Requiem for a Dream Remix Flac
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BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
The Commutation Test and Chris Bacon's Score for Source Code As
The Commutation Test and Chris Bacon’s Score for Source Code as a Framework for Film Music Pedagogy Aaron Ziegel, Towson University he cinema, whether experienced at the neighborhood multiplex or streamed at home, is arguably the medium through which today’s col- lege-age Americans are most likely to encounter newly composed sym- Tphonic music. Given the ubiquity of the film-viewing experience, students are often eager to learn the tools and methodologies that can equip them to criti- cally assess and more fully comprehend the function of music in movies. The filmSource Code (2011), directed by Duncan Jones and scored by Chris Bacon, provides a particularly effective starting point through which this process can begin.1 This article will discuss the pedagogical potential found in the film’s main titles and the impact of applying a commutation test to this sequence. Although here I address one specific example, the methodology of the commu- tation test is easily adaptable to other circumstances, as the theoretical foun- dation will make clear. While variations on the commutation test are a regular occurrence in many film music classrooms, this essay aims to present an intro- ductory primer that may be of use to instructors interested in an entry point for incorporating film music studies into their teaching. With that in mind, the appendix presents one suggestion for how to create film clips for classroom use. The value of this classroom activity extends beyond providing students with an engaging and memorable learning experience. By situating this analysis I wish to express my gratitude to the many students at Towson University whose feedback and enthusiastic classroom participation, along with suggestions from the anonymous reviewers, helped me to refine the pedagogical approach described in this essay. -
Concert for Peace Celebrating the Spirit of Martin Luther King, Jr
Monday Evening, January 18, 2010, at 7:30 Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director Presents Concert for Peace Celebrating the Spirit of Martin Luther King, Jr. Distinguished Concerts Orchestra International Distinguished Concerts Singers International JONATHAN GRIFFITH, DCINY Principal Conductor KARL JENKINS Requiem (55:00) Accompanied by the film “Requiem” ERIKA GRACE POWELL, Soprano CHERRY DUKE, Mezzo-Soprano GERAINT LLYR OWEN, Treble JAMES NYORAKU SCHLEFER, Shakuhachi 1. Introit 2. Dies Irae 3. The Snow of Yesterday 4. Rex Tremendae 5. Confutatis 6. From Deep in My Heart 7. Lacrimosa 8. Now As a Spirit 9. Pie Jesu 10. Having Seen the Moon 11. Lux Aeterna 12. Farewell 13. In Paradisum Intermission Please hold your applause until the end of the last movement. Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off. Lincoln Center KARL JENKINS The Armed Man: A Mass For Peace (63:00) Accompanied by the film “The Armed Man” ERIKA GRACE POWELL, Soprano CHERRY DUKE, Mezzo-Soprano ADAM RUSSELL, Tenor MARK WATSON, Bass-Baritone IMAM SHAMSI ALI, Muazzin 1. The Armed Man 2. A Call to Prayer 3. Kyrie 4. Save Me from Bloody Men 5. Sanctus 6. Hymn Before Action 7. Charge! 8. Angry Flames 9. Torches 10. Agnus Dei 11. Now the Guns Have Stopped 12. Benedictus 13. Better is Peace Please hold your applause until the end of the last movement. Notes on the Program Requiem of the haiku movements—“Having Seen KARL JENKINS the Moon” and “Farewell”—which incorpo - Born: February 17, 1944, Neath, Wales, UK rate the Benedictus and the Agnus Dei Accompanied by the film “Requiem” produced and respectively. -
Sing-Phoenix-Choral-Festival-2018
