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The Crossover Media Podcast
16 minutes | Sep 22, 2021
The Singing Guitar - Nico Muhly
‘The Singing Guitar,’ 12 guitarists, 26 singers and a cellist, in new works by four American composers. Exploring the unique connection of voices and strings. Listeners experience an unusual musical journey on the Delos Music recording; ‘The Singing Guitar.’ Combining voices, guitars, and cello with Native American and non-native pioneer stories, it is hard to overstate the power, challenge, and difficulty of this unique collaboration that expresses these exquisitely crafted compositions by Reena Esmail, Nico Muhly, Kile Smith and Craig Hella Johnson. On this episode of The Singing Guitar, American composer and sought-after collaborator; Nico Muhly. Born in 1981, Nico Muhly's musical influences range from minimalism to the Anglican choral tradition. A recipient of commissions from The Metropolitan Opera, Carnegie Hall, the Los Angeles Philharmonic, Tallis Scholars, and St. John’s College, Cambridge, to name a few, Mr Muhly has written more than 100 works for the concert stage, and is a frequent collaborator with artists such as Sufjan Stevens, Björk, Grizzly Bear, Antony and the Johnsons, composer Philip Glass, and choreographer Benjamin Millepied. Nico Muhly's contribution on ‘The Singing Guitar’ ‘How Little You Are,’ a commission from Austin Classical Guitar, Conspirare, and Texas Performing Arts, is a 6 segment work scored for three guitars and chorus. Nico Muhly is here with us on the podcast to discuss the piece. About the Album The wonderful Conspirare chamber choir, known for its interpretive depth and otherworldly sonic lushness, offers another of its captivating programs-this time joined by three superb guitar quartets-in a program remarkably relevant to our time. Conspirare's 2019 Delos album, The Hope of Loving (DE 3578), was nominated for a GRAMMY® Award for Best Choral Performance in 2020. The concert version of The Singing Guitar was performed to full houses in 2019. The combination of guitar quartet and chorus is so successful it's surprising that more composers have not written for it. Four recently written compositions feature the voices of Conspirare accompanied by guitar-twelve guitars in Nico Muhly's How Little You Are, a compelling composition telling of the struggles of pioneer women. Kile Smith's The Dawn's Early Light ponders our national anthem in the writings of a Native American woman, Sarah Winnemucca Hopkins. The album is rounded out with compositions by Reena Esmail and Conspirare's founder and director Craig Hella Johnson. A Chicago Tribune Best Classical Recording of 2020, A WRTI Best of 2020 Album, Apple Music Featured New Album, and Qobuz Grand Selection. Music for choir and guitars with Los Angeles Guitar Quartet, Texas Guitar Quartet, Austin Guitar Quartet, and cellist Douglas Harvey. Nico Muhly's musical mediation How Little You Are evokes powerful landscapes of American pioneers in a compelling work for choir and 12 guitars; soprano Estelí Gomez is a featured soloist. Kile Smith's The Dawn's Early Light sets selected text from Native American Sarah Winnemucca's autobiography that addresses the significant divisions in our human family. The texts present contrasting perspectives of Sara Winemucca, the first Native American to publish and English language narrative, and the pioneer women whose texts are set in Muhly's piece.
32 minutes | Aug 10, 2021
RIOPY - Bliss
RIOPY has fused minimalism, pop, jazz, and cinematic idioms into a distinctive crossover piano style. A self-taught composer who studied at Oxford University, RIOPY has built a successful career both as a performer and as a composer for television and film, where his evocative solo piano pieces provide the backdrop to popular movie and tv trailers. RIOPY's new Warner Classics recording; 'Bliss' is a collection of 11 titles, each a jewel of pure emotion. RIOPY's inspiration for this album has been guided by his will to pay tribute to the anonymous but true heroes of "normal life". Although he has rejected tricks of over-produced music, preferring the sheer power and shine of an amazing Fazioli piano, he manages to create incredibly cinematic music, built chapter by chapter, character by character, growing into a piano tale – a piano tale that, for the listener, will become an unforgettable experience of Bliss. We are happy to welcome RIOPY to the podcast. Listen to the conversation Crossover Media: Website: http://www.crossovermedia.net/ Twitter: https://twitter.com/_CrossoverMedia Facebook: https://www.facebook.com/crossovermedia Instagram: https://www.instagram.com/crossovermedia/
31 minutes | Aug 2, 2021
Yo-Yo Ma, Emanuel Ax - Hope Amid Tears, Beethoven Cello Sonatas
"My good friend Manny Ax would always say to me that it doesn't matter what you did yesterday; if you're here today, that's what counts." - Yo-Yo Ma to The New York Times Magazine On Friday, June 4, 2021 Yo-Yo Ma and long-time friend and musical partner Emanuel Ax released Hope Amid Tears, a new recording of Beethoven's complete works for cello and piano, on Sony Classical. Hope Amid Tears presents Beethoven's five sonatas for cello and piano in the order in which they were composed, tracing an important arc in Beethoven's development and approach as a composer. Joining them are Beethoven's three sets of variations for cello and piano. The dynamic duo discussed the recording with Crossover Media's Max Horowitz. Listen to the conversation here. The title is an allusion to the possibly apocryphal story that, in 1809, Beethoven sent a copy of the recently-completed Sonata No. 3 to his friend Ignaz von Gleichenstein with the note "Inter lacrimas et luctum"-"amid tears and grief." At the time, Vienna was embroiled in the chaos of the Napoleonic Wars, and many of Beethoven's closest friends and supporters had fled the city. But in this period of loneliness and isolation, compounded by his increasingly profound deafness, Beethoven nonetheless completed works of enduring