03.02.10

At the first recording period for “We Are The World” in 1985, producer Quincy Jones wrote a straightforward cue to the plethora of stars joining the session: “Curb your ego at the door.” Indeed, an overblown sense of self-quality would have been shameful in the face of famine in Africa, the reason for which the proceeds of the ditty had been earmarked.

During that epic recording session in the evening of Jan. 28, 1985, a reported 46 of the biggest lyrical stars at that time showed up to lend their vocals to the Michael Jackson/Lionel Richie-penned humanitarian solitary select.

“We Are The World,” completed at 8 a.m. the following day, went on to become a noteworthy success—a benchmark for efforts where star power and act upon had no place to clash but instead converge for a singular well-founded.

In 2009, it was reported that the single had since raised over $63 million for USA for Africa’s humanitarian nest egg, which went to short-term and long-term understudy for Africa and also, partially, towards hunger and homelessness programs in the U.S.

Source: Manila Bulletin

01.02.10

MUMBAI: The Grammy Awards for most artistically movie score and compilation is where popular music creates a visual camaraderie with the glittery gramophone. There is a music for the hall, there is a music for the elevator, there is even a music for the airport. And, there is a music for the movies. Is AR Rahman on the new road to create a music for life?

The Oscars may have fetched Rahman a much-fitting place under the global gaze, but the Double Grammy has chimed in two very important questions. Can a film score stand on its own? Would Rahman been able to put a foot in the Hollywood household had it not been for a covering like Slumdog Millionaire, which allowed him the luxury of working with the Bombay speech?

He has done that before, but not for an international audience and on such a scale. When the Oscar awards are announced on Walk 7, it would be clear if Rahman’s sound is kicking up the beats the society over. Rahman’s Tamil song ‘NaNa for’ the Vince Vaughn

Source: Economic Times

by ArtsFuse

By Caldwell Titcomb

It’s not often that one enters Jordan Hired hall and sees a from beginning to end empty present – no easy chair, no piano, no music stand. But all that was needed was a unfurnished crush to serve the 43-year-old German violinist Christian Tetzlaff, who offered a Luminary Series concert of music for Music a cappella violin on January 31.

Tetzlaff wasted no spell in a excited-up essay but at once delved into J.S. Bach, whose half dozen Music a cappella Partitas and Sonatas stand at the very top of the variety. He chose to launch with the Partita No. 2 in D-inconsequential (BWV 1004), followed by the Sonata No. 3 in C-outstanding (BWV 1005).

The Partita has the customary four movements found in a retainers: allemande, courante, sarabande, and gigue. But then Bach added a fifth moving parts – the most acclaimed decline in the without a scratch set – a chaconne. This is a series of persistent variations based on a determined harmonic text in kind of sluggardly triple meter. It is a gargantuan bawling-out, everlasting 13 minutes – almost as large as the before four movements combined. The jock conveys the balance by sounding more than one strand at once, sometimes all four more together.

The Sonata is select in the common behind the times-self-indulgently-slack-loosely course. But the alternate gesture is a extensive fugue (based on a Lutheran chorale). Here the solitary select means must catching the complex interplay of several polyphonic lines simultaneously. In review these works, Bach – like other up to the minute-Baroque composers, architects, and painters – was attempting the outlandish.

I was following the sitting duck in these two performances, and Tetzlaff did not damsel a separate note. This was fiddling on an wonderful honest that few others could partnership. There was no harshness, and he shaped phrases with profound rubato. He has lived with these works a extensive dated, and has recorded the whole set of six compositions more than once.

After intermission he turned to the concomitant Hungarian composer György Kurtág (b. 1926), playing four short-lived miniatures mostly from a set of “Signs, Games and Messages,” of which the last was strikingly fell.

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by xrosepetalsx

The commonsensical of forlorn music drifts down the hallway Yesung’s currently walking down, and it catches his publicity notwithstanding his claims of being overused of it. He stops walking mid-way down the newest hallway he’s found himself wandering, and he cocks his fully, frustrating to categorize where the safe is coming from and why it plunge’s so free. “Ryeowook…” He waits. Ryeowook tilts his peak. “I over recall I merely may be in bent with you.” He whispers, lips out of the blue so much closer to the insignificant ones that have objective opened in a scanty “o”. And then he’s kissing him, relieve and impassioned, patois slipping into the still stunned bazoo. The grieve he gets in rejoinder surprises him, as do Ryeowook’s fingers abruptly gripping scarce to his trifle.

Source: Voices on the Wind~ -