Mirrors of Zlín Installation / Loom on the Moon

Mirrors of Zlín Installation / Loom on the Moon

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Text description provided by the architects. The Exhibition The Mirrors of Zlín was created for the occasion of 700 years of history of the city of Zlín, which manifested as a series of multimedia installations in the chateau park. The first of the three installations work with the distinctive perspective of writer Pavel Kosatík on the evolution of the city and its surroundings, which we subsequently complemented and summarised with illustrations.

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This resulted in an intergenerational dialogue between text and image, which are sometimes in harmony and sometimes in contrast. In addition to this narrative part, there are two installations in the chateau park. One is an immersive film, an audiovisual experience that allows visitors to inhabit past moments of Zlín in various eras, seasons, lights, in rural times, during a fire, when the railway arrived, during the Bata boom, and also present moments. It is a frame-by-frame painted animation that treats each frame of the film as a painting.

© BoysPlayNice
© BoysPlayNice

The last permanent installation is the mirrors of Zlín – a lyrical constellation of fluid shapes, poetically placed among the most beautiful trees of Zlín‘s park, whose treetops, flowing sky, and curious passing visitors they reflect. The soul of this part of the installation is a sound composition that is a celebration of the cycle of time, the turning of the seasons, the lengthening and shortening of the days, the moments of equinox and solstice, which functions as an unpredictable, surprising solar calendar or astrological clock.

Plan – Site

The basis for the music composition that sounds through the park in various phases of the year was a careful mapping and study of the sounds of bells in the belfries of the Zlín Region. Thus the park rings with the vibrations of bell bronze, which creates a scaled-down geographical imprint of the Zlín Region. The individual multi-channel musical compositions and their exact position in time and the year correspond to a study of the movement of the sun and stars. The sound level is supported with a moving light, which not only provides a visual accompaniment to the mirrors and music but also a poetic and playful alternative to the park‘s night-time lighting.

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This results in a harmony between natural and artificial light, between the sound of the park, the musical composition, and the passage of time. The Mirrors of Zlín thus becomes an artwork that can exist only in this place, at this time. Materials. The exhibition is composed of three interconnected elements:

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1. Encyclopedia: The Encyclopaedia is a simple wooden wall with a circular ground plan with a total length of about 40 m and a height of 3 m. Its shape adapts to the existing trees – it gives way to the eaves line of their crowns, giving the wall a dynamic form. The outer shell is made of a mirror-polished steel sheet, and the inner surface of waterproof plywood serves as a surface for the artistic representation of 700 years of Zlín’s history.

© BoysPlayNice
© BoysPlayNice
© BoysPlayNice

2. Immerse: The section called Immerse is essentially a simple summer cinema. The projection surface is similar in design to the Encyclopedia – the waterproof plywood skeleton is lined on both sides with plywood panels, and the inner side facing the Encyclopedia is mirrored polished steel sheet. This creates an interesting optical theatre for the audience between the two mirrored surfaces – one flat and the other rounded.

© BoysPlayNice
© BoysPlayNice

3. Statements: The last element of the exhibition consists of a group of mirrors placed on the lawn between the trees, evoking rain puddles. Even their construction is designed to be lightweight, and non-invasive. The base is designed on earth screws that anchor the Statements against being moved and toppled over. A simple thermal and moisture-insulated enclosure for the equipment will be placed above the ground surface. The “level” itself is designed as a thin plate with a polished stainless steel sheet surface. The individual elements are varied in shape and size – like real rain puddles. Inside each element, there is a speaker and lighting technology. The elements are interconnected and synchronized into an immersive installation.

© BoysPlayNice

Harini Rini Raghavan: My music is a medium for me to share my culture with others | Tamil Movie News

Chennai-born, New York-based singer-violinist Harini Rini Raghavan has been wowing audiences with her version of Indian electronica even as she rubs shoulders with the best musical talents at the Berklee College of Music. Rini is now all set to showcase her musical abilities across India as she gets ready for her Rini Live/India tour. The musician shares with us her experience of being an ambassador of Indian music in the Western world…
Excited about your India tour?
Very much! It’s been almost five years since our last tour, and we’ve had a lot of new music and fans since then. We can’t wait to meet everyone and connect with them.

Have you visited Chennai before? Any fave spots?
Yes, my hometown is Chennai, and I’m here quite often. My band’s drummer visited Chennai on their last tour, but the other members are newer; it’s their first time in Chennai. A favourite destination would be Besant Nagar Beach and Eden Restaurant.
When and how did your fusion music act start?
I created this project when I graduated from Berklee in 2015. I wanted to always create a project with people bringing in their own styles in an aesthetic way. I met so many amazing foreigners who were interested in playing Indian music or contemporary Indian music. So, it felt natural to seek them out, create a composition that’s Indian (classical/folk) at its core, and then have enough space for them to explore their own styles within this framework. I also feel that over the years this has become a medium for me to share my culture with people from other cultures. When we are on tours, we talk about our food, our upbringing, and our culture.

How is it to work with an international lineup of musicians to get your desired sound?
My education at Berklee helped me learn to communicate with international musicians through sheet music and see Indian music through the grammar of Western music. This made it very easy to chart out my compositions and then explain to the band how I envisioned the song. A sheet of music and a MIDI demo are what I start with to get across the song form and the nuances of the ragas of the composition. I think without this, it can be a cumbersome process to work together with musicians from different musical idioms.

Can you share the experience of being part of the voting process for the Grammys?
Being a voting member really makes me feel like I have the power to be a part of recognising and honouring music made by artists from around the world. I feel like I bring representation to the Recording Academy with my identity and the music I play, making it a more diverse space. I really enjoyed listening to all the submissions in my favourite categories.

