More info about Arcangelo Corelli
As an nonexpert on classical music, in my personal opinion, this compilation album of Corelli’s works for the music room, tell various things through all his work. Starting from the old European musical theme, La Folia by Corelli has worked in a beautiful way and revealed a very rich language.
Skills of the musicians playing these works of Corelli leave no doubt, Both in their technical quality and interpreting. Their performance (both Purcell Quartet, and the trio of Richard Boothby, Robert Woolley, Richard Campbell, or with Elizabeth Wallfisch) describes the clarity. The steps are arranged neatly and carefully. The atmosphere and the expression of the heart are clearly represented, such as sadness, happiness, and invites people to sing or dance.
In the music that is played, a sense which is reflected in the rhythm of the melody, is like a person who say or express something in every episode of the story on his works, and followed by the rhythm of the tempo and rhythmical instruments such as the motion of footsteps. When imagined, each every piece reflects activities of the person, revealing something with each dance step. When associated with the dance, character and the way of expressing this music is very close to the ballet.
As a layman enthusiast of music, in contrast to the three other albums, honestly I felt a relaxed atmosphere while enjoying the ‘seriousness’ of the “Correli La Folia” album. In truth truly the violin’s beauty in each composition – played by the Purcell Quartet; Elizabeth Wallfisch, Richard Boothby, Robert Woolley, and Richard Boothby. Their violin playing feels very dominant, as how it is commonly (if I’m not mistaken) in Arcangelo Corelli’s compositions.
I had felt confused and was momentarily ‘trapped’ when asked to choose my favorite compositions from this “Corelli La Folia” album. Even so if I had to choose, then my choice would be “Corelli: Violin Sonata In D Minor, Op. 5/12” as performed by Elizabeth Wallfisch, Richard Boothby, Robert Woolley.
Having heard this musical pieces for the first time—especially the Sonata Da Camera in A—in a ballet performance by The Namarina Youth Dance some time ago, my mind and body was instantly drawn into the intimacy of the Baroque arts. And now, knowing that such music was written in the 17th century by Arcangelo Corelli, and played by the 20th century’s musicians of The Purcell Quartet, kind of make me wonder what a hell of a contribution that the western has done to the world of music. I can’t help but noticing that these ranges of Sonatas by Corelli were only possible to be done by musicians who not only great at such techniques, but also have grasp the textual and conceptual values of classical music, inside and out.
I personally am not at all a trained classical musician, but I can sense that these musicians of The Purcell Quartet were leaders in the area of Baroque chamber music. Their flawless techniques and dynamics have convinced me, period. Try “Sonata Da Chiesa in A”, and you’ll get my point.
More Info about Trans-Siberian
Music group with symphonic rock format, in their album containing 26 tracks charged with messages of Christianity. But I have a question here, is there anyone who will be impressed with the moral message conveyed by the '80s rock music format? This approach has often been done, either with a classic blend of rock, including the color of their rock music, which for me has no originality.
But the songs whose composition is based on classical structure are played well, although there is nothing 'new' in their musical works. In general, this musical group has excellent potential, but the potential had not been worked out to the maximum as a musical group that uses a symphonic rock as the format, or perhaps this is just the challenging point for this kind of group, to get their own style in the shadow of classical music?
For me, rock music nuanced with classical music is always fun and never boring. As a fan of several works by Rich van der Linden from the music group Ekseption – especially their album “The Trace”, I can definitely confirm that I enjoy Trans Siberia Orchestra’s “Night Castle”, consisting of two CDs and 26 composition numbers.
As a recording album formatted as a rock opera, based on information I quote from Trans Syberian Orchestra’s official web site, Night Castle’s tale is as follows: "... in the seventh year of her life, a young girl was nearing the end of her seventh summer, at a beach house that her grandfather had built on the Pacific Ocean, long before she was born. It was a beautiful but simple house, constructed high atop the dunes, overlooking a seemingly endless stretch of pristine, sandy beach. She believed that her grandfather must have been the wisest of men to have procured such a perfect spot. It was far enough away from the water to be perfectly safe from the crashing waves of the largest storms, when the ocean was at its most mischievous, but close enough that she could still hear the quietest of breakers, on the calmest of nights as they gently lulled her to sleep.”
If I were to personally choose the best from the Night Castle album, then my choice repertoire would be:
CD # 1 : Night Enchanted, dan Sparks
CD # 2 : Moonlight and Madness, Embers, dan Nutrocker
When symphonic rock music just hit you hard, I guess there can only be two possibilities at the end of the journey: either you have a pure mind and body satisfactory sensation, or you’ll have a painfully headache for the rest of the day. And for this matter, the Trans-Siberian Orchestra has given me a mixture of both possibilities.
At one point, I am much enjoyed and pretty much inspired by the classical mood and the symphonic composition that they manage to deliver in all of these musical numbers. Again, it reminds me of the wonderful world of western music, which has influenced and also triggered musicians around the globe to ‘match’ and ‘beat’ those guys.