spirit. "When we look to music to give us hope for the future, to believe that we can survive and to do good, it is invariably to Beethoven's," writes Ax. "His mastery of musical craft was second to none, of course, but it is his indomitable spirit in the face of personal tragedy that makes him unique. In this period of world-wide unease, grief, and suffering, it is perhaps fitting that we are also celebrating the 250th birthday of the composer who represents what is best in our humanity." Ma and Ax have made music together for more than 40 years, recording dozens of albums, earning five Grammy Awards, and performing on stages all over the world. Their friendship is not only rooted in a deep love of music, but also a shared sense of humor and keen perspectives on life's joys and challenges. Hope Amid Tears is their second recording of the complete Beethoven cello sonatas, after a 1987 effort that earned the duo their second Grammy. "It has been a true privilege to live with this music for over forty years," writes Ax. "Each time that Yo-Yo and I have come back to work on these sonatas and variations, we have found new meaning and new ways of realizing the notes on the page. Fortunately for us, there are so many ways of experiencing them, and finally the music itself is so uplifting that every attempt, whether good or bad, is a joy. I hope we can share with you our awe for Beethoven and our deep love for his vision." Crossover Media: Website: http://www.crossovermedia.net/ Twitter: https://twitter.com/_CrossoverMedia Facebook: https://www.facebook.com/crossovermedia Instagram: https://www.instagram.com/crossovermedia/
36 minutes | Jun 9, 2021
JoAnn Falletta - Penderecki - In Memoriam
Gramophone Magazine noted that GRAMMY-winning conductor JoAnn Falletta conducts performances that are assured, spontaneous and superbly played. An award winning musician and member of the American Academy of Arts and Sciences, and National Council on the Arts, Ms. Faletta has introduced over 500 works by American composers, including over 100 world premieres, and her discography tops 120 titles. Not only does she lead the Buffalo Philharmonic, but is also Music Director Laureate of the Virginia Symphony, Principal Guest Conductor of the Brevard Music Center, and Artistic Adviser of the Hawaii Symphony and Cleveland Institute of Music - Orchestra. Hailed for having ‘Toscanini's tight control over her ensembles, Walter's affectionate balancing of inner voices, Stokowski's gutsy showmanship, and a controlled frenzy worthy of Bernstein', Joann Falletta is a leading force for the music of our time. In 2018, The Buffalo Philharmonic made their first international tour in three decades and performed at Warsaw's Beethoven Easter Festival. The impetus for the tour was the BPO's friendship with Krzysztof Penderecki and his wife, Easter Festival founder and artistic director Elzbieta Penderecka. That year the festival celebrated the centennial of Leonard Bernstein, as well as Penderecki's 85th birthday, and Maestra Falletta also made history as the first American women conductor to lead an orchestra at the prestigious event. JoAnn Falletta is here with us to discuss the great Polish composer; Krystof Penderecki. LISTEN JoAnn, met Penderecki when guest-conducting in Krakow, and invited him to Buffalo. In December 2016, Penderecki led the BPO in concert. Soon after that, the BPO accepted Penderecka's invitation to perform at the Beethoven Easter Festival in Warsaw. What was your first impressions of meeting Penderecki? For our conversation today, JF and I touched on 3 Penderecki pieces that you have performed and recorded; the Double Concerto for Violin, Viola and Orchestra, the Horn Concerto subtitled Vinterreise, and the Adagio from Symphony #3. The Double Concerto, a commission from Vienna's Musikverein which marked the society's bicentenary provided Penderecki an opportunity to try out an idea suggested to him by Julian Rachlin, who wanted a work that he could play and record both the solo violin and viola parts. Mozart's Sinfonia Concertante in E flat major is probably the most well known example of a piece in this format. Max Bruch and Benjamin Britten have also contributed, JF gives thoughts on Why there are relatively few compositions in this configuration. Why Penderecki's Double Concerto has had a huge impact on the repertoire. the Horn Concerto running counter to Penderecki development. the Adagio from Symphony No. 3 Maestra JoAnn Falletta in a candid interview about Krystof Penderecki Produced by Max Horowitz - Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
26 minutes | Apr 21, 2021
Daniel Hope's tribute to Alfred Schnittke
Listen to the Daniel Hope 'tribute podcast' to Alfred Schnittke. It's the violinist's encounter with one of the twentieth century's most original and fascinating composers. This podcast was hosted and produced by Crossover Media's Max Horowitz. "The real legacy of Schnittke's music is its multidimensional exploration of what musical truth in the twentieth century might be, from chaotic polystylism to heartfelt spirituality." - The Guardian Schnittke – Works for Violin and Piano, released in February 2021 by Deutsche Grammophon, pairs Hope with pianist Alexey Botvinov in a programme of enormous creative breadth and energy. Botvinov, an acclaimed interpreter of the composer's works, joins Daniel Hope for an album that embraces everything from the immediately accessible Polka and Tango to the multi-layered Violin Sonata No.1, the work that first ignited Hope's passion for Schnittke's music. Daniel Hope was fifteen when he first encountered the music of Alfred Schnittke in 1989. The experience launched a love affair with the Russian composer's work that has continued to deepen ever since. The violinist's latest album for Deutsche Grammophon pays homage to this maverick genius, whose elegant explorations of past styles and free-thinking experiments in "polystylism" were both original and iconoclastic, at times bringing him into conflict with the Soviet authorities.
