohuchi said, “and I really enjoy learning them all. They’re all so different, and I think it’ll be really interesting to see how all of these things are connected.

“Clara Schumann’s piece was particularly pleasant to work with,” continued Ohuchi. “It’s deeply musical and technically satisfying and challenging. It’s always interesting for me to play a piano piece. I can tell Clara’s hands were bigger than mine – she has chords and stretches in her writing that are awkward and hard for me to reach.

human ping pong balls

It’s remarkable how Bunch and Ohuchi, as a husband/wife team, run a music organization, perform and teach, while raising two kids (ages 8 and 10) and maintaining their sanity. They are like a pair of human ping pong balls.

Bunch composes, teaches viola and composition at Portland State University and at Reed College where he leads an ensemble of American roots – a bluegrass group. He also teaches theory to the musicians of the Portland Youth Philharmonic, conducts the string ensemble MYSfits, and occasionally plays in the viola section of the Oregon Symphony.

Ohuchi maintained a very active piano studio until last year. “I taught 40 hours a week and loved every bit of it,” she said. “My students were smart, inquisitive, talented, hard-working…then last fall I took a position as program director at Reed College, and I no longer had time to teach privately. I still teach and coach chamber music at the college level, and once in a while I give a private lesson here and there (and it reminds me how much I love teaching). I still teach my two Bunchkins every day.

“My official title at Reed College is Director of the Private Music Instruction Program,” Ohuchi continued. “I oversee the performance arm of the music division; instrumental and vocal lessons – I have a teaching team of 35 teachers – chamber music, orchestra, jazz ensemble. I lead our wonderfully dynamic and diverse college recital series. Reed students are exceptionally bright and nurturing in the best possible way. »

Finally, I had to ask her how she and her husband handle the responsibility of co-directing at FNM. “My role in Fear No Music is executive,” Ohuchi said. “Kenji is the artistic mastermind and my job is to see his vision(s) come to fruition. As a married executive/artistic team, that means our work never stops; we’re constantly strategizing and dreaming. is also what keeps our spark for the organization constantly ignited!”

Wow! They look towards the horizon and have an additional heritage!

432Hz Healing Meditation Mantra “I Am Free”

USA, Nov. 17, 2022 /EINPresswire.com/ — Everything in the universe has a frequency and vibrates. Atoms vibrate against each other to form a molecule, and these atoms and molecules have characteristic vibrational waves that can be measured in Hertz (HZ).

Leyla, a recent stroke survivor, has just released a new third eye chakra meditation song titled “I Am Free” in 432HZ.

As she continues on her path to recovery, she is very aware of how lucky she is to still be here today and how lucky she was.

For many people, a stroke ends in disability and death, not to mention the consequences for survivors, caregivers and families. With the release of the “I Am Free” mantra, she not only raises funds for the American Stroke Association, but also harnesses the healing power of music.

Solfeggio frequencies refer to certain tones that can help heal different parts of the brain and body. Particular sound patterns, in the form of solfeggio frequencies, interact with the brain to generate vibrations in the body, which can induce significant effects (when listening to a sound with a specific frequency, brain waves synchronize with this frequency). These effects can lead to a state of relaxation, calm, better sleep, stress relief, and more.

432 Hz resonates with the Third Eye Chakra and the 8 Hz Schumann Resonance, which is the earth/nature vibration. It has a grounding effect on the mind, helps to focus inward and attune to the wisdom of the universe, alleviates fatigue, aids in emotional and mental clarity and can lower blood pressure and heart rate.

According to international researcher and musician Ananda Bosman, the archaic Egyptian instruments that have been unearthed are largely tuned to 432 Hz and the ancient Greeks also tuned their instruments primarily to 432 Hz.

Some spiritual opinions hold that our body is more than just physical and mental, it is also an energy system called chakras. Chakras symbolize energy centers and correspond to a bundle of nerves, major organs, and areas of our spiritual body that impact our physical and emotional well-being. The third eye chakra is located between the eyebrows. It is said that meditating on this chakra brings intuitive knowledge. Her attributes are intelligence, intuition, insight and self-knowledge.

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I am free Mantra 432 HZ healing frequency

RIGHT FACE At a video camera while scrutinizing the viewer with serious and unwavering intent, Erin Gee does not hide the fact that she is looking for a willing collaborator. “Welcome,” she intones in a hoarse, half-whispered voice. “Thank you for joining this experiment in wave reforming mind technology. Don’t confuse your confusion or your doubt or your panic. You’re going to have to buy into this a little. Listen, listen, I’m gonna make it all make sense.

