Studio 54, West 54th Street; William Finns score sounds plumper and more rewarding than it did on Off Broadway, providing a sprinkling of sugar to complement the sass in Rachel Sheinkins zinger-filled book. Circle in the Square, Broadway, at 50th Street; Marquis Theater, West 45th Street; Isherwood BINGO Play Brother - Maarten Mittendorff & Jasper Wolff - Zero Zero Five, munch on popcorn and watch accomplished actors freshen up a stale musical about game night Lukes Theater, West 46th Street, Clinton; Jason Zinoman CANDIDA The two men -- David Tillistrand as Candidas husband and Danaher Dempsey as the sniveling poet who falls under her spell -- arent strong enough to make this a great Candida, but Shaws insights still shine a century after he wrote the play, and the director, Michael Halberstam, manages to draw some good laughs in the third act Atlantic Theater, West 20th Street, Chelsea; Good grief Dillons, West 54th Street; Isherwood MR.
Hall of Six Feet Under plays the now-cuddly, now-abusive imaginary friend of a neglected 4 year old. Isherwood RFK This solo show written and starring Jack Holmes is a reasonably accurate historical portrait, but the performance, unfortunately, lacks the charisma Party Day - Cosmo Vitelli - Party Day charm that made the real Bobby Kennedy a star Signature Theater, West 42nd Street, Clinton; The fearless, explosively funny Ms.
Hoffman radiates anything but love and charity as she reviews the year in outrage, both global and personal Jonathan Ross, the pieces creator, grew up Jewish in Memphis: anecdotes about his life may make for good theater, but will probably be better when he gets a little older Golden, West 45th Street; Lunt-Fontanne Theater, West 46th Street; Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B Ambassador Theater, West 49th Street; Minskoff Theater, West 45th Street; Neil Simon Theater, West 52nd Street; New Amsterdam Theater, West 42nd Street; Majestic Theater, West 44th Street; James Theater, West 44th Street; Nederlander Theater, West 41st Street; Gershwin Theater, West 51st Street; Lyceum Theater, West 45th Street; ; closing Sunday.
Juliette Binoche and Daniel Auteuil are in top form as an affluent Parisian couple menaced by mysterious drawings and videotapes. Scott EL CARRO No rating, 93 minutes, in Spanish Pleasant but slight, this sociological farce from Colombia tells the story of a vintage convertible that changes the lives of the middle-class Velez Utter - Weave - A Part Not Apart (File, Album) to mildly humorous effect.
Silly, sly and delightful. A tiresome film, full of repetitive, misfired jokes, false emotions and caricatures. Even the pairing of Mr. Martin and Mr. Levy fails to inspire anything more than the occasional smile. The sky is falling! Well, its not as bad as that. Almost, though. Adult viewers are likely to imbibe the films wonders indirectly, through the eyes of accompanying children, who are likely to be delighted and sometimes awed.
A slick but silly affair unlikely to appeal to anyone over This visually rhapsodic film is both profound and profoundly enigmatic. Jacksons film is as much a tribute to the old seat-of-the-pants spirit of early motion pictures as it is an exercise in technological bravura. Beneath the dazzling, sexy surface, this tale of social climbing in London brilliantly acted by Jonathan Rhys-Meyers, Scarlett Johansson and Emily Mortimer is ice cold and pitch black, which curiously enough makes it a superior diversion.
Johnny Knoxville stars, dimly, as a cash-strapped office clerk who tries to rig the Special Olympics. Actually, that makes the movie sound much more interesting than it is. Sondheim, the legendary Broadway composer and lyricist, concludes this weekend with a selection of period films. They include Truffauts Story of Adele H.
This weekends film is Love Is Colder Than Deatha romantic triangle involving a pimp, his mistress and a man sent to kill him, shown with the short The Little Chaos, about door-to-door salesmen who turn to crime. This weeks films are Toy Story 2 and two Oscar-winning shorts, Geris Gameabout an old man playing chess, and For the Birdsabout a group of snobbish feathered friends.
Here he offers a program exploring Asian music and movement styles. No cover. After a decade and a half of quitting and reconciliations, the original band is back in support of a greatest-hits collection. God Forbid opens. The local guitarist Matt Sweeney has been in the subcultural spotlight lately because of his Superwolf collaboration with Will Oldham. They play tonight with the intimate, improvisatory horn players Bhob Rainey and Greg Kelley.
His journey through the 70s and beyond involved folk-rock redirection, returns to doo-wop form, drugs, recovery and bouts of Christianity. Bonus: All galleries are open. Celebrations noisy rock is a vehicle for the vocalist Katrina Fords guttural acrobatics.
