MOZART- the Marriage of Figaro
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How Do Film-Makers Manipulate Our Emotions with Music? by Helen Stewart BBC Arts & Culture
How do film-makers manipulate our emotions with music? By Helen Stewart BBC Arts & Culture In 1939, queen of Hollywood melodrama Bette Davis starred in Dark Victory - the tragic story of a wealthy party girl dying of a brain tumour. The audience knows that death will follow quickly after blindness. In the finale, her character's vision begins to falter and she moves slowly up a grand staircase. Davis knew this moment would secure her chance of a third Academy Award. She asked the director, "Who's scoring this film?" and was told it was the supremely talented Max Steiner. Steiner had composed the revolutionary score to King Kong in 1933. It was the first full Hollywood soundtrack, and one that allowed its fans to empathise with the fate of a plasticine gorilla. Davis was a clever woman. She understood the value of a soaring musical score, but feared its ability to outshine a performance. "Well," she declared, "either I am going up those stairs or Max Steiner is going up those stairs, but not the two of us together." Davis' opinion was ignored and two Oscar nominations were created in that scene. One for her and one for Steiner. It demonstrates the importance of music in film, and the power a soundtrack can have over audiences. Heightened senses Composer Neil Brand, presenter of BBC Four's The Music that Made the Movies, believes our senses are already heightened as we enter the cinema. "The darkness, the strangers, the anticipation, the warm comfortable embrace of the cinema seat. We're ready to experience some big emotions," he says, "and the minute the music booms out, we are on board for the ride. -
BF1 / LSO Artwork 05/05/2016 12:22 Page 1
BF03_2016SymphCity_AW:BF1 / LSO artwork 05/05/2016 12:22 Page 1 Brighton: Symphony of a City World Premiere Commissioned by Brighton Festival Brighton Festival music supported by Supported by Screen Archive South East, University of Brighton and University of Sussex The Steinway concert piano chosen and hired by Brighton Festival for this performance is supplied and maintained by Steinway & Sons, London Wed 11 May, 7.30pm Brighton Dome Concert Hall Brighton Festival programmes are supported by West Sussex Print Limited Please ensure that all mobile phones are switched off BF03_2016SymphCity_AW:BF1 / LSO artwork 05/05/2016 12:22 Page 2 Brighton: Symphony of a City Part 1 Film Film director Lizzie Thynne Editor Phil Reynolds Associate film producer Catalina Balan Music Composer and conductor Ed Hughes Orchestra of Sound and Light producer Liz Webb Orchestra leader Christina Woods Live score performed by Orchestra of Sound and Light Seafront woman with phone Jessica Griffin Couple at Waterstones Georgia Rooney, Kate Ballard Couple at telescope Ingvild Deila, Ian Habgood Puppetry artists Sam Toft, Kate James Moore Aya Nakamura and Mohsen Nouri Touched Theatre Circus ‘Flown’, Pirates of the Carabina, Brighton Dome Cabaret Rubyyy Jones Camera Catalina Balan Lizzie Thynne Additional camera John Hondros, Lee Salter, Yue Lia, Xilun Li, Pui Yu Taw, Jessica Chan, Liuyun Zhang Colourist Neil Whitehead Archive Screen Archive South East, University of Brighton: ‘Southern Railway’, 1937–8, Eric Sparks, by kind permission of Mr R. Bamberough ‘Father Neptune’ -
Broadcasting the Arts: Opera on TV
Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958). -
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. -
20 September 2013 Page 1 of 11
Radio 3 Listings for 14 – 20 September 2013 Page 1 of 11 SATURDAY 14 SEPTEMBER 2013 In the south (Alassio) - overture (Op.50) SAT 15:00 Saturday Classics (b03b2g04) BBC Symphony Orchestra, Jirí Belohlavek (conductor) Sound of Cinema: Christopher Lee SAT 01:00 Through the Night (b039vh1r) Danish National Symphony Orchestra 5:40 AM Film star Christopher Lee has played a huge number of roles Demersseman, Jules August (1833-1866) and is perhaps best known for his portrayal of Count Dracula in Episode 1 Italian Concerto in F major (Op.82 No.6) Hammer Horror films and as Saruman in Lord of the Rings. As Kristina Vaculova (flute) (b.1984 Czech Rep), Inna Aslamasova part of the