We watch We as waves, a 2020 collaboration with playwright Jena McLean which, as far as I can tell, is a sonic work of art designed to stimulate a pleasant, relaxed tingling sensation in the viewer – and perhaps, given its origins in the early days of the COVID outbreak, to serve as a balm to the sense of isolation many felt during lockdown. Gee’s soft tones and breathy whisper, his constant gaze, the electronic taps, clicks and rumbles behind his voice, and his instructions to “inhale, exhale” are all designed to trigger what has come to be known as Autonomous Sensory Meridian Response, or ASMR. .

ASMR is still not well understood, yet it has spawned a vast network of ASMRtists who to date have uploaded millions of sensory provocative videos. Some neurologists believe that stimulating the region of the brain that responds to ASMR triggers could potentially relieve pain or stress, but others warn that too little research has been done on ASMR to make general statements. .

Gee is a believer and someone who responds to ASMR stimuli. But the reason I qualify my response to his art with “as far as I know” is because apparently I’m not. I can happily listen to hyper-complex composed music or harsh noise while making breakfast, and yet I’ve tried and failed to watch Gee and McLean’s 10 Minutes We as waves four times. For me, it’s a psychically painful intrusion, the kind of forced intimacy that literally makes me squirm. Admittedly, maybe I’m the kind of weirdo who resists sustained eye contact, who can be awkward in one-on-one social interactions, or who, as some former girlfriends have suggested, lies somewhere on the autism spectrum, probably towards Asperger’s Syndrome. side of the equation.

Or I could be perfectly normal, and just different.

“According to some scientific research, 25% of people suffer from ASMR, which is this physiological tingling experience,” Gee says in a phone interview from his home in Montreal. “I first experienced this when I was little, when people read books to me. The sound of pages turning, personal attention, eye contact and someone’s soft voice reading you a story really made my tingles go up. And, furthermore, 25% of people enjoy ASMR but don’t necessarily get the tingly feeling, at least according to science. Another 25% can take it or leave it, they encounter it only in the form of music or sound.And then we have the famous 25% who suffer from extreme misophonia and do not support ASMR.

“I’m sorry you felt that way!” She adds. “It’s definitely is forced intimacy.

Image by Kuba Ryniewicz

This is an extended version of the interview that appeared in the November edition.

Interviews with Richard Dawson end in wonderful, free-flowing conversations that are, to be frank, a motherfucker to insert into a NBOW. interview. We were ostensibly discussing The Ruby Cord, his seventh album and the final part of a putative trilogy that also includes Peasant and 2020, the new album taking us into a version of the future, but seen through the prism of video games and fancy. As with Peasant, one of the striking things about the album – and the gigantic 40-minute opener The Hermit – is that Richard clearly loves the language and has a love for archaic or obscure words. Words like clavigers and mantuas and cobles.

So first of all I wondered if liking a particular word encouraged an image or if the image required you use the best word you can find?

“Peasant offered a good opportunity to use all sorts of ancient languages, even if they wouldn’t really have been spoken at all and really aren’t recognizable. But with this one, I was thinking of a place where people would have access to information at a glance. it makes sense that this will really change our language, that we might be able to use a lot of words. And so it allowed me to open up this possibility of using a more technical language. I always have this thing like ‘what would the person in the song use? What would they think? Most of the time, you wouldn’t think of something like “interstix”, for example. You would just think “the bit between my toes” or whatever. But because you would have instant access, you can use a technical term, you can describe it. So there is a good reason to use this kind of language.

“I mean, we could talk about it all day, it’s one of my favorite subjects. A word has its first meaning, but then it has the meaning that comes from the sound or any similarity it has with other words. For example, when you meet a person and they remind you of someone else, you can never really separate them from that person they remind you of. I think it’s the same with words: there’s the real meaning, the sonic meaning and the visual meaning.

“Sometimes we get the idea that words are about pinning something down or that the word is the thing. But they never are. It can get very blurry, and we see that with what happened to the word ‘awake. Now “awake” is pretty neat. Its meaning has now changed, but for a while it was incredibly blurry. And I love the combination of a word with a melody and how that can also change the meaning of the word and melody. So there was this chance to really push the language, it’s descriptive of the type of information overload and this overlapping of different styles of language as well. It helps to describe the layering of different environments. L The writing about 2020 was very sparse and there was no room for something like that because it just wouldn’t serve the people in the songs. But if it’s a video game or an alternate reality and that you interact with this world and you don’t know z not what this thing is called, a digital click or whatever is going to give you the very precise term that you might not have an everyday conversation. And it might even be wrong too. There are details in the album that could never happen or coexist. They may look impressive, but in reality they can be wrong in a certain situation.

