Paul Thomas Anderson fans are well accustomed to how instrumental Jonnny Greenwood’s music is to the auteur’s body of work. Whether it’s the foreboding strings in “There Will Be Blood” or the discordant percussion in “The Master,” Greenwood’s original scores expertly capture Anderson’s tones. This fact is especially true in “Phantom Thread,” which marks the fourth collaboration between Anderson and Greenwood.
Variety reports that Greenwood’s score has been included in 90 minutes of the 130-minute drama, which means you’ll be hearing the score in nearly 70% of the movie. Greenwood’s music has always been important to Anderson’s films, but it’s dominant in “Phantom Thread” in a way it never has been. In some ways it acts as a Greek chorus of sorts, changing and...
Variety reports that Greenwood’s score has been included in 90 minutes of the 130-minute drama, which means you’ll be hearing the score in nearly 70% of the movie. Greenwood’s music has always been important to Anderson’s films, but it’s dominant in “Phantom Thread” in a way it never has been. In some ways it acts as a Greek chorus of sorts, changing and...
- 12/17/2017
- by Zack Sharf
- Indiewire
What do you get when you strap a full orchestra onto one of the most high octane rock operas in history? You get an instant classic.
Pete Townshend came roaring into New York City’s fabled Metropolitan Opera House at Lincoln Center this weekend with the force of a thousand Gs Scooters as he delivered Classic Quadrophenia—an orchestral reimagining of the Who’s 1973 concept album. Though he contributed acoustic guitar to a handful of songs, the maestro mostly left it to the philharmonic ensemble lead by Robert Ziegler, who also conducted Rachel Fuller’s arrangements on the 2015 studio recording.
Pete Townshend came roaring into New York City’s fabled Metropolitan Opera House at Lincoln Center this weekend with the force of a thousand Gs Scooters as he delivered Classic Quadrophenia—an orchestral reimagining of the Who’s 1973 concept album. Though he contributed acoustic guitar to a handful of songs, the maestro mostly left it to the philharmonic ensemble lead by Robert Ziegler, who also conducted Rachel Fuller’s arrangements on the 2015 studio recording.
- 9/11/2017
- by Jordan Runtagh
- PEOPLE.com
Star Wars' main theme has been voted the nation's favourite film score.
The piece, composed by John Williams, received almost a quarter of votes in a poll of BBC Radio 3 listeners.
The Good, the Bad and the Ugly came in in second place, with West Side Story in third.
Other movies appearing in the top ten included Vertigo, The Dark Knight Rises, Grease, The Sound of Music and Apocalypse Now.
As part of Radio 3's 'Sound of Cinema' season, the BBC Concert Orchestra will play the top 20 scores live on the station from 2pm today (Friday, September 27).
Radio 3 listeners voted from a shortlist of scores compiled by a panel of BBC movie experts and enthusiasts including BBC Radio 2's Simon Mayo, BBC Radio 6Music's Mary Anne Hobbs, BBC Radio 1's Rhianna Dillon and film music conductor Robert Ziegler.
Listen to the top 20 below:
Williams will also be featured as...
The piece, composed by John Williams, received almost a quarter of votes in a poll of BBC Radio 3 listeners.
The Good, the Bad and the Ugly came in in second place, with West Side Story in third.
Other movies appearing in the top ten included Vertigo, The Dark Knight Rises, Grease, The Sound of Music and Apocalypse Now.
As part of Radio 3's 'Sound of Cinema' season, the BBC Concert Orchestra will play the top 20 scores live on the station from 2pm today (Friday, September 27).
Radio 3 listeners voted from a shortlist of scores compiled by a panel of BBC movie experts and enthusiasts including BBC Radio 2's Simon Mayo, BBC Radio 6Music's Mary Anne Hobbs, BBC Radio 1's Rhianna Dillon and film music conductor Robert Ziegler.
Listen to the top 20 below:
Williams will also be featured as...
- 9/26/2013
- Digital Spy
The BBC has launched a poll across its TV and radio stations to find the greatest ever movie soundtrack.
BBC Radio 1's Rhianna Dillon, BBC Radio 2's Simon Mayo, BBC Radio 3's Matthew Sweet, Francine Stock from BBC Radio 4, Mary Anne Hobbs from BBC Radio 6music, Tommy Sandhu from Asian Network and film music conductor Robert Ziegler have joined forces to choose the 20-strong shortlist.