How is Indian music received in the West? Do you think Indian acts can crack the code of international stardom like BTS?

It’s amazing! So many Indian and Indian American musicians are doing great work presenting both Indian classical and contemporary music to western audiences — bands like NY-based Red Baraat, and Brooklyn Raga Massive have built up a huge community of non-Indian people who appreciate Indian music. Indian acts can definitely get audiences on the international stage. For fame, though, I think it’s different. The music needs to be more pop (like BTS), and I think some film songs (the equivalent of Western pop) have had that reach on social platforms, like Kolaveri or Naattu Naattu.

You’ve toured many places and collaborated with many fine artists. What is next?
Shakthisree Gopalan and I just presented a show in NYC that was a combination of indie fusion, Tamil and Malayalam songs. We plan to take that on the road soon. I hope to play in Canada later in the year and do a bunch of other cities in the US with my band. Record some new Blue Carpet sessions with international artistes.

Composer Chanda Dancy Is Breaking Boundaries in Hollywood

It’s 1999 at Houston Baptist University, a religious college nestled in southwest Houston. The constant whistle of tires on pavement from the neighboring Southwest Freeway is no match for a row of nondescript practice rooms where two violinists—teacher and student—face a Manhasset music stand. The teacher’s black hair is pulled back into a rubber band; her mane is so thick that the elastic need not be looped twice. Clad in relaxed denim bell-bottom jeans and a soft, electric blue cotton T-shirt, Chanda Dancy, the teacher, is thrilled to be in the presence of music. The teenage musician, me, is desperate to show Dancy that she practiced the Kreutzer études assigned the week before.

Dancy was not like other classical-violin instructors. Her violin was always within reach to convey direction when words failed to capture the essence of how she wanted her student to feel the music. Unrestrained by the classical genre’s preoccupation with precision, Dancy possessed a musical fearlessness, which has informed her career from HBU to Hollywood. In her current work as a film composer, she aims to create music that sonically illustrates characters’ emotional journeys. She has scored documentaries, including Aftershock, a doc about two women who died during childbirth; television shows, including The Defeated, a post–World War II crime-fighting Netflix series; and films, including the Whitney Houston biopic I Wanna Dance with Somebody. Last year she released her most critically acclaimed score yet, for J. D. Dillard’s Devotion

Devotion is a heart-wrenching film about Jesse Brown (Jonathan Majors), the first Black Naval aviator, during the Korean War. Dancy’s score is an emotional excavation of what it means to be Jesse, a highly skilled pilot who hypes himself up for missions by reciting racist remarks to himself in the mirror. Listeners hear these internal tug-of-wars paired with lush orchestral phrasing that gains and loses altitude along with the story line. Thanks to the rich layers of harp, strings, and even synthesizers, you can actually hear the expansiveness of the seas the pilots fly over.  

Both the story of Devotion and its production are meditations on talented Black Americans in predominantly white spaces. The film has a Black director, J. D. Dillard; a Black orchestra conductor, Anthony Parnther; and Dancy, a Black film composer. There are very few Black film composers, a minuscule number of which are women. “I’m a Black woman composer. And yeah, I do have a slightly different point of view when it comes to my artistic approach,” Dancy told me over the phone. “That’s to my advantage because I don’t sound like anyone else.” The historical significance of being one of relatively few Black people in classical music is not lost on Dancy, and she doesn’t deflect from it. “I embrace it. I am who I am, and this goes back to being from southwest Houston, Texas. I was always allowed to be comfortable in my own skin.”

Dancy’s path to success began in the 1980s, when more and more Black Houstonians were moving beyond historically Black neighborhoods such as the Third Ward and Sunnyside and into the southwest neighborhoods of Alief, Sharpstown, and Westchase. With multiple integrated racial and ethnic communities, southwest Houston was fertile ground for Black girls like Dancy to chart their own pathways. Dancy didn’t think twice about teaching herself how to play guitar, harp, and keyboard while cultivating the deep devotion to anime that shows up in her music. (“The [Macross Plus] score by Yoko Kanno has always stuck with me.”) “I’m definitely influenced by jazz and thick textural chords, as well as minimalism,” said Dancy. “Then there’s a little bit of blues and what my publicist calls my ‘anime influence,’ ” she said, laughing. “It’s the sound of nostalgia.”

Dancy first learned the violin in third grade—relatively late for violinists, who can start as early as three years old—at Houston’s T. H. Rogers School. Within a few years, she was composing. “Officially, the first [time] that I wrote to have other people play [I] was around twelve years old.” From intonation to posture to breath itself, the allowance for error for young classical musicians is nearly nonexistent. Classical musicians are trained to replicate, not deviate. At least, that’s how most classical musicians are trained. “I saw instruments as a fun way to create your own stuff,” said Dancy, reflecting on her years as a young violinist. “My violin was not just to play Beethoven. I didn’t look at a piano to play Rachmaninoff. I looked at a piano and thought, Ooh, what if I do this? And what if I do that?’ ”

While Dancy eventually graduated from prestigious composition academies, it was her undergraduate study at HBU (recently renamed Houston Christian University)—a Christian college with about 2,500 students—that transformed composition from an intuitive passion into a career. “The school was so tiny that the dean of the school of music was also my composition professor,” said Dancy. Her dean and teacher saw Dancy’s enthusiasm and created a composition curriculum specifically for her. Dancy directed and scored her own short films at HBU, the University of Southern California’s Screen Scoring program, and the Sundance Composers Lab, experiences that fueled her past two decades as a film and television composer.

