DOCSLIB.ORG

Infomail Nr. 951: NITIN SAWHNEY CD LONDON UNDERSOUND Mit PAUL Mccartney

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Infomail Nr. 951: NITIN SAWHNEY CD LONDON UNDERSOUND Mit PAUL Mccartney InfoMail Nr. 951: NITIN SAWHNEY CD LONDON UNDERSOUND mit PAUL McCARTNEY Hallo M.B.M., hallo BEATLES-Fan, inzwischen liegt die CD LONDON UNDERSOUND vor. Montag, 20. Oktober 2008 (statt Montag, 17. Oktober 2008): CD LONDON UNDERSOUND. 19,90 € Track 1: Nitin Sawhney & Natty: Days Of Fire. Track 2: Nitin Sawhney & Tina Grace: October Daze. Track 3: Nitin Sawhney & Imogen Heap: Bring It Home. Track 4: Nitin Sawhney: Interlude 1 - Ghost Image. Track 5: NITIN SAWHNEY & PAUL McCARTNEY: My Soul (Nitin Sawhney & Paul McCartney) (4:01) Track 6: Nitin Sawhney: Interlude 2 - Soledad. Track 7: Nitin Sawhney & Roxanne Tataei: Distant Dreams. Track 8: Nitin Sawhney: Interlude 3 - Street Sounds. Track 9: Nitin Sawhney & Ojos De Brujo: Shadowland. Track 10: Nitin Sawhney & Faheem Mazhar: Daybreak. Track 11: Nitin Sawhney: Interlude 4 - Identity. Track 12: Nitin Sawhney & Reena Bhardwaj: Ek Jaan. Track 13: Nitin Sawhney & Tina Grace: Transmission. Track 14: Nitin Sawhney: Interlude 5 - Tension. Track 15: Nitin Sawhney & Aruba Red: Last Train To Midnight. Track 16: Nitin Sawhney: Interlude 6 - Ronald Gray. Track 17: Nitin Sawhney: Firmament. Track 18: Nitin Sawhney & Anoushka Shankar: Charu Keshi Rain. Musiker bei My Soul: PAUL McCARTNEY (Gesang, Bassgitarre, akustische Gitarre, elektrische Gitarre); NITIN SAWHNEY (Programming, KlavierFender Rhodes, Bassgitarre, akustische Gitarre, Elektrische Gitarre, Arrangement für Streichinstrumente, Orchestrierung); REENA BHARDWAY (Backgroundgesang); RALPH SALMIN (Schlagzeug); ASHWIN SRINIVASAN (Flöte);URBAN SOUL ORCHESTRA (Streicherinstrumente). Der Text zum Song My Soul: I long to know all your secrets / I want to walk through your fire / Light up my eyes with your smile I was awakened by magic / I was alone in this world / take me away from here Life spinning round at a blistering pace / I've been shot from a gun / to your final embrace My soul - your heart / two worlds - apart / this life - is all - we have How could this steal all these feelings / How Could they lie to this world / A picture away from your smile Life spinning round at a blistering pace / I've been shot from a gun / to your final embrace My soul - your heart / two worlds - apart / this life - is all - we have One soul displaced / one heart replaced / feelings defaced / invade our space / no one left to give us back our time We could climb every mountain, swim to every sea / when the all world is asleep / we can set ourselves free My soul - your heart / two worlds - apart / this life - is all - we have mmm yeah Yeah / we could climb every mountain, swim to every sea / when all the world is asleep / we can set ourselves free We could climb every mountain, swim to every sea / when all the world is asleep / we can set ourselves free My soul - your heart / two worlds - apart / this life … ooooh Übersetzung: Ich sehne mich danach, all deine Geheimnisse zu kennen / Ich will durch dein Feuer laufen / Meine Augen mit deinem Lächeln anzünden Ich wurde durch Magie erweckt / Ich war allein in dieser Welt / Bring mich weg von hier Das Leben dreht sich mit mörderischem Tempo im Kreis / Ich bin von einer Flinte angeschossen worden / Zu deiner letzten Umarmung Meine Seele - Dein Herz / Zwei Welten - Getrennt / Dieses Leben - ist alles - was wir haben Wie konnte dies all diese Gefühle stehlen / Wie