Like “Bridgerton,” “Queen Charlotte features orchestral covers of modern music, but an original composition by Kris Bowers kicks off the soundtrack during Charlotte and George’s wedding in the first episode.
Bowers co-wrote “A Feeling I’ve Never Been” with Tayla Parx based on the work of Joseph Bologne Chevalier de Saint-Georges, a Creole composer who was one of the first men of color to become known for his compositions, and who also happened to be an excellent fencer (and the subject of the 2022 film “Chevalier.”)
“We looked at a few pieces that inspired us and then came up with this seed of an idea that we then built into this larger piece, and so because we approached it with much more of a songwriting way rather than score, that’s why it belongs with some of those other [soundtrack] songs, but it was part of a larger idea that Alex...
Bowers co-wrote “A Feeling I’ve Never Been” with Tayla Parx based on the work of Joseph Bologne Chevalier de Saint-Georges, a Creole composer who was one of the first men of color to become known for his compositions, and who also happened to be an excellent fencer (and the subject of the 2022 film “Chevalier.”)
“We looked at a few pieces that inspired us and then came up with this seed of an idea that we then built into this larger piece, and so because we approached it with much more of a songwriting way rather than score, that’s why it belongs with some of those other [soundtrack] songs, but it was part of a larger idea that Alex...
- 5/18/2023
- by Dessi Gomez
- The Wrap
In the hours immediately following the death of Queen Elizabeth II at Balmoral on Thursday (8 September), the crowds gathering outside of Buckingham Palace in London came together to sing both “God Save the Queen” for the late sovereign and “God Save the King” for her eldest son and successor, the former Prince of Wales, now known as King Charles III.
The latter phrasing will have been eerily unfamiliar to many, having not been sung on these shores since 1952 when the reign of Elizabeth’s father, George VI, came to an abrupt end.
The song was fist adopted as the UK and Commonwealth’s national anthem in September 1745 during the reign of George III, a year after its lyrics appeared in print for the first time in The Gentleman’s Magazine and its music was set down in ink in the pages of the Thesaurus Musicus anthology at a time when...
The latter phrasing will have been eerily unfamiliar to many, having not been sung on these shores since 1952 when the reign of Elizabeth’s father, George VI, came to an abrupt end.
The song was fist adopted as the UK and Commonwealth’s national anthem in September 1745 during the reign of George III, a year after its lyrics appeared in print for the first time in The Gentleman’s Magazine and its music was set down in ink in the pages of the Thesaurus Musicus anthology at a time when...
- 9/9/2022
- by Joe Sommerlad
- The Independent - Music
In the hours immediately following the death of Queen Elizabeth II at Balmoral on Thursday (8 September), the crowds gathering outside of Buckingham Palace in London came together to sing both “God Save the Queen” for the late sovereign and “God Save the King” for her eldest son and successor, the former Prince of Wales, now known as King Charles III.
The latter phrasing will have been eerily unfamiliar to many, having not been sung on these shores since 1952 when the reign of Elizabeth’s father, George VI, came to an abrupt end.
The song was fist adopted as the UK and Commonwealth’s national anthem in September 1745 during the reign of George III, a year after its lyrics appeared in print for the first time in The Gentleman’s Magazine and its music was set down in ink in the pages of the Thesaurus Musicus anthology at a time when...
The latter phrasing will have been eerily unfamiliar to many, having not been sung on these shores since 1952 when the reign of Elizabeth’s father, George VI, came to an abrupt end.
The song was fist adopted as the UK and Commonwealth’s national anthem in September 1745 during the reign of George III, a year after its lyrics appeared in print for the first time in The Gentleman’s Magazine and its music was set down in ink in the pages of the Thesaurus Musicus anthology at a time when...
- 9/9/2022
- by Joe Sommerlad
- The Independent - Music
Introduzione all’Oscuro lovers who can't make it to Rotterdam this year, can sample a selection of films from the comfort of their couch.
Festival Scope has teamed up with International Film Festival Rotterdam to screen 15 films online between now and February 24.