Sound of Cinema season, he talks about the music Sound of Cinema. In the 75th Anniversary year of Eisenstein's (piano) that has inspired him. #BBCSoundofCinema film "Alexander Nevsky" - Prokofiev's cantata performed by the Danish National Symphony Orchestra and Choir, conducted 5:52 AM The great British actor, one of the foremost "Draculas" of the by Hans Graf. Presented by Jonathan Swain. Poulenc, Francis (1899-1963) silver screen; star of The Lord of the Rings and the Hobbit, and Petites voix of countless British films, shares his passion for music - and in 1:01 AM Maîtrise de Radio France, Denis Dupays (director) particular opera - on Radio 3's Saturday Classics; recorded as Rachmaninov, Sergey [1873-1943] part of the BBC's Sound of Cinema Season. As Sir Christopher Concerto for piano and orchestra no. 3 (Op.30) in D minor 5:58 AM says at the beginning of his programme, "he is often asked to Marianna Shirinyan (piano), Danish National Symphony Couperin, François (1668-1733) talk about his life in film, but it is rare that he is given the Orchestra, Hans Graf (conductor). -
Christmas Time, Mistletoe and Wine Children Singing Christian Rhyme. with Logs on the Fire and Gifts on the Tree It's Time To
THE The Magazine For Beckminster Methodist Church DECEMBER 2016 - JANUARY 2017 PRICELESS! Photo by Gordon Nicklin Christmas time, mistletoe and wine Children singing Christian rhyme. With logs on the fire and gifts on the tree It’s time to rejoice in the good that we see. In this issue Driving Home for Christmas Stewards’ Musings News from Church Council and Circuit Camilla - A Profile Meeting Lesley Garrett Learn and Inwardly Digest R.I.P. A Diva and a Prime Minister Beckminsterama Christmas Parables Turn again, Whittington Christian Aid This Christmas Public Speaking World Owl Trust Christmas Services at Beckminster Beckminster Methodist Church, Birches Barn Road, Penn Fields, Wolverhampton, WV3 7BQ. 01902 344910 DRIVING HOME FOR CHRISTMAS When we are going to Devon for Christmas, we the census in her husband's family town having usually play ‘Driving Home for Christmas’, a to give birth in a stable full of dangers to mother nineties popular track. It's nostalgic and and baby. There was then having to go to Egypt evocative, an American song about someone as a refugee because His life was in danger. driving home for Christmas. He's been away a long time and looks forward to the snow, the How far away it is from a pretty Christmas card roaring fires, the family gathered and all sorts of with glitter and snow, angels and adoring memories of celebrating Christmas with the bystanders. The incarnation is messy and family again. dangerous. It speaks of a God who cared so much for humanity, you and me, that He It takes me back to childhood Christmases, the humbled himself and came into the world as a fevered excitement of stockings on Christmas vulnerable baby to a vulnerable mother in a morning, church carol singers singing outside dangerous situation. -
Trick Film: Neil Brand's Radio Dramas and the Silent Film Experience
Trick film: Neil Brand’s radio dramas and the silent film experience McMurtry, LG http://dx.doi.org/10.1386/iscc.10.1-2.1_1 Title Trick film: Neil Brand’s radio dramas and the silent film experience Authors McMurtry, LG Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/51763/ Published Date 2019 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Trick Film: Neil Brand’s Radio Dramas and the Silent Film Experience Leslie McMurtry, University of Salford Abstract At first glance, silent film and audio drama may appear antithetical modes of expression. Nevertheless, an interesting tradition of silent film-to-radio adaptations has emerged on BBC Radio Drama. Beyond this link between silent film and radio drama, other radio dramas have highlighted that Neil Brand, a successful silent film accompanist, radio dramatist, and composer, links the silent film experience and audio drama in two of his plays, Joanna (2002) and Waves Breaking on a Shore (2011). Using theories of sound and narrative in film and radio, as well as discussing the way radio in particular can stimulate the generation of imagery, this article examines layered points of view/audition as ways of linking the silent film experience and the use of sound within radio drama. -
