New York, NY — January 18, 2023 — The 92nd Street Y, New York (92Ny), one of New York’s leading cultural venues, presents Caroline Shaw, vocals & Sō Percussion: Let the Soil Play Its Simple Part, with special guests Bora Yoon and Iarla Ó Lionáird, vocals, on February 4, 2023 at 7:30pm Et at the Kaufmann Concert Hall. The concert will also be available for viewing online for 72 hours from time of broadcast. Tickets for both the in-person and livestream options start at 25 and are available at 92ny.org/event/caroline-shaw-and-so-percussion..
Composer Caroline Shaw and Sō Percussion make their only NYC appearance together this season. Their program draws from their Nonesuch recording project, Let the Soil Play Its Simple Part, with original songs and lyrics inspired by and reflecting the artists’ broad span of interests: James Joyce, a poem by Anne Carson, the Sacred Harp hymn book, American roots music, and more. The program will...
Composer Caroline Shaw and Sō Percussion make their only NYC appearance together this season. Their program draws from their Nonesuch recording project, Let the Soil Play Its Simple Part, with original songs and lyrics inspired by and reflecting the artists’ broad span of interests: James Joyce, a poem by Anne Carson, the Sacred Harp hymn book, American roots music, and more. The program will...
- 1/18/2023
- by Music Martin Cid Magazine
- Martin Cid Music
Another year, another move further away from caring about pop. Whether that's pop's fault or mine, I'm not sure. But there was still plenty of great new music released in 2015, and here, according to my idiosyncratic tastes, are the best albums, or at least my favorites.
1. Wire: Wire (Pink Flag)
This is said to be the first time that Bruce Gilbert's replacement, guitarist Matthew Simms, was heavily involved in the creation of a Wire album, and the result is...the closest Wire has ever come to sounding like a Colin Newman album. I exaggerate for effect, but only slightly: most everything thrums along smoothly and motorik-ly, he takes all the lead vocals (though Graham Lewis supposedly wrote many of the lyrics), and there are none of the post-punkier outbursts of the group's previous two reunion albums, though near the end of Wire, the one-two punch of "Split Your Ends" and "Octopus" come close.
1. Wire: Wire (Pink Flag)
This is said to be the first time that Bruce Gilbert's replacement, guitarist Matthew Simms, was heavily involved in the creation of a Wire album, and the result is...the closest Wire has ever come to sounding like a Colin Newman album. I exaggerate for effect, but only slightly: most everything thrums along smoothly and motorik-ly, he takes all the lead vocals (though Graham Lewis supposedly wrote many of the lyrics), and there are none of the post-punkier outbursts of the group's previous two reunion albums, though near the end of Wire, the one-two punch of "Split Your Ends" and "Octopus" come close.
- 12/27/2015
- by SteveHoltje
- www.culturecatch.com
There are always plenty of Christmas-music roundups this time of year. This one's different. The others usually focus on the newest offerings. Nothing I've gotten this year has really struck a chord, but there is no shortage of favorites from years past that have proven their merits and held up over time. It is those in the classical realm, where trends matter least; and choral, because it's sacred choir music that's at the heart of the celebration of Christmas, that are listed below.
Ancient
If you want some Christmas music you don't already know by heart, just look further back in history.The early music movement of the past half-century has unearthed many long-forgotten masterpieces from the Medieval and Renaissance eras.
Sequentia: Aquitania: Christmas Music from Aquitanian Monasteries (12th century) (Deutsche Harmonia Mundi)
This was Sequentia's second album of Aquitanian Christmas season music, following on the heels of the much-praised Shining Light.
Ancient
If you want some Christmas music you don't already know by heart, just look further back in history.The early music movement of the past half-century has unearthed many long-forgotten masterpieces from the Medieval and Renaissance eras.
Sequentia: Aquitania: Christmas Music from Aquitanian Monasteries (12th century) (Deutsche Harmonia Mundi)
This was Sequentia's second album of Aquitanian Christmas season music, following on the heels of the much-praised Shining Light.
- 12/24/2015
- by SteveHoltje
- www.culturecatch.com
Which music stars went home with awards at the 2014 Grammy Awards? Find out with this full winners list.
Winners in each category are bolded.
Record of the Year
"Get Lucky" -- Daft Punk feat. Pharrell Williams and Nile Rodgers
"Radioactive" -- Imagine Dragons
"Royals" -- Lorde
"Locked Out of Heaven" -- Bruno Mars
"Blurred Lines" -- Robin Thick feat. T.I. and Pharrell
Album of the year
"The Blessed Unrest" -- Sara Bareilles
"Random Access Memories" -- Daft Punk
"Good Kid, M.A.A.D City" -- Kendrick Lamar
"The Heist" -- Macklemore and Ryan Lewis
"Red" -- Taylor Swift
Song of the year
"Just Give Me a Reason" -- Jeff Bhasker, Pink and Nate Ruess (Pink feat. Nate Ruess)
"Locked Out of Heaven" -- Philip Lawrence, Ari Levine and Bruno Mars (Bruno Mars)
"Roar" -- Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry and Henry Walter (Katy Perry)
"Royals...