konnten sie diese Welt belügen / Ein Bild von deinem Lächeln entfernt Das Leben dreht sich mit mörderischem Tempo im Kreis / Ich bin von einer Flinte angeschossen worden / Zu deiner letzten Umarmung Meine Seele - Dein Herz / Zwei Welten - Getrennt / Dieses Leben - ist alles - was wir haben Eine Seele verdrängt / Ein Herz ersetzt / Gefühle entstellt / Dringen in unseren Raum ein / Niemand ist mehr da, um uns unsere Zeit zurückzugeben Wir könnten jeden Berg besteigen, zu jedem Meer schwimmen / Wenn die ganze Welt schläft / Wir können uns befreien Meine Seele - Dein Herz / Zwei Welten - Getrennt / Dieses Leben - ist alles - was wir haben Mmm yeah Yeah / Wir könnten jeden Berg besteigen, zu jedem Meer schwimmen / Wenn die ganze Welt schläft / Wir können uns befreien Wir könnten jeden Berg besteigen, zu jedem Meer schwimmen / Wenn die ganze Welt schläft / Wir können uns befreien Meine Seele - Dein Herz / Zwei Welten - Getrennt / Dieses Leben … ooooh Viele Grüße aus dem Beatles Museum senden Dir Martin & Stefan Kontakt zum Beatles Museum Ruf uns an, wenn Du Fragen hast: 0345-2903900 Während der Öffnungszeiten sind wir persönlich für Dich erreichbar – über eine ganz normale Telefonleitung – keine Warteschleifen oder sonstige Spielchen. Beatles Museum, Alter Markt 12, 06108 Halle (Saale) Telefon/phone: 0345-2903900, Fax: 0345-2903900; Email: [email protected] Internet: www.BeatlesMuseum.net monatliche/monthly BEATLES-Publikation: THINGS Angebote freibleibend und so lange der Vorrat reicht. Fehler vorbehalten. Alle Angaben nach bestem Wissensstand, jedoch ohne Gewähr. Generell sind alle unsere Meldungen frühzeitig und zuverlässig. .
Load more

Recommended publications
  • A Level Music
    A level Music Areas of Study – Other Perspectives NB: updates to this document were made in April 2021 and these are highlighted in yellow. © artwork: Mark Bolitho | Origami photography Pearson Education Ltd/Justin Hoffman Introduction This qualification features a Component entitled Appraising. The purpose of this component is for students to develop their listening and appraising skills through the study of music across a variety of styles and genres. The content is grouped into six areas of study, containing either two or three set works. This component gives students the opportunity to reflect on, analyse and evaluate music in aural and/or written form. To achieve this objective, students need to use their knowledge and understanding of musical elements, context and language to make critical judgements about the repertoire and context of music within the areas of study. Students should also study a range of pieces beyond these set works. The suggested other musical pieces for each area of study (see Appendix 4 of the specification) provide students with breadth, enabling them to place their knowledge of musical elements, context and language in a wider context, and apply their knowledge and understanding to more pieces of music. The suggested other music can help students to relate their learning to music in the set works, but their study is not compulsory. Teachers can identify and teach other pieces of music to support their students’ learning. The following music and musicians are examples of how each of the areas of study can be approached from a diverse range of other perspectives. The pieces have been chosen to encourage students to think beyond the mainstream and over-represented composers and styles of music, and instead to consider alternative and less well-known types and origins of music.