Singers' Platform
“The object is not to win a prize or defeat a rival but to pace one another on the road to excellence.” H. Walford Davies The David Clover Festival of Singing Sheffield Reg. Charity No. 1043131 Founded and supported by The City of Sheffield Teachers’ Choir THE SINGERS’ PLATFORM Friday 24 January - Sunday 26 January 2020 St Andrew’s Church 31 Psalter Lane, Sheffield S11 8YL and Tapton Hall (Hallam Room) Shore Lane, Sheffield S10 3BU Adjudicators: Mark Wildman Patricia MacMahon Julia Dewhurst Patron: Lesley Garrett CBE President: Mark Wildman FRAM, FRSA Vice-Presidents: Elizabeth Watts Hon.D.Mus Richard Clover LTCL, FASC James Kirkwood LRAM, LTCL, ARCM Ralph Green ARCM The David Clover Festival of Singing is affiliated to The British and International Federation of Festivals for Music, Dance and Speech of which Her Majesty the Queen is Patron. The Festival is also a member of The Yorkshire and Northern Lincolnshire Regional Forum of The British and International Federation of Festivals of Music, Dance and Speech. www.davidclover-festivalofsinging.org.uk Enquiries not covered in this Handbook DCFS, 269 Dobcroft Road, Sheffield S11 9LG General enquiries: [email protected] Music enquiries: [email protected] DCFS 2020 |3 Singers’ Platform - Performer Information This is an initiative in the David Clover Festival of Singing and is intended to give the opportunity to singers already studying at universities and conservatoires, to postgraduates, and to those being privately tutored, to continue the development of their art with substantial award money. Winners in the past have been offered paid engagements with choirs in Yorkshire and Derbyshire. -
Lesley Garrett and Friends – Programme Notes
Lesley Garrett and Friends – Programme Notes Lesley Garrett and Friends Queen's Theatre, Barnstaple Thursday 29th June 7.45pm Lesley Garrett Tolga Kashif - Music Director Robin Scott - Keyboards Howard McGill - Wind Instruments/Wind Synthesiser and additional Percussion David Goodier - Double Bass Paul Smith - Drums Programme Legrand/Bergman - Windmills of Your Mind/The Summer Knows Rodrigo - Con Qué La Lavare De Falla - Nana Gershwin - Summertime Gershwin - My Man's Gone Now Instrumental Piece Brel - If You Go Away/Ne Me Quitte Pas Massenet - Adieu Notre Petite Table Louigy/Piaf - La Vie En Rose Dumont/Vaucaire - Non, Je Ne Regrette Rien Interval Porter - Night & Day Kern - Can't Help Lovin' That Man of Mine Carmichael - Skylark Sample/Jennings - One Day I'll Fly Away Instrumental Piece Kashif - Ave Maria Lai - Where Do I Begin Hamlisch/Bergman - The Way We Were Horner/Jennings - The Heart Will Go On Baerwald - Come What May LESLEY GARRETT Lesley Garrett, CBE, is Britain’s most popular soprano, regularly appearing in both opera and in concert, on television and CD; she has won both critical acclaim and the affection of many fans and music lovers. As a recording artist, she has eleven solo CDs to her credit; Soprano in Red received the Gramophone Award for 'Best-selling Classical Artist of the Year', Diva! A Soprano At The Movies, Prima Donna, Simple Gifts, Soprano in Red, Soprano in Hollywood, and I Will Wait for You all received silver discs and A Soprano Inspired and Lesley Garrett both achieved gold discs. Lesley’s most recent albums are Travelling Light, The Singer, and So Deep is the Night and she was also a featured artist on the platinum selling Perfect Day single released by the BBC in aid of Children in Need. -
Royal Academy of Music 2021/22 Prospectus Digital
YOUR FUTURE IS MUSIC’S FUTURE PROSPECTUS 2021/22 Music must always move forward. There has to be a place for new musicians to connect, collaborate and create. We are that place. A risk-taking conservatoire where the traditions of the past meet the talent of the future. Our mission: to create the music that will move the world tomorrow. This is an accessible pdf. Royal Academy of Music ©2020 Every effort has been made to ensure that the information included in this prospectus is correct at the time of publication. Please consult our website for the most accurate and up-to-date information. Please address any queries about this publication to2 [email protected] . CONTENTS 3 INTRODUCTION 40 OUR