Voting is open now on the BBC website and closes at midnight on Friday, September 20.
The results will be announced and played live by the BBC Concert Orchestra on Friday, September 27 at 2pm and will be broadcast live on BBC Radio 3.
The poll is part of the BBC's Sound of Cinema season, which starts today with the broadcast of the first of a three-part BBC Four series Sound of Cinema: The Music That Made The Movies.
It is presented by Neil Brand and airs at 9pm.
BBC Radio 1's Rhianna Dillon, BBC Radio 2's Simon Mayo, BBC Radio 3's Matthew Sweet, Francine Stock from BBC Radio 4, Mary Anne Hobbs from BBC Radio 6music, Tommy Sandhu from Asian Network and film music conductor Robert Ziegler have joined forces to choose the 20-strong shortlist.
Voting is open now on the BBC website and closes at midnight on Friday, September 20.
The results will be announced and played live by the BBC Concert Orchestra on Friday, September 27 at 2pm and will be broadcast live on BBC Radio 3.
The poll is part of the BBC's Sound of Cinema season, which starts today with the broadcast of the first of a three-part BBC Four series Sound of Cinema: The Music That Made The Movies.
It is presented by Neil Brand and airs at 9pm.
- 9/12/2013
- Digital Spy
This summer, the BBC Asian Network is bringing the biggest, best and newest Asian music around to audiences across the UK. From huge stars to live broadcasts from some of the biggest events in the calendar, the Asian Network will be at the heart of the action.
Mark Strippel, Head of Programmes for the Asian Network, said: “BBC Asian Network is a leading platform for championing new British-Asian and global South-Asian music. Our events this summer, from our New Music Day at Maida Vale to London Mela and the Proms live from the Royal Albert Hall, demonstrate the unparalleled range, depth and quality of our output. The station is a central part of the BBC music portfolio and our position is stronger and clearer than ever. We have some amazing content to deliver to our audience this year.”
The jam-packed calendar of events kicked off today (July 3) at the Asian Network New Music Day.
Mark Strippel, Head of Programmes for the Asian Network, said: “BBC Asian Network is a leading platform for championing new British-Asian and global South-Asian music. Our events this summer, from our New Music Day at Maida Vale to London Mela and the Proms live from the Royal Albert Hall, demonstrate the unparalleled range, depth and quality of our output. The station is a central part of the BBC music portfolio and our position is stronger and clearer than ever. We have some amazing content to deliver to our audience this year.”
The jam-packed calendar of events kicked off today (July 3) at the Asian Network New Music Day.
- 7/5/2013
- by Press Releases
- Bollyspice
Festival Theatre, Adelaide
This isn't the first time 2001: A Space Odyssey has been screened with an orchestra - Robert Ziegler has previously conducted it at London's Southbank Centre. Yet any big-screen showing of Stanley Kubrick's 1968 masterpiece has to be a treat, and this version, accompanied by the Adelaide Symphony Orchestra, adds extra resonance to a work that already has enormous grandeur and gravitas.
At first, there are no visuals at all. Ligeti's ominous, dissonant chords emerge from, then fade back into the silence and darkness. Then the opening credits flare onto the screen, accompanied by Richard Strauss's Also Sprach Zarathustra, and suddenly we're overwhelmed. Our senses have been bombarded a fair bit since the late 60s, but Kubrick's film still shocks – not just with its ambitions, but that fact that they're achieved. Right before our eyes we can see the movements of the solar system, a feeling...
This isn't the first time 2001: A Space Odyssey has been screened with an orchestra - Robert Ziegler has previously conducted it at London's Southbank Centre. Yet any big-screen showing of Stanley Kubrick's 1968 masterpiece has to be a treat, and this version, accompanied by the Adelaide Symphony Orchestra, adds extra resonance to a work that already has enormous grandeur and gravitas.
At first, there are no visuals at all. Ligeti's ominous, dissonant chords emerge from, then fade back into the silence and darkness. Then the opening credits flare onto the screen, accompanied by Richard Strauss's Also Sprach Zarathustra, and suddenly we're overwhelmed. Our senses have been bombarded a fair bit since the late 60s, but Kubrick's film still shocks – not just with its ambitions, but that fact that they're achieved. Right before our eyes we can see the movements of the solar system, a feeling...