These days Dancy is happily settled in Los Angeles, but she still misses Texas. Well, specific aspects of Texas. “I miss the cost of housing and Tex-Mex,” she told me. She also misses Houston’s Vietnamese food. “There’s something about Bellaire Boulevard, like it just can’t be beat for good Vietnamese food.” After Devotion, she scored the Whitney Houston biopic I Wanna Dance With Somebody. She told me that both scores are rooted in recognizable character themes, approached with the utmost care and consideration for the real-life people the films honor. “The biggest difference is the sheer scale of the Devotion score, which was recorded with 109 musicians, including a choir,” she said. (I Wanna Dance With Somebody had about half of that.)

She remains booked and busy with a plethora of other projects she’s legally unable to discuss yet. Plenty of composers would be content with Dancy’s current success, but Dancy is already aspiring to accomplish more. “I would love to work on a big Marvel or Disney film,” she said. “The bigger the canvas, the better.”

Despite the early anticipation that Dancy might make history as the first Black woman nominated for an Oscar for Best Original Score, Dancy wasn’t recognized for Devotion. Nor was she dismayed. “When I set out to do this score, I wanted to do something really big and really amazing and spread my wings. And it was shocking to get that Oscar buzz when it was just literally me just being myself,” said Dancy. “I’m having so much fun. And even though I didn’t get the nomination, it feels as if I did, because the doors have opened.”

Composer and Union College music professor Hilary Tann has died

SCHUYLERVILLE — Hilary Tann, a Welsh-born composer known for the lyricism and spirituality of her music and for her devotion to students over four decades of teaching at Union College in Schenectady, died suddenly Wednesday at home, according to her husband, David Bullard. She was believed to be 74 or 75. A cause of death was not immediately available.

“It’s a terrible loss for our Capital Region music community,” said David Alan Miller, artistic director of the Albany Symphony Orchestra.

A prolific composer whose work is represented on more than 60 CDs, including three solo discs of vocal, chamber and orchestral music, Tann wrote music that was performed worldwide, from Bangkok and Beijing to Cardiff in her native Wales and across the United States as well as locally. She was commissioned by festivals, ensembles and artists as varied as the North American Welsh Choir, the Royal Liverpool Philharmonic Orchestra, North Carolina Symphony, Empire State Youth Orchestra and pianist Max Lifchitz, a University at Albany professor and fellow composer.

“Her music has such honesty and passion to it, just like Hilary as a person,” said Ann-Marie Barker Schwartz, a local violinist who knew and worked with Tann for more than 30 years. Schwartz played Tann’s compositions in the former St. Cecilia Orchestra, which Schwartz co-founded in the early 1990s, and several times with her current ensemble, the Musicians of Ma’alwyck, of which Schwartz is the director.

For more than 15 years the Musicians of Ma’alwyck collaborated with students in Tann’s composing class at Union, with the ensemble rehearsing the students’ pieces and then playing them for a live recording before an audience.

“It was very special to see their delight at hearing their pieces played live instead of on a synthesizer,” said Schwartz. “Hilary always made them all feel like they had valid musical ideas and a musical voice. That was a a real gift.”   

Reviewing a 2020 recording by the Sirius Quartet of Tann’s 2014 quartet “And the Snow Did Lie,” Times Union classical critic Joseph Dalton wrote, “Tann’s music is shimmering and weightless, effective and moving.” He continued, “The central portions of the piece are rich with tunes that spill out in a flow more generous than deliberate, still sweet and rapturous … (reinforcing) the grounded spiritual ecstasy that is Tann’s distinctive musical outlook.”

Tann’s most frequent source of inspiration was nature and its scenery. “I can’t write if I don’t have the image. That’s the seed,” she told the Times Union in 2005. Her large catalog of works includes orchestra pieces with titles such as “Adirondack Light,” “The Open Field” and “Through the Echoing Timber.” 

A 2005 piece titled “From the Feather to the Mountain,” commissioned and premiered by ESYO, was inspired by pen-and-ink drawings by the late local artist Arnold Bittleman; that same year, Lifchitz premiered her piano work “Light from the Cliffs.” Reviewing a 2010 concert in Manhattan by the Lifchitz-led North/South Chamber Orchestra that featured Tann’s “The Walls of Morlais Castle,” Steve Smith of The New York Times called it “a handsome piece for string orchestra, with dusky melodies and bracing, rustic rhythms.” 

Born in a coal-mining village in South Wales after the end of World War II, Tann received her undergraduate degree in musical composition from the University of Wales at Cardiff and went on to earn master’s and doctoral degrees at Princeton University. She started at Union College in 1980, bringing a compositional bent to a department she would later chair for 15 years. She retired in 2019, retaining the title of an endowed chair, the John Howard Payne Professor of Music Emerita.

The college credits Tann with being an important part of the creation of its Taylor Music Center, a 14,000-square-foot project that included a 120-seat recital hall, Emerson Auditorium. It opened in 2006.

In addition to nature, Tann was inspired by Japanese culture and the traditional music of Japan, leading her to taking seven years of lessons on the shakuhachi, an ancient Japanese vertical bamboo flute. She traveled to Japan to study with a shakuhachi master.

“She knows more about it than most Japanese, and that’s no hyperbole,” Bullard, also a longtime student of Japanese language and culture, told the Times Union in 2005. A professional organist, Bullard married Tann in 2002. She, after many years of living solo in the Adirondacks, moved to the Marshall House, a Schuylerville home of historic significance that dates to the Revolutionary War and has been in the Bullard family for about a century.