    [Show full text]
  • Embargoed Until 4 November 2011
    16th December 2011 EMBARGOED UNTIL 17th December 2011 THE GENIUS OF HITCHCOCK CELEBRATING CINEMA’S MASTER OF SUSPENSE BFI PRESENTS RESTORED, RARELY SEEN HITCHCOCK FILMS WITH NEW SCORES FOR LONDON 2012 FESTIVAL TICKETS ON SALE NOW 2012 is the year that the BFI brings the master of suspense to audiences on a truly Olympian scale, with gala events of rarely seen early films and a major season at BFI Southbank. As part of the London 2012 Festival, the BFI is staging a series of spectacular one-off screenings of Hitchcock’s British silent films from the 1920’s, restored by the BFI National Archive, and brought to life for audiences with newly commissioned scores from the best of British contemporary musical talent. Tickets for the first two of these events are now on sale via www.bfi.org.uk. The BFI will also be holding a full retrospective of Hitchcock’s work from his entire career at BFI Southbank from August - October 2012. Nitin Sawhney, one of the world’s most distinctive and versatile musical voices, is writing a score to accompany The Lodger: A Tale of the London Fog (1926) at the Barbican Hall, 7.30pm, Saturday 21st July 2012. The score will be performed by the London Symphony Orchestra and is commissioned by independent film distributor Network Releasing in partnership with the BFI. Ticket prices from £15. Early booking is recommended as tickets sold out very quickly for The Pleasure Garden (1925) which will have a new score from promising young composer and recent graduate from the Royal Academy of Music Daniel Patrick Cohen to be performed by The Royal Academy of Music’s Manson Ensemble at Wilton’s Music Hall, E1, on Thursday 28 June and Friday 29 June, 7.30pm both nights.
    [Show full text]
  • « Woodlands and Beyond... » Hélène Grimaud / Mat Hennek Mercredi 25 Octobre 2017 – 20H30
    « Woodlands and beyond... » Hélène Grimaud / Mat Hennek Mercredi 25 octobre 2017 – 20h30 GRANDE SALLE PIERRE BOULEZ – PHILHARMONIE PROGRAMME Luciano Berio Piano aquatique Nitin Sawhney Water - Transition 1 Toru Takemitsu Rain Tree / Sketch II Nitin Sawhney Water - Transition 2 Gabriel Fauré Barcarolle n° 5 Nitin Sawhney Water - Transition 1 Maurice Ravel Jeux d’eau Nitin Sawhney Water - Transition 4 Isaac Albéniz Almeria Nitin Sawhney Water - Transition 5 Franz Liszt Les Jeux d’eau de la villa d’Este Nitin Sawhney Water - Transition 6 Leoš Janácek Dans les brumes – 1. Andante Nitin Sawhney Water - Transition 7 Claude Debussy La Cathédrale engloutie Hélène Grimaud, piano Mat Hennek, installation photo FIN DU CONCERT VERS 21H30 L’infini, et au-delà… Après avoir donné le tout premier récital de l’histoire de la Philharmonie de Paris, Hélène Grimaud revient seule sur scène, mais dans une toute autre configuration. Avec « Woodlands and beyond… », elle repense le récital, ce concept créé par Franz Liszt dans les années 1840 et qu’il est peut-être temps d’envisager sous un jour nouveau. La musicienne a souhaité avec « Woodlands and beyond… » mêler les arts, faire se percuter les sens, en une symbiose apte à favoriser la rêverie et ces fameuses correspondances chères à Baudelaire. La juxtaposition de la musique, qui reprend celle de l’album Water, et des photographies de la nature de l’artiste allemand Mat Hennek, rend possible l’éclosion d’un nouveau champ imaginaire. Des strates de conscience, des rapproche- ments inattendus se dévoilent pour les auditeurs/spectateurs. Et pour l’artiste elle-même. Rappelons que pendant certaines périodes de sa vie, Hélène Grimaud n’a pas travaillé sur l’instrument mais mentalement, par associations d’images, de couleurs.
    [Show full text]
  • Ragamala World Music 2017 Program Book
    RAGAMALA 2017: WELCOME SCHEDULE Ragamala 2017 A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE For the 5th year, spanning 15 hours and featuring dozens of performers, Ragamala offers a FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts jaw-dropping assortment of Indian classical music from some of its greatest and emerging Ragamala: A Celebration of Indian Classical Music + Dance A CELEBRATION OF INDIAN CLASSICAL MUSIC + DANCE practitioners. Ragamala functions as the perfect, immersive introduction to the classical music Chicago Cultural Center, Preston Bradley Hall FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 of India. Not only are both the music of the north (Hindustani) and the south (Carnatic) + Millennium Park, Great Lawn FRIDAY, SEPTEMBER 8 - SATURDAY, SEPTEMBER 9 - 6:30PM-10AM Chicago Cultural Center represented, but listeners will also get the rare chance to hear ragas performed at the time of 78 E. Washington Street, 3rd Floor Preston Bradley Hall, 3rd Floor day they were originally composed for—a facet of the tradition lost in the west. 6:30pm-10am 78 E Washington Street Presented in collaboration with Kalapriya Foundation, Center for Indian Performing Arts 6:30pm-6:30am The word “raga” has a Sanskrit origin, meaning "coloring or dyeing". The term also connotes an Evolution of Songs from Indian Films: 1930-2017 emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly 6:30-7:30pm SATURDAY, SEPTEMBER 9 related to passion, love, or sympathy for a subject or something. In the context of ancient Anjali Ray, vocals with Rishi Thakkar, tabla and Anis Chandnani, harmonium Yoga + Gong Meditation Indian music it is often devotional and used as a prayer.