So have you been a big reader? And do you read a lot of fantasy?

I don’t read as much as I would like. After I finished writing this album, I read all the [Ursula LeGuin] The Earthsea Books. Really beautiful. And I read Vorrh’s novels before I started writing the album, by Brian Catling who sadly passed away recently. I don’t know much about fantasy. What, what else? Some Arthur C Clarke and Frederick Pohl.

Nev Clay mentioned that you recommended Michel Faber’s Book Of Strange New Things to him.

“There is nothing else like this book. Even if it was a bad book, which it definitely isn’t, but it was something new, so it would still be great, you know?

So, is writing a novel something you could see yourself doing in the future?

“I would love to, I think more and more how much I would love to do that. But I still think, at the same time, that maybe I wouldn’t be able to do that very well. It’s like the opposite of songwriting and I’m trying to take my songwriting a step further. I just think there are such great writers and I feel like I’ve come a long way in making songs. I put a lot of work into this and if I still have some way to go then I should. Thinking of Michel Faber, I’ve read Thomas Pynchon for the last two years, and Iris Murdoch, and you just read those things and say, “That’s so, so good.” And I think I would just pour muddy water around the edge of the well. To me when you come across a great book it seems so unfathomable and it’s like the most amazing thing a human can do even more than a movie which I know is technically a business more important, but I could kind of capture the different parts of how you would make a movie.

Speaking of movies, The Hermit comes out with a “40-minute pop video” that doesn’t seem obvious.

“I think it was just kind of a perverted thing really. I just thought ‘well, that should be the single’. Everything seems to go faster and faster these days, with TikTok or YouTube. People are digesting music on Spotify with commercial breaks actually in the middle of the songs now. So I like the idea of ​​this contradiction of making a pop video for a very long song.

The Hermit might be the most beautiful thing you’ve ever done, especially the softly choral section towards the end. New [Clay, who recorded it alongside Cath & Phil Tyler, Yakka Doon and Hen Ogledd bandmates among others] told me that the whole session had been very emotionally charged, something very special. Did that sound like it to you?

“I think when I was doing it, I felt good. I think I’ve had that feeling many times before, especially doing certain things on Peasant. And when I did the voice of Jogging, I had the same feeling of ‘it’s a lot like that!’. It’s so nice to have friends in the studio. Because that’s also a pretty sweet part of the song, it was like doing a group meditation or something.

Rhodri [Davies – harpist, composer, Hen Ogledd member] is all over The Hermit and it looks like he’s playing kora, or is that just a style of playing?

“It’s a full-size concert pedal harp, but it obviously uses extensive techniques to get different kinds of sounds out of it. He brings a lot of different music, Ethiopian and Celtic influences and beyond. So there are a lot of things that go into his game and he also has a lot of choices he can make in the moment.

When you record, do you wonder how you are going to play it live? Does it ever affect your intentions?

“I think I thought about it afterwards. But not so much, ‘how are we going to do it?’. It’s more like ‘how will this be received?’ Towards the end of the 2020 gigs, when we were doing the trio, they almost felt like rock gigs and it was kind of exciting, but I really don’t want to go that route. So it’s sort of the opposite of that, and we just have to choose the locations carefully. I won’t be able to do as many different kinds of shows as I’ve been doing for a few years with this new material. But you can’t let that stop you from doing things. I mean, I hope people enjoy it, but I can imagine people might come to a gig and be disappointed because they might want to hear the 2020 uptempo stuff.”

Another song I wanted to ask you about is Horse & Rider, which closes the album. To me, it kind of evokes a particular kind of catchy school anthem, something religious but patriotic like When A Knight Won His Spurs. Is it just in my head?!

“This track has been around for a while and I tried to record it in different forms, but it was never the right thing. I even tried to have it on Glass Trunk. I just couldn’t get rid of the melody. But then everything came together very easily for this one. I love that it feels like this uplifting, catchy, carefree, happy song. But I think with the album that comes before, it’s kind of no, we already know that things aren’t necessarily what they seem. So I like that, it’s not just a carefree happy ending or something, it’s not that clear.