13 minutes | Sep 3, 2020
Keeping Score with Ludvig Forssell - Death Stranding
Ludvig Forssell is the featured guest on our Keeping Score podcast, produced and hosted by Crossover Media's Max Horowitz. The Death Stranding composer reveals his experience working alongside Hideo Kojima and crafting the gritty score by utilizing household appliances and synths that help create the natural, eerie sound. LISTEN TO THE PODCAST After the collapse of civilization, Sam Bridges must journey across a ravaged landscape crawling with otherworldly threats to save mankind from the brink of extinction. In the near future, mysterious explosions have rocked the planet, setting off a series of supernatural events known as the Death Stranding. With spectral creatures plaguing the landscape, and the planet on the verge of a mass extinction, it’s up to Bridges to journey across the ravaged wasteland and save mankind from impending annihilation. Ludvig Forssell is a Swedish composer known for his work on Metal Gear Solid V and Death Stranding, as well as an audio director at Kojima Productions. He is composing the soundtrack for Death Stranding. For the Metal Gear series, he composed the soundtracks for Metal Gear Solid V: Ground Zeroes and Metal Gear Solid V: The Phantom Pain. Forssell also wrote the lyrics for Sins of the Father, performed by Donna Burke and "Quiet's Theme", performed by Stefanie Joosten. As an actor, he provided the voices of minor characters, and the likeness for the Shago Platoon commander.
23 minutes | Aug 13, 2020
'Keeping Score' with Colin Stetson and 'The Color Out of Space'
Colin Stetson is the featured guest on Sony Soundtracks Keeping Score podcast, produced and hosted by Crossover Media's Max Horowitz. The Color Out of Space composer breaks down his process of layering different sounds in order to find the sonic representation of a color that is between magenta and hot pink. Color Out of Space is based on the short story by H.P. Lovecraft. After a meteorite lands in the front yard of their farmstead, Nathan Gardner (Nicolas Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare. Color Out of Space stars Nicolas Cage (Mandy, Leaving Las Vegas), Joely Richardson (The Rook, Nip/Tuck), Madeleine Arthur (Snowpiercer), Brendan Meyer (The OA), Julian Hilliard (The Haunting of Hill House), Elliot Knight (How to Get Away with Murder), with Q’orianka Kilcher (The New World) and Tommy Chong (Cheech & Chong). The film is directed by Richard Stanley (Hardware, Dust Devil). He co-wrote the screenplay with Scarlett Amaris (The Theatre Bizarre). The film was produced by SpectreVision and ACE Pictures and is being distributed domestically by RLJ Entertainment. Colin Stetson, born and raised in Ann Arbor, Michigan, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player before eventually settling in Montreal in 2007. Over the years he has worked extensively with a wide range of bands and musicians, including Tom Waits, Lou Reed, Arcade Fire, Bon Iver and The National. Stetson has developed an utterly unique voice as a soloist, principally on saxophone and clarinet. His astounding physical engagement with his instruments produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. He is at home in the avant-jazz tradition of pushing the boundaries through circular breathing and embouchure, and his noise/drone/minimalist sound encompasses genres like dark metal, post-rock and contemporary electronics. More recently, Stetson has focused on scoring a number of original soundtracks, including Lavender (2016), Hereditary (2018) and Hulu series The First (2018).
12 minutes | Jul 18, 2020
Keeping Score with Mark Korven - The Lighthouse
Mark Korven is the featured guest on our Keeping Score podcast, produced and hosted by Crossover Media's Max Horowitz. Korven breaks down the creation of the hypnotic score for The Lighthouse and his experience working alongside Robert Eggers. LISTEN TO THE PODCAST From Robert Eggers, the visionary filmmaker behind modern horror masterpiece The Witch, comes The Lighthouse, a hypnotic and hallucinatory tale of two lighthouse keepers on a remote and mysterious New England island in the 1890s. Starring Willem Dafoe and Robert Pattinson, A24’s The Lighthouse made its world premiere at this the 2019 Cannes Film Festival. Mark Korven is a Toronto based composer for film and television. He is best known for his work on the 2016 period Horror film The Witch, which won the best director award at the 2015 Sundance festival for director Robert Eggers. Mark also scored Egger’s follow up The Lighthouse starring Willem Dafoe and Robert Pattinson. It won the Critics Prize at the Cannes Film Festival 2019. His scores have been nominated 14 times for Canadian film and Television awards, winning several. His client list includes AMC, CBS, CTV, CBC, E1, PBS, and BBC. He has also composed feature film scores for acclaimed directors Deepa Mehta, Patricia Rozema and Vincenzo Natale. Currently he is composing for AMC’s critically acclaimed The Terror. Mark is also a multi-instrumentalist specializing in world music. He is represented by Core Music Agency.