Program O Come, Let Us Sing Unto the Lord (1970) I Will Lift Up Mine Eyes (1970) Mountain View Presbyterian Church & Church of the Beatitudes Combined Choirs Jackie Huber, director; David Zych, collaborative pianist Sure On This Shining Night (2005) O Magnum Mysterium (1994) North Valley Chorale Eleanor Johnson, director; David Zych, collaborative pianist Les Chansons des Roses (1993) I. En une seule fleur II. Contre qui, rose III. De ton rêve trop plein The Saint Barnabas Singers Paul Lee, director Ave Maria (1997) Madrigali (1987) I. Ov’è, lass’, il bel viso? III. Amor, io sento l’alma Solis Camerata Dr. Kira Rugen, director **There will be a 15-minute intermission** Lux Aeterna (1997) I. Introitus II. In Te, Domine, Speravi III. O Nata Lux IV. Veni, Sancte Spiritus V. Agnus Dei – Lux Aeterna Mass Choir & Chamber Orchestra Stephen Schermitzler, conductor _________________________________________________________________________________ Please silence all noise-making devices and refrain from the use of flash photography and video recording during the performance. Out of respect for the performers, please hold your applause during all song cycles until the conclusion of the final movement. This performance is being professionally audio recorded by Clarke Rigsby. Thank you for your cooperation. Please join us for a free reception in Nelson Hall immediately following tonight’s performance. Chamber Orchestra Violin 1 Viola Double Bass Spencer Ekenes* Ann Thompson* Claudia Botterweg Hisami Iijima Janet Quiroz Zachary Bush Dana Zhou Dwight -
KEVIN MCKEEVER Music Editor FILM CREDITS
KEVIN MCKEEVER Music Editor FILM CREDITS The Toxic Avenger Ghost in the Shell Director: Macon Blair Director: Rupert Sanders Legendary Entertainment Arad Productions Composers: The Blair Brothers Composer: Clint Mansell Coming 2 America Rings – Temp Director: Craig Brewer Director: F Javier Gutierrez Eddie Murphy Productions Macari/Edelstein Composer: Jermaine Stegall Composer: Matthew Margeson Sonic the Hedgehog (uncredited) xXx: Return of Xander Cage – Temp/Final Director: Jeff Fowler Director: D. J. Caruso Paramount Pictures Hua Hua Media Composer: Junkie XL Composers: Robert Lydecker & Brian Tyler The Rhythm Section (uncredited) Teenage Mutant Ninja Turtles: Out of the Director: Reed Morano Shadows – Final Paramount Pictures Director: Dave Green Composer: Steve Mazzaro Canadian Film or Video Production Tax Credit Program Composer: Steve Jablonsky Like a Boss (uncredited) Director: Miguel Arteta Scouts Guide to The Zombie Apocalypse – Paramount Pictures Temp/Final Composer: Christophe Beck Director: Christopher Landon Broken Road Productions Point Blank – Final Composer: Matthew Margeson Director: Joe Lynch WarParty Film/Netflix Drunk Wedding Composer: Mitch Lee Director: Nick Weiss Weston Pictures Wonder Park (uncredited) Composer: Nathan Matthew David Director: Josh Appelbaum & André Nemec Paramount Animation Project Almanac Composer: Steven Price Director: Dean Israelite Insurge Pictures Bumblebee Director: Travis Knight Allspark Pictures/Paramount Pictures Composer: Dario Marianelli Page 1 of 3 Transformers: Age of Extinction Footloose -
Mark Kermode's Best Films of 2019
Mark Kermode’s best films of 2019 @KermodeMovie - The Guardian Sun 29 Dec 2019 06.00 GMTLast modified on Tue 31 Dec 2019 15.51 GMT 2019 was the year that Netflix movies came of age, and ageing actors were made young again. At the 91st Oscars in February, the bland Green Book beat the superior BlackKklansman to the best picture award, although Spike Leewon his first competitive Oscar in the adapted screenplay category. Rami Malik scooped best actor for his portrayal of Freddie Mercury in Bohemian Rhapsody, but best actress Olivia Colman (The Favourite) stole the evening with one of the funniest and most self- deprecating acceptance speeches ever (complete with raspberry-blowing). More significantly, Alfonso Cuarón’s Roma won for cinematography, direction and best foreign language film, despite naysayers’ complaints that Netflix-backed movies were essentially made-for-TV films. That attitude is now history: in the forthcoming awards season, the platform has several contenders, including Noah Baumbach’s Marriage Story and Martin Scorsese’s The Irishman. The Irishman marked a watershed moment for “digital de-ageing”, with innovative technology allowing Robert De Niro, Al Pacino and Joe Pesci to play characters much younger than themselves. We’ve seen de-aging elsewhere (from Captain Marvel to Gemini Man), but never this unobtrusively. Alongside the release of its first original animated feature, Sergio Pablos’s Klaus, Netflix also picked up distribution rights for I Lost My Body, which made history when it took the top prize in the Critics’ Week section at Cannes in May. More family-friendly releases – Frozen II, Toy Story 4 and a weirdly photorealist rehash of The Lion King – may have dominated the box office in 2019, but I Lost My Body was my favourite animated film of the year. -
Choreographers Showcase Playbill 2016
