Legendary singer Madonna celebrated her fourth child’s birthday with a touching tribute.
The ‘Vogue’ singer, 65, shared a photo montage of her daughter Chifundo “Mercy” James for her 18th birthday.
The sweet montage was set to background music of Mercy gracefully playing a rendition of Erik Satie’s ‘Gnossienne No.1’ on the piano, reports ‘People’ magazine.
The ‘Material Girl’ singer began her birthday message in the Instagram caption, “Beautiful Chifundo James! you’re 18 years old today!! Beautiful Mercy James. You’re already a young woman! Beautiful African Queen!! You Surprised all of us”.
As per People, Madonna went on to share how Mercy has been the “quiet”, “gentle”, “shy” and “stoic” sibling and “never” wanted “to draw attention” to herself.
“Always Humble and Kind, Always the first one to say thank you. To clear the table after dinner! To Come and Hug me and say how much you appreciate something,...
The ‘Vogue’ singer, 65, shared a photo montage of her daughter Chifundo “Mercy” James for her 18th birthday.
The sweet montage was set to background music of Mercy gracefully playing a rendition of Erik Satie’s ‘Gnossienne No.1’ on the piano, reports ‘People’ magazine.
The ‘Material Girl’ singer began her birthday message in the Instagram caption, “Beautiful Chifundo James! you’re 18 years old today!! Beautiful Mercy James. You’re already a young woman! Beautiful African Queen!! You Surprised all of us”.
As per People, Madonna went on to share how Mercy has been the “quiet”, “gentle”, “shy” and “stoic” sibling and “never” wanted “to draw attention” to herself.
“Always Humble and Kind, Always the first one to say thank you. To clear the table after dinner! To Come and Hug me and say how much you appreciate something,...
- 1/23/2024
- by Agency News Desk
- GlamSham
Over the weekend, the management team of Ryuichi Sakamoto shared a final parting gift from the towering musician, who died in March — a playlist he compiled for his funeral.
The 33-song set runs for about two-and-a-half hours and primarily features compositions by prominent Western composers like Erik Satie, Bach, Ravel, and Debussy. Additionally, there’s a piece from famed Japanese composer Tōru Takemitsu, and the playlist opens with a work from Sakamoto collaborator Alva Noto. Sakamoto also included music by the Bill Evans Trio, Ennio Morricone, Nino Rota, David Sylvain,...
The 33-song set runs for about two-and-a-half hours and primarily features compositions by prominent Western composers like Erik Satie, Bach, Ravel, and Debussy. Additionally, there’s a piece from famed Japanese composer Tōru Takemitsu, and the playlist opens with a work from Sakamoto collaborator Alva Noto. Sakamoto also included music by the Bill Evans Trio, Ennio Morricone, Nino Rota, David Sylvain,...
- 5/15/2023
- by Jon Blistein
- Rollingstone.com
Steve Burns just can’t quit Blue.
The original Blue’s Clues host appears alongside successors Donovan Patton (Joe) and Josh Dela Cruz (Josh) in the trailer for Blue’s Big City Adventure, which marks the beloved children’s franchise’s first feature-length film in more than 20 years. (2001’s direct-to-video Blue’s Big Musical Movie is still awaiting a proper Criterion Collection rerelease.)
More from TVLineFrasier Revival Officially Ordered at Paramount+ With Kelsey Grammer -- But Will the Rest of the Cast Be Back?Blood & Treasure Finale Recap: Catch the Spirit (Plus, the Latest on Season 3)Inside The Good Fight's Ill-Fated...
The original Blue’s Clues host appears alongside successors Donovan Patton (Joe) and Josh Dela Cruz (Josh) in the trailer for Blue’s Big City Adventure, which marks the beloved children’s franchise’s first feature-length film in more than 20 years. (2001’s direct-to-video Blue’s Big Musical Movie is still awaiting a proper Criterion Collection rerelease.)
More from TVLineFrasier Revival Officially Ordered at Paramount+ With Kelsey Grammer -- But Will the Rest of the Cast Be Back?Blood & Treasure Finale Recap: Catch the Spirit (Plus, the Latest on Season 3)Inside The Good Fight's Ill-Fated...
- 10/3/2022
- by Ryan Schwartz
- TVLine.com
Baz Luhrmann has lifted the curtain on his musical process, recalling one key artist who could have changed his 2013 adaptation of “The Great Gatsby” entirely.
The filmmaker, who recently wrote, produced and directed the glittering musical biopic “Elvis,” starring Austin Butler, opened up about his long-standing love affair with pop music at BAFTA’s Life In Pictures event in London on Friday.
The evening welcomed Luhrmann back to London following his worldwide box office success with “Elvis”, which both honors the rock’n’roll musician’s back catalogue and offers contemporary reworking of songs of the era, such as Doja Cat’s new track “Vegas,” which samples and reworks the 1953 blues song “Hound Dog” by Big Mama Thornton.
Luhrmann described pop music as a “translation” for the story across all of his films, pointing specifically to “The Great Gatsby” in order to highlight how he worked with Jay-Z (who was...
The filmmaker, who recently wrote, produced and directed the glittering musical biopic “Elvis,” starring Austin Butler, opened up about his long-standing love affair with pop music at BAFTA’s Life In Pictures event in London on Friday.
The evening welcomed Luhrmann back to London following his worldwide box office success with “Elvis”, which both honors the rock’n’roll musician’s back catalogue and offers contemporary reworking of songs of the era, such as Doja Cat’s new track “Vegas,” which samples and reworks the 1953 blues song “Hound Dog” by Big Mama Thornton.
Luhrmann described pop music as a “translation” for the story across all of his films, pointing specifically to “The Great Gatsby” in order to highlight how he worked with Jay-Z (who was...
- 9/30/2022
- by Ella Kemp
- Variety Film + TV
Every Wes Anderson film is filled with musical delights, from offbeat songs to unexpected score cues, and “The French Dispatch” is no exception.
Composer Alexandre Desplat and music supervisor Randall Poster are among the first to read any new Anderson script. “He and I have been corresponding with music since the day we met,” says Poster, “and over the course of 25 years there’s a lot of musical history that we draw upon for different projects.”