    [Show full text]
  • 394 GLOSSARY Acid Jazz Late 1980S and 1990S
    GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture.
    [Show full text]
  • Ravi Shankar Centennial Concerts Featuring Special Guests
    ***For Immediate Release*** Celebrating 100 Years – The Life & Legacy of Ravi Shankar Ravi Shankar Centennial Concerts Featuring Special Guests: Norah Jones, Anoushka Shankar, Philip Glass, Dhani Harrison, Nitin Sawhney and Ensemble of Ravi Shankar’s Foremost Disciples *Guest Artists to Only Appear at Select Concerts Listed in the Press Release* Saturday, May 16, 2020 Friday, May 29, 2020 San Diego Civic Theatre Carnegie Hall (San Diego, CA) (New York, NY) Tuesday, May 19, 2020 January - November 2020 Walt Disney Concert Hall Southbank Centre (Los Angeles, CA) (London, United Kingdom) Friday, May 22, 2020 November 2020 Chicago Symphony Orchestra VENUE T.B.A. (Chicago, IL) (New Delhi, India) "The first person who ever impressed me in my life was Ravi Shankar, and he was the only person who didn't try to impress me" -George Harrison "To have had the privilege to work with him, to know him or even to have heard him perform live onstage must surely be one of the most remarkable and memorable passages of one's musical life." -Philip Glass "For an entire generation of musicians it was Ravi Shankar who established and personified the idea of music as a devout spiritual path, he inspired by his example and by his devotion; and this world and the worlds beyond are richer because of it. Thank you Ravi." -Sting San Diego, Calif. – Wednesday, January 8, 2020 – A legend of 20th century music and an international icon of India, sitar virtuoso and singular composer Ravi Shankar (1920 - 2012) will be commemorated with a series of Ravi Shankar Centennial Concerts in May 2020 to celebrate 100 years since his birth on April 7, 1920.
    [Show full text]
  • Nitin Sawhney
    METROPOLIS RECORDINGS PROUDLY PRESENT NITIN SAWHNEY Nitin is arguably the busiest, most versatile and sought after composer and producer around. As the holder of five honorary doctorates and three fellowships, he has worked with a host of celebrated artists including Paul McCartney and Sting and has made nine studio albums. He releases his first ever retrospective (an unique live recording) this summer. He has been nominated for a Mercury Music prize, won a MOBO, two BBC Radio 3 awards and a Southbank Show award, amongst 15 others. He has scored over 50 films for cinema and television, with an Ivor Novello nomination for best score, leading to his much acclaimed orchestral music to the BAFTA-nominated BBC series, The Human Planet, Mira Nair’s film The Namesake, three film scores for live performance by the London Symphony Orchestra, two acclaimed videogame scores (leading to a second Ivor Novello nomination), and multiple compositions for Olivier winning theatrical and dance productions with Complicite and Akram Khan. Sawhney recently scored Deepa Mehta’s adaptation of Salman Rushdie’s book Midnight’s Children, Hitchcock’s early silent movie The Lodger, Khyentse Norbu’s Vara: A Blessing and Japan in a Day for Ridley and Tony Scott. OneZero, Sawhney’s retrospective album to be released June 24th by Metropolis Recordings, was recorded recently and was cut live-to-vinyl. Using this long forsaken authentic vinyl recording technique, it includes four brand new tracks (one featuring Joss Stone) amongst tracks taken from Sawhney’s nine album back catalogue. His tenth studio record, Dystopian Dream, will be released next year.