DEPARTMENTS 6 A message from our Principal 42 Accordion 8 Imagine yourself here 44 Brass 46 Choral Conducting 10 ABOUT THE ACADEMY 48 Composition & 12 Music’s future starts here Contemporary Music 14 Into our third century 50 Conducting 16 Sending music to the world 52 Guitar 17 Creative partners 54 Harp 56 Historical Performance 18 STUDENT LIFE 58 Jazz 20 Your future is music’s future 60 Musical Theatre 22 The new generation 62 Opera 24 Meet your mentor 64 Organ 27 Learn by performing 66 Piano 28 Skills for life 68 Piano Accompaniment 29 Space to grow 70 Strings 30 Your stage awaits 72 Timpani & Percussion 32 Find inspiration, find knowledge 74 Vocal Studies 34 Musicians, united 76 Woodwind 35 All together now 36 London calling 78 OUR COURSES 38 Find your place 80 Academy courses 39 Reaching outwards 82 Undergraduates 83 One-year courses 84 Postgraduates 85 Postgraduate degrees 86 Postgraduate diplomas 88 Research 89 The art of collaboration 90 Open Academy 92 YOUR FUTURE STARTS HERE 94 The next step 95 Ready to audition? 96 Tuition fees 97 Get in touch INTRODUCTION 3 4 INTRODUCTION TODAY’S ASPIRATION TOMORROW’S ARTIST We take musical potential, then challenge our students to find their own voice and develop individual excellence. -
Chan 3152(3) 160 161
CHAN 3152(3) 60 6 CHAN 3152(3) Booklet.indd 160-161 2/3/08 14:29:36 Wolfgang Amadeus Mozart (756 –79) Così fan tutte or The School for Lovers © Lebrecht Music & Arts Library Photo Music © Lebrecht Opera buffa in two acts Libretto by Lorenzo da Ponte, English version by Marmaduke Browne, adapted by John Cox Fiordiligi ladies from Ferrara, Janice Watson soprano Dorabella } sisters, living in Naples Diana Montague mezzo-soprano Guglielmo, an officer, Fiordiligi’s lover Christopher Maltman baritone Ferrando, an officer, Dorabella’s lover Toby Spence tenor Despina, maidservant to Fiordiligi and Dorabella Lesley Garrett soprano Don Alfonso, an old philosopher Sir Thomas Allen baritone Geoffrey Mitchell Choir Orchestra of the Age of Enlightenment Gareth Hancock assistant conductor Sir Charles Mackerras Wolfgang Amadeus Mozart CHAN 3152(3) Booklet.indd 2-3 2/3/08 14:28:24 COMPACT DISC ONE Time Page Time Page 1 Overture :05 [p. 96] 14 No 8, Chorus: ‘Oh, the soldier’s life for me! :0 [p.0] Act I Chorus 2 No , Trio: ‘Suspect Dorabella?’ :5 [p. 96] 15 Recitative: ‘My friends, the time is flying’ 0: [p.0] 3 Recitative: ‘Swords or pistols?’ 0:50 [p. 96] Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo Ferrando, Guglielmo, Don Alfonso 16 No 9, Quintet: ‘You’ll write long letters often’ 2:2 [p.0] 4 No 2, Trio: ‘Woman’s faith is like the phoenix’ :09 [p. 97] Fiordiligi, Dorabella, Ferrando, Guglielmo, Don Alfonso, Chorus Don Alfonso, Ferrando, Guglielmo 17 Recitative: ‘Are they gone?’ 0:5 [p.05] 5 Dorabella, Don Alfonso, Fiordiligi Recitative: ‘A poetical fiction!’ :9 [p. -
Saturday, March 8, 2014 8:45 Am]
Film Score Blogs [Blog # 48] Saturday, March 8, 2014 8:45 am]: This first entry read here by viewers is actually the final one I am writing for this blog in order to header set the time & date for the freshest entry. After that you'll be reading blogs from earlier entries eventually reaching up to this March 8 date. I wrote at length yesterday (March 7) so I have no fresh news this morning. I intend to send off this blog and Chord Profile # 10 (On Dangerous Ground) to Sarah in a few minutes to finally update this original FSR site after a long delay of 15 and a half months! I am retired now from the USPS after about 30 years so I've been spending time on researching--primarily now at Usc/Warner Bros. Archives off 37th & Flower. It's the easiest film score location for me since it is only about 22 miles from my house. If I rent a car I can go on the 405 north to 110 north and get off on 37th street, and it's right there immediately to my right as I get off the freeway ramp! Lately I've been taking the bus and Metro Blue rail to get there. The transportation takes longer (about an hour and 15 minutes) but it's a lot cheaper than renting a car! I take the local bus in my city to the Blue Line station, take the Blue Line up to the Pico Station, walk a few blocks to Figuerora there at Staples Center, and wait for the Metro 81 bus southbound and get off at Exposition.