Tann was also an aficionado and practitioner of haiku. She was for many years a member of a Saratoga County haiku group, whose monthly meetings lasted five or six hours, with members reading aloud a dozen or more new haiku that were then discussed. She coordinated Union’s 2015 hosting of the Haiku North America, the largest and oldest gathering of haiku poets. More than 100 people attended from around the world. 

“Haiku keeps me in the moment,” Tann told the Times Union in 2005. “With composing, one is always projecting ahead. (Haiku) pulls me back to the ‘A-ha!’ of the day.”

Funeral arrangements were unclear Thursday. Schwartz said she hopes to include a Tann composition in the Musicians of Ma’alwyck’s concert in June. A scholarship named after Tann and her predecessor as Union’s music department chair, called the Hugh Allen Wilson & Hilary Tann Annual Music Fund, was established by a 1990 Union graduate. It provides four to five students per year with scholarships to cover instrumental or voice lessons.



Denison University Department of Music announces February concerts

The Denison Department of Music presents music events for the community to enjoy. Tickets are required for some events. For information and tickets contact Phil Meyer at 740-587-6544 or visit denison.edu/events/arts. Events include:

  • Saturday, Feb. 11, at 7 p.m.: The Department of Music presents contemporary sounds featuring electric flutist Melissa Keeling in the Burke Recital Hall of the Michael D. Eisner Center for the Performing Arts (240 West Broadway).

  • Friday, Feb. 17, at 7 p.m.: The Department of Music presents its annual Bluegrass and American Roots Festival: Muleskinner tribute in Swasey Chapel (200 Chapel Drive). Ticketed event.

  • Saturday, Feb. 18, at 12 p.m.: The Department of Music presents a festival of bluegrass and American roots music and workshops in the Michael D. Eisner Center for the Performing Arts (240 West Broadway).

  • Saturday, Feb. 18, at 7 p.m.: The Department of Music presents its annual Bluegrass and American Roots Festival: The McLain Family Band in concert in Swasey Chapel (200 Chapel Drive). Ticketed event.

  • Monday, Feb. 20, at 7:30 p.m.: The Department of Music presents a senior degree recital by vocalist Allie O’Connor in the Burke Recital Hall of the Michael D. Eisner Center for the Performing Arts (240 West Broadway).

  • Tuesday, Feb. 21, at 7 p.m.: The Department of Music presents Paulina Villarreal, mezzo-soprano, performing with Sun Min Kim, piano in the Burke Recital Hall of the Michael D. Eisner Center for the Performing Arts (240 West Broadway).

  • Thursday, Feb. 23, at 7:30 p.m.: The Department of Music presents a senior degree recital in composition by Jaelyn Roth in the Burke Recital Hall of the Michael D. Eisner Center for the Performing Arts (240 West Broadway).

  • Friday, Feb. 24, at 7:30 p.m.: The Department of Music presents the Denison Chamber Singers in concert in the Burke Recital Hall of the Michael D. Eisner Center for the Performing Arts (240 West Broadway).

Information submitted by Denison University.

This article originally appeared on Newark Advocate: Denison University Department of Music announces February concerts

Burt Bacharach, legendary composer of pop songs, dies at 94 | Entertainment News

Composer Burt Bacharach, whose hits such as Do You Know the Way to San Jose and Raindrops Keep Fallin’ on My Head provided a mellow alternative soundtrack to rock ‘n’ roll in the 1960s and 1970s, has died at the age of 94, his publicist said on Thursday.

Bacharach died of natural causes on Wednesday at his home in the Los Angeles area with his family by his side, Tina Brausam told the Reuters news agency.

His songs, many written in a 16-year collaboration with lyricist Hal David, were neither rock nor strictly pop. They filled American radio broadcasts and were featured in major movies, making them as frequently heard in the 1960s and early 1970s as works by the Beatles, Rolling Stones and Bob Dylan.

Bacharach wrote more than 500 songs, many featuring a tinkling piano and subtly seductive horn hooks. He penned hits for singers ranging from Dionne Warwick to the Carpenters. More than 1,200 artists performed his songs, which won six Grammys and three Oscars. Bacharach and David had 30 Top 40 hits in the 60s alone.

“He was just different,” David once told an interviewer. “Innovative, original. His music spoke to me. I’d hear his melodies, and I’d hear lyrics, I’d hear rhymes, I’d hear thoughts and I’d hear it almost immediately.”

For Bacharach, his talent was simple: “I’m a person that always tries to deal with melody.”

With suave good looks and a cool demeanor, Bacharach was described by songwriter Sammy Cahn as “the only songwriter who doesn’t look like a dentist”.

Bacharach’s songs were recorded by an A-to-Z of artists, literally – from Aretha (Franklin) to Zoot (Sims).

Burt Bacharach, left, and Elvis Costello hold their Grammy Awards for best pop collaboration with vocals for I Still Have That Other Girl in 1999 [File: Kevork Djansezian/AP]

“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album Painted from Memory with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”

A box set, The Songs of Bacharach & Costello, is due to come out on March 3.

In addition to six Grammys for his songs, he was honoured with a seventh for an instrumental album and the lifetime achievement award,

He received two Academy Awards in 1970 for the score of Butch Cassidy and the Sundance Kid and for the song Raindrops Keep Fallin’ on My Head, which he shared with David. In 1982, he and his then-wife, lyricist Carole Bayer Sager, won an Oscar for Best That You Can Do, the theme from the movie Arthur. His other movie soundtracks included What’s New, Pussycat?, Alfie and the 1967 James Bond spoof Casino Royale.