    [Show full text]
  • 284 Chapter 4 Compilasians: from Asian Underground To
    CHAPTER 4 COMPILASIANS: FROM ASIAN UNDERGROUND TO ASIAN FLAVAS Introduction The success of those British Asian popular musicians who were associated with the Asian Underground by the end of the 1990s had two imagined outcomes: 1) their success could establish British Asians as significant contributors to British society and popular culture, or 2) their success could eventually falter and, as a result, return British Asian popular musicians to the margins of British society. As Chapter 2 demonstrates, the second outcome proved to become reality; British Asian musicians associated with the Asian Underground did return to the margins of “British culture” as popularly conceived. Before they returned to the margins, recording companies released a plethora of recordings by British Asian musicians, as well as compilation recordings prominently incorporating their music. As shown in Chapter 2, the “world music” category in the context of the award ceremonies served many simultaneous, if at times contradictory, roles that helped define British Asian musicians’ relation to mainstream culture; the most significant of these roles included serving as a dumping ground for exotic others and as a highly visible platform highlighting British Asian musicians’ specific contributions to the music industry. Yet British Asian musicians’ participation within particular compilation recordings offers yet another significant forum that defines their cultural identity. The first British Asian-oriented compilations had been motivated by attempts to capture the atmosphere of particular club scenes and package them for mass consumption; as a result, these compilations most often featured music by artists associated with respective clubs. Yet as a surfeit of 284 British Asian releases saturated the market, British Asian music lost its novelty.
    [Show full text]
  • Music Guide Music HISTORY There Was a Time When “Elevator Music” Was All You Heard in a Store, Hotel, Or Other Business
    Music Guide Music HisTORY There was a time when “elevator music” was all you heard in a store, hotel, or other business. Yawn. 1 1971: a group of music fanatics based out of seattle - known as Aei Music - pioneered the use of music in its original form, and from the original artists, inside of businesses. A new era was born where people could enjoy hearing the artists and songs they know and love in the places they shopped, ate, stayed, played, and worked. 1 1985: DMX Music began designing digital music channels to fit any music lover’s mood and delivered this via satellite to businesses and through cable TV systems. 1 2001: Aei and DMX Music merge to form what becomes DMX, inc. This new company is unrivaled in its music knowledge and design, licensing abilities, and service and delivery capability. 1 2005: DMX moves its home to Austin, TX, the “Live Music capital of the World.” 1 Today, our u.s. and international services reach over 100,000 businesses, 23 million+ residences, and over 200 million people every day. 1 DMX strives to inspire, motivate, intrigue, entertain and create an unforgettable experience for every person that interacts with you. Our mission is to provide you with Music rockstar service that leaves you 100% ecstatic. Music Design & Strategy To get the music right, DMX takes into account many variables including customer demographics, their general likes and dislikes, your business values, current pop culture and media trends, your overall décor and design, and more. Our Music Designers review hundreds of new releases every day to continue honing the right music experience for our clients.
    [Show full text]
  • Universitá Degli Studi Di Milano Facoltà Di Scienze Matematiche, Fisiche E Naturali Dipartimento Di Tecnologie Dell'informazione
    UNIVERSITÁ DEGLI STUDI DI MILANO FACOLTÀ DI SCIENZE MATEMATICHE, FISICHE E NATURALI DIPARTIMENTO DI TECNOLOGIE DELL'INFORMAZIONE SCUOLA DI DOTTORATO IN INFORMATICA Settore disciplinare INF/01 TESI DI DOTTORATO DI RICERCA CICLO XXIII SERENDIPITOUS MENTORSHIP IN MUSIC RECOMMENDER SYSTEMS Eugenio Tacchini Relatore: Prof. Ernesto Damiani Direttore della Scuola di Dottorato: Prof. Ernesto Damiani Anno Accademico 2010/2011 II Acknowledgements I would like to thank all the people who helped me during my Ph.D. First of all I would like to thank Prof. Ernesto Damiani, my advisor, not only for his support and the knowledge he imparted to me but also for his capacity of understanding my needs and for having let me follow my passions; thanks also to all the other people of the SESAR Lab, in particular to Paolo Ceravolo and Gabriele Gianini. Thanks to Prof. Domenico Ferrari, who gave me the possibility to work in an inspiring context after my graduation, helping me to understand the direction I had to take. Thanks to Prof. Ken Goldberg for having hosted me in his laboratory, the Berkeley Laboratory for Automation Science and Engineering at the University of California, Berkeley, a place where I learnt a lot; thanks also to all the people of the research group and in particular to Dmitry Berenson and Timmy Siauw for the very fruitful discussions about clustering, path searching and other aspects of my work. Thanks to all the people who accepted to review my work: Prof. Richard Chbeir, Prof. Ken Goldberg, Prof. Przemysław Kazienko, Prof. Ronald Maier and Prof. Robert Tolksdorf. Thanks to 7digital, our media partner for the experimental test, and in particular to Filip Denker.
