Classical Music/pera Listings
The News Review:
- Classical Music/pera Listings
- French tickler
- Maurice Jarre dies at 84; composer for ‘Lawrence of Arabia’
- Comedic opera provides evening of fun and live music
- Urban Music Festival preview: Word Up! chatting with Cameo
Classical Music/pera Listings
New York Times
) “Playing in the Band” with composers who are also performers. The participants include Cornelius Dufallo Marc Dancigers Annie Gosfield Richard Carrick and the electronic composer Sawako with Chris McIntyre as moderator. The evening performance is a concert by So Percussion performing music by Cenk Ergün Jason Treuting and Nicole Lizée. Le Poisson Rouge 158 Bleecker Street (212) 505-3474.
Related from Softwaremonster: pera Software shows off pera Mobile 9.7 with Flash and Turbo support
French tickler
The Phoenix
He first came to prominence in 2001 with L’incroyable vérité (”The Unbelievable Truth”) a record of breezy and melancholy chamber pop that found him holding court with both Air (who produced the album and took him on tour with them) and Daft Punk (who used the album’s slowcore masterpiece “Universe” in their Electroma film) the twin titans of France’s campaign of electro-dominance. But Tellier was a horse of a different couleur: whereas his compatriots were zapping brain cells with disco apocalyptica he was using the tools of electronica to fashion himself into a modern-day Serge Gainsbourg with an emphasis on song and composition. “The term ‘electronic music’ now means nothing to me because all music is really electronic right? What with computers and synthesizers ? and even with rock music you need computers. The thing I like is that electronic music is not the slave to a genre but rather a link between composition and technology. For me my art and real spirit is in my composition and these tools this robot technology allows me to make music with form and with artistic spirit. “His 2005 follow-up to his debut was Politics a bold record that fused African rhythms (courtesy of Tony Allen drummer of Fela Kuti’s Africa ‘70 band) with emotional balladeering. That produced the worldwide smash “La ritournelle.
Maurice Jarre dies at 84; composer for ‘Lawrence of Arabia’
Los Angeles Times
It’s not the technology is it? It’s about the music and the performance. Burlingame said Jarre’s scores for the films for Lean and other directors “demonstrated his ability to work on a large canvas. ” But he said “he also was a pioneer in using electronic music in films which is now commonplace. He was using electronic instruments as far back as the 1950s. Jarre Burlingame said also was known for his astute use of ethnic instruments to evoke exotic locales — “whether it was Indian lutes in ‘The Man Who Would Be King’ or balalaikas in ‘Dr. Zhivago’ or Middle Eastern instruments in ‘Jesus of Nazareth. ‘ “The music Jarre told The Times in 1966 “must give the film an added dimension.
Comedic opera provides evening of fun and live music
Yucaipa/Calimesa News Mirror
Live music from the full University of Redlands orchestra combined with the beautiful singing of U of R opera students filled the CHC Finkelstein Performing Arts Center and kept the audience transfixed throughout the evening. Additionally the hilarious plot and the delightful presentation by the students kept the audience laughing throughout. An electronic board high above the stage provided a translation for the opera which was a collaboration of U of R and CHC. Because universities create safe environments so young singers can save their voices this rendition of L’Elisir d’Amore was double and triple cast. According to the plot a love-sick nerd is about to lose his sweetheart if it were not for the intervention of a quack doctor a furtive tear and the placebo effect. The modern rendition of the opera provided a wonderful setting for the young actors to thrive in their interpretation and presentation of their characters. Additionally the director set designer costume designer and choreographer all had the opportunity to be imaginative with their areas of expertise including the presentation of the main characters supporting players and the overall surroundings.
Urban Music Festival preview: Word Up! chatting with Cameo
Austin 360
There was a moment in the 80s when a lot of musical purists seemed afraid that synthesizers were going to kill live instrumentation. How did the introduction of synthesizers into pop music affect your process?I saw synthesizers as a new hue or color for the brush depending on what you were trying to accomplish. To be able to come in the industry at a time when synthesizers were just making their debut was really interesting for me because at the turn of the electronic movement I brought with me a lot of the foundational older ways of achieving the sounds you wanted. Your music seems to exist at a point of transition from analog soul to new wave funk. Do you consider yourself pioneers of that sound?We consider ourselves pioneers period. Mainly because we created our own autonomy within our organization in several different ways musically and organization wise. Instead of the record company being a part of anything we created we were self contained and conceptually self contained as well.
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