Kyp Malone is a vocalist and guitarist in the spacey TV on the Radio. For years a fixture on San Franciscos underground art scene, hes been doing his own thing lately. Lately shes been trying out new solo material. She ventures into shoe-gazey pop, too. Zoe Keating also plays. Sinagra IOs Tomorrow Just like the Canadian band Stars, the iOs remind you of that exuberant 90s moment when bands like Mavis Piggott and Madder Rose made it seem that smart girl voices over big guitars were the way of the future.
The iOs have a guy singer, too. But as in Stars, the female voice is the more affecting. Sinagra IVY Tonight This dreamy pop trio -- the guitarist and producer Andy Chase, Andy Schlesinger of Fountains of Wayne and the sultry French Killer 4 - Marco Werba - Giallo (Original Soundtrack) Dominique Durand -- specializes in shimmery upbeat songs about evanescent love and wintery ennui.
Matt Costa opens. The Exit, a guitar trio, makes melodic punk. Army of Me also plays. It has its own soul-based songs as well, some of which will be released by Kanye Wests label next year. His baritone voice sounds like his fathers without the bite, not always a bad thing. Here, in Sleep - Killing Moon - Slow Fog program called Carnival Dawn, the group concentrates on the rites of winter, particularly the koupe gato, a celebration of the festival of the Three Kings.
The trio Oxford Collapse Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B shaggy art-rock that recalls acerbic forebears like the Embarrassment. Bishop Allen and the Kites also play. Stritch Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B 16 songs new to her repertory into a funny running monologue of her adventures in and out of show business.
Bernstein, a guitarist with a clean tone and a crisp technique, rounds up some estimable longtime compatriots: the pianist Brad Mehldau, the bassist Doug Weiss and the drummer Bill Stewart.
Bisios bass playing puts him in touch with numerous predecessors in the avant-garde, but his expressive touch is distinctive; he plays an early set with a quartet featuring the saxophonist Avram Fefer, and a later set in trio with the pianist Matthew Shipp and the drummer Jay Rosen. Coltrane places his tenor and soprano saxophones against the cohesive stirrings of a working band: the pianist Luis Perdomo, the bassist Drew Gress and the drummer E.
Ellings sure-footed musicality and literary sensibility have made him one of the premier vocalists of our time; he comes with a flexible rhythm section, spearheaded by the pianist Laurence Hobgood. Epsteins alto saxophone, Mr. Shepiks guitar Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B Mr.
Kilmers percussion each play an equal role in the collective. A preceding set, at 10 p. Epstein, the bassist J. Anthony Granelli and the slide guitarist David Tronzo. Chinen THE FOUR BAGS Sunday The instrumental palette of this collaborative quartet -- trombone, accordion, guitar and reeds -- creates the impression of a contemporary chamber jazz; so does the repertory, which includes arrangements of Chopin and Brian Wilson, along with thoughtful original compositions.
Fuller, the trombonist, and Mr. Hayes, the drummer, were both prominent participants in the golden era of hard-bop; here they enlist Mulgrew Miller on piano and Robert Hurst on bass, and spotlight a couple of young trumpeters on the rise, Maurice Brown and Sean Jones. Hamilton has practiced a perceptive and colorful approach to jazz percussion; he performs here with a number of younger colleagues. Hebert, a bassist with experimental tendencies and compositional ambitions, leads a versatile group with the guitarist John Abercrombie, the tenor saxophonist Adam Kolker and the drummer Bob Meyer.
Hollenbecks drumming is one color on a palette that also includes Chris Speeds clarinet and tenor saxophone, Ted Reichmans accordion and Matt Morans vibraphone. Sunday at 8 and 10 p. Wednesday at 10 p. Mintzer, a saxophonist and decade-long member of the Yellowjackets, has led this piece outfit for roughly the same span; its a brightly brassy ensemble with a modernistic sheen.
Monder, the electric guitar is a coloristic instrument first and foremost; his fine recent album, Oceana Sunnysideshowcases both his dizzyingly proficient solo puzzles and his coolly convoluted pieces for trio. Fittingly, this tribute features players with similar reputations: the tenor saxophonist George Coleman, the pianist Anthony Wonsey, the drummer Joe Farnsworth and the bassist John Webber.
Morris is a guitarist who applies the clear tone of Jim Hall to darker and pricklier purposes; he performs here with another uncompromising explorer, the multireedist Ken Vandermark, and a frequent collaborator, the drummer Luther Gray.
It wont be a survey of jazzs new generation so much as a series of snapshots, intriguing and inconclusive. Parlatos voice have earned her a good many casual admirers; a recent deluge of critical acclaim has more to do with her musicianship, underscored Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B by a deep rapport with the guitarist Lionel Loueke.