Bacharach was a frequent guest at the White House whether the president was Republican or Democrat. In 2012, he was presented the Gershwin Prize by Barack Obama, who had sung a few seconds of Walk on By during a campaign appearance.

Married four times, Bacharach formed his most lasting ties to work. He was a perfectionist who took three weeks to write Alfie and might spend hours tweaking a single chord. Sager once observed that Bacharach’s life routines essentially stayed the same – only the wives changed.

Burt Bacharach, from left, appears with Carole Bayer Sager, Christopher Cross and Peter Allen, winners of the Oscar for best original song for Best That You Can Do from the movie Arthur in 1982 [File: Reed Saxon/AP]

Bacharach was essentially a pop composer, but his songs became hits for country artists (Marty Robbins), rhythm and blues performers (Chuck Jackson), soul singers (Franklin, Luther Vandross) and synth-pop musicians (Naked Eyes). He reached a new generation of listeners in the 1990s with the help of Costello and others.

In the 21st century, he was still testing new ground, writing his own lyrics and recording with rapper Dr Dre.

He was married to his first wife, Paula Stewart, from 1953 to 1958 and married for a fourth time to Jane Hansen in 1993. He also wed the actor Angie Dickinson. He is survived by Hansen as well as his children Oliver, Raleigh and Cristopher, Brausam said. He was preceded in death by his daughter with Dickinson, Nikki Bacharach.


Burt Bacharach accepts the Oscar for best original score for Butch Cassidy and the Sundance Kid at the Academy Awards in 1970 [File: AP]

A pianist passionate about jazz, Bacharach was born on May 12, 1928, in Kansas City, Missouri, and studied the art of composition in several American universities.

Bacharach was drafted into the army in the late 1940s and was still on active duty during the Korean War, but officers stateside soon learned of his gifts and wanted him at home. When he did go overseas, it was to Germany, where he wrote orchestrations for a recreation centre on a military base.

After his military service, he was hired by Marlene Dietrich as an arranger and musical director for her tours.

The young musician and ageless singer quickly clicked, and Bacharach travelled the world with her in the late 1950s and early 60s. During each performance, she would introduce him in grand style: “I would like you to meet the man – he’s my arranger, he’s my accompanist, he’s my conductor, and I wish I could say he’s my composer, but that isn’t true. He’s everybody’s composer – Burt Bacharach!”

In 1957, he met David, who died in 2012 and with whom he would form one of the most successful partnerships in the music industry.

Working in a tiny office in Broadway’s celebrated Brill Building, they produced their first million-seller, Magic Moments, sung in 1958 by Perry Como. In 1962, they spotted a backup singer for the Drifters, Warwick, who had a “very special kind of grace and elegance”, Bacharach recalled.

Burt Bacharach, right, receives the 2012 Library of Congress Gershwin Prize for Popular Song from US President Barack Obama during a concert at the White House honouring Bacharach and his songwriting partner Hal David on May 9, 2012 [File: Jonathan Ernst/Reuters]

The trio produced hit after hit. The songs were as complicated to record as they were easy to hear. Bacharach liked to experiment with time signatures and arrangements, such as having two pianists play on Walk on By, their performances slightly out of sync to give the song “a jagged kind of feeling”, he wrote in his memoir.

The Bacharach-David partnership ended with the dismal failure of a 1973 musical remake of Lost Horizon. Bacharach became so depressed he isolated himself in his vacation home in Del Mar, California, and refused to work.

“I didn’t want to write with Hal or anybody,” he told the AP in 2004. Nor did he want to fulfil a commitment to record Warwick. She and David both sued him.

Bacharach and David eventually reconciled. When David died, Bacharach praised him for writing lyrics “like a miniature movie”.

Meanwhile, Bacharach kept working, vowing never to retire, always believing that a good song could make a difference.

“Music softens the heart, makes you feel something if it’s good, brings in emotion that you might not have felt before,” he told the AP in 2018. “It’s a very powerful thing if you’re able to do to it, if you have it in your heart to do something like that.”

Karmsavi’s New EP ‘Virgin Thought’ Earns Huge Appreciations …

(MENAFN- ForPressRelease)

The Virgin Thought EP has 5 songs, which touches the hearts of the listeners because of their deep meanings and a cultural connect. Released in October 2022, the new Punjabi Song has already more than One million hits.

Language is not a barrier when it comes to enjoying the music. This fact is truly alive when one comes across the ‘Virgin Thought’ Punjabi Song by Karmsavi on music streaming networks as well as social media. Music lovers, across the geographies with distinct language and cultural affiliations, are showering their love on this melodious EP. Anyone can feel elated by listening to the melodious virgin thought on youtube .

Virgin Thought has emerged as one of the biggest hits of the Karmsavi Production. All songs of the EP have lyrics from Karmsavi himself. And he once again mesmerizes the audience with his melodious composition. The EP features music by Mastermind and Manveer Malhi is the Mix Master. Besides enjoying an immense love from the music lovers and fans, this Karmsavi hit has also earned substantial positive reviews from the music critics.

Today, Karmsavi boast of a crazy fan base on all social media channels. His fans adore this EP because it touches their hearts. Upon release, the heart touching song helps create a positive feel in the mind and psyche of the listeners. Many of them acclaim that the music is so refreshing that never loses its effect. While some of the fans that Karmsavi’s voice is so vibrating that it genuinely connects to one’s heart. The social media says immensely about this talented artist and his musical masterpieces.

With his meaningful lyrics and sweet voice, Karmsavi has always been an asset to the Indian music industry. He has so many brilliant songs to his credit and needs no introduction for all those who cherish good and meaningful music. Karmsavi primarily writes and sings in Punjabi and believes in bringing cultural stories to the fore for the listeners to feel treasured and elated at the same time.