Films in the line-up includes the world premiere of Your Bones And Your Eyes by Caetano Gotardo - who also stars - and collaborative work The Seven Last Words, inspired by Franz Joseph Haydn's The Last Seven Years Of Our Saviour On The Cross, by multidisciplinary directors Kaveh Nabatian, Ariane Lorrain, Sophie Goyette, Juan Andrés Arango, Sophie Deraspe, Karl Lemieux, Caroline Monnet.
The line-up also includes films that have featured at other festivals, including Hans Hurch tribute Introduzione all'Oscuro and Sri Lankan drama House Of My Fathers, which tracks a man and woman's attempts to break an infertility curse that has struck their feuding villages.
Films cost 4€ each or 2€ if.
Festival Scope has teamed up with International Film Festival Rotterdam to screen 15 films online between now and February 24.
Films in the line-up includes the world premiere of Your Bones And Your Eyes by Caetano Gotardo - who also stars - and collaborative work The Seven Last Words, inspired by Franz Joseph Haydn's The Last Seven Years Of Our Saviour On The Cross, by multidisciplinary directors Kaveh Nabatian, Ariane Lorrain, Sophie Goyette, Juan Andrés Arango, Sophie Deraspe, Karl Lemieux, Caroline Monnet.
The line-up also includes films that have featured at other festivals, including Hans Hurch tribute Introduzione all'Oscuro and Sri Lankan drama House Of My Fathers, which tracks a man and woman's attempts to break an infertility curse that has struck their feuding villages.
Films cost 4€ each or 2€ if.
- 1/24/2019
- by Amber Wilkinson
- eyeforfilm.co.uk
Voyage of TimeDear Danny,Tiff is indeed an ocean, vast and churning, and we all have lighthouse films—titles around which we build schedules, and that help us situate ourselves amid the bustle. One such lighthouse film for me was Terrence Malick’s Voyage of Time, a long-gestating IMAX documentary being shown here in two versions, one running 90 minutes and another 45 minutes. The longer cut, subtitled Life’s Journey, was the one I caught, and it’s a rapturous work of telescopes and microscopes. The scope is cosmic as well as infinitesimal, as befits a film that ruminates on the very formation of life and nature, beginning with semi-abstract orbs that could be shimmering stars or inflamed ova. Blending natural footage with computer-rendered effects, Malick envisions the shape-shifting universe as a most lavish planetarium light-show. Darkness yields to fire, erupting lava hardens and cools underwater, beguilingly bulbous critters swim and crawl past the camera.
- 9/12/2016
- MUBI
As I struggled, as every year, to get my end-of-year lists finished in a reasonably timely fashion, it occurred to me that I could publish half of the classical list earlier if I could find a reasonable way to split it into categories. Thus the non-contemporary/contemporary divide this year. The newer composers' work requires more listening; that's the only reason the older repertoire comes first.
1. Ivan Moravec Twelfth Night Recital Prague 1987 (Supraphon) Supposedly this release of a previously unissued concert recording was approved by the pianist shortly before his passing in July 2015. Certainly it's hard to hear anything of significance that he wouldn't have liked about it, because it is a magnificent testament to everything that made him one of the greatest pianists who ever lived: one of the most beautiful piano tones ever heard, allied to liquid phrasing that gave him one of the greatest legato touches ever recorded.
1. Ivan Moravec Twelfth Night Recital Prague 1987 (Supraphon) Supposedly this release of a previously unissued concert recording was approved by the pianist shortly before his passing in July 2015. Certainly it's hard to hear anything of significance that he wouldn't have liked about it, because it is a magnificent testament to everything that made him one of the greatest pianists who ever lived: one of the most beautiful piano tones ever heard, allied to liquid phrasing that gave him one of the greatest legato touches ever recorded.