35 minutes | Jul 13, 2020
INTERPLAY, Conversations in Music, with Michael Shapiro - Leonard Slatkin
INTERPLAY, Conversations in Music, with Michael Shapiro - Leonard Slatkin by Crossover Media
11 minutes | Jun 26, 2020
John Scofield - Steve Swallow: Swallow Tales podcast
Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it. John was a 20-year-old student at Berklee when he first met and played with bassist Swallow, and they have continued ever since, in many different contexts. Listen to the podcast "I love these songs", says Scofield of the selection of Swallow compositions explored here – a broad range including tunes that have become standards, as well as some lesser-known works. The rapport between Scofield and Swallow is evident in every moment. John: "Sometimes when we play it's like one big guitar, the bass part and my part together." Behind the drum kit, Bill Stewart is alert to all the implications of the interaction. "What Bill does is more than ‘playing the drums,'" Scofield says. "He's a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard." The guitarist himself plays with fire and invention throughout: "These two giants bring out the best in me." Swallow's compositions, John notes, "make perfect vehicles for improvisation. The changes are always interesting – but not too interesting! They're grounded in reality with cadences that make sense. They're never just intellectual exercises, and they're so melodic. They're all songs, rather than ‘pieces'. They could all be sung." Swallow Tales opens with "She Was Young", a tune introduced on Steve Swallow's ECM album Home, in 1979, where it was indeed sung, by Sheila Jordan. A number of the tunes addressed here – including "Falling Grace", "Portsmouth Figurations", and "Eiderdown" – belonged to the 1960s repertoire of Gary Burton's groups. Scofield, who had admired them from the outset, studied them with Burton and the composer in the early 1970s, by which point Swallow had made the transition from double bass to bass guitar, creating a new voice for himself on the electric instrument. When Scofield launched his own recording career, Swallow was in his trio (with Adam Nussbaum on drums). Touring widely the guitarist and the bassist fine-tuned their musical understanding, a process continued in many other configurations over the years. Scofield appeared on Steve's XtraWatt album Swallow in 1991, for instance, and Swallow is on numerous Scofield recordings - including the recent Country For Old Men, which also featured Bill Stewart. A close associate since the early 1990s, drummer Stewart had played in John's quartet with Joe Lovano, and gone on to join the guitarist in many journeys over varied musical terrain. John Scofield has recorded for jazz labels including Impulse, Blue Note, Verve, Emarcy and Gramavision. ECM appearances to date have been infrequent but distinguished; they include two albums with Marc Johnson's Bass Desires group – Bass Desires (recorded 1985) and Second Sight (1987) - in which the guitarist shared frontline duties with Bill Frisell. On Shades of Jade (2004), a third Marc Johnson album, Scofield is heard alongside frequent colleague Joe Lovano. The live double album Saudades (recorded in 2004), meanwhile, features Scofield as a member of Trio Beyond, alongside Jack DeJohnette and Larry Goldings, reassessing the songbook of Tony Williams' Lifetime. Swallow Tales is the first of his ECM recordings to feature the guitarist as bandleader.
44 minutes | Mar 31, 2020
Wolfgang Muthspiel - Angular Blues podcast
Wolfgang Muthspiel, whom The New Yorker has called "a shining light" among today's jazz guitarists, returns to the trio format with Angular Blues, his fourth ECM album as a leader, following two acclaimed quintet releases and his trio debut. Like Driftwood – the 2014 trio disc that JazzTimes dubbed "cinematic" and "haunting" – Angular Blues finds the Austrian guitarist paired with long-time collaborator Brian Blade on drums; but instead of Larry Grenadier on bass, this time it's Scott Colley, whose especially earthy sound helps imbue this trio with its own dynamic. Muthspiel plays acoustic guitar on three of the album's tracks and electric on six more. Along with his characteristically melodic originals – including such highlights as the bucolic "Hüttengriffe" and pensive "Camino" – he essays the first standards of his ECM tenure ("Everything I Love" and "I'll Remember April"), as well as his first-ever bebop rhythm-changes tune on record ("Ride"). Angular Blues also features a single guitar-only track, "Solo Kanon in 5/4," with Muthspiel's electronic delay imbuing the baroque-like rounds with a hypnotic glow. Muthspiel, Colley and Blade recorded Angular Blues in Tokyo's Studio Dede after a three-night run at the city's Cotton Club. The album was mixed with Manfred Eicher in the South of France at Studios La Buissonne, where Muthspiel had recorded his two previous ECM albums, Rising Grace and Where the River Goes (both of which featured pianist Brad Mehldau and trumpeter Ambrose Akinmusire). Each of the groups that Muthspiel has put together for his ECM recordings has had a special rapport. About his new trio, the guitarist says: "Scott and Brian share my love of song, while at the same time there is constant musical conversation about these songs." The Louisiana-born Blade has been a member of the Wayne Shorter Quartet since 2000, along with recording with artists from Bob Dylan, Joni Mitchell, Daniel Lanois and Norah Jones to Charlie Haden, Herbie Hancock, Chick Corea and Joshua Redman. Since