A(nother) “vanity search” finds a nice quote from Martyn Ware on a Norwegian web page (scroll down).
Had it not been for the sound and the collaboration with the string arranger John Wesley Barker, that record would never have sounded like that.
Heaven 17 are currently on Tour performing Penthouse & Pavement
I noticed that in this final plagal or ‘Amen’ cadence, the high Ab is the 9th of the chord. I’ve recently bought the Bruno Walter 1961 recording which I had on vinyl as a boy.
Hear Leonard Bernstein take us through these final bars:
If, like me, you’re a big fan of the 1992 album - Secret Story by Pat Metheny, you might enjoy listening to this MP3 of Pat talking about the making of this very special album.
Some interesting insights and truths about a soundtrack to many peoples lives. In many ways, the secret is still secure in the power of music to reflect and heal our lives.
I am particularly fond of the contribution the orchestra make on the album recorded by Hayden Bendall at Abbey Road (whom I had the pleasure of working with when he recorded the strings I did for the John Leckie production of Back In Denim)
The Secret Story LIVE DVD recorded in New Brunswick NJ 24th November 1992 and released in 1993 is a reasonable document of the toured presentation of the album, impressive ‘virtual’ strings and realisation of a complex orchestral palette. I believe this to be a transfer from LaserDisc to DVD and the sound suffers from sudden changes of level probably due to the sound compression used.
It looks as though it was written in the second half of the 19th Century and contains popular tunes of the day. When I get some time, I intend to make an edition. I would be very grateful if anyone knows of Thomas Booth in Burton On Trent.
We took friends to hear Rakesh Chaurasia, nephew of Pandit Hariprasad Chaurasia, the bansuri master. I’d heard Rakesh with Hariji in the Usher Hall, Edinburgh performing in an unforgettable all night rag concert. Rakesh played so very well in comfortable English country surroundings by Salisbury Cathedral on the banks of the River Avon. The Salisbury Festival 2009 presentation was entitled Music For Mind And Spirit and included a performance by the large English Hindustani classical ensemble Tarang
I’m glad I managed to record the last 4 minutes of the performance with AudioBoo on my iPhone which held many of the audience spellbound.
I bought this from The Collectors Corner in Salisbury for £22. The performances and recording standard is VERY wonderful. Highly recommended.
I've got to an age where I've started revisiting things that I did in my past, this track, a cover version of We Love You by the Rolling Stones, featured a string arrangement and Eddie Reader, it was mixed and released and I didn't get to hear it back in 1984. I heard it when I put the strings on, but not the final version until I tracked down a copy in The Netherlands. I transcribed it in a hurry from a pretty bad turntable and cartridge, if someone can offer a better transcription, I'd really appreciate it. If you know how to get hold of a master, let me know please.
More track info from discogs: here
Well, it’s to do with Repeat Offending. For some unknown reason, an awful habit has been promoted in music making for far too long, that is, not doing the repeats even when the composer asks us to. It’s prevalent in “classical” training, or rather I would say an “incomplete” training and also because some examination boards - see ABRSM Rules, require candidates NOT to do the repeats, against the composer’s wishes.
In all other music forms, it would be impossible NOT to repeat sections, imagine popular songs with only one instance of a CHORUS! The repeat gives the us an opportunity to reassess the music, to shed a new light on something that has gone before, to find another angle and reflection on the text. To me, in asking pupils not to Repeat is like robbing them of a wonderful opportunity and a crucial skill - that of flexible interpretation. In SONATA FORM, which is the classical form most music of the classical era is subject to, the exposition is repeated, to not do this, unbalances the structure.
Please: Always do the repeats and relish the opportunity. If it’s a bind to do so, then you’re in the wrong job.
Welcome to the International Music Score Library Project! IMSLP attempts to create a virtual library containing all public domain musical scores, as well as scores from composers who are willing to share their music with the world without charge. You can read the full list of goals that IMSLP will try to achieve.IMSLP also encourages the exchange of musical ideas, both in the form of musical works, and in the analysis of existing ones. Therefore, feel free to create/edit a page with your analysis of a particular piece (please use the "Discussion" link on the work page of that particular piece)
- Transit Of Venus 1 study for flute
- Transit Of Venus 2 for flute duet
- Transit Of Venus 3 for 2 solo flutes and flute choir (piccolo, 3 flutes, 2 alto flutes and bass flute)
Go to the Catalogue section.
I've been listening to it all afternoon today. On my 5th listening as I write and no doubt I will be listening many more times. BPM is very witty, inventive, poppy, entertaining and very moving. As the title suggests, the sound canvas is derived from sounds made by the body, the piano and the machine.
- Indi Kaur
- Camille (who's best selling and award winning album Le Fil, MaJiKer produced),
- Maya Barsony,
- Heather Juno,
- China Moses,
- Benedicte Le Lay,
- Rosa Rebecka
- and many more...
MaJiKer, AKA Matthew Ker was a pupil of Birmingham Schools Wind Orchestra when I was the conductor, then Matthew and I started Birmingham Young Composers with an Arts4Express grant. I am privileged now to see him flourish and make a successful and rewarding profession in music.