But at some point, I also get wound up by the rocky elements that somehow have flattened the whole images. I don’t know for sure, maybe I am the one who still need a lot to catch-up with both the classical and rock musical structures, but for now, I can’t get a better explanation for this album except a decent symphonic rock album production.
More info about Harem
This music group showed the technical skill with their musical intruments not only in percussion, but also on some wind and string instruments. In this album the music is dominated by percussion instrument, with a kind of frame drum and the goblet drum. Rhythm plays an important role, because in general, the music is related to Harem Turkish bellydance. The music is played in various alternating slow, medium or fast tempos.When playing the percussion they always use multiple percussion hits, associating with the technique of finger strokes on the Tabla. In this case Harem also show their skill in switching rhythms with variable changes of tempo; this kind of playing requires the ability to control and high accuracy. The rhythm you sense with this record is somewhat related to the rhythm of camel movement (walk, run), just like how blues music is often associated with the motion of the train. Some songs uses melodic elements, with musical instruments such as violin, clarinet, zurna, flute (ney) and a type of lute (kanun). The music numbers emphasizing melody focuses on solo performance, sometimes alternating their play with another melodic instrument, or two players would play in unison to enrich the song’s colorful melodic voices. .The melody style is very Middle East, with the exception of one song in the musical style of India.
The allure of various music instruments from the Harem album – especially the percussions, for me it is an incredible experience. Personally I do not consider it excessive or over the board: the album “Harem – Rhythm Colour” has managed to take my imagination into flight, as though I was in a journey through a desert atmosphere and at the same time brought me within various traditional processions in the Middle East.
My choice tracks from this album are “Armut Agaci” and “Hint”.
Now this is what I love about music from the ‘other side of the world’. Through Harem, a Turkish percussion group, I will tell you why.
First of all, they come from Turkey, a nation whose majority population is Muslim. And the word ‘Harem’—Haram in Arabic—refers to a ‘forbidden place’, or may I interpret as ‘outside the Islamic rules’. So the music must be fascinating! At least for me. Listen to the whole tracks in this album, sure enough, it is an intriguing one!
Just when I thought it will be somewhat ‘dark’, or even far from Islamic spirituality, they stunned me with the opposite. Right from the beginning of ‘Darbuka Solo’, to the end, the music of Harem were actually symbolized an Islamic culture; the unbelievably rhythm unison, the polyrhythm variations, and the Dzikir-wise repetitions. These music, in my opinion, are seem able to fit in many occasions; from sacred rituals inside the Mosque, to even profanely dance parties among the late night-clubbers. Yes, Harem can always be a reminder—again, at least for me—of who we are: a spiritual being; be it good or bad.
More info about Trent Reznor and Atticus Ross
The electronic color is dominating in this album; it is associated with the theme of the movie, closely tied to the Internet world. Trying to describe the conflict between the virtual world as the 'perfect' with the real world, full of suspense and intrigue. But the conflict was wrapped in a neat package, very controlled. But in some particular numbers, a ‘familiar taste’ of conflict is plainly revealed. Using drone effect to represents the element of tension. Short cycle repetition phrase of melodic dominates the music, the deliberate use of repetition to emphasize the idea of a cycle, as happens in cyberspace life activities. is the music is somewhat dominated by the grey picture that surrounds the life, music as if encased by a repetition of a melody that is not finished (or full of doubt), unable to explain what is all of this. Or to describe the indescribable good figure of massive form.
In this album, Trent Reznor and Atticus Ross uses elements of rock electric guitars, piano, dulcimer, the effects of a blow on the bow string and some other acoustic instruments.
As the supporting music for the film Social Network, Trent Reznor and Atticus Ross’ work is definitely capable of supporting the complete atmosphere of said Social Network film and is quite deserving of the title Best Film Score – as chosen by the juries of the 83rd Academy Awards (Oscars).
I very much enjoy the ‘Pacman’ like sound sensations, low tech but at the same time thick with a digital nuance in the intro to the track “Painted Sun In Abstract”. The same too with the number “Carbon Prevails” which is my personal favorite choice from the album.
Hollywood is once again delivered one of their best movies in 2010; and this time also with its Original Soundtrack. The movie is a response of a worldwide ‘success’ of the purported social media—yes, it is the Facebook era—and the technological vehicle behind the whole services.
Listening to the OST—produced by Trent Reznor, Atticus Ross, and director David Fincher himself—made me convinced that this project was a very well-designed movie package. Tracks such as “In Motion”, “Complication With Optimistic Outcome”, and “Magnetic”, are so infectious not only in an artistic manner, but also in a technological means. The minor notes of the melodies and sequences, let alone the brilliant sound design, are a perfect match with the ‘dark’ and ‘complex’ problems of the now generation’s social interaction caused by the ever-changing communication technology.
Although the movie was more into the drama—well, it’s a Hollywood thing anyway—but still, it had triggered me to think more about the core challenge that we are facing it right now. Is (the western) technology an answer to a better future? Hmm..