And another thing. We went to the lovely new concert hall and recording studios at St Andrews. We recorded Andrew Powell's 'Variations towards a Theme' and 'To a Walrus" with members of the Wallace Collection after they played a concert of Andrew's music.
Outstanding brass players, what can I say?
Well, it's VAT time and I and looking for any displacement activity. Even updating this poor, neglected blog.
I have been doing some interesting recordings. Sir Curtis Price has built an amazing clavicytherium (upright harpsichord) from a baroque pattern. The instrument is beautiful and sounds wonderful. A clear, full and rounded sound. I imagine these instruments didn't survive well because of their shape. I have seen one in a Norwegian keyboard museum, but it was too fragile to touch. Richard Ormrod played a program of Bach, Scarlatti and Rameau with assurance and brio.
There is a watch party at 8.00pm today instead of the performance at St Andrews featuring Tony George and Bede Williams playing electronic pieces by Tim Souster and Andrew Powell. Andrew and I on Electronics for his "Plasmogeny II".
Go to the Wallace Collection site anyway for lots of great stuff!
The new album from Belgian singer/songwriter Geike is out today!
She has a rare writing talent and a truly beautiful voice.
HERE WE GO AGAIN RUBINOT!/Andrew Powell/Kronos - cd
Classically-trained composer Andrew Powell scored two well-regarded films in the mid-1980s – Richard Donner’s medieval fantasy LADYHAWK and Daniel Petrie’s wistful ROCKET GIBRALTER. Otherwise engaged in the worlds of theatre, classical, music production, and rock performance (he was a member of The Alan Parsons Project, serving as arranger, conductor and composer, often creating the classical music interludes on their albums), Powell didn’t score another film until 2017 when cinematographer Giuliano Tomassacci asked him if he would compose the music for his first film as director, a short science fiction project about an otherworldly, beautiful female android who travels in time while scientists try to understand her enigmatic secrets by exploiting the occasions of her mysterious, rare appearances – until she decides the right time to share her vision has come. HERE WE GO AGAIN RUBINOT! is an experimental film for the Split Vision
process, a modular audiovisual system intended to be viewed on multiple devices simultaneously; Powell’s dreamy score is a mix of synths, piano, and vocalise (via the lovely voice of Susanna Buffa) that gives the film a beautiful and compelling ambient sound design that creates a truly wonderful musical adventure for the ears. Its soothing washes of synth and striking, lovely classical piano interludes are beautifully conceived and arranged, and make fine listening on their own, punctuated by Buffa’s immersive singing on Rubinot’s Theme. The film is only 16 minutes in length, but by including bonus tracks and alternate takes, we’re given a satisfactory 29 minutes of music on the album. A severely limited edition of only 300 copies, see the Kronos website for more information and to sample some tracks (and I definitely suggest you sample the music and see if you find it as engaging as I have).
It was a joy to work with the Gildas Quartet recently at St John's Smith Square on George Crumb's "Black Angels". The piece is intriguing and really holds your interest. Not a new piece by any means but it still sounded so fresh - beautifully played by the Gildas who I have caught mid rehearsal.
Soundtrack specialist label Kronos will soon be releasing the film music CD for "Here We Go Again, Rubinot!" and I have recorded and mixed bonus tracks, alternative versions and mastered the results. I recorded the original cues on Radar and the bonus tracks on Protools and it was an interesting comparison. Got to admit I prefer the Radar sound, though Protools is so useful.
Wonderful film and amazing music!
We have been working with some amazing images for an Italian film maker Giuliano Tomassacci.
The music is pretty good too. Well worth investigating.