the mid-'90s, Blade has also co-led the gospel-infused Fellowship Band. After being mentored by Charlie Haden, Scott Colley was the bassist of choice for such jazz legends as Jim Hall, Andrew Hill, Michael Brecker, Carmen McRae and Bobby Hutcherson, along with appearing on albums by Herbie Hancock, Gary Burton, Pat Metheny, John Scofield, Chris Potter and Julian Lage. Colley, a native of Los Angeles, has released eight albums as a leader. "Scott and Brian have also played a lot together over the past few years, so they know each other well," After "Wondering" – which includes extended soloing by Colley that embroiders on Muthspiel's melody beautifully – comes the album's title song, the highly trio-interactive "Angular Blues," so titled for its "rhythmic modulations and strange breaks," the guitarist explains. "Somehow Chick Corea's album Three Quartets was an association, but so was Thelonious Monk." Those first two tracks, as well as the album's third, "Hüttengriffe," feature Muthspiel on acoustic guitar, his sound on the instrument both warm and extraordinarily fluent. After that – on "Camino," "Ride," "Everything I Love," "Kanon in 6/8," "Solo Kanon in 5/4" and "I'll Remember April" – he plays electric. Muthspiel's ever-liquid electric phrasing buoys both an emotionally rich original such as "Camino" and the two different turns on his kaleidoscopic "Kanon," the trio version in 6/8 and the solo, mostly improvised rendition in 5/4. Produced by Max Horowitz — Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
8 minutes | Mar 27, 2020
Zajal With Dave Soldier And Pedro Cortes - The Spanish Tradition Is Our Culture
Lyrics in medieval Hebrew, Arabic and Spanish from Andalusia, 900-1400 C.E. The Golden Age of Spain that created the tradition of Western song, from Schubert and Verdi to Hank Williams and the Beatles Zajal, renowned Downtown composer and instrumentalist Dave Soldier explores the beginning of popular song and locates it 1000 years ago at the intersection of Muslim, Jewish, and Christian cultures in southern Spain. Zajal, along with muwashaha, were the lyrics of medieval Andalusia. While many are still sung today (notably in Lebanon), their offspring are everywhere. On a trip to Spain in 2004, Soldier read about the Andalusian caliphate, when the Muslim, Christian and Jewish com- munities not only coexisted, but co-created much of the world we inhabit today. Together, they produced the novel, cowboy culture, the guitar, the dance suite, the Kabbalah, Maimonides and ibn Arabi and the discovery of the New World. And modern song: the zajal and muwashaha introduced the verse and chorus that are the backbone of popular music. Imitation of Andalusia's singing oud players begat the troubadours and the figure of the wandering poet and singer in its myriad incarnations, from Villon to Joni Mitchell. Zajal features Maurice Chedid, a celebrated singer and oudist from Lebanon who drives a livery cab in New York; Triana Bautista and Ismael Fernandez, scions of famous Gypsy flamenco families; flamenco and Latin music singers David Castellano and Barbara Martinez; and Israeli-Moroccan-Persian vocalist Ana Nimouz. Players include composer Dave Soldier on guitar and keyboards: classical and klezmer violinist Rebecca Cherry; Alan Kushan, the foremost virtuoso of the Iranian sentur: trombonist Chris Washburne (Eddie Palmieri and Willie Colon): klezmer trombonist Dan Blacksberg: jazz bassist Ratzo Harris (Mose Allison, Betty Carter): timbalero Robby Ameen (Eddie Palmieri, Dizzy Gillespie): Greek clarinetest Lefteris Bournias: flamenco dancer and percussionist Jose Moreno: and palmas (handclaps) by the dancers Nelida (Neli) Tirado and Sonia Olla (Madonna and Ricky Martin). Dave learned flamenco guitar from Pedro Cortes, the foremost American exponent of Gypsy flamenco, who produced the record. The lyrics are by the major Arabic and Hebrew poets of medieval Spain, plus one by their Persian contemporary Rumi in Farsi; a lyric by Dave Soldier in English that uses the sevillianas, a flamenco form; and a modern muwashaha from the great Lebanese singer Fairouz. The music uses contemporary Andalusian forms (buleria, fandango, petenera, rumba, tango) as translated through Soldier's vision of the contemporary cultures of New York City. Musicians: Dave Soldier, guitar, keyboards, musical compositions (except #2), arrangements; Ana Nimouz, Triana Bautista, David Castellano, Barbara Martinez, Ismael Fernandez, Anais Tekarian vocals; Maurice Chedid, oud, vocals; Chris Washburne, Dan Blacksberg, trombones; Philip Payton, Rebecca Cherry (solos), violins; Alan Kushan, sentur; Lefteris Bournias, clarinet; Mahmoud Hamadani, recitation; Ratzo Harris, bass; Jose Moreno, hand percussion, trap set, vocals; Robby Ameen, timbales; Ismael Fernandez and Sonia Olla, palmas and jaleo; Neli Tirado, palmasn. Produced by Max Horowitz — Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
30 minutes | Mar 18, 2020
Crossover Media releases; 'The New Pope' podcast with Lele Marchitelli