“The French Dispatch,” an homage to the New Yorker magazine’s traditions and writers, was special for the Paris-based Desplat because the film is based in “a fantasized France,” as he puts it, a not-quite-real France as seen through Anderson’s unique prism.
Desplat scored the opening sequence (with Bill Murray as the editor) and two of the three episodes in the film, about an imprisoned artist (Benicio del Toro) and a police commissioner...
Composer Alexandre Desplat and music supervisor Randall Poster are among the first to read any new Anderson script. “He and I have been corresponding with music since the day we met,” says Poster, “and over the course of 25 years there’s a lot of musical history that we draw upon for different projects.”
“The French Dispatch,” an homage to the New Yorker magazine’s traditions and writers, was special for the Paris-based Desplat because the film is based in “a fantasized France,” as he puts it, a not-quite-real France as seen through Anderson’s unique prism.
Desplat scored the opening sequence (with Bill Murray as the editor) and two of the three episodes in the film, about an imprisoned artist (Benicio del Toro) and a police commissioner...
- 10/23/2021
- by Jon Burlingame
- Variety Film + TV
“The Velvet Underground” is a rock ‘n’ roll documentary that doesn’t really follow the normal rules for rock-docs — but then, a film about the Velvets wouldn’t be satisfying if it was conventional, and following normal rules is definitely not an approach that would give Todd Haynes a reason to make his first documentary.
Haynes, the uncommonly sensitive and provocative director of “Carol,” “I’m Not There” and “Far From Heaven,” among others, isn’t here to give us a blow-by-blow account of the New York band that was adopted by Andy Warhol’s Factory scene. The Velvets proved to be far too extreme to enjoy mainstream success, but extreme enough to inspire acolytes who, as Brian Eno once famously pointed out, all formed their own bands.
But “The Velvet Underground,” which premiered on Wednesday in an out-of-competition slot at the Cannes Film Festival, doesn’t spend too much time...
Haynes, the uncommonly sensitive and provocative director of “Carol,” “I’m Not There” and “Far From Heaven,” among others, isn’t here to give us a blow-by-blow account of the New York band that was adopted by Andy Warhol’s Factory scene. The Velvets proved to be far too extreme to enjoy mainstream success, but extreme enough to inspire acolytes who, as Brian Eno once famously pointed out, all formed their own bands.
But “The Velvet Underground,” which premiered on Wednesday in an out-of-competition slot at the Cannes Film Festival, doesn’t spend too much time...
- 7/7/2021
- by Steve Pond
- The Wrap
Since May, Rolling Stone has brought you “Music at Home,” a weekly playlist series for the pandemic era. Whether it’s feel-good pop jams, songs for lonely nights, or a collection of classics from October 1980, these playlists are meant to ease isolation and make you forget that your daily consumption consists of frozen pizza (and, you know, all the other reasons to be stressed out at the moment). But now, it’s time to turn the attention away from you and direct it to something else: your plants.
It’s...
It’s...
- 7/2/2020
- by Angie Martoccio
- Rollingstone.com
The centenary of choreographer Merce Cunningham’s birth has brought commemorations and performances of his work from the U.S. to Europe and Australia. At a symposium in London in March, Oxford University professor Susan Jones noted his “radical dance aesthetic” and “deconstruction of stage space.” And scholar Hélène Neveu Kringelbach observed, “Cunningham is perhaps the choreographer who forces us most to rethink what dance is and is not.”
As the end of the year approaches a new tribute to Merce is coming in the form of the documentary Cunningham, directed by Alla Kovgan. The film, shot in 3D, opens in theaters December 13 and has qualified for Oscar consideration as Best Documentary Feature. It premiered at the Toronto International Film Festival and was shortlisted for the Ida Documentary Awards.
“[Cunningham] was a revolutionary figure in the 20th century, and I do think his legacy extends in the 21st century,” Kovgan tells Deadline.
As the end of the year approaches a new tribute to Merce is coming in the form of the documentary Cunningham, directed by Alla Kovgan. The film, shot in 3D, opens in theaters December 13 and has qualified for Oscar consideration as Best Documentary Feature. It premiered at the Toronto International Film Festival and was shortlisted for the Ida Documentary Awards.
“[Cunningham] was a revolutionary figure in the 20th century, and I do think his legacy extends in the 21st century,” Kovgan tells Deadline.
- 11/25/2019
- by Matthew Carey
- Deadline Film + TV
In the sensitive, suburbia-set indie “Driveways,” a single mother drags her 8-year-old son cross-country to empty out the house of her packrat older sister, newly deceased. It’s a chore for her, but an opportunity for the kid to do a bit of growing up, courtesy of the Korean War veteran living next door. At first, the old fella watches the newcomers with suspicion, deciding whether to help, or to go all Clint-Eastwood-in-“Gran Torino” on them and growl, “Get off my lawn!” But in time, the initially standoffish man reaches out in a gesture of neighborly goodwill, revealing “Driveways” to be that uncommon and all-too-welcome gift — like some kind of fragile wildflower, emerging tentatively through cracks in the concrete: a film about kindness.
Of course, there are other themes at play, including small but affecting insights into the immigrant experience and single motherhood, but it’s the bond connecting...
Of course, there are other themes at play, including small but affecting insights into the immigrant experience and single motherhood, but it’s the bond connecting...
- 3/7/2019
- by Peter Debruge
- Variety Film + TV
“Weekends,” the latest off-the-shelf Pixar short, offers childhood memories of divorce to evoke the clash of painterly beauty and emotional confusion. (The indie was made by Pixar artists under its co-op program to allow them to work on their own time.)
Story artist Trevor Jimenez directed the Oscar and Annie hopeful by recreating how he was shuttled from one parent to the other as a youngster in Toronto during the 1980s.
“It started as a series of drawings from a sketch book that I posted online,” said Jimenez, who worked on “Coco,” “Finding Dory,” and is currently boarding the latest feature from Pete Docter, Pixar’s chief creative officer. They included memories of meeting a woman his dad dated in the kitchen, and, opening the door and seeing a man with flowers for his mom.
Pixar’s co-op program has resulted in Oscar nominations for the shorts “The Dam Keeper” and “Borrowed Time.
Story artist Trevor Jimenez directed the Oscar and Annie hopeful by recreating how he was shuttled from one parent to the other as a youngster in Toronto during the 1980s.