When asked will ever think about signing in Hindi, he aptly states that he believes in entertaining the audience and language is just a way of expression. His songs are loved by the Hindi-speaking folks as well because the songs are easy to comprehend.

The artist has incredible future plans to engage the listeners with the music that can go deep into one’s soul. He has promised to the media to reveal the names of the future projects in times to come. And his fans are excited again with the expectations of being spellbound by the signature Karmsavi heart-touching music.


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2023 European Championship works revealed — 4barsrest

Four test pieces by Swedish composers will challenge the competing bands in Malmo later this year

The European Brass Band Association (EBBA) has announced the details of the four set-works that will be performed by competing bands at its festival event in Malmö later this year.

All come from Swedish composers and have been commissioned by the local organising committee, Brassmusik Skåne.

Test pieces

EBBC Championship Section: Aurora (Joel Thoor Engström)
EBBC Challenge Section: Tragic Overture (Tobias Broström)
EBBC Youth Championship Premier Section: Phoenix’ Chant (Daniel MöllÃ¥s)
EBBC Youth Development Section: Turning Torso (Magnus Hylander)

EBBC Championship Section: Aurora (Joel Thoor Engström)

Joel Thoor Engström (1987) is based in Stockholm. His works range from orchestra and choir to chamber/solo and opera and have been performed at several established Swedish venues. He was a finalist in the 2006 EBBC Composers’ Competition.

His music is characterised by colourful expressions in rhythm and harmony, influenced by neo-classical composers and the French tradition following Debussy and Ravel to electronic funk and progressive disco.

In describing his work, he states: “Aurora was the Roman goddess of the dawn. Every day she opened the gates of the east with her rosy fingers and riding her chariot in a glowing mantel across the sky, accompanied by children, she announced the coming arrival of her brother, Sol (the sun).

The natural phenomenon Aurora Borealis (or “northern lights”) is what inspired the Romans to this personification of the dawn and it can be a mysterious thing to behold, of both beauty and awe.

The dawn can be a symbol for many things, something beginning as well as something ending. The age old message of Aurora could therefore be considered timeless. Her call amid the joyous dance of the children of the stars that a new hope, a new light is on its way can be a comforting notion to all in the face of hardships.

This piece is in three movements, played attacca. Though not written with a programmatic intent, the writing process has evoked my thoughts on the symbolic themes of the Roman myth; the setting of an unstable and uncertain scene — like an endless fall — in the first movement, followed by a waiting and the “kindling of light” in the second, finishing with a festive song of praise in the third.

One of the key musical thematic features of this piece is a harmonic progression (first heard in the trombone section at bar 16).

It twists and turns around its axis like the waves of the northern lights, or the turns of Auroras chariot. Throughout the piece, its harmonic “magnetic fields”are constantly pulling and shaping the music into new forms.”

EBBC Challenge Section: Tragic Overture (Tobias Broström)

Tobias Broström (1978) was born in Helsingborg. Following four years of percussion studies at the Malmö Academy of Music, he undertook a Master’s degree in composition, studying with the composer Rolf Martinsson and Prof. Luca Francesconi.

Known for his rhythmically powerful music, colourful orchestration and a poignant harmonic sense, he has swiftly established himself among the foremost Scandinavian composers of his generation.

He describes his music as full of frenzy and power, appearing in attacks and waves.

He has collaborated with renowned conductors and soloists from HÃ¥kan Hardenberger to Rumon Gamba. Hardenberger has performed his work, ‘Lucernaris’ on numerous occasions.

Speaking about his work, he stated that despite the title he does not believe the work to be tragic in nature.

He stated: “Structurally, the piece has an overall A-B-A form with the first section an extended and ferocious passage in 6/8 time. It exploits the rhythmic possibilities in 6/8 and cross-rhythms and cross-dynamics are a feature and challenge that bands will need to overcome.

The Overture could be considered as absolute music, rather than having a fixed programme — the only potential tragedy being people attending the EBBC in Malmö and not hearing the performances of this exciting piece.”

Aurora was the Roman goddess of the dawn. Every day she opened the gates of the east with her rosy fingers and riding her chariot in a glowing mantel across the skycomposer

Youth Sections:

EBBC Youth Championship Premier Section: Phoenix’ Chant (Daniel MöllÃ¥s)

Daniel MöllÃ¥s (1993) is based in Malmö. He began his musical journey playing trombone and piano, through which he soon developed an interest in composing and arranging.

Since graduating he has studied composition at the Linnaeus University in Växjö (2012-13), Gotland School of Music Composition (2013-15) and at Malmö Academy of Music (MAM), including an exchange course at the Lithuanian Academy of Music and Theatre in 2018.

He has worked with several ensembles, orchestras and soloists, such as the Malmö Symphony Orchestra, Helsingborg SO and Norrköping SO amongst others.

Speaking about his work, ‘Phoenix’ Chant’ he said: “The initial sketches were written in the late Autumn of 2021; a time of increasing political tensions both nationally and worldwide, but also some relief that our society were starting to see the return of better times after the pandemic.

Whether this relief actually came or not might be quite hard, if not even impossible to say in today’s social climate. However just as it was then, hope remains as our strongest tool to cope with the difficult times — and above all to inspire us to work towards an actual better future.

Although maybe a bit of a cliché, the myth of the majestic firebird encapsulates this theme with an impeccable decisiveness. Consumed by its own flames, the old Phoenix is reborn from its ashes; younger, brighter and stronger than ever before.