- 1/6/2016
- by SteveHoltje
- www.culturecatch.com
From the first moments of Goodbye to All That, when Otto Wall (Paul Schneider) is jogging past vibrant autumn foliage to the strains of a Haydn piano concerto, Angus MacLachlan's directorial debut feels like a 1980s Alan Alda dramedy (The Four Seasons, A New Life). Otto is a comfortably oblivious white-collar suburban dad who's unaware that tween daughter Edie (Audrey Scott) worries about his safety — or that his wife, Annie (Melanie Lynskey), is filing divorce papers. "Why do these things always happen to Daddy?" Edie asks after an Atv accident hobbles the marathon runner. "He doesn't pay attention," answers the weary Annie, and that's as insightful as MacLachlan's script gets. Otto's inattention is manifested in clumsiness and bad luck. Oth...
- 12/17/2014
- Village Voice
A classicist using Romantic harmonies, Johannes Brahms (1833-97) was hailed at age 20 by Robert Schumann in a famous article entitled "New Paths." Yet by the time Brahms wrote his mature works, his music was thought of as a conservative compared to the daring harmonies and revolutionary dramatic theories of Richard Wagner. But in the next century, Arnold Schoenberg's 1947 essay titled "Brahms the Progressive" praised Brahms's bold modulations (as daring as Wagner's most tonally ambiguous chords), asymmetrical forms, and mastery of imaginative variation and development of thematic material.
The son of a bassist in the Hamburg Philharmonic Society, Brahms was an excellent pianist who was supporting himself by his mid-teens. His first two published works were his Piano Sonatas Nos. 1 and 2, and throughout his career he penned much fine music for that instrument, not only solo (including the later Piano Sonata No. 3) and duo but also his landmark Piano Concertos Nos.
The son of a bassist in the Hamburg Philharmonic Society, Brahms was an excellent pianist who was supporting himself by his mid-teens. His first two published works were his Piano Sonatas Nos. 1 and 2, and throughout his career he penned much fine music for that instrument, not only solo (including the later Piano Sonata No. 3) and duo but also his landmark Piano Concertos Nos.
- 5/8/2014
- by SteveHoltje
- www.culturecatch.com
As we rightfully celebrate the 50th anniversary of The Beatles' rockin'-vasion of America, it is also worth noting the 40th anniversaries of progressive rock albums released in 1974 -- a banner year for the genre.
In alphabetical rather than chronological order, here is just a short list, along with links to a representative composition from each album.
Enjoy!
Apostrophe (Frank Zappa)
Although Zappa had been "at it" since 1966 -- as one of the earliest progenitors of progressive rock -- and although he had already put out over a dozen important albums, Apostrophe (and the immediately prior album, Over-Nite Sensation) arguably brought him to the masses through his cross-over "hit," "Don't Eat the Yellow Snow," which, despite its length, received regular airplay on FM stations. It didn't hurt that the album also included two of his funniest, most fun songs, "Cozmik Debris" and "Stinkfoot."
Hamburger Concerto (Focus)
For those who only know Focus via their 1971 novelty mega-hit,...
In alphabetical rather than chronological order, here is just a short list, along with links to a representative composition from each album.
Enjoy!
Apostrophe (Frank Zappa)
Although Zappa had been "at it" since 1966 -- as one of the earliest progenitors of progressive rock -- and although he had already put out over a dozen important albums, Apostrophe (and the immediately prior album, Over-Nite Sensation) arguably brought him to the masses through his cross-over "hit," "Don't Eat the Yellow Snow," which, despite its length, received regular airplay on FM stations. It didn't hurt that the album also included two of his funniest, most fun songs, "Cozmik Debris" and "Stinkfoot."
Hamburger Concerto (Focus)
For those who only know Focus via their 1971 novelty mega-hit,...
- 3/30/2014
- by Ian Alterman
- www.culturecatch.com
Symmetry: A Palindromic Film is not the latest feature from Todd Solondz. Yann Pineill’s mirror-image movie, which we spotted on Film School Rejects, has been constructed to play the same forwards as it does backwards. There’s no dialogue or heavy action. Beautiful cinematography and a score from Cliff Martinez (featuring Joseph Haydn) carries us through the subtleties of one man’s emotional day. With reverse footage, sometimes movement feels mechanical or harsh. The movements here suggest a gentle dream state. If you didn’t know Pineill’s tactic, you might never guess the footage was reversed. See how this short film explores symmetry in composition, sound, time and action, below.  ...