“It started as a series of drawings from a sketch book that I posted online,” said Jimenez, who worked on “Coco,” “Finding Dory,” and is currently boarding the latest feature from Pete Docter, Pixar’s chief creative officer. They included memories of meeting a woman his dad dated in the kitchen, and, opening the door and seeing a man with flowers for his mom.
Pixar’s co-op program has resulted in Oscar nominations for the shorts “The Dam Keeper” and “Borrowed Time.
- 1/16/2019
- by Bill Desowitz
- Indiewire
Bob Dylan made a rare late-night appearance on Thursday’s Tonight Show as the music legend drank whiskey and watched the Big Apple Circus with Jimmy Fallon.
In the two-minute sketch, scored by Erik Satie’s “Gymnopédie No. 1,” Dylan and Fallon both enjoy the singer’s new Heaven’s Door whiskey as they witness a private performance by the Big Apple Circus.
Midway through the circus routine, however, Fallon realizes Dylan is gone. “Where’s Bob,” the late-night show asks the circus’ ringleader, who insists that Dylan was never in...
In the two-minute sketch, scored by Erik Satie’s “Gymnopédie No. 1,” Dylan and Fallon both enjoy the singer’s new Heaven’s Door whiskey as they witness a private performance by the Big Apple Circus.
Midway through the circus routine, however, Fallon realizes Dylan is gone. “Where’s Bob,” the late-night show asks the circus’ ringleader, who insists that Dylan was never in...
- 11/23/2018
- by Daniel Kreps
- Rollingstone.com
The theme is simple here: four albums with guitars galore — solo and in tandem; loaded with effects and stripped to pure tone; in settings where you least expect them, but always in flight.
Circles Around the Sun, Let It Wander (Rhino)
This tripping-instrumental quartet was certified authentic psychedelia before they ever appeared on record — by no less than the surviving members of the Grateful Dead. Guitarist Neal Casal of the Chris Robinson Brotherhood started Circles Around the Sun with keyboard player Adam MacDougall (another member of the Brotherhood), bassist Dan...
Circles Around the Sun, Let It Wander (Rhino)
This tripping-instrumental quartet was certified authentic psychedelia before they ever appeared on record — by no less than the surviving members of the Grateful Dead. Guitarist Neal Casal of the Chris Robinson Brotherhood started Circles Around the Sun with keyboard player Adam MacDougall (another member of the Brotherhood), bassist Dan...
- 8/14/2018
- by David Fricke
- Rollingstone.com
Erik Satie was a French composer who was considered to be a bit of an eccentric person as well. His music is quite capable of lulling a person to sleep or calming them down in a manner that is rather quiet and even unassuming. It’s simply There, in a quiet, off-handed way that doesn’t make too many demands and doesn’t offer empty promises that can’t be filled. Keep in mind I’m describing my own reaction to it, but you might have a different one if you listen. To be honest it seems very light and quite pleasant to the ear.
The Top Uses of Erik Satie Compositions in Movies or TV...
The Top Uses of Erik Satie Compositions in Movies or TV...
- 4/18/2018
- by Tom
- TVovermind.com
“A man cannot destroy the savage in him by denying its impulses. They only way to get rid of a temptation is to yield to it.”
Dr. Jekyll & Mr. Hyde (1920) will screen at Webster University’s Moore Auditorium Friday October 20th at 7:30pm. Austin, Texas’ most adventurous band, The Invincible Czars, will provide live music.The band encourages fans and attendees to dress for the Halloween season at these shows.
Alongside Sherlock Holmes and James Bond, Robert Louis Stevenson’s novella The Strange Case of Dr. Jekyll and Mr. Hyde is a work that has spawned many screen adaptations, yet predates both, the first of which dating as far back as 1908. Widely considered one of, if not the best of the bunch, director John S. Robertson’s seminal 1920 proto-horror classic Dr. Jekyll & Mr. Hyde is mostly remembered for one thing above all others. Played by an endlessly captivating John Barrymore,...
Dr. Jekyll & Mr. Hyde (1920) will screen at Webster University’s Moore Auditorium Friday October 20th at 7:30pm. Austin, Texas’ most adventurous band, The Invincible Czars, will provide live music.The band encourages fans and attendees to dress for the Halloween season at these shows.
Alongside Sherlock Holmes and James Bond, Robert Louis Stevenson’s novella The Strange Case of Dr. Jekyll and Mr. Hyde is a work that has spawned many screen adaptations, yet predates both, the first of which dating as far back as 1908. Widely considered one of, if not the best of the bunch, director John S. Robertson’s seminal 1920 proto-horror classic Dr. Jekyll & Mr. Hyde is mostly remembered for one thing above all others. Played by an endlessly captivating John Barrymore,...
- 10/11/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Close-Up is a feature that spotlights films now playing on Mubi. Jean Cocteau's The Blood of a Poet (1932) is playing July 5 - August 4, 2017 on Mubi in the United States as part of the series Cocteau's Poets.“…images born of cinema with the cosmogony of a poet.”—Henri Langlois on The Blood of a PoetThe films of Jean Cocteau have distinguished themselves among early twentieth-century cinema at large. This is due, arguably, to Cocteau’s works existing best as experiences rather than as proper films, and to their openness to interpretation. This is especially true of Cocteau’s The Blood of a Poet, made in 1930 but not shown publicly until 1932, and one which has inspired as many critical interpretations since the filmmaker’s death in 1963 as Bosch’s Garden of Earthly Delights, Stravinsky’s Rite of Spring, or Bergman’s Persona. Like those works, The Blood of a Poet...
- 7/6/2017
- MUBI
Gaspar Noé’s mass, passionate following doesn’t exist by accident. The filmmaker’s four features, from last year’s “Love” to perhaps his most popular film “Enter the Void,” have stunned with their visual beauty and their unique style of filmmaking. Where many filmmakers’ attentions may center on those two elements, Noé also places focus on another tool for immersing the audience: music.
Read More: Why Gaspar Noé Directed on Cocaine, Masturbated in His Own Film and Shot a Live Birth
In a collaboration between Cinefamily and Red Bull Music Academy, composer Brian Reitzell sat down with Gaspar Noé for a conversation about not only the music in his films, but also his opinion on some of the great music moments and talents of all time. From his tendency to license songs instead of hiring a composer to the massive inspiration of “2001: A Space Odyssey,” Noé touched on...