As the sketches were developed and later on revised as the set piece commissioned by Brassmusik SkÃ¥ne for the European Brass Band Championships Youth Premier Section in Malmö 2023, the Phoenix theme became even more relevant, as it highlights the true importance and influence of the young for a sustainable journey ahead through time.

Although challenges will occur, hope remains through the voices of youth, calling for a brighter future.

This chant is for them. For all.”

EBBC Youth Development Section: Turning Torso (Magnus Hylander)

Magnus Hylander (1967) lives in Fristad and is a tuba player, who in addition to his composing can also be found conducting bands in the area.

He studied at the Malmö Academy of Music and played with the brass quintet Brassa Nova between 1992 and 1998. He has composed and arranged many pieces, mostly for brass, but also for other ensembles. Some of his works have been recorded by Göteborg Brassband, Flesland Musikklag, BrassaNova and Band of the Malmö Fire Brigade amongst others.

Speaking about his work he says: “The composition refers to the neo-futurist skyscraper built in the western harbour of Malmö in 2005.

It was designed by Spanish architect, structural engineer, sculptor and painter Santiago Calatravo. One reason for building Turning Torso was to have a new symbol for Malmö in lieu of the shipbuilding crane that had been removed a few years earlier.

The piece starts off, quiet and calmly, from a distance where you just barely can see the building. The next section describes the odd shapes and quirkiness of the building. In the middle section we are up at the top level and enjoying the spectacular view of the city on one side and over to Denmark on the other.

At last, we take the speedy elevator down for a last look at the magnificent building using the music from the opening.”

Alameda’s Bay Area Music Program teaches listening, mutual respect

Lorrie Murray grew up in Connecticut playing sports, creating visual art, hearing but paying minimal attention to the pop and classic rock her parents listened to and singing for only one year in the school choir during fourth grade. The Alameda resident did not become a multi-instrumentalist or composer like her husband, Dren McDonald, and never formally studied music, as has her daughter, Ella, 20, and son, Maddox, 17.

Murray never formed a rock band, although she said in a recent interview, “I was a sideshow freak for a rock band called Idiot Flesh and was their fire-eater and torch swinger. And I’ve sung random backup vocals. Oh, and I was a bouncer at Merchant’s Saloon in Oakland.” Despite this unlikely background, while working as a graphic designer and art director, Murray became a music concert promoter and tour manager, serving in the industry for 25 years, primarily for the art rock band The Residents.

It was while watching a “60 Minutes” broadcast in 2010 about Los Angeles Philharmonic Music Director Gustavo Dudamel, the Youth Orchestra LA and El Sistema USA, a music education program founded in the 1970s in Venezuela, that a light bulb lit up in her head. Murray’s children were students at Alameda’s former Washington Elementary School, an underperforming school that in 2013 was revamped and became Maya Lin School, an arts magnet elementary school in the Alameda Unified School District.

She suddenly realized that during all the years touring in the music industry, “everywhere I’ve ever gone and from every person, I heard stories about how music opened up a window for them. It’s where they found their tribe. Here in the East Bay, life was all about families and kids, but music was missing. I started wondering if an after-school music program could build community.”

Her wondering led to planning, and in 2014 the Bay Area Music Project (BAMP) was born. The initial project launched at Maya Lin School served the socioeconomically and culturally diverse student population on campus with free or low-cost, high-quality music instruction, instruments and music supplies, snacks and process-over-product social, emotional and academic support.

In 2023, the program (bayareamusicproject.org) operates five days a week and includes students at Alameda’s Maya Lin, Wood Middle and Encinal Junior & Senior High schools and Oakland’s middle and high school students at Life Academy High School. Opportunities in addition to one-on-one instruction include orchestra, chamber ensemble, choir, electronic music composition and production, field trips and visits from high-profile artists such as Yo-Yo Ma, Black Violin, The Amani Children’s Choir of Uganda and others. The program’s funding streams include the AUSD, tuition fees, grants, corporate partnerships and individual donations.

All of the above is the basis for what Murray emphasized is BAMP’s purpose: “What we are not is an intensive drive towards a career with a symphony or orchestra. We are finding belonging for kids. There is social and emotional intentionality. We hope to gain confident young people who can express themselves in a variety of ways. My objectives of nine years ago have shifted away from simply the high-caliber musicality to whether or not we are forming fully functional humans who are confident in themselves and find connection to other people on deeper levels.”

Murray says the shift comes in response to an escalated urgency to address anxieties and isolation that students have experienced at higher levels since the pandemic began and as they returned to in-classroom learning.

“The struggles in families were heartbreaking, and the kids are permanently changed because of it. First and foremost is their disconnect from friends. Secondly, as we returned, we saw how they’re impacted at every age level. A fifth-grader might have the emotional level of a third-grader. Kindergartners who are now going into third grade — their bodies are bigger, but they don’t know games, how to line up in the hallway. There are expectations for them to behave in ways in which they are not ready to behave.”

The music program invites students to express themselves, to explore freely without the emphasis on right and wrong answers found in math, reading and other courses. For many of the students at Maya Lin, English is a second language.

“This (the music program) gives them freedom to bring their culture, their regulatory skills, their expressivity — all without language, other than the language of music,” Murray said.

The program at Maya Lin took nine years to build, and at Alameda’s Encinal Junior & Senior High, the BAMP team spent six months just asking students what they did or didn’t like about music.

“It’s worth it because you get a better result when the kids are invested,” she said. “You can’t launch a program like this without getting to know the kids and the community.”