Read More...
Read More...
- 1/14/2014
- by Alison Nastasi
- Movies.com
Why Watch? There’s a hint of Eric Rohmer in this poetic short from Yann Pineill where a young man leaves his girlfriend to spend time with another woman, but the cleverness in executing the gimmick of a movie that truly is symmetrical is unmistakable. With beautiful cinematography that swirls and sways around European streets and a tortured romantic feel provided by the synth music of Cliff Martinez (with the posthumous help of Joseph Haydn), it gently plays with the mind without blowing it. A dream that attempts to defy physics. What Will It Cost? About 4 minutes plus 4 minutes. A New Short Film Every Weekday Source: io9...
- 1/9/2014
- by Scott Beggs
- FilmSchoolRejects.com
As always, there are biases at play here; my greatest interests are symphonic music, choral music, and piano music, so that's what comes my way most often. There are some paired reviews; the ranking of the second of each pair might not be the true, exact ranking, but it works better from a writing standpoint this way.
1. Brahms: Symphonies Nos. 1-4; Academic Festival Overture, Op. 80 Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56a; 3 Hungarian Dances; 9 Liebeslieder Waltzes; Intermezzi, Op. 116 No. 4 & Op. 117 No. 1 Gewandhausorchester/Riccardo Chailly (Decca)
It is not easy, at this point in recording history, to match the giants of the baton in a Brahms cycle, but Chailly has done it (this is my fiftieth Brahms cycle, and I have more than another fifty Brahms Firsts, and upwards of thirty each of the other symphonies outside those cycles, so I've got some basis for comparison...
1. Brahms: Symphonies Nos. 1-4; Academic Festival Overture, Op. 80 Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56a; 3 Hungarian Dances; 9 Liebeslieder Waltzes; Intermezzi, Op. 116 No. 4 & Op. 117 No. 1 Gewandhausorchester/Riccardo Chailly (Decca)
It is not easy, at this point in recording history, to match the giants of the baton in a Brahms cycle, but Chailly has done it (this is my fiftieth Brahms cycle, and I have more than another fifty Brahms Firsts, and upwards of thirty each of the other symphonies outside those cycles, so I've got some basis for comparison...
- 1/6/2014
- by SteveHoltje
- www.culturecatch.com
To the Wonder will finally, finally unveil itself at the Venice Film Festival on Sunday, and reviews from scenic Italy would, normally, be the most substantial reports on the film so far. A few days out from its first screening, after all, the closest thing to an update involves those who didn’t make it past Terrence Malick’s editing scissors.
Update: The first reviews have arrived from Venice, check them out here and read on for more details below.
Before that, we’ve got something which, if you’ll excuse the overwhelming bravado, peels back far more layers than anything else up to this point, possibly more than anything short of seeing the actual film. “That’s not saying much,” one could argue, and they’d be right — again, you only know Rachel Weisz probably won’t attend the premiere — so how about a full synopsis, eye-opening comments from Ben Affleck,...
Update: The first reviews have arrived from Venice, check them out here and read on for more details below.
Before that, we’ve got something which, if you’ll excuse the overwhelming bravado, peels back far more layers than anything else up to this point, possibly more than anything short of seeing the actual film. “That’s not saying much,” one could argue, and they’d be right — again, you only know Rachel Weisz probably won’t attend the premiere — so how about a full synopsis, eye-opening comments from Ben Affleck,...
- 8/31/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
This Wednesday the Northern hemisphere celebrated the best of the solstices. Why best? Because unlike the winter solstice, when the sun's low position on the celestial sphere results in a day with less light than any other all year, the summer version is gloriously, wisely inverted, responsible for making the day it falls on last longer than any other all year. Light stretches on, free spirits hold hands over at old Stonehenge (and umbrellas, this year), and every single person in the 'sphere starts to think of dance parties and popsicles.