Read More: Why Gaspar Noé Directed on Cocaine, Masturbated in His Own Film and Shot a Live Birth
In a collaboration between Cinefamily and Red Bull Music Academy, composer Brian Reitzell sat down with Gaspar Noé for a conversation about not only the music in his films, but also his opinion on some of the great music moments and talents of all time. From his tendency to license songs instead of hiring a composer to the massive inspiration of “2001: A Space Odyssey,” Noé touched on...
- 7/13/2016
- by Kyle Kizu
- Indiewire
Xavier Giannoli: "The importance of Billy Wilder for me was tenderness and cruelty." Photo: Anne-Katrin Titze
My conversation with the Marguerite director ranged from Erik Satie's food habits, Salieri in Milos Forman's Amadeus, tribute to Jean Renoir's The Rules Of The Game, John Huston's The Man Who Would Be King, Erich von Stroheim in Sunset Boulevard, Robert Redford in Sydney Pollack's Out Of Africa and Karen Blixen, Meryl Streep in Stephen Frears' Florence Foster Jenkins, Woody Allen's Broadway Danny Rose, Danny Kaye and the Carnegie Deli, Charlie Chaplin, Tristan Tzara to Margaret Dumont and the Marx Brothers.
Catherine Frot as Marguerite: "It's the story of a woman who needs love."
When I brought up Michael Shannon and Jeff Nichols' latest film, Midnight Special (after Shotgun Stories and Take Shelter and Mud), Xavier Giannoli said that in Paris there are posters...
My conversation with the Marguerite director ranged from Erik Satie's food habits, Salieri in Milos Forman's Amadeus, tribute to Jean Renoir's The Rules Of The Game, John Huston's The Man Who Would Be King, Erich von Stroheim in Sunset Boulevard, Robert Redford in Sydney Pollack's Out Of Africa and Karen Blixen, Meryl Streep in Stephen Frears' Florence Foster Jenkins, Woody Allen's Broadway Danny Rose, Danny Kaye and the Carnegie Deli, Charlie Chaplin, Tristan Tzara to Margaret Dumont and the Marx Brothers.
Catherine Frot as Marguerite: "It's the story of a woman who needs love."
When I brought up Michael Shannon and Jeff Nichols' latest film, Midnight Special (after Shotgun Stories and Take Shelter and Mud), Xavier Giannoli said that in Paris there are posters...
- 3/12/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Here's something for hardcore cineastes: an incredible restoration of Marcel L'Herbier's avant-garde silent feature, which looks unlike any other movie of its time. The weird story is about a Swedish engineer who wins the hand of famous singer by demonstrating a machine that can revive the dead. The film's designs are by score of famous architects and art notables of the Paris art scene circa 1924. L'Inhumaine Blu-ray Flicker Alley 1924 / Color tints / 1:33 Silent Aperture / min. / Street Date March 1, 2016 / 39.95 Starring Georgette Leblanc, Jacque Catelain, Léonid Walter de Malte, Philippe Hériat, Fred Kellerman, Robert Mallet-Stevens. Cinematography Roche, Georges Specht Art Direction, design, costumes, Claude Autant-Lara, Alberto Cavalcanti, Fernand Léger, Paul Poiret, Original Music Darius Milhaud (originally), Aidje Tafial / Alloy Orchestra Written by Pierre MacOrlan, Marcel L'Herbier, Georgette Leblanc Produced and Directed by Marcel L'Herbier
Reviewed by Glenn Erickson
Followers of art, architecture, literature and French art movies of the early 1920s...
Reviewed by Glenn Erickson
Followers of art, architecture, literature and French art movies of the early 1920s...
- 2/21/2016
- by Glenn Erickson
- Trailers from Hell
Team Experience is sharing favorite love scenes for Valentine's. Here's Josh...
It's a familiar and tested recipe to throw a beautiful period frock on an actress worth their weight in Oscars, and set her literary romantic troubles against a luscious location. Actressexuals and their mums will be clutching their pearls in the cinema on the first night it opens, and rewatching on DVD instead of reading the book for years to come. But let this not detract from The Painted Veil, the underrated and oscarless (not even nominations!) gem from 2006.
That divine poster image of Edward Norton and Naomi Watts drifting along the river is plucked from the films most beautiful scene. The scenes beauty is due in no small part to Alexander Desplat's score that rides the romance of the film perfectly. His 'River Waltz' which accompanies the scene echoes the films romantic arc, its gentle chords and progressive...
It's a familiar and tested recipe to throw a beautiful period frock on an actress worth their weight in Oscars, and set her literary romantic troubles against a luscious location. Actressexuals and their mums will be clutching their pearls in the cinema on the first night it opens, and rewatching on DVD instead of reading the book for years to come. But let this not detract from The Painted Veil, the underrated and oscarless (not even nominations!) gem from 2006.
That divine poster image of Edward Norton and Naomi Watts drifting along the river is plucked from the films most beautiful scene. The scenes beauty is due in no small part to Alexander Desplat's score that rides the romance of the film perfectly. His 'River Waltz' which accompanies the scene echoes the films romantic arc, its gentle chords and progressive...
- 2/13/2016
- by Josh Forward
- FilmExperience
In the wake of the terrible attacks in Paris, I found myself listening to a lot of French music and thinking about the Leonard Bernstein quote going around on Facebook: "This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before." This list came to seem like my natural response. A very small response, I know. This list is chronological and leaves off people I should probably include. The forty [note: now forty-one] composers listed below are merely a start.
Léonin Aka Leoninus (c.1135-c.1201)
The Cathedral of Notre Dame in Paris in the 1100s was a major musical center, and Léonin (the first named composer from whom we have notated polyphonic music) was a crucial figure for defining the liturgical use of organum, the first polyphony. Earlier organum was fairly simple, involving parallel intervals and later contrary motion, but the mid-12th century brought...
Léonin Aka Leoninus (c.1135-c.1201)
The Cathedral of Notre Dame in Paris in the 1100s was a major musical center, and Léonin (the first named composer from whom we have notated polyphonic music) was a crucial figure for defining the liturgical use of organum, the first polyphony. Earlier organum was fairly simple, involving parallel intervals and later contrary motion, but the mid-12th century brought...