- 3/9/2013
- by Alex Needham
- The Guardian - Film News
Stanley Kubrick ditched the original score for 2001: A Space Odyssey – and replaced it with Ligeti and Strauss. Robert Ziegler reflects on the challenges of conducting live with the film
It is hot and busy in this corner of Australia called Adelaide. The festival atmosphere is town is buoying us all up through long days and late nights, here in the 30+ degrees heat – for me a welcome change from a miserable March in the UK.
I was last here in 2000, to conduct a pair of concerts for the then artistic director (and all round Australian arts heroine) Robyn Archer. Then, it was a series on the east German composer and Brecht collaborator Hanns Eisler, performed with the Adelaide Symphony Orchestra and Adelaide Chamber Singers. These two ensembles are back again this year, to perform in a special project that originated at London's South Bank: 2001 A Space Odyssey – Live.
Live film...
It is hot and busy in this corner of Australia called Adelaide. The festival atmosphere is town is buoying us all up through long days and late nights, here in the 30+ degrees heat – for me a welcome change from a miserable March in the UK.
I was last here in 2000, to conduct a pair of concerts for the then artistic director (and all round Australian arts heroine) Robyn Archer. Then, it was a series on the east German composer and Brecht collaborator Hanns Eisler, performed with the Adelaide Symphony Orchestra and Adelaide Chamber Singers. These two ensembles are back again this year, to perform in a special project that originated at London's South Bank: 2001 A Space Odyssey – Live.
Live film...
- 3/6/2013
- The Guardian - Film News
There is a perception that media-types who live in the South of England tend to be rather London-centric, and while I’m loathed to conform to a stereotype, it’s sort of true. Most of the films made in the UK are shot in or around the capital, and most press screenings, junkets and events take place in the city. Consequently, for those of us who live nearby, there’s rarely any reason to venture outside of the M25, and it takes something very special to get us to even consider doing so.
Which is why I was somewhat surprised to find myself agreeing to accompany my friend, and partner in red carpet-shenanigans, Kelly Alyse on a day trip to Manchester to watch the live recording of a radio show I very rarely listen to. And yet, it really was something rather special.
The show in question was Simon Mayo...
Which is why I was somewhat surprised to find myself agreeing to accompany my friend, and partner in red carpet-shenanigans, Kelly Alyse on a day trip to Manchester to watch the live recording of a radio show I very rarely listen to. And yet, it really was something rather special.
The show in question was Simon Mayo...
- 6/15/2011
- by Ben Mortimer
- HeyUGuys.co.uk
Linbury Studio, London
ROH2's annual series seeks to create new short works by commissioning composers from outside the world of opera. While there are dozens of candidates, there must be an equal number of classical composers who deserve nurturing. Meanwhile, this year's fortunate few are reduced to two from last year's three.
First up is Stewart Copeland's The Tell-Tale Heart, based on his own libretto drawn from Edgar Allan Poe. Copeland's first mistake is to provide his own text; producing a good libretto is in some ways harder than creating the music. But even given the lumpiness of the result, Copeland's setting is woefully stilted, too often ending up as a kind of operatic rap. The rest gets stuck in rhythmic grooves. Generally, the score seems content to provide occasional atmosphere and thin-textured accompaniment, missing the point of opera, where music embodies the drama itself.
Nearly twice as...
ROH2's annual series seeks to create new short works by commissioning composers from outside the world of opera. While there are dozens of candidates, there must be an equal number of classical composers who deserve nurturing. Meanwhile, this year's fortunate few are reduced to two from last year's three.
First up is Stewart Copeland's The Tell-Tale Heart, based on his own libretto drawn from Edgar Allan Poe. Copeland's first mistake is to provide his own text; producing a good libretto is in some ways harder than creating the music. But even given the lumpiness of the result, Copeland's setting is woefully stilted, too often ending up as a kind of operatic rap. The rest gets stuck in rhythmic grooves. Generally, the score seems content to provide occasional atmosphere and thin-textured accompaniment, missing the point of opera, where music embodies the drama itself.
Nearly twice as...
- 4/10/2011
- by George Hall
- The Guardian - Film News
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