Murray looks across today’s social and political climate and watches cultural divides widen, social media encourage snap judgement and some of the youngest elementary school students unable to focus on anything other than a screen. Some older kids are unable to stick with learning something incredibly difficult, like how to play the violin.

“If something doesn’t happen instantly — and you can’t learn it with Google alone — they get flustered. They get frustrated. As they get older, they seek to look or behave like something on TikTok or Twitter, to be an influencer on YouTube.”

She says the solutions aren’t to deny the impact of the Internet and digital world but to use them as pathways to music produced with an instrument.

“With the older kids, we go the digital route and have them compose music on digital software. At the end, you have to use a traditional instrument to apply it. We use whatever they relate to and then hand them a cello or a flute.”

In the Alameda and Oakland classrooms where BAMP operates, the same scene repeats itself: “You see their shoulders drop, they let go with laughter and visibly, physically change. They breathe differently and get into making sounds. They respond to even silly prompts. One teaching artist said to the advanced orchestra that they are fuzzy caterpillars about to fly off to a burning sun. He counted them in and they just played. Each kid just related. It wasn’t a math equation, and they produced a cacophony of amazing sound. It was freedom, openness, confidence and trust in the teacher and themselves.”

If there’s a dream Murray holds for BAMP, she’s in no rush, favoring well made plans, but says the framework would be a full, kindergarten-through-12th-grade program at all Alameda schools and kids from all over the city playing music together. The dream for her is broader, though: “That through music, students and all people learn to listen to one another and respect each other’s cultures.”

Lou Fancher is a freelance writer. Contact her at lou@johnsonandfancher.com.

A Music Special From Andrea Bocelli Coming to Theaters Nationwide Beginning April 2

Movie Event Premieres During Holy Week and Features Pope Francis, Michael W. Smith, 2CELLOS, Tori Kelly, Clara Barbier Serrano, Tauren Wells, and More


NASHVILLE, Tenn., Feb. 7, 2023 /PRNewswire/ — Trinity Broadcasting Network, Fathom Events, and Impact Productions announce the debut of their new musical documentary, THE JOURNEY: A Music Special from Andrea Bocelli, coming to theaters nationwide for four nights only on April 2-4 and April 6, 2023. THE JOURNEY follows world-renowned tenor Andrea Bocelli and his wife Veronica as they travel through Italy’s beautiful terrain on horseback to complete parts of the unforgettable Via Francigena — a historical pilgrimage in which Christians journey to Rome to worship at grand cathedrals and visit the burial sites of revered saints and apostles.

THE JOURNEY: A Music Special from Andrea Bocelli coming to theatres nationwide beginning April 2.

Tickets can be purchased online at Fathom Events. A complete list of theater locations is available at the Fathom Events website (participating theaters are subject to change).

Watch the trailer here: TheJourney.movie.

Combining world-class musical performances with intimate conversations across the awe-inspiring Italian countryside, THE JOURNEY: A Music Special from Andrea Bocelli is an exploration of the moments that define us, the songs that inspire us, and the relationships that connect us to what matters most. You’ll be swept away by THE JOURNEY of beautiful music, creation, faith, and love.

Also featuring a blessing by Pope Francis, and musical performances by Michael W. Smith, 2CELLOS, Tori Kelly, Clara Barbier Serrano, Tauren Wells, TAYA, Matteo Bocelli, 40 Fingers, and Katherine Jenkins, THE JOURNEY will inspire audiences with powerful performances and spectacular scenery.

“We are so excited to be bringing THE JOURNEY to theaters across the country,” said TBN president Matt Crouch. “This was such a life-changing documentary to film and I hope it will reignite the faith and passion of audiences as we bring Via Francigena to their hometowns.”

Andrea Bocelli is a masterful tenor and his voice, combined with the beautiful footage and music in THE JOURNEY make for an incredible event,” said Ray Nutt, CEO of Fathom Events. “This documentary of Andrea’s faith-filled pilgrimage will be an incredible addition to theaters this Easter holiday.”

For more information, visit TheJourney.movie.

About Trinity Broadcasting Network:

Trinity Broadcasting Network is the world’s largest and most watched faith-and-family broadcaster, reaching over 175 nations across the earth with inspirational and entertaining programming 24 hours a day in 17 languages and on over 30 global networks. As the world’s most influential non-profit religious broadcaster, TBN has led the way in expanding the impact of faith-based television across the earth through the creation of innovative content designed to reach every viewer demographic with the life-changing message of hope and grace. To find out more about the TBN Networks, visit us at tbn.org.

About Fathom Events:

Fathom is a recognized leader in the entertainment industry as one of the top distributors of content to movie theaters in North America. Owned by AMC Entertainment Inc. (NYSE: AMC); Cinemark Holdings, Inc. (NYSE: CNK); and Regal, a subsidiary of the Cineworld Group (LSE: CINE.L). Fathom operates the largest cinema distribution network, delivering a wide variety of programming and experiences to cinema audiences in all the top U.S. markets and to more than 45 countries. For more information, visit www.FathomEvents.com.

About Impact Productions:

Impact Productions has built a reputation for unifying inspiring messages with captivating entertainment. Over the last two decades, Impact has partnered with TBN to produce hundreds of hours of inspirational programming, collaborating with top faith leaders like Joel Osteen, Steven Furtick, Joyce Meyer, and T.D. Jakes. Impact’s team of storytellers has created content for NBCUniversal, Harper Collins, Sony Pictures, Disney+, and more. Impact creatives have overseen the creation of an extensive catalog of content for brands like VeggieTales, MikeRoweWorks, and singer Andrea Bocelli.


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SOURCE TBN; Fathom Events; Impact Productions