Dance Chicago 2016 5.. Krissie Odegard Geye 10. Nick Pupillo Music Composers- Pro Modern, Beach Blanket CHOREOGRAPHERS’ SHOWCASE 12.3.16 Trifecta Youth Company/Dance and Music Visceral Studio Company Blammo, Empty Set, Twisted Sister, Johann John Schmitz, Founder & Artistic Director, Curation Academy Nick Pupillo, Artistic Director Johannson Production Manager: Michael Clayton Stults JR. Krissie Odegard Geye, Artistic Director Depart (Premiere) Dancers: Meredith Cashman, Jenna Cochran, Stage Manager: Mel Dalivia Humanity Rewritten (Future Stars 11.12.16) Music Composer: Max Richter Denae Eldridge, Kayla Fiore, Tessa Kauppila, Lighting Design: David Goodman and Music Composers: Vaughan Williams, Dancers - Leah Emanuel, Lauren Katchem, Mandy Krebs, Shannon Leahy, Amanda Mudd, Megan Wines Nobou Uematsu Michelle Kies, Samantha Krachtus, Francesca Parker O'Neill, Annie Obereiner, Brynne Reeder, Sound: Andrew Dallas Dancers: Avery Arnold, Arantza Bascaran, Macala Levita, Ally McGuire, Gianna O'Connor, Sasha Olivia Ruby Show runner: Sarah Knoke Bartucci, Sophia Bienko, Kaleigh De la Cruz, Sarah Olevsky, Maggie Sablich, Emma Thesing www.forumdancetheatre.net Eshoo, Grace Fitzpatrick, Delaney Haas, Britt visceraldance.com Hoover, Peyton Lallas, Gabriella Lujan, Keely 15. Gauri Jog Miller, Melina Nestos, Julia Novy, Kyra Phelan, 11. Joey Claeyssen Indian Dance School 1. Megan Rhodes McKenna Rogers, Sabrina Penepacker, Sophie On Broadway Dancers, Senior Company Gauri Jog, Artistic Director All Aflutter (3/21/15) Philbrick, Isabele Schuerman, Emmaline Schuh, Kim Scerine. Artistic Director Kathak Medley Composer: Electro Swing Italia Lauren Slaber, Kendall Sorkin, Megan Sullivan, MOVE YOUR BODY (Dance Slam 11.5.16) (sargam, paran and Thumri) Costume Design: Megan Rhodes Alyssa Yagelski, Sarah Yagelski, Rachel Zlotowicz This work won this year’s Dance Slam http://www.gaurijog.com Dancers: Kaitlin Davis, Sarah Glover, Kelsie Jayne Music: Sia Nashley Mattocks, Taylor Raley, Megan Rhodes 6. -
Concert with Elia Cmiral September 23, 2012
Concert with Elia Cmiral September 23, 2012 To date, Elia has written nearly forty scores for independent films, TV and major studios Born in Czechoslovakia, Elia Cmiral including STIGMATA, WRONG TURN, attended the Prague Music JOURNEY TO THE END OF THE NIGHT and Conservatory, where he studied the PULSE trilogy. Cmiral’s scores for THE DEATHS OF IAN STONE, produced by Stan composition and double bass. Elia's first Winston and Brian Gilbert, and TOOTH AND scoring opportunity came with his NAIL, were featured in the 2008 After Dark father's production of CYRANO DE Horrorfest. His score for SPLINTER, a cutting- BERGERAC. From this experience he edge horror film directed by Toby Wilkins, discovered his passion for writing for the received the Best Score award at the stage. Screamfest'08 film festival in Los Angeles. Elia then worked with Czech director Juraj Herz Elia Cmiral on a score for the German-produced film By the early 80's, Cmiral had moved to HABERMANN, a WWII drama based on a true Sweden. Throughout his time there, he wrote story, which won the top prize at the 7th “Jewish scores for several European films, TV, and Eye” Film Festival in Ashkelon, Israel. three ballets. In 1989, he moved to the United A Czech composer Elia Cmiral, States to attend USC's Scoring for Motion Elia also composed part of "A Symphony of Pictures and Television program. Soon after Hope," a collaboration of several Hollywood presents a Concert Suite from his graduating from USC, Cmiral scored his first composers, which is to benefit victims of the American feature, APARTMENT ZERO, Haiti earthquake disaster. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
With the London Contemporary Orchestra