- 11/15/2015
- by SteveHoltje
- www.culturecatch.com
A medium-height, slightly nervous, shy-seeming, fast-talking man, Gaspar Noé doesn’t really announce himself as the formally audacious director behind some of this millennium’s most assaultive and, speaking broadly, extreme narrative films. Perhaps that (altogether friendly) personality more clearly befits his latest film, Love. What’s been referred to for the years of its development as a “3D porn movie,” but hews closer to Last Tango in Paris or The Mother and the Whore: a slow, sad, and only intermittently confrontational picture that mostly uses its format as a tool for rendering spaces and memories more immediate. The inevitably downbeat ending, communicated early, lends the sex an uncomfortable air — one where even 3D cum shots carry a certain sort of melancholy.
Despite his work’s general reliance on images over words, Noé is a very verbose artist, taking a question about one thing and providing an answer about two others.
Despite his work’s general reliance on images over words, Noé is a very verbose artist, taking a question about one thing and providing an answer about two others.
- 10/29/2015
- by Nick Newman
- The Film Stage
Gaspar Noé’s Love is what one might call a “penis-forward” movie. Its opening shot, set to the mournful strains of Erik Satie’s “Gnossienne No. 3,” is a fixed-frame view from the foot of a bed of a young man whose erection is being stroked by a lithe brunette, her dark nipples and ’70s pubic triangle facing toward the camera while he rubs her clitoris. We watch for three full minutes, our eyes trained on the couple’s facial contortions and involuntary muscle spasms as they give and receive, the rhythmic touching of flesh the only sound other than the swells of the orchestra, until he ejaculates and she licks him clean. This, by the way, all happens in 3-D. “It’s not shocking, come on! It’s a sweet double hand job,” says Noé, on a cold September morning in Toronto, when I ask him if audiences will be...
- 10/20/2015
- by Jada Yuan
- Vulture
Malcolm Earl "Mal" Waldron was born on August 16, 1925 in New York City. His father worked for the Long Island Rail Road. Mal started taking classical piano lessons at age seven and, inspired by his love of jazz, also learned alto saxophone. He earned a B.A. in Music from Queens College, with the G.I. Bill (he'd been drafted in 1943 and served for two years, fortunately not seeing combat) paying for his tuition. He worked in jazz, blues, and R&B contexts and made his first recording in 1952 as a member of Ike Quebec's band. In '54-56 he was part of Charles Mingus's Jazz Workshop and recorded with Mingus. Waldron went out on his own as a leader at the end of 1956 with the album Mal/1 on Prestige and quickly became one of the prolific label's house pianists. The following year he added to his workload the position of Billie Holiday's accompanist,...
- 8/16/2015
- by SteveHoltje
- www.culturecatch.com
Kate’s Classical Corner: Hannibal, Ep. 3.03, “Secondo”
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Secondo” here.
Classical pieces featured:
Piano Concerto No. 2 in B-flat major, Op. 19, II. Adagio by Ludwig van Beethoven (1795): Dinner with Sogliato
While this is a lovely piece, it is a fairly straightforward choice for Hannibal’s dinner with Sogliato. The only thematic ties I note in its selection are that it was the first piano concerto composed by Beethoven (though it was published after Piano Concerto No. 1 in C major, Op.
As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Secondo” here.
Classical pieces featured:
Piano Concerto No. 2 in B-flat major, Op. 19, II. Adagio by Ludwig van Beethoven (1795): Dinner with Sogliato
While this is a lovely piece, it is a fairly straightforward choice for Hannibal’s dinner with Sogliato. The only thematic ties I note in its selection are that it was the first piano concerto composed by Beethoven (though it was published after Piano Concerto No. 1 in C major, Op.
- 6/19/2015
- by Kate Kulzick
- SoundOnSight
The score to Trent Reznor and Atticus Ross’ “Gone Girl” soundtrack has a Trojan horse effect. During the movie, it’s impossible to miss: sinister, slithering, gauzy and throbbing with the ominous tones that have made Reznor and Ross filmmaker David Fincher’s go-to composers for his last three movies. But on subsequent listens to the “Gone Girl” soundtrack outside the context of the film, what brilliantly unfolds is the composers' own arch narrative and commentary on the brilliantly textured movie. It’s disquieting of course, but in spots it’s also disarmingly warm and fuzzy in a devilishly ironic way (see the track “Sugar Storm”). Functioning as its own form of unreliable narrator, it features cues of misdirection, and features hilariously straight-faced piano sonnets that sound like Reznor, Ross and Fincher having a laugh (see the mid-section of “Just Like You” which sounds like a bit like a sardonic version of Erik Satie). Throughout,...
- 1/8/2015
- by Rodrigo Perez
- The Playlist
Having started his directing career overseeing pop videos, it's clear that music is still an integral part of how Spike Jonze works as a film director. From Christopher Walken boogieing to Fatboy Slim's 'Weapon of Choice' to Greta Gerwig's carefree dance to Arcade Fire's 'Afterlife' at the recent YouTube music awards, Jonze is an expert at intertwining sound and image.
The latter group's 'Wake Up' overlaid the stunning trailer for Jonze's Where the Wild Things Are, and the two take their collaboration further with Her. The future-set love story stars Joaquin Phoenix as a man who falls in love with his operating system (voiced alluringly by Scarlett Johansson).
Her: Digital Spy's review ★★★★☆
It's Arcade Fire and Owen Pallett's music that beautifully scores the winsome romance, so when Digital Spy sat down with Jonze we quizzed him on this collaboration. In true Jonze style, he chose a song...
The latter group's 'Wake Up' overlaid the stunning trailer for Jonze's Where the Wild Things Are, and the two take their collaboration further with Her. The future-set love story stars Joaquin Phoenix as a man who falls in love with his operating system (voiced alluringly by Scarlett Johansson).
Her: Digital Spy's review ★★★★☆
It's Arcade Fire and Owen Pallett's music that beautifully scores the winsome romance, so when Digital Spy sat down with Jonze we quizzed him on this collaboration. In true Jonze style, he chose a song...