Winners in each category are bolded.
Record of the Year
"Get Lucky" -- Daft Punk feat. Pharrell Williams and Nile Rodgers
"Radioactive" -- Imagine Dragons
"Royals" -- Lorde
"Locked Out of Heaven" -- Bruno Mars
"Blurred Lines" -- Robin Thick feat. T.I. and Pharrell
Album of the year
"The Blessed Unrest" -- Sara Bareilles
"Random Access Memories" -- Daft Punk
"Good Kid, M.A.A.D City" -- Kendrick Lamar
"The Heist" -- Macklemore and Ryan Lewis
"Red" -- Taylor Swift
Song of the year
"Just Give Me a Reason" -- Jeff Bhasker, Pink and Nate Ruess (Pink feat. Nate Ruess)
"Locked Out of Heaven" -- Philip Lawrence, Ari Levine and Bruno Mars (Bruno Mars)
"Roar" -- Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry and Henry Walter (Katy Perry)
"Royals...
- 1/26/2014
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Born August 22, 1862 in St.-Germaine-en-Laye, France, Claude-Achille Debussy was a child prodigy pianist who was admitted to the Paris Conservatory at age 10. Now generally considered to have been the greatest French composer, Debussy is proof that great art can come from terrible human beings. He was supremely self-centered and selfish. Two women -- one his wife -- attempted to kill themselves after he ended his relationships with them in cruelly casual fashion; his behavior was so beyond acceptable norms, even by bohemian French standards, that many of his friends turned their backs on him. In the midst of his greatest personal controversy, when he'd left his wife for a married woman and moved with the latter to England for awhile after to escape the constant recriminations, he wrote his biggest masterpiece, La Mer.
But, of course, there's nothing the French enjoy more than a controversy. Debussy's music was controversial as well.
But, of course, there's nothing the French enjoy more than a controversy. Debussy's music was controversial as well.
- 8/16/2012
- by SteveHoltje
- www.culturecatch.com
Here's what I have to say to all the people who bemoan the state of classical music: My classical list is the last one I'm posting (as has often been the case) because there were so many great releases to listen to that I didn't finish until now.
I want to once again admit the biases operating in my best-of-the-year classical lists: I am most interested in the piano, choral, and symphonic literatures. I’m happy to listen to other things when they come my way, but those are what I seek out, vastly tipping the balance in their favor (tipping the balance against opera is the increasing disinclination of record companies to send promos for new opera recordings unless one specifically asks -- and even that is no guarantee). Also note: no reissues or compilations here. That disqualified even the first box-set appearance of David Zinman's fine Mahler cycle,...
I want to once again admit the biases operating in my best-of-the-year classical lists: I am most interested in the piano, choral, and symphonic literatures. I’m happy to listen to other things when they come my way, but those are what I seek out, vastly tipping the balance in their favor (tipping the balance against opera is the increasing disinclination of record companies to send promos for new opera recordings unless one specifically asks -- and even that is no guarantee). Also note: no reissues or compilations here. That disqualified even the first box-set appearance of David Zinman's fine Mahler cycle,...
- 1/5/2012
- by SteveHoltje
- www.culturecatch.com
Mahler's Fourth Symphony (1892/1899-1900) is his sunniest, vastly less concerned with existential questions and therefore less laden with angst than all his other symphonies. There are some shadows in the first two movements, but the lengthy slow movement is gorgeously lyrical, and the finale (originally written in 1892 for the Third Symphony) is a setting for soprano of "Lied der himmlischen Freuden" (Song of the Heavenly Life" from Des Knaben Wunderhorn), a child's amusingly prosaic description of heaven. It's also his second-shortest and much the shortest of his vocal symphonies (under an hour in most readings, and yes, by Mahlerian standards, that counts as short). Furthermore, it's in the most standard four-movement symphony form. All of these things combine to make it his most immediately accessible symphony. It thus has been many listeners' entry point into his highly personal sonic world. It was premiered on November 25, 1901 in Berlin, with the composer conducting.
- 11/25/2011
- by SteveHoltje
- www.culturecatch.com
Jazz composer Maria Schneider, whose work has been hailed by critics as "evocative, majestic, magical, heart-stoppingly gorgeous, and beyond categorization," will be touring and conducting over the next several months.
