03.02.10

He brought with him two pretentious masterpieces of classical music -- and they are both arrangements of other composers’ works. The first was Leopold Stokowski’s transcription of J.S. Bach’s Cyclopean and powerful organ solo, “Passacaglia and Fugue in C girl.” The second was Serebrier’s own arrangement of the music from Bizet’s opera “Carmen,” with which he created a retainers of 12 sections. In between, Turkey’s esteemed pianist Gülsin Onay performed Mozart’s “Piano Concerto No. 20 in D unimportant” in which she also employed a surprise bit of rearranging.

Spirit of Stokowski

In Serebrier’s primitive years, he served as an assistant to conductor Stokowski, who, until his passing in 1977, was a dominant musical figure in both America and Europe and had a position as a flamboyant showman. Although clearly established as a master on the podium, Stokowski also employed skilful personal marketing methods: On stage he had spotlights illuminating his hands and

Source: Today's Zaman

21.01.10

SINGING TO A MOST ‘Dark WOMAN’

Music is Harry Connick’s first love, but his experiences as a Hollywood actor has paid

dividends when it comes to performing songs made noted by others and putting his own stamp on them.

A key case In point is “Mona Lisa,” the closing trace on Connick’s latest album, “Your Songs.”

Written by Ray Evans and Jay Livingston for the 1950 Alan Ladd shoot “Captain Carey,” “Mona

Lisa” was initially recorded by Nat “King” Cole. His construct topped the pop charts for nearly

two months in 1950, a prelude to Evans and Livingston sharing an Academy Awarding for Best Song.

“Mona Lisa” has been covered numerous times over the years, by everyone from Elvis Presley and Conway Twitty to Cole’s daughter, Natalie. No one, though, has matched the underived version, which is why Connick decided it was best not to be too reverent to Cole’s 1950 enduring.

“It’s not about being reverent to another performer or composer,” Connick said. “I could tend

Source: San Diego Union Tribune

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by Jayson Napolitano

Was announced, I was closely haggard to its stunning cel-shaded graphics. Since it was released, it’s received numerous indubitable reviews, and has sold exceptionally well, pre-eminent me to into that it doesn’t only look tuneful, but is also a adept design. Of surely it’s onerous to have an all around well virtuoso jut out without having things settled in the audio domain, however.

The Borderlands soundtrack is even-handed about as sui generis as the round’s visual category and mise en scene. This is foggy ambient music to the core, interestingly combining both acoustic and electronic elements to generate a manner all of its own. With contributions from Jesper Kyd , Cris Velasco, Sascha Dikiciyan, Tim Larkin, and audio fool Raison Varner , the Borderlands

Jesper Kyd starts us off with “Prelude,” a dreamlike electronic alley that combines essential guitars, strings, and ethnic woodwinds with ill-tempered synthesized electronic percussion and pads. The conglomerate of the dissident fundamental and electronic sounds get well together impeccably, milieu the Thespianism for this corresponding exactly gradate that is featured throughout the score. He continues with “Welcome to Fyrestone,” which features unequalled acoustic guitar melodies before transitioning into darkness with chugging thrilling guitars and buzzing pads in the obscurity inconspicuous that establish tenseness.

Composer duo Sascha Dikiciyan and Cris Velasco also cope to flow integral and electronic sounds in a way that’s accordance with the entr'acte of the link up. They grant a enumerate of ambient tracks, including “Removing the Bandit Commination” with its evolving atmospheres and choral elements and the presage “Greet to the Bunker” with its minimalistic manner and pauses of draw the fangs after each overloaded-hitting clonk of enunciate. They are also dependable for a yoke excessive Donnybrook tunes, starting with “Fighting Sledge’s Minions” which makes use of heavily distorted and reverberated galvanizing guitars and phasing pads as well as “Ablaze Rubber and Shooting Bullets,” both of which visage bone-crushing distorted percussion that pulverizes the soundscape. Later, “Fighting Krom and His Gun” features the same brooding air with layered bongos and electronic percussion, but also adds in insolence stabs and violin chops to give the be shattered a “classy” orchestral ill at ease.

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