I wanted to ask about Circle – that Boiler Shop gig was absolutely phenomenal and you were clearly living your best life there. So, will there be more of this collaboration?

“Well, I’ve been there several times this year for concerts, and we had a few recording sessions. At the last, I think it felt like we were on our way, but it’s going to be long. I have a lot to do before, so we’ll take it very slowly. And I hope to continue after that.

The way they accepted you into their band – not just letting you be in the Big Circle Pyramid on stage but with the whole project – shows a generosity and flexibility, and obviously you bring something powerful to their music.

“Yeah, they’re really amazing people, and so welcoming, and it’s really, really easy. Very natural, working together. But I think we probably felt that while listening to each other’s music, so it wasn’t really a surprise! I really like the guys and I really miss them. I don’t want to speak for them, but I feel like it’s so nice to make music together and as long as it makes sense, we’ll do it.

Richard Dawson exits The ruby ​​cord Going through Strange World/Domino Enabled 18^e November. The film The Hermit is filming in selected cinemas throughout November, including a screening and Q&A in Newcastle’s Star and Shadow Enabled thursday 17^e November.

]]> https://adroberts.net/film-music-by-luis-david-aguilar-1978-1983-a-rootsworld-review/ Wed, 09 Nov 2022 20:25:14 +0000 https://adroberts.net/film-music-by-luis-david-aguilar-1978-1983-a-rootsworld-review/

Soundtrack composers from Ennio Morricone to Piero Umiliani or Ryuichi Sakamoto to Lalo Schifrin have all used their score opportunities to blend genres into indescribable blends, virtually creating new musical subgenres in the process. Bizarre acid grooves are found alongside choirs, symphonic percussion, eerie drones, field recordings and noise in these composers’ most challenging scores.

This all connects them to the work of Peruvian Luis David Aguilar, a prolific musician and composer who has written music for TV shows, commercials and movies. Aguilar, whose work blends the avant-garde with classical composition and some of Peru’s indigenous traditions, was one of many of Peru’s most experimental film composers, such as Walter Casas and Seiji Asato, who made their mark know in the 1970s. And if you’ve paid attention to the other releases Buh has presided over in recent years, you know that the country had a significant, if previously neglected, experimental music scene at the time.

Ayahuasca contains three tracks, the first of which is an “El Viento del Ayahuasca” of more than 19 minutes, which served as the basis for the film of the same name, released by the Cuban Institute of Cinematographic Art and Industry (ICAIC ) in 1983. Featuring the National Orchestra and Choir of Cuba, it was apparently performed without rehearsal, which sounds impossible when listening. Tracking the sound journeys into the jungle to connect with a shaman, it reaches lofty heights of full band and choir, but also gives way to solo sections, electronically enhanced piano, unsettling percussion, eerie timpani and swept strings slightly resembling Les Baxter’s. Ritual of the savagealbeit devoid of the hackneyed attempts to capture “the exotic”.

The most interesting track of the three is “Anónimo Cotidiano”, which features Aguilar’s own analog synth. At 13 minutes, it changes tone constantly but never jarringly, with Aguilar playing spatial blips, soothing drones or counterpoint to Peruvian charango and bombo. Sometimes oddly atonal, sometimes melancholic, it’s ultimately a meditation on what the city of Lima looks like.

“Los Constructores” is the more conventional “Latin” track here, with driving timpani, anchoring basslines, and piano delivering the melody in the form of punches and flute. What could be considered salsa serves as a type of ballet behind a film featuring the repetitive labor of civil construction workers.

With Ayahuasca, Buh unearths even more music that continues to demonstrate just how rich Peru has been in sound far beyond its better-known Andean rhythms or Afro-influenced coastal dance music. This version also serves as a companion to Men, a Buh 2015 version of music by Aguilar. These two collections serve to rescue his music from obscurity.

Artists News Business Concerts and festivals Industry People Labels and publishers One Liners Releases

By Andy Malt | Posted on Friday November 4th, 2022

APPOINTMENTS

Secret publication hired Trinity Hood as an A&R associate and Tony Messina Doerning like A&R. Both will be based in the company’s Los Angeles office. “I’m thrilled to welcome Tony and Trinity to the Secretly Publishing family as part of our A&R team,” says Senior Director of A&R Eddie Sikazwe. “Their addition is another demonstration of our commitment to providing first-class service to our writers. After several conversations with Tony and Trinity, I am confident that they will bring exciting and unique concepts to the team.”