    [Show full text]
  • Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica
    Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica Kyle Lindstrom Schirmann A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of Arts and Sciences Department of Middle Eastern, South Asian, and African Studies Columbia University New York, New York May 1, 2015 © 2015 Kyle Lindstrom Schirmann All rights reserved ABSTRACT Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica Kyle Lindstrom Schirmann Ravi Sundaram’s conception of recycled, or pirate, modernity was first deployed to explain the extralegal circuits of production and consumption of pirated and counterfeit goods, particularly in India. This thesis argues that the production, performance, distribution, and consumption of South Asian electronic music can be read under the specter of an aestheticization of the circuits of pirate modernity. Through sampling, glitching, and remixing artifacts, sometimes with pirated software or counterfeit hardware, South Asian electronica situates itself in youth culture as an underground form of sound. This is a music that concerns itself with futurity and futurism, doubly so by its links to the diaspora and to Afrofuturist readings, and with the physicality of the sound wave. The thesis also suggests a shift in the economic and political import of pirate modernity wrought by this aestheticization, examining how it has been appropriated for profit and mobilized for political use. Table of Contents Acknowledgements and Dedication .............................................................................................................. iii Ten Ragas to a Disco Beat: Futurism and Pirate Modernity in South Asian Electronica ............................ 1 Hardware, Greyware, and Pirate Markets ...............................................................................................
    [Show full text]
  • 1 Nitin Sawhney and Friends, BBC Prom 37. Royal Albert Hall, London
    A UNIQUELY BRITISH INDIAN EXPERIENCE has prepared music for Akram Khan’s dance show Kaash (2002) as well as performing several DJ sets and Nitin Sawhney and Friends, BBC Prom 37. Royal writing for and performing with the Britten Sinfonia Albert Hall, London, 10 August 2007 orchestra in 2004.1 So he keeps himself quite busy. Although he has established himself as one of — Britain’s leading artists, Sawhney was apparently “stunned” to be invited to give this Prom. Perhaps By Rachit Buch understandably, because for an artist who has performed at as varied venues as the London — nightclubs Koko and Fabric, the Lowry theatre in Salford, Manchester, and the The Jazz Café in Camden (and that’s just in England), the Royal Albert Hall This summer, British Indian artist Nitin Sawhney was Proms represented one of the few truly new and granted the Royal Albert Hall for the occasion of BBC daunting live experiences left. However, any fears of a Prom 37, and gave an immensely accomplished misjudgement were instantly dispelled as the opening performance. Sawhney, a veteran of seven studio bars of a classic live favourite, Sunset, began the night albums and numerous live acts, represents the latest and instantly seemed at home in these grandiose attempt by Prom director Nicholas Kenyon to reach a surroundings. Following this was a programme chosen wider audience. The result was a multi-faceted musical to showcase the variety of Sawhney’s talent, both in evening, featuring orchestral film scores, Indian performance and composition.2 classical music instruments and dance. Although the Excerpts from Sawhney’s recently devised film addition of Zero Degrees’ choreographed narratives scores represented an exciting addition to the live set, seemed to be a somewhat unnecessary addition, and the as the audience was treated to samples from the score acoustics were not well suited for some of the pieces, of the silent film, A Throw of Dice, and the not-so-silent the event proved to be a resounding success for film, The Namesake.
    [Show full text]