- 2/13/2014
- Digital Spy
Benjamin Franklin spent his mornings naked. Patricia Highsmith ate only bacon and eggs. Marcel Proust breakfasted on opium and croissants. The path to greatness is paved with a thousand tiny rituals (and a fair bit of substance abuse) – but six key rules emerge
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
- 10/5/2013
- by Oliver Burkeman
- The Guardian - Film News
Brian Peter George St. John le Baptiste de la Salle Eno has led a multi-faceted life. To modern rock fans he's perhaps best known as the imaginative producer of U2's, David Bowie's, and Talking Heads' most adventurous work, and secondarily remembered as an early and eccentric member of Roxy Music. To new age and techno fans, he's the de facto inventor of the ambient music genre. Pop fans can thank him for the best work by James, Coldplay, and Ultravox. Punk fans owe him one for No New York's introduction of the four most iconic No Wave Bands.
His collaborations with Harold Budd (favorite: The Pearl), Robert Fripp (favorite: (no pussyfooting)), David Byrne (the groundbreaking My Life in the Bush of Ghosts), John Cale (especially the delightful Wrong Way Up), and others sometimes find him as much a facilitator as a creator, yet still have an ineffable Eno-ness to them.
His collaborations with Harold Budd (favorite: The Pearl), Robert Fripp (favorite: (no pussyfooting)), David Byrne (the groundbreaking My Life in the Bush of Ghosts), John Cale (especially the delightful Wrong Way Up), and others sometimes find him as much a facilitator as a creator, yet still have an ineffable Eno-ness to them.
- 5/15/2013
- by SteveHoltje
- www.culturecatch.com
Interview Ryan Lambie 26 Feb 2013 - 06:30
We were lucky enough to meet Korea’s eminent filmmaker, Park Chan-wook, to discuss his English-language debut, Stoker...
It’s an unseasonably warm day in February, and I’m sitting opposite Park Chan-wook in a London hotel. Over a career spanning more than a decade, Chan-wook - or Director Park, as he prefers to be addressed - has steadily built up a reputation as Korea’s most eminent filmmaker. From Join Security Area via the Vengeance trilogy to Thirst and now Stoker, his English-language debut, Park’s movies have an obsessive, febrile quality, like a dream or a horrifying fairytale.
How fitting then, that my interview with him should feel like a feverish hallucination. There’s a bright, angle-poise lamp positioned on the table between us, next to which sit half-full cups of coffee and nibbled biscuits. Director Park’s interpreter sits to my right,...
We were lucky enough to meet Korea’s eminent filmmaker, Park Chan-wook, to discuss his English-language debut, Stoker...
It’s an unseasonably warm day in February, and I’m sitting opposite Park Chan-wook in a London hotel. Over a career spanning more than a decade, Chan-wook - or Director Park, as he prefers to be addressed - has steadily built up a reputation as Korea’s most eminent filmmaker. From Join Security Area via the Vengeance trilogy to Thirst and now Stoker, his English-language debut, Park’s movies have an obsessive, febrile quality, like a dream or a horrifying fairytale.
How fitting then, that my interview with him should feel like a feverish hallucination. There’s a bright, angle-poise lamp positioned on the table between us, next to which sit half-full cups of coffee and nibbled biscuits. Director Park’s interpreter sits to my right,...
- 2/25/2013
- by ryanlambie
- Den of Geek
John Cage (September 5, 1912 - August 12, 1992) revolutionized music as much as anyone in the 20th century. His first important music was for percussion ensembles, utilizing both homemade and ethnic instruments as well as "found objects." He achieved a breakthrough when he moved this style of composition onto the piano by placing objects between the strings to alter the sound and achieve a more percussive effect. This "prepared piano" style caught the attention of avant-garde tastemakers, and he moved to New York, where his music shocked mainstream audiences and critics.
Cage's study of Buddhism led him to believe that meditative tranquility should be the goal of his music. Since he came to feel that music dictated by taste and subjectivity conflicted with tranquility, in 1951 he started creating pieces with chance operations, using the Chinese oracle I Ching (Book of Changes) and incorporating star maps, spots on paper sheets, etc. Sometimes the musicians decided some matters in performance,...
Cage's study of Buddhism led him to believe that meditative tranquility should be the goal of his music. Since he came to feel that music dictated by taste and subjectivity conflicted with tranquility, in 1951 he started creating pieces with chance operations, using the Chinese oracle I Ching (Book of Changes) and incorporating star maps, spots on paper sheets, etc. Sometimes the musicians decided some matters in performance,...
- 9/5/2012
- by SteveHoltje
- www.culturecatch.com
Today sees the latest film from director Wes Anderson, "Moonrise Kingdom," hit theaters, and consistent with the music-obsessed filmmaker's work, it's as much a treat for the ears as it is for the eyes. 'Moonrise' boasts another soundtrack of unexpected cuts assembled with the great music supervisor Randall Poster, including Francoise Hardy, Hank Williams, and for the first time, a significant amount of classical music including Benjamin Britten and Leonard Bernstein. And if that's not enough, there's also additional pieces by Alexandre Desplat and drum percussion by old musical cohort Mark Mothersbaugh.
But as is the case with most films, not everything's on the official soundtrack release, which is in stores now: the movie features three additional Hank Williams songs, and pieces by Mozart and Schubert that aren't included on the disc. Given that Anderson's films are so replete with music, the soundtracks have quite often left out key songs for licensing or other reasons,...
But as is the case with most films, not everything's on the official soundtrack release, which is in stores now: the movie features three additional Hank Williams songs, and pieces by Mozart and Schubert that aren't included on the disc. Given that Anderson's films are so replete with music, the soundtracks have quite often left out key songs for licensing or other reasons,...
- 5/25/2012
- by The Playlist
- The Playlist
Louis Feuillade's great serials of the nineteen-teens (Fantomas, Les Vampires etc) inspired numerous imitations, sequels and parodies: they still lurk behind the makeshift digital scenery of the modern action film, making threatening shadows and cackling mutely.
I've long been fascinated by the followers of Fantomas—and how I long to see Zigomar (a.k.a. Zigomar the Eelskin, 1911), directed by somebody rejoicing in the name of Victorin-Hippolyte Jasset, which actually predates the screen adaptation of Allain & Souvestre's master-criminal. The slippery Zigomar even manages a spectacular escape from the electric chair itself, reverse-rappeling into the ceiling at the crucial moment.