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NEWS RELEASES

Gary Barlow confirmed that Take that are working on their first album since 2017. “We’ve started writing a bit, but we don’t have to officially start until the New Year,” he told Zoe Ball on her BBC Radio breakfast show 2. “I hope there will be an album next year, but we have to write some hits”.

Pink released new single “Never Gonna Not Dance Again”, which sounds exhausting. She has also announced shows in the UK next summer where you can see how her commitment to forever dancing unfolds, including two performances at the British Summer Time festival in London’s Hyde Park on June 24 and 25.

Bastille have released the video for “Hope For The Future”, which appears on both their recent album “Give Me The Future + Dreams Of The Past” and on the soundtrack of the new climate change documentary “From Devil’s Breath”. “A while ago I had the chance to watch ‘From Devil’s Breath’ and was truly moved by the incredibly powerful story that [director] Orlando Von Einsiedel and the team have woven together,” says frontman Dan Smith. “It’s a heartbreaking story that’s told beautifully, so when they asked me to write a song for the end credits, it seemed important to do something intimate, but also to balance the elements. the most poignant of these people’s stories and the hope the film finally beckons to”.

Sam Fisher released new single “Carry It Well”. The song, he says, “is about saying ‘yeah, I’m fine’ when asked if you’re fine, even if you’re not. You never know what someone can go through and I think if the last few years have taught us anything, it’s how to mask what we can’t describe while intensely feeling what we don’t understand. I hope ‘Carry It Well’ can just let people know they’re not alone.”

Sam Ryder released new single “All The Way Over”. It is, he says, “a song for anyone traveling through loss, grief or heartache”. Catch him live on The Outernet in London on November 23-24.

white lung have released the new single “If You’re Gone”. “Suicide was in the air in so many ways when I wrote this song,” says singer Mish Barber-Way. “At the time, a few public figures had committed suicide and they all had children. I was thinking about postpartum depression and how hard it can hit. The song is about children’s emotions when their parent is now gone and how they deal with this loss. It also delves into the struggle parents face when life gets so bad you see no other way but to end it.” Their new (and last) album “Premonition” is released on December 2nd.

Lafawndah released a new track “The Dawn Of Everything (Jin, Jiyan, Azadi)”, in support of women in Iran. The proceeds from the outing will be donated to the organization Human Rights In Iran. “He was born between unlearning the past and watching the future unfold,” she says of the track. “It is dedicated to the people of Iran and their bravery after the murder of Jina Amini. A lullaby for the tremors that rise when a new life begins to feel possible against all odds – Jin, Jiyan, Azadi”.

Woods have released new single “Ahisma” – a song that first appeared on a 2017 solo album by duo Peter Silberman. “The original version was meant as a meditation on the Buddhist notion of ‘doing no harm,'” he says. “But in the years since its original release, I think the song has taken on a meaning closer to the immediacy of the chorus of ‘no violence’ and has become something of an anthem in opposition to the creeping restlessness and the seemingly unavoidable vitriol of the moment”.

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CONCERTS AND TOURS

Henry Rollin announced UK tour dates for their new spoken word show in March and April next year, including one at the London Palladium on April 5. Tickets are on sale now.

Goat announced UK tour dates in April next year, concluding with a show at Electric Brixton in London on April 22. Tickets are on sale now.

Check our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday.

Organist, harpsichordist and Bach scholar Anthony Newman and friends will perform at Saint James Place on Saturday November 5th. Image reproduced with the kind permission of the artist.

Greater Barrington— If you want to start a heated argument, just walk into any classical music conservatory and announce that Anthony Newman is the “high priest” of the harpsichord. When the heat has died down, go find out for yourself why Time Magazine gave it that title in 1971, listening to Newman’s rendition of Bach’s “Italian Concerto” and other Baroque works at St. James Place on Saturdays November 5 at 3 p.m.

Anthony Newman first sparked widespread controversy when he made his Carnegie Hall debut at the age of 26 with performances of Bach’s organ pieces on the pedal harpsichord. The New York Times wrote of how Newman’s “thumping beats and tremendous technical mastery” elicited “the kind of clamor prompted by extraordinary artistry.”