Milan Records recent release of THE NEW POPE (ORIGINAL SOUNDTRACK FROM THE SKY – HBO – CANAL+ SERIES produced by FREMANTLE'S THE APARTMENT and WILDSIDE, co-produced with HAUT ET COURT TV and THE MEDIAPRO STUDIO), features music by LELE MARCHITELLI. The album score music written by Marchitelli for Paolo Sorrentino's nine-episode original series starring Jude Law and John Malkovich, is complimented by a collection of provokotive songs including the show's theme song from Sofi Tukker and Charlie Barker, a special new edit of Afterhours' "Voglio Una Pelle Splendida" recorded specifically for the show, Recondite & Henrik Schwarz' techno classic "Motion" and more – full tracklist below. Created by Academy Award-winning director Paolo Sorrentino (Youth, The Great Beauty) and his follow-up to 2016's The Young Pope, The New Pope premiered on HBO in January 2020. Listen to the podcast featuring score composer - Lele Marchitelli Of the soundtrack, composer LELE MARCHITELLI says, "In soundtracks for cinema and TV, I think it's not so much the music you use but how you use it. We could use the term ‘counterintuitive' to describe certain musical choices that take an unexpected direction compared to what the audience expects. Paolo Sorrentino belongs to a set of directors who share this approach; his musical choices, regarding both pre-existing music and original scores, are extremely well thought out and incongruous with respect to the editing of the scenes. If the music says one thing and the dialogues, the acting or the scene in general don't, it means it has achieved its goal: completing the director's thinking." Written by the Academy Award-winning director, The New Pope, is Paolo Sorrentino's second installment in the original series, set in the world of the modern papacy. The nine-episode series features Jude Law, John Malkovich, Silvio Orlando, Cécile de France, Javier Cámara, Ludivine Sagnier. Sharon Stone and Marilyn Manson guest star.
15 minutes | Jan 21, 2020
'Why We Hate' podcast with Laura Karpman
Laura Karpman (Underground, Paris Can Wait, Step, Black Nativity) has scored the Discovery docu-series Why We Hate. The show is directed by Geeta Gandbhir & Sam Pollard and investigates the human capacity for hatred and how we can overcome it. The 6-parter traces the evolutionary basis of hate and uses stories from past and present to reveal the nature of the primal and universal emotion. Steven Spielberg, Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room) and Frank Marshall (Jurassic World, The Sixth Sense) are executive producing the Amblin Television & Jigsaw production with Stacey Offman, Richard Perello (Super Troopers), Darryl Frank & Justin Falvey (The Americans, The Haunting of Hill House), Yael Melamede, Erica Sashin and Steve Tisch (Forrest Gump, The Equalizer). Karpman has previously scored the Spielberg-produced 2002 mini-series Taken. Why We Hate will premiere later this year on Discovery. Throughout history, hate and conflict have been part of the human experience. From horrific extremes such as the Holocaust or the Rwandan genocide, when hate has fueled mass destruction, to everyday incidents like playground bullying or malicious trolling on social media, hate shapes our lives in myriad ways. And while all humans have the capacity to hate, few understand what sparks it and transforms it into a destructive force. Executive produced by filmmaking heavyweights Alex Gibney and Steven Spielberg and directed by Geeta Gandbhir and Sam Pollard (Emmy® winners for "When The Levees Broke: A Requiem in Four Acts"), WHY WE HATE explores one of humanity's most primal and destructive emotions – hate. At the heart of this timely series is the notion that if people begin to understand their own minds, they can find ways to work against hate and keep it from spreading. The six-part series began airing on SUNDAY, OCTOBER 13 2019 on Discovery Channel, with additional episodes airing each subsequent Sunday. "The issues explored in WHY WE HATE are more relevant than ever," says Nancy Daniels, Chief Brand Officer, Discovery and Factual. "Discovery is tremendously proud to delve into this critical subject with legendary filmmakers Alex Gibney and Steven Spielberg and the teams they have assembled. The hard science gives us the knowledge we need, the storytelling provides the hope." WHY WE HATE works to contextualize the many instances of hate in everyday life: the violent rivalries that erupt at sports matches, the hateful rhetoric that runs rampant on social media, and the heated disagreements that flare up over political partisanship, race, religion, and social beliefs. The series follows brave individuals seeking to quell violent conflict and correct misperceptions, hears from former terrorists and architects of genocide, and allows viewers to consider lessons from some of the most brutal and enduring examples of hate throughout the world. WHY WE HATE is an Amblin Television and Jigsaw Productions in association with Escape Artists for Discovery Channel. Directed by Geeta Gandbhir and Sam Pollard. The series is executive produced by Alex Gibney, Steven Spielberg, Frank Marshall, Stacey Offman, Richard Perello, Darryl Frank, Justin Falvey, David McKillop, Jon Bardin, Yael Melamede, and Erica Sashin. For Escape Artists: executive producer, Steve Tisch; For Discovery Channel: executive producers, Nancy Daniels and Howard Swartz. Produced & Narrated by Max Horowitz — Crossover Media This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
17 minutes | Jan 2, 2020
'Little Women' with Alexandre Desplat