Above: "It's a severed hand, isn't it?"
What I have managed to see is La secta de los mysteriosos (The Mysterious Sect, 1914), or those parts of it which survive. Spain's answer to Feuillade, Alberto Marro, serves up an elaborate adventure in Barcelona, with a trio of black-masked desperadoes, known as...
I've long been fascinated by the followers of Fantomas—and how I long to see Zigomar (a.k.a. Zigomar the Eelskin, 1911), directed by somebody rejoicing in the name of Victorin-Hippolyte Jasset, which actually predates the screen adaptation of Allain & Souvestre's master-criminal. The slippery Zigomar even manages a spectacular escape from the electric chair itself, reverse-rappeling into the ceiling at the crucial moment.
Above: "It's a severed hand, isn't it?"
What I have managed to see is La secta de los mysteriosos (The Mysterious Sect, 1914), or those parts of it which survive. Spain's answer to Feuillade, Alberto Marro, serves up an elaborate adventure in Barcelona, with a trio of black-masked desperadoes, known as...
- 5/10/2012
- MUBI
Leo Records' first batch of 2012 releases (some of which I already wrote about here) includes two featuring saxophonist/bass clarinetist Gebhard Ullmann, both featuring his bass clarinet work with special projects: his long-running group The Clarinet Trio with fellow clarinetists Jurgen Kupke (clarinet) and Michael Thieke (clarinet, alto clarinet), and another trio, BASSX3, wherein Ullmann teams with bassists Chris Dahlgren and Clayton Thomas. I not only immediately looked forward to reviewing both of them, as Mr. Ullmann is one of my favorite artists, I also relished these releases as an opportunity to look back on his earlier work on Leo Records, both with The Clarinet Trio and in other contexts. As before, dates in parentheses after album titles are recording dates, with release on Leo sub-labels also noted there.
The Clarinet Trio Oct. 1, '98 (Lab, 9/30-10/2/98)
The variety of colors and styles this group commands despite its heterogeneous instrumentation was...
The Clarinet Trio Oct. 1, '98 (Lab, 9/30-10/2/98)
The variety of colors and styles this group commands despite its heterogeneous instrumentation was...
- 3/1/2012
- by SteveHoltje
- www.culturecatch.com
Leo Records was founded in 1979 by Leo Feigin, a Russian who had emigrated to England. Early in its history, back before the glasnost era, it was most noted for releasing avant-garde Russian jazz at a time when government authorities discouraged the style. As Alexander Alexandrov of Moscow Composers Orchestra says, "What the authorities really hated was free jazz and improvised music – for the reason we loved it, because it was a powerful symbol of individual freedom." Although somehow the Ganelin Trio's first album came out on the official Soviet record label, Melodiya, it was the group's many albums on Leo that earned both the band and Leo world-wide reputations.
Eventually Leo expanded enough that it even had offshoots: Leo Lab for new artists, Golden Years of New Jazz for vintage material. Especially notable from the latter are four superb four-cd sets comprising a series entitled Golden Years of the Soviet...
Eventually Leo expanded enough that it even had offshoots: Leo Lab for new artists, Golden Years of New Jazz for vintage material. Especially notable from the latter are four superb four-cd sets comprising a series entitled Golden Years of the Soviet...
- 1/19/2012
- by SteveHoltje
- www.culturecatch.com
If you’ve seen Drive, Nicolas Winding Refn‘s culty arthouse noir starring Ryan Gosling, you’ll know exactly what I mean when I say Nightcall immediately and effectively set the tone for the entire film. Music turned out to play an unexpectedly important role in the movie, but then again, what about that movie ended up as expected?
I loved Drive and could gush about it here all day, but if I did that I’d never get around to telling you the good news. Johnny Jewel, the mastermind behind Drive‘s brilliant soundtrack and part of the featured Chromatics and Desire, just released Symmetry: Themes for an Imaginary Film. At 2.5 hours long, it’s every bit as 80′s synth-driven as the real film score we’ve come to love, plus we’ve got it streaming free. Check it out below.
This 36-track work is a behemoth, and I...
I loved Drive and could gush about it here all day, but if I did that I’d never get around to telling you the good news. Johnny Jewel, the mastermind behind Drive‘s brilliant soundtrack and part of the featured Chromatics and Desire, just released Symmetry: Themes for an Imaginary Film. At 2.5 hours long, it’s every bit as 80′s synth-driven as the real film score we’ve come to love, plus we’ve got it streaming free. Check it out below.
This 36-track work is a behemoth, and I...
- 12/26/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Hugo
Directed by: Martin Scorsese
Cast: Asa Butterfield, Chloe Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Michael Stuhlbarg
Running Time: 2 hrs 7 mins
Rating: PG
Release Date: November 23, 2011
Plot: A boy (Butterfield) who lives in the walls of a Paris train station seeks to understand the meaning behind an automaton given to him by his father.
Who’S It For?: Hugo’s length and patience with its story might be difficult for some attention spans. While this movie could certainly excite children, it’s as if the movie is made for adults who have still maintained child-like wonderment when witnessing breaths of true cinema. Or those who thought “History of Cinema” was the best class in film school. That being said, this movie is especially made for Martin Scorsese.
Expectations: Hugo was especially curious on two levels: how would a Scorsese film look in 3D, and what business does he...
Directed by: Martin Scorsese
Cast: Asa Butterfield, Chloe Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Michael Stuhlbarg
Running Time: 2 hrs 7 mins
Rating: PG
Release Date: November 23, 2011
Plot: A boy (Butterfield) who lives in the walls of a Paris train station seeks to understand the meaning behind an automaton given to him by his father.
Who’S It For?: Hugo’s length and patience with its story might be difficult for some attention spans. While this movie could certainly excite children, it’s as if the movie is made for adults who have still maintained child-like wonderment when witnessing breaths of true cinema. Or those who thought “History of Cinema” was the best class in film school. That being said, this movie is especially made for Martin Scorsese.
Expectations: Hugo was especially curious on two levels: how would a Scorsese film look in 3D, and what business does he...