That was all Clive Davis needed to hear. Having never seen Newman perform, the Columbia Records executive known for discovering the likes of Bruce Sprinsteen and Whitney Houston signed Mr. Newman on the spot. It didn’t hurt that Newman sported wire-rimmed glasses, kept his hair long, and practiced Zen meditation. It was “the summer of love”, 1967.

Columbia positioned Newman in the market as a hip, classical music version of rock keyboard virtuosos like Keith Emerson and Rick Wakeman. The young hippie harpsichordist from Los Angeles, Davis thought, would bring rewards to stuffy, geriatric classical music snobs (and, at least commercially, Newman did the job).

Even Rolling Stone Magazine joined the Newman movement, writing, “Music is a journey. As if it were pulling strands of your mind out of their corners and binding them into loops and knots. And Newman was well feted in pop-oriented Keyboard magazine (twice Harpsichordist of the Year and once Classical Keyboardist of the Year).

And he sold a lot of records.

Traditionalists were less pleased with Newman. His detractors say he takes too many liberties with tempo, rhythm and ornamentation. But it’s essential to keep in mind that Newman’s sins against tradition are committed in your name. It is frowned upon by the classical music intellect to save you, the listener, from what one reviewer called “the boredom of misguided respect.” He wants you to have as much fun listening as he has playing.

You’ve probably found yourself listening to a piece of classical music and at some point thought to yourself, “Where am I? Is this the whatchamacallit section? That makes you a member of Anthony Newman’s target audience. That’s because it not only aims to please you with inherently entertaining baroque music, but also to provide periodic clues about the structure of a given piece. (Time and time again I find reviews using language that essentially describes Newman’s penchant for elucidating structure.) He wants you to know where you stand.

The Dallas Morning News called Newman’s performances “new and exciting”. Gazeta Krakowska called them “lovely”. The Washington Post said Newman had a “distinctive and slightly iconoclastic personality”. But scholars of the more traditional Baroque say, in essence, one man’s excitement is another man’s panic attack. Newman’s leading critic, Frederick Neumann, warns that Newman shows signs of “eccentricity”.

On November 5, you will have the last word on all of this.

As you can imagine, Newman has amassed quite a few musician friends over half a century of performing, composing, conducting and teaching. And he brings four with him to St. James Place on Saturday. They are:

Lun Li — violin

Risa Hokamura — violin

Jonathan Swensen — cello

Melissa Reardon — viola

You will be well rewarded by reading their biography. Ms. Reardon is a member of the famous Borromeo Quartet. The other three musicians are represented by young concert artists, and when you hear them play, you will agree that they are all rising stars.

Here is Saturday’s schedule:

• Bach Italian Concerto (Anthony Newman)
• Mozart Hoffmeister Quartet in D major K 499 (the quartet)
• Haydn Emperor Variations Opus 76, Number 3 (The Quartet)
• Haydn Harpsichord Concerto in D Major-Hoboken 18:11 (the quartet with Anthony Newman)

Whenever we talk about “historically informed” performance practices, it’s always good to ask, “Which version of history?” That seems to be the question Anthony Newman has asked himself all his life.

See Baroque scholar Anthony Newman and Friends at St. James Place on Saturday, Nov. 5 at 3 p.m. Ticket information here.

New single and new album bring encouraging music for unsettled times

Make us wise, Ed Gumbrecht

WASHINGTON, Oct. 29, 2022 (GLOBE NEWSWIRE) — Today, an original song arrives from Ed Gumbrecht, heralding a new season of resonant and expressive music. Make Us Wise became available on all streaming services starting at midnight, 10/29/22. In a year where the standard fare of catchy, campy music seems out of step with the times, Gumbrecht offers a polished alternative.

The song is a meditation on loss and comfort in relationships. It is suitable for medium sensitivity, neither too bright nor too dark. With a bass melody and stripped-down acoustic production, it has an intimate, friendly quality. His message is poignantly ripe for the season.

Make Us Wise as a single is a prelude to Gumbrecht’s forthcoming album, Enter the Muses (out November) – a textured panoramic rendering of the worries and surprises of modern life. His February 2022 release, Colorshow, revealed the artist as a poetic storyteller. Her new album presents a deeper and more evocative collection of songs.

Gumbrecht’s growing body of work contains a harvest of music that will leave you feeling uplifted and alive in any season. Fans of the songwriter, folk rock, rock and country genres in particular should listen and add Make Us Wise and Enter the Muses to your fall playlists.