Clint Mansell: Moon (15) with the London Contemporary Orchestra Start time: 7.30pm Running time: 1 hour 50 minutes no interval Please note all timings are approximate and subject to change Brit Seaton discusses the history behind the iconic film and Clint Mansell’s score ahead of the performance. While it may be true that sound can’t be heard in space, the soundtrack to Duncan Jones’s Moon, composed by the inimitable Clint Mansell, resonates with a lucid, unearthly atmosphere. For the first time, the London Contemporary Orchestra perform Mansell’s original score side-by-side with a screening of the cult sci-fi film. This special performance celebrates the 50th anniversary of Apollo 11, the first landing on the moon, as well as ten years since the release of Jones’s acclaimed directorial debut. On the far side of the moon, lone astronaut Sam Bell (actor Sam Rockwell) nears the end of his three-year contract at a lunar base mining Helium-3, a substance aiding the Earth’s diminishing energy resources. His robot assistant Gerty being his only company, Sam longs to return home to his family, until a shocking discovery reveals that getting there might be harder than he thought. Moon is an homage to the classic sci-fi genre with a heartfelt, personal story. Mansell recalls receiving Jones’s script ‘out of the blue’ and being immediately struck by its exploration of celestial isolation and loneliness, and the questions it raises about what it means to be human. ‘I still think it’s one of the best — if not the best script I’ve ever read,’ he says. -
"Elle," Anne Dudley, Composer "Eye in the Sky," Paul Hepker And
"Elle," Anne Dudley, composer "Eye in the Sky," Paul Hepker and Mark Kilian , composers "Fantastic Beasts and Where to Find Them ," James Newton Howard, composer "Fences," Marcelo Zarvos, composer "Finding Dory," Thomas Newman, composer "The First Monday in May," Ian Hultquist and Sofia Hultquist, composers "Florence Foster Jenkins," Alexandre Desplat, composer "Floyd Norman: An Animated Life," Ryan Shore, composer "The Founder," Carter Burwell, composer "Free State of Jones," Nicholas Britell, composer "Ghostbusters," Theodore Shapiro, composer "The Girl on the Train ," Danny Elfman, composer "Gleason," Dan Romer and Saul Simon MacWilliams, composers "Gold ," Daniel Pemberton, composer "Greater," Stephen Raynor-Endelman, composer "Hacksaw Ridge," Rupert Gregson-Williams, composer "Hail, Caesar!," Carter Burwell, composer "The Handmaiden ," Cho Young-wuk, composer "Hands of Stone," Angelo Milli, composer "Hell or High Water," Nick Cave and Warren Ellis, composers "Hidden Figures," Pharrell Williams and Benjamin Wallfisch, composers "High-Rise," Clint Mansell, composer "How to Be Single," Fi l Eisler, composer "Hunt for the Wi lderpeople," Lukasz Buda and Samuel Scott, composers "The Huntsman: Winter's War," James Newton Howard , composer "Ice Age: Collision Course," John Debney, composer "Independence Day: Resurgence," Thomas Wander and Harald Kloser, composers "Ind ignation," Jay Wadley, composer "The Invitation," Theodore Shapiro, composer "Ithaca ," John Mellencamp, composer "Jack Reacher: Never Go Back," Henry Jackman, composer "Jackie," Mica Levi, composer "Julieta ," Alberto Iglesias, composer "The Jungle Book," John Debney, composer "Keeping Up with the Joneses," Jake Monaco, composer "Kicks," Brian Re itzell, composer "Krisha," Brian McOmber, composer "Kubo and the Two Strings," Dario Marianelli , composer "La La Land ," Justin Hurwitz , composer "Land of Mine," Sune Martin , composer "Landfill Harmonic," Michael A. -
A Sony Pictures Classics Release
MOON A Sony Pictures Classics Release Directed By Duncan Jones Produced by Stuart Fenegan, Trudie Styler Written By Nathan Parker Starring Sam Rockwell Also Featuring Kevin Spacey as the voice of “Gerty” East Coast Publicity West Coast Publicity Distributor Donna Daniels PR. Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 20 West 22nd St., #1410 Judy Chang Leila Guenancia New York, NY 10010 110 S. Fairfax Ave, #310 550 Madison Ave 347-254-7054, ext 101 Los Angeles, CA 90036 New York, NY 10022 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax DIRECTOR’S STATEMENT I have always been a fan of science fiction films. In my mind, the golden age of SF cinema was the ‘70s, early ‘80s, when films like Silent Running, Alien, Blade Runner and Outland told human stories in future environments. I’ve always wanted to make a film that felt like it could fit into that canon. There are unquestionably less of those kind of sci-fi films these days. I don’t know why. I have a theory though: I think over the last couple of decades filmmakers have allowed themselves to become a bit embarrassed by SF’s philosophical side. It’s OK to “geek out” at the cool effects and “oooh” and “ahh” at amazing vistas, but we’re never supposed to take it too seriously. We’ve allowed ourselves to be convinced that SF should be frivolous, for teenage boys. We’re told that the old films, the Outlands and Silent Runnings, were too plaintive, too whiney.