Monday at and p. Pelts trumpet playing have earmarked him as a rising star in the jazz mainstream; as on his recent album Identity MaxJazzhe plays here with the pianist Frank LoCrasto, the bassist Vicente Archer and the drummer Eric McPherson. Just as promising is the lineup, featuring the trumpeter Randy Brecker, the saxophonist Chris Potter, the vibraphonist Mike Mainieri, the bassist Richard Bona, the percussionist Don Alias and an improvising string trio led by the violinist Joyce Hammann.
Rosenwinkel is almost certainly the most widely hailed jazz guitarist under 40, especially among musicians; his deeply sympathetic rapport with the tenor saxophonist Mark Turner provides the focal point of this shadowy and slippery ensemble, which also includes Aaron Goldberg on piano, Joe Martin on bass and Eric Harland on drums.
Stillman reinforces his reputation as an alto saxophonist with an inquisitive relationship to jazz tradition; he performs here with Jacob Sacks on piano, Scott Lee on bass and Jeff Hirschfield on drums.
Wilson recruits a well-established rhythm section -- Bruce Barth on piano, Ed Howard on bass and Adam Cruz on drums -- and locks horns with Mr. Payton, one of the outstanding trumpeters of our time.
Some opera buffs Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B long found Ms. Swensons work vocally exquisite but temperamentally bland. Here she brings a breezy comic grace to the role of a wealthy young landowner in an Italian village who thinks herself immune to sentimental notions about love, until Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B painfully shy peasant Nemorino gets through to her.
Swenson sings with her trademark creamy sound, effortful richness and impressive agility. Maurizio Barbacini conducts. But the Metropolitan Operas current presentation boasts a winning cast of singers who, for the most part, take the story seriously and give subtle portrayals, especially Bo Skovhus as the ladies man Eisenstein, Sondra Radvanovsky as his knowing wife, Marlis Petersen as the perky chambermaid and Earle Patriarco as the wily Dr.
Jacques Lacombe conducts a lithe and fresh performance. And with the comedic actor Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B Irwin as the drunken jailor Frosch, the show has plenty of hilarity. Tommasini H. Two of the Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B popular are this winters fare, as well as a concert of other highlights on Thursday night. Pinafore, tonight at 8 and tomorrow at 2 p.
But James Levine is a masterly interpreter of this musically stunning and dramatically compelling work, which he keeps bringing back to the Met in a noble effort to make Wozzeck essential to the companys repertory.
With Mark Lamoss arrestingly abstract production and an inspired Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B led by Alan Held in the title role, this revival should be seen by all serious opera fans. Levine elicits a searingly beautiful performance from the great Met orchestra.
The program is Beethovens Quartet in F Op. She sings the Letter Scene from Tchaikovskys Eugene Onegin, the closing scene from Strausss Capriccio and, of special interest, the harmonically murky and expressionistic Altenberg Lieder of Alban Berg. Coriglianos score for the film The Red Violin. Joshua Bell, for whom the piece was composed, is the soloist. The master of ceremonies is Denyce Graves, while the tenor Matthew Polenzani makes a belated appearance to compensate for the fact that he couldnt attend the gala inthe year he won the foundation award.
Midgette Dance Full reviews of recent performances: nytimes. Through Jan. The ones today at 1 p. There is also a program of shorts on Sunday at 8 p. Today at 1,and p. Sunday at 8 p. Tuesday at 6 p. Complete schedule at www. Nicholas Avenues,www.
Tonight at ; tomorrow at 2 and p. Thursdays through Saturdays at 7 p. Peter Martinss version of this ornithological classic is well worth seeing, and the casts will shift throughout the run. Tonight, tomorrow night and Thursday night at 8. Koga will perform The Smallest Country, a program of improvised duets, with Ms. Terman, who trained in physical theater with Ruth Zaporah. LE, through Jan. Born in Vietnam, Mr. This small exhibition presents high-concept photographic and sculptural works about the Vietnam War and its effects, as well as a pair of sleek sculptures representing communications satellites that satirize Vietnams plans to enter the Space Age and the global consumerist economy.
A member of the midth-century European Informal art movement based on mentally improvised rather than formal motifs, this Spanish artist is concerned with the body, but not in its traditional manifestations. His abstractions and semiabstractions give it a morphing, metaphysical presence; sometimes they involve the depiction of actual body parts, but they rely more on textures, colors and vague forms to evoke the bodys ever-shifting sense of itself.
But for all the blustery vigor on display, the work gives the viewer a powerful sense of been-there-seen-that. Drawn from the collection of the Kyoto Costume Institute in Japan, this sumptuous show arranges 68 often lavish Western gowns and ensembles according to the colors of the spectrum and reinforces their progress with a posh color-coordinated installation design.