Contact information:
Ed Gumbrecht
Composer
[email protected]
860-510-3888

Related images

Image 1: Make us wise, Ed Gumbrecht

Cover: Make Us Wise, Ed Gumbrecht, October 2022

This content was posted through the press release distribution service on Newswire.com.

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No one likes a hangover, especially when you’re over 30. But Katy Perry has an interesting way to dodge headaches and stomachaches.

She says The cup of her foolproof morning routine, “I try to meditate in the morning if I haven’t slept enough or my sleep was like an Imax movie — which, most of the time, it is.”

She added, “I use it for jet lag, hangovers, creativity. Sometimes I slip away for 20 minutes in the middle of the day. I’m like, ‘I’ll be right back. I’m in a bad mood, and I’ll be back soon in a better one.””

Katy has revealed how she was drawn to Transcendental Meditation, which she calls TM, and says it “changed my life profoundly”.

“I learned it 14 or 15 years ago, and it gave me more of a compass, more of an anchor. I can be too head in the clouds, think too much about the future, and that helps me be more present,” she explained. “I’ve dealt with depression and anxiety in my life, and TM is a huge tool.”

Katy says it’s more important than ever to be grounded, especially as she’s a mom about to embark on the new season of american idol juggling it TO PLAY residency in Las Vegas.

“It’s a blur. I always say, ‘I’m going to eat this elephant one bite at a time,'” she remarked.

She also revealed another tool she uses, hot yoga. But Katy says she can’t do the exercise every day because “I have a kid and I want to spend every extra moment I have with her”.

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Brian Eno
Forever and ever
(UMC)

It is the 22nd solo album by the ambient pioneer, producer and recording artist and his first work based on vocal songs since Another Day On Earth in 2005.

It emphasizes environmental and geopolitical concerns, but also Eno’s musical progression, meditation and a questioning approach to a culture.

On the album, he is joined by his brother Roger Eno on piano and his daughter Darla Eno on vocals, with programming from Peter Chilvers, and Jon Hopkins and Leo Abrahams on post-production work, guitar and synth.

Overall the sound is surreal, poetic and dreamlike, mostly rhythmless. Vocal treatments include extensive pitch shifting, time stretching, Vocoder use, reverb room placements, and tonal processing, among many other techniques.

As a go-to producer for U2, Bowie, Talking Heads, Roxy Music and Coldplay, Eno’s strategy is to avoid clichés and react against the norm. The work has stood the test of time, as have his own free-thinking creations.

The album opens with Who Gives a Thought. Captivating, majestic and slow, it sets the scene for the album. Half sung, half meditation, Eno’s vocal timbre is rich and deep.

“Who thinks of the fireflies”, he sings.

We Let It In is a lament built around an arching bass, distant synth chords and offbeat vocals that morph into a cry for humanity and urgent ecological change. A mixture of tragedy and optimism. The overall intent is more than satisfied.

Similarly Icare or Blériot question the listener to take a new path. But Eno’s approach is rarely a political sermon or a call to direct action.

He said of the album in a recent statement, “Like everyone except, apparently, most of the world’s governments, I thought about our precarious and cramped future, and this music was born from those thoughts.

“Perhaps it’s more accurate to say that I felt that…and the music was born out of those feelings. Those of us who share these feelings are aware that the world is changing at a lightning-fast pace and much of it is disappearing forever…hence the title of the album.

Garden of Stars evokes an almost apocalyptic musical landscape as the vocal recording winds around static radio drama combined with hits of synth atmospheres.

On the purely instrumental track, Inclusion, Marina Moore’s violin and viola playing unfolds around ancient mystical influences. Halfway through comes the climax, There Were Bells, a funeral lament for planet Earth. Melodically, it’s a triumph with upbeat bursts of high chords.

Eno premiered the track during a performance at the Acropolis in Athens in August 2021 on a day when a heatwave and wildfires besieged the city.

“I thought, we’re here at the cradle of Western civilization, probably witnessing the end,” he said at the time.

The album concludes with Making Gardens Out Of Silence In An Uncanny Valley, originally included in an audio installation in 2021 – Eno’s contribution to London’s Serpentine long-term interdisciplinary program dealing with the ongoing climate emergency , Back To Earth.

Using Bloom’s own generative software sounds, the track gently wraps around slow, ambient piano bells and heavily processed Vocoder vocal techniques. Drift, always indefinite. As if the music had blossomed and then faded to a fitting natural ending.

Eno continues to be a life force to be reckoned with, relevant and concerned. A contender for album of the year.