- 11/23/2011
- by Nick Allen
- The Scorecard Review
Oslo, August 31st
Directed by Joachim Trier
Screenplay by Joachim Trier
Norway, 2011
“I always thought happy people were morons,” says Anders (Anders Danielsen Lie), the hero of Joachim Trier’s witty but inevitably rather downbeat drama, Oslo, August 31st. No one could accuse Anders of being a moron, but after months holed up in a clinic, this 34-year-old drug addict definitely isn’t cured. When he leaves the scene of a one-night stand, Anders has what you might call a dry run at suicide – immersing himself in a lake with a large rock. Neither of these episodes leads us to believe that his future looks bright.
Oslo, like Louis Malle’s acclaimed Le Feu Follet/The Fire Within (1963), is based on a novel by Pierre Drieu La Rochelle. Trier’s challenge here is to make the Norwegian capital come alive in the same way that Paris did in Malle’s film.
Directed by Joachim Trier
Screenplay by Joachim Trier
Norway, 2011
“I always thought happy people were morons,” says Anders (Anders Danielsen Lie), the hero of Joachim Trier’s witty but inevitably rather downbeat drama, Oslo, August 31st. No one could accuse Anders of being a moron, but after months holed up in a clinic, this 34-year-old drug addict definitely isn’t cured. When he leaves the scene of a one-night stand, Anders has what you might call a dry run at suicide – immersing himself in a lake with a large rock. Neither of these episodes leads us to believe that his future looks bright.
Oslo, like Louis Malle’s acclaimed Le Feu Follet/The Fire Within (1963), is based on a novel by Pierre Drieu La Rochelle. Trier’s challenge here is to make the Norwegian capital come alive in the same way that Paris did in Malle’s film.
- 9/29/2011
- by Susannah
- SoundOnSight
A lot of artists use the well-worn tactic of escaping a stylistic rut by looking back. On Night Of Hunters, Tori Amos looks back 400 years. Recorded for renowned classical label Deutsche Grammophon, Hunters comes after a decade where Amos was mired in adult contemporary gunk and self-parody. It’s a sprawling story-song cycle that features variations on pieces by classical composers like Johann Sebastian Bach, Franz Schubert, and Erik Satie. Just describing the album makes it seem like Amos has completely disappeared down the rabbit hole, but Hunters is actually her most enjoyable album in years. The album’s ...
- 9/20/2011
- avclub.com
Terrence Malick's first film wowed audiences; his second, Days of Heaven, set a rapturous new standard in cinema aesthetics. David Thomson shines a light on its legacy
Terrence Malick's 1978 movie Days of Heaven was never a huge hit, but it was such a departure and so deliberate an attempt to have the audience stirred by beauty that it felt calming and inspiring. Without shame or caution it was trying to address the pre-modern era of American history, the natural conflict between landowners and newcomers. But it was just as interested in the vanity of men and women trying to tame and organise the wild parts of the country. Beyond that, was this perhaps the most beautiful picture ever made? Second films are famously hard, but with Days of Heaven, Malick was announcing that he would do things his way.
By common consent, his first film, Badlands (1973), was one...
Terrence Malick's 1978 movie Days of Heaven was never a huge hit, but it was such a departure and so deliberate an attempt to have the audience stirred by beauty that it felt calming and inspiring. Without shame or caution it was trying to address the pre-modern era of American history, the natural conflict between landowners and newcomers. But it was just as interested in the vanity of men and women trying to tame and organise the wild parts of the country. Beyond that, was this perhaps the most beautiful picture ever made? Second films are famously hard, but with Days of Heaven, Malick was announcing that he would do things his way.
By common consent, his first film, Badlands (1973), was one...
- 9/1/2011
- by David Thomson
- The Guardian - Film News
Quickcard Review
The Illusionist
Directed by: Sylvain Chomet
Cast: Jean-Claude Donda, Eilidh Rankin
Running Time: 1 hr 20 mins
Rating: PG
Release Date: January 14, 2011 (Chicago)
Plot: A talented magician (Donda) struggles to find work while becoming friends with a young girl (Rankin) who snuck away from her village.
Who’S It For? Fans of Jacques Tati will be delighted to see his original story brought to life, but those who can get lost in animation that doesn’t have spunky characters or even dialogue for that matter will enjoy themselves.
Overall
The Illusionist is a piece of art hand-drawn with undeniable charm from the unique style of director Sylvain Chomet, but its a movie truly made by the man given an “Original Story” credit – Jacques Tati. The classic French director’s original concept does more than just provide the tale with a course of events, it provides the soul that Chomet’s...
The Illusionist
Directed by: Sylvain Chomet
Cast: Jean-Claude Donda, Eilidh Rankin
Running Time: 1 hr 20 mins
Rating: PG
Release Date: January 14, 2011 (Chicago)
Plot: A talented magician (Donda) struggles to find work while becoming friends with a young girl (Rankin) who snuck away from her village.
Who’S It For? Fans of Jacques Tati will be delighted to see his original story brought to life, but those who can get lost in animation that doesn’t have spunky characters or even dialogue for that matter will enjoy themselves.
Overall
The Illusionist is a piece of art hand-drawn with undeniable charm from the unique style of director Sylvain Chomet, but its a movie truly made by the man given an “Original Story” credit – Jacques Tati. The classic French director’s original concept does more than just provide the tale with a course of events, it provides the soul that Chomet’s...
- 1/14/2011
- by Nick Allen
- The Scorecard Review
Award-winning classical guitarist and recording artist Peter Fletcher returns to Weill Recital Hall at Carnegie Hall, on March 27th at 8 Pm. Tickets are $25 and $20 at the Box Office, CarnegieCharge 212-247-7362, and www.carnegiehall.org This concert will feature selections from Fletcher's 2008 CD release on Towerhill Recordings, Peter Fletcher plays Music of the Baroque (TH72022), www.towerhill-recordings.com. Other repertoire will include the Lute Suite no. 1 in E minor of J. S. Bach; Fletcher's transcritions of Erik Satie and Edvard Grieg; Usher-Waltz, an intense work by Russian guitarist and composer Nikita Koshkin; Andrew York's Sunburst and music of Weiss and Reusner.
- 2/12/2009
- BroadwayWorld.com
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