Schneider and her orchestra became known beginning in 1994 with the release of their first recording, "Evanescence," with which she began to develop her unique way of writing for her 17-member collective, with compositions written for the distinctly unique voices of the group.
The Maria Schneider...
Schneider and her orchestra became known beginning in 1994 with the release of their first recording, "Evanescence," with which she began to develop her unique way of writing for her 17-member collective, with compositions written for the distinctly unique voices of the group.
The Maria Schneider...
- 2/8/2011
- Extra
Spanish composer Alberto Iglesias, who has scored the majority of Pedro Almodóvar’s films as well The Constant Gardener and The Kite Runner, has written a new concert work that will headline a program with the Saint Paul Chamber Orchestra and conductor Miguel Hart-Bedoya in New York on November 7. The title of Iglesias’ work is ‘Three Songs in the Land of the Lemon Trees,’ and it’s a piece composed specifically ...
- 9/9/2009
- by moviescore
- MovieScore Magazine
The true story of golf's 1913 U.S. Open is full of the stuff inspiring movies are made of: underdog triumph, the breaking of class barriers, a down-to-the-wire showdown. In his first nonfiction book, "The Greatest Game Ever Played", writer-producer Mark Frost exhumed the event that once riveted the nation -- an unlikely match between a 20-year-old amateur and the game's reigning champ. He adapts the tale to the big screen with economy but not without conceding to certain rules of the genre; there's a familiarity to the saga as it hits predictable plot points. Still, actor-turned-helmer Bill Paxton has fashioned solid family entertainment in this well-cast feature, which in turn should provide solid boxoffice returns.
If the film makes its points early and sets out on an obvious trajectory, Paxton's love of the game is evident throughout. He and cinematographer Shane Hurlbut inject pizzazz into the proceedings with ball's-p.o.v. shots and telescoping effects. Although the story can't escape a certain sentimentality, Paxton leavens the inspirational element with admirable dramatic restraint, particularly in the two central performances.
Shia LaBeouf is full of quiet determination as Brookline, Mass., boy Francis Ouimet. He's been obsessed with golf since he began caddying at a tender age at the country club across the street from his working-class parents' home. From his Irish mother (Marnie McPhail) he receives undying encouragement, while his wary French father (Elias Koteas, bringing an affecting complexity to what could have been a by-the-numbers role) sees only heartbreak ahead for a poor boy dabbling in a gentleman's game.
But with the support and coaching of golfer Hastings (Justin Ashforth) and pro-shop expert Campbell (Luke Askew), Francis makes his way onto the green as a player, nabbing amateur titles until he finds himself squaring off in the U.S. Open against world-class players. Further bending the game's etiquette, circumstances leave Francis with a 10-year-old caddie, Eddie (Josh Flitter), who's not much taller than the bag. Eddie feeds Francis wisdom and rhyming pep talks with the delivery of a pintsize Borscht Belt comedian.
If the heart of the story is Francis' pairing with the spunky Eddie, its soul is the unspoken connection between him and his chief competition, Harry Vardon (Stephen Dillane), the British superstar of the game. Despite his professional status, Vardon feels he is the working-class outsider among the moneyed elite. The specter of a crucial moment from his Isle of Jersey childhood, hauntingly depicted in the film's prologue, arises to unnerve him during crucial moments at the tee. With his doleful gaze and self-contained intensity, the estimable Dillane movingly conveys Harry's profound pleasure in Francis' performance.
The fine supporting cast includes Stephen Marcus as Harry's no-nonsense colleague; Peter Firth as the hissable Lord Northcliffe, sponsor of Harry and Ted's stateside expedition; George Asprey as Britain's top amateur, a snob of the first order with a mean talent for smoke rings; Michael Weaver as the defending U.S. champion, a man of frothing nationalistic fervor; Robin Wilcock as the Brit journalist who loves the story; and Peyton List as the Smith girl who takes an interest in Francis, in a subplot that feels tacked-on.
Turn-of-the-century period detail is strong, the Quebec locations striking. A lovely conceit strips away the crowds and noise and leaves Vardon alone on a pristine landscape, while a sequence of rain-soaked golfing benefits from Elliot Graham's dynamic editing. Brian Tyler contributes a rousing, if insistent, score, and opera star Dawn Upshaw appears onscreen to trill a composition by Joe Jackson.