Welcome to the 'Little Women' podcast featurIng Academy Award®, Golden Globe® and GRAMMY® Award-winning composer; Alexandre Desplat. Sony Music's release of LITTLE WOMEN (ORIGINAL MOTION PICTURE SOUNDTRACK) was recorded in New York City under the leadership of Desplat, who conducted a chamber orchestra to perform his original compositions. The score serves as a sonic companion to the film's coming-of-age narrative, directed by Greta Gerwig, and which opened in theatres on Christmas Day, Wednesday, December 25. Of the soundtrack, composer Alexandre Desplat says, "To capture the life of these four young girls on their path to adulthood, I have called in the four hands of two pianists. They are surrounded by a chamber orchestra, which keeps us in the intimate world of these ‘little women.' We recorded the score in New York City with the most wonderful musicians whose musicality and virtuosity went beyond my expectations." "Working with him has been a dream," adds Greta Gerwig of working with Desplat on the score. "From the first sketches he sent me to listening to him record the glorious score with an orchestra in New York, every step of the process has been a joy. He has taught me how to work with a composer: how to listen, how to give notes, how to wait for it to develop, how to step away, how to dive in. I am a better filmmaker for having worked with him, and I sincerely hope that it is not the last time." "For Little Women, Greta envisioned a musical without lyrics. From the beginning, Alexandre had to be the musical voice of the film," says Spring Aspers, President of Sony Pictures Motion Picture Group, Music. "The resulting score is both dynamic and intimate making it the perfect complement to this exquisite retelling. I can't wait for audiences to come together to experience this film." Writer-director Greta Gerwig (Lady Bird) has crafted a Little Women that draws on both the classic novel and the writings of Louisa May Alcott, and unfolds as the author's alter ego, Jo March, reflects back and forth on her fictional life. In Gerwig's take, the beloved story of the March sisters – four young women each determined to live life on her own terms -- is both timeless and timely. Portraying Jo, Meg, Amy, and Beth March, the film stars Saoirse Ronan, Emma Watson, Florence Pugh, and Eliza Scanlen, with Timothée Chalamet as their neighbor Laurie, Laura Dern as Marmee, and Meryl Streep as Aunt March. Produced & Narrated by Max Horowitz — Crossover Media This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
7 minutes | Dec 3, 2019
The POINT LESS podcast with Ola Onabule: What The Heck
A bold and powerful nation with imperial ambitions must confront the fact that absolute power may not always equate to certain victory. It must come to terms with the possibility that in this world, other forms of strength and resilience exist. Sublime and transcendental forces, unseen by the naked eye, but infinitely more effective at motivating hearts and minds than brutish strength and bombast. The POINT LESS podcast is a series that boldly expresses views on social injustice. It is an activist's call - at once a celebration of life and a cautionary take on the social forces that threaten it. Violence, immigration, xenophobia, betrayal, and dignity are themes considered and rendered with a powerful and knowing generosity of spirit.So embodies the artistic - and entrepreneurial - philosophy of Onabulé, whose latest album release, Point Less, is a giant leap forward and deeply soulful Rueful yet optimistic, Onabulé's reach is global. His three-and-a-half octave baritone and the powerful emotions he conveys with it connects with audiences around the world. "Hands-on, self-sufficiency has always been my mantra for survival in the music game," says the songwriter. Produced & Narrated by Max Horowitz - Crossover Media This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
22 minutes | Nov 25, 2019
Fields with Third Coast Percussion's David Skidmore
Crossover Media has created a podcast with Third Coast Percussion's David Skidmore in conjunction with the quartet's Cedille Records release "Fields," which features music composed by Devonté Hynes (aka Blood Orange. Podcast includes music from the following tracks - Reach, Coil , Wane, Curl, Hush, Gather, Cradle, Press, Fields, Perfectly Voiceless, There Was Nothing. Third Coast Percussion, though longtime fans of Dev's work as Blood Orange, first came to know him personally through the choreographer Emma Portner from Hubbard Street Dance Chicago. Although he is best known as a R&B performer and producer, classical music was the first music Dev knew and still considers it to be the foundation of his musical background, citing Claude Debussy, Erik Satie, Giacomo Puccini, and Philip Glass as particular influences on his sense of melody and timbre. Dev composed all the music for the project in a Digital Audio Workstation, and sent recordings and sheet music to TCP for them to orchestrate. Each of the four members worked on arranging a different section, offering feedback and sending their versions back to Dev and the choreographers. The blend of elements includes; synth pads, beautiful melodies, or intricate, light and bubbly rhythmic structures. Third Coast Percussion members include; Sean Connors, Robert Dillon, Peter Martin, David Skidmore. For 15 years, the Grammy Award-winning, Chicago-based percussion quartet has created exciting and unexpected performances that constantly redefine the classical music experience. The ensemble has been praised for "commandingly elegant" (New York Times) performances, the "rare power" (Washington Post) of their recordings, and "an inspirational sense of fun and curiosity" (Minnesota Star-Tribune). Third Coast Percussion maintains a busy tour schedule, with past performances in 33 of the 50 states plus international tour dates in Colombia, the United Kingdom, Lithuania, Taiwan, Germany, Italy, the Netherlands, Canada, and Poland. Over the past several years, TTCP albums for the dynamic Cedille Records have included 2018's "Paddle to the Sea," whose title track was collaboratively composed by all four members of the quartet; and 2016's "Third Coast Percussion | Steve Reich," the winner of the 2017 GRAMMY Award for Best Chamber Music Performance. Produced & Narrated by Max Horowitz - Crossover Media This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