These days, collectors and curators prize vernacular photographs -- commercial studio portraits, postcards, snapshots and other sorts of often anonymous photographic kitsch. Here that trend intersects with a commitment to photography as a form of social documentation in an exhibition of about 70 vernacular photographs depicting Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B from to A personal, whimsical exhibition by this well-known Japanese photographer who incorporates into his work artifacts he has collected, particularly from East Asia and Japan.
Sugimotos reach is long and his range is broad, from fossils to textiles to undersea dioramas to Japanese calligraphy to the Trylon and Perisphere a minisculpture that symbolized the New York Worlds Fair. Big and handsome almost to a fault. Theres something weird about seeing once joyfully rude and over-the-top contraptions from the s and 60s lined up like choirboys in church, with their ties askew and shirttails out.
But even enshrined, the combines still manage to seem incredibly fresh and odd, almost otherworldly. I thought of a medieval treasury -- all the rich colors and lights and intricate details.
The most beautiful tend to be the early ones: large but delicate, with a subtle, fugitive emotional pitch. The art worlds mind was on identity politics and neoconceptualism. With more than drawings, collages, storyboards and sculptured models by 80 artists; numerous projections; and a mesmerizing three-dimensional zoetrope, this exhibition offers a detailed glimpse of the creative and technological processes behind such computer-animation wonders as Toy Story, Monsters, Inc.
In the end, nothing has as much art or magic as these films themselves, but the concentrated effort and expertise that go into them is nonetheless something of a wonder, too. The definition of what Latino art means is changing in a post-identity-politics time, and this modest biennial, drawn mostly from unsolicited proposals submitted by artists in the greater New York area, is an indicator of what that change looks like.
This extensive exhibition mostly of works on paper gives an informative account He Delivers - Various - Chistmas Together the regrettably brief career of one of the 20th centurys great draftsmen and romantic rebels.
Schieles self-portraits, drawings and watercolors of sexy young women still burn with fires of Im Your Baby Tonight - Frankie Paul - Jammin yearning, erotic desire and bohemian dissent. This show is a busy, ambitious hodgepodge that sets out to present all aspects of the visual art in Greece during this period. The range spans wonderful early paintings and icons, like a panel by the youthful El Greco; examples of domestic crafts practiced by Greek women; jewelry and church ornaments; and maps and charts.
HIMALAYAN ART, For a basic guide to the art of Tibet and Nepal, you will do no better than to take a slow walk through this new show, which, using an array of gorgeous objects, distills knotty visual and spiritual systems to a soothing but stimulating entry-level form.
Despite some marked unevenness, this display of new and recently emerged talent confirms the current vitality of black art, contemporary art and midsize New York museums. This small exhibition of biomorphic abstract paintings and one glossy construction of squares and knobs from the s shows what an excellent student of European Surrealism and Constructivism he was. This substantial exhibition of works on paper extends the full-scale Bluemner retrospective now at the Whitney Museum of American Art.
Barbara Mathes, 22 East 80th Street,through Jan. Goya gets things officially started. The show takes in contemporaries or near-contemporaries like Eva Hesse, Basquiat and Matthew Ritchie.
It rambles around two floors in no particular order: a connoisseurs heaven. Richard L. So this well-produced show of geometric relief sculptures by Ilya Bolotowsky, Nikolai Kasak and Charles Biederman, among others, comes as a nice surprise. Eli Bornsteins truly beautiful, neatly gridded constructions of floating wood blocks painted lovely confectionery colors are alone worth the trip.
Forum, Fifth Avenue,through Jan. Sean Kelly, West 29th Street,through Jan. Bellwether Gallery, 10th Avenue, near 18th Street,through Jan. Araki is one of Japans great photographers, but his installation of pictures of tied-up nude young women interspersed with pictures of exotic flowers garishly slathered with paint is too fashionably transgressive. Anton Kern, West 20th Street,through Jan. Zach Feuer, West 24th Street,through Jan. Butterfield continues to make horses out of weathered branches and scrap steel that are, at best, magically lifelike.
In Tour - Various - Super Smash Bros. For Nintendo 3DS / Wii U (A Smashing Soundtrack) big one lying down in the gallery, the metal seems just as alive as the illusory animal. Three horses on the Park Avenue median, however, are out of their element -- too delicate to compete with the traffic and the giant buildings, but perhaps because of that, poetically poignant.
Edward Thorp, Eleventh Avenue, between 24th and 25th Streets; and on the Park Avenue median between 52nd and 54th Streets;through Jan. He lavishes painterly attention on veins, age spots, baggy eyes, wrinkles and drooping lips, and he floats the heads like weird balloons against white backgrounds.
The paintings are far from beautiful, but their unsettling impact feels right for the often confusing roles that elders play in our psychic lives. Stux, West 25th Street,through Jan. George Adams, West 26th Street,through Jan. A working