THE GREATEST GAME EVER PLAYED
Buena Vista Pictures/Walt Disney Pictures
A Morra Brezner Steinberg Tenenbaum production
Credits:
Director: Bill Paxton
Screenwriter: Mark Frost
Producers: Larry Brezner, Mark Frost, David Blocker
Executive producer: David Steinberg
Director of photography: Shane Hurlbut
Production designer: Francois Seguin
Music: Brian Tyler
Costume designer: Renee April
Editor: Elliot Graham
Cast:
Francis Ouimet: Shia LaBeouf
Harry Vardon: Stephen Dillane
Lord Northcliffe: Peter Firth
Arthur Ouimet: Elias Koteas
Ted Ray: Stephen Marcus
Eddie Lowery: Josh Flitter
Ted Hastings: Justin Ashforth
Stedman Comstock: Len Cariou
Sarah Wallis: Peyton List
Alec Campbell: Luke Askew
Bernard Darwin: Robin Wilcock
John McDermott: Michael Weaver
Mary Ouimet: Marnie McPhail
Wilfred Reid: George Asprey
Soprano: Dawn Upshaw
Running time -- 120 minutes
MPAA rating: PG...
If the film makes its points early and sets out on an obvious trajectory, Paxton's love of the game is evident throughout. He and cinematographer Shane Hurlbut inject pizzazz into the proceedings with ball's-p.o.v. shots and telescoping effects. Although the story can't escape a certain sentimentality, Paxton leavens the inspirational element with admirable dramatic restraint, particularly in the two central performances.
Shia LaBeouf is full of quiet determination as Brookline, Mass., boy Francis Ouimet. He's been obsessed with golf since he began caddying at a tender age at the country club across the street from his working-class parents' home. From his Irish mother (Marnie McPhail) he receives undying encouragement, while his wary French father (Elias Koteas, bringing an affecting complexity to what could have been a by-the-numbers role) sees only heartbreak ahead for a poor boy dabbling in a gentleman's game.
But with the support and coaching of golfer Hastings (Justin Ashforth) and pro-shop expert Campbell (Luke Askew), Francis makes his way onto the green as a player, nabbing amateur titles until he finds himself squaring off in the U.S. Open against world-class players. Further bending the game's etiquette, circumstances leave Francis with a 10-year-old caddie, Eddie (Josh Flitter), who's not much taller than the bag. Eddie feeds Francis wisdom and rhyming pep talks with the delivery of a pintsize Borscht Belt comedian.
If the heart of the story is Francis' pairing with the spunky Eddie, its soul is the unspoken connection between him and his chief competition, Harry Vardon (Stephen Dillane), the British superstar of the game. Despite his professional status, Vardon feels he is the working-class outsider among the moneyed elite. The specter of a crucial moment from his Isle of Jersey childhood, hauntingly depicted in the film's prologue, arises to unnerve him during crucial moments at the tee. With his doleful gaze and self-contained intensity, the estimable Dillane movingly conveys Harry's profound pleasure in Francis' performance.
The fine supporting cast includes Stephen Marcus as Harry's no-nonsense colleague; Peter Firth as the hissable Lord Northcliffe, sponsor of Harry and Ted's stateside expedition; George Asprey as Britain's top amateur, a snob of the first order with a mean talent for smoke rings; Michael Weaver as the defending U.S. champion, a man of frothing nationalistic fervor; Robin Wilcock as the Brit journalist who loves the story; and Peyton List as the Smith girl who takes an interest in Francis, in a subplot that feels tacked-on.
Turn-of-the-century period detail is strong, the Quebec locations striking. A lovely conceit strips away the crowds and noise and leaves Vardon alone on a pristine landscape, while a sequence of rain-soaked golfing benefits from Elliot Graham's dynamic editing. Brian Tyler contributes a rousing, if insistent, score, and opera star Dawn Upshaw appears onscreen to trill a composition by Joe Jackson.
THE GREATEST GAME EVER PLAYED
Buena Vista Pictures/Walt Disney Pictures
A Morra Brezner Steinberg Tenenbaum production
Credits:
Director: Bill Paxton
Screenwriter: Mark Frost
Producers: Larry Brezner, Mark Frost, David Blocker
Executive producer: David Steinberg
Director of photography: Shane Hurlbut
Production designer: Francois Seguin
Music: Brian Tyler
Costume designer: Renee April
Editor: Elliot Graham
Cast:
Francis Ouimet: Shia LaBeouf
Harry Vardon: Stephen Dillane
Lord Northcliffe: Peter Firth
Arthur Ouimet: Elias Koteas
Ted Ray: Stephen Marcus
Eddie Lowery: Josh Flitter
Ted Hastings: Justin Ashforth
Stedman Comstock: Len Cariou
Sarah Wallis: Peyton List
Alec Campbell: Luke Askew
Bernard Darwin: Robin Wilcock
John McDermott: Michael Weaver
Mary Ouimet: Marnie McPhail
Wilfred Reid: George Asprey
Soprano: Dawn Upshaw
Running time -- 120 minutes
MPAA rating: PG...
- 10/4/2005
- The Hollywood Reporter - Movie News
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