8 minutes | Nov 18, 2019
The POINT LESS podcast with Ola Onabule: Exit Wound
After a tragic loss, a parent is inundated with words of condolences and must ponder the real value and meaning of these words. Are they meant in all sincerity or are they just platitudes? Are these words spoken merely to salve the conscience of the well-wisher. In situations where the tragedy is avoidable, Can the energy expended in composing theses elaborately worded but useless phrases be put into preventing the sad event in the first place. Do words have any meaning if they are un-yoked from deeds and action. The POINT LESS podcast is a series that boldly expresses views on social injustice. It is an activist’s call — at once a celebration of life and a cautionary take on the social forces that threaten it. Violence, immigration, xenophobia, betrayal, and dignity are themes considered and rendered with a powerful and knowing generosity of spirit.So embodies the artistic — and entrepreneurial — philosophy of Onabulé, whose latest album release, Point Less, is a giant leap forward and deeply soulful Rueful yet optimistic, Onabulé’s reach is global. His three-and-a-half octave baritone and the powerful emotions he conveys with it connects with audiences around the world. “Hands-on, self-sufficiency has always been my mantra for survival in the music game,” says the songwriter. Produced & Narrated by Max Horowitz — Crossover Media This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
23 minutes | Nov 17, 2019
'Concertante' with Los Angeles Chamber Orchestra concertmaster; Margaret Batjer
Making their first appearance on BIS, Margaret Batjer and the Los Angeles Chamber Orchestra cross great distances in both time and space in this program of concertante violin works. In this podcast we speak with Los Angeles Chamber Orchestra concertmaster; Margaret Batjer about the album. Here are some notes about the pieces on the recording. The disc opens with a Violin Concerto by the American composer Pierre Jalbert (b. 1967), whose music has been described as ‘rich in instrumental colour and harmonically engaging.' Composed in 2017, the 26-minute concerto was a commission from the orchestra and here makes its first appearance on disc. The next work takes us to 18th - century Germany, where Johann Sebastian Bach had been busy studying the concertos of his Italian colleagues, and especially Vivaldi. His Concerto in A minor is thought to have been composed around 1730, at a time when Bach had freed himself from his models, producing works richer in both texture and sentiment. For the second half of the program we return to our own time, travelling northwards to the Baltic countries, as Bach is followed by one of his great admirers in modern music, the Estonian composer Arvo Pärt (b. 1935). Margaret Batjer and the orchestra offer us their performance of what is probably Pärt's most famous piece, Fratres from 1977. Originally written for chamber ensemble ‘without fixed instrumentation', it soon became a modern classic and exists in numerous versions. The one heard here, for violin, string orchestra and percussion, was made by the composer in 1992. The closing Lonely Angel is by Pärt's slightly younger colleague P.teris Vasks (b. 1946) from Latvia. Reworked from a movement for string quartet, the piece was inspired by a particular image: ‘I saw an angel, flying over the world; the angel looks at the world's condition with grieving eyes, but an almost imperceptible, loving touch of the angel's wings brings comfort…' Concertante works for the violin spanning three centuries Produced & Narrated by Max Horowitz — Crossover Media This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
8 minutes | Oct 30, 2019
The POINT LESS podcast with Ola Onabule: And Yet
'And Yet' is a song that begs the question: If we are fundamentally all the same, why is it so easy to dehumanize marginalized people? It takes an askance look at all the counter-intuitive scenarios that a member of such a group may find themselves in. It explores how such scenarios can rapidly descend into unexpected and sometimes dire consequences. Anything from clothing to speech, standard of education or levels of occupational achievements can affect the tenor and trajectory of the most ordinary interactions. The POINT LESS podcast is a series that boldly expresses views on social injustice. It is an activist's call - at once a celebration of life and a cautionary take on the social forces that threaten it. Violence, immigration, xenophobia, betrayal, and dignity are themes considered and rendered with a powerful and knowing generosity of spirit.So embodies the artistic - and entrepreneurial - philosophy of Onabulé, whose latest album release, Point Less, is a giant leap forward and deeply soulful Rueful yet optimistic, Onabulé's reach is global. His three-and-a-half octave baritone and the powerful emotions he conveys with it connects with audiences around the world. "Hands-on, self-sufficiency has always been my mantra for survival in the music game," says the songwriter. Produced & Narrated by Max Horowitz - Crossover Media This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
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