This year HuffPost Culture thought we'd address your dance-and-popsicle-party-throwing needs with a playlist. This is not just any playlist. Every single tune on it is classical. That means violins and pianos and to our knowledge, not a single instance of auto-tuning.
In attendance are Maurice Ravel's "Jeux D'Eau," or "Fountains," for cooling purposes, the dirty sounding but musically literal "He's Mounting Up,...
This year HuffPost Culture thought we'd address your dance-and-popsicle-party-throwing needs with a playlist. This is not just any playlist. Every single tune on it is classical. That means violins and pianos and to our knowledge, not a single instance of auto-tuning.
In attendance are Maurice Ravel's "Jeux D'Eau," or "Fountains," for cooling purposes, the dirty sounding but musically literal "He's Mounting Up,...
- 6/22/2012
- by The Huffington Post
- Huffington Post
A study of composer Joseph Haydn that's refreshingly straightforward and intelligent in approach
Here is a film that argues for a greater appreciation of Joseph Haydn's music; it follows on from Grabsky's previous studies of Mozart and Beethoven, and in its low-key, unpretentious and assuming way, it is very good indeed. With simplicity and lucidity, Grabsky takes us through Haydn's life and work and reminds the audience that Mozart and Beethoven considered themselves his pupils. Then he strives to give the non-specialist a sense of why we should still care about him. Haydn's music had a democratic openness, an audience-pleasing quality, a feeling of sensitivity and refinement, though without grandiloquent pain. Part of the success of the film lies in just talking to very intelligent and authoritative people – musicians, conductors, historians – and letting them have their say, simple as that. These commentators give the film a real Iq-vitamin boost...
Here is a film that argues for a greater appreciation of Joseph Haydn's music; it follows on from Grabsky's previous studies of Mozart and Beethoven, and in its low-key, unpretentious and assuming way, it is very good indeed. With simplicity and lucidity, Grabsky takes us through Haydn's life and work and reminds the audience that Mozart and Beethoven considered themselves his pupils. Then he strives to give the non-specialist a sense of why we should still care about him. Haydn's music had a democratic openness, an audience-pleasing quality, a feeling of sensitivity and refinement, though without grandiloquent pain. Part of the success of the film lies in just talking to very intelligent and authoritative people – musicians, conductors, historians – and letting them have their say, simple as that. These commentators give the film a real Iq-vitamin boost...
- 1/13/2012
- by Peter Bradshaw
- The Guardian - Film News
It's not often that my work as an entertainment and Broadway reporter crosses paths with my day job as the New Media Specialist at the American Museum of Natural History in New York City, so when I heard that an opera was going to be staged in the Museum's Hayden Planetarium, I was interested in checking it out. Turns out the director of Broadway's recent Hair revival, Diane Paulus, decided to direct a production of Il mondo della luna (The World on the Moon) by Joseph Haydn in the Planetarium -- a unique setting for a show about a nobleman who is fooled, by a fake astronomer, to believe he has been sent to the moon. Written in 1777, the story of Il mondo della luna remains intriguing to both art lovers and science enthusiasts, thanks in part to projections displayed on...
- 1/20/2010
- by James Sims
- Huffington Post
Music Director Robert Spano will lead the Atlanta Symphony Orchestra and Chamber Chorus in an Aso Theater of a Concert presentation of Haydn's The Creation. Set designer Anne Patterson and Projection Designer Adam Larsen, whose work has enhanced the Atlanta Symphony Orchestra's performances of St. John Passion and Gorecki's Third Symphony, return to design Joseph Haydn's The Creation in Atlanta Symphony Hall on February 26 and 28, 2008 at 8:00 pm. Soloists include soprano Janice Chandler, tenor Thomas Cooley, and bass Derrick Parker.
- 2/11/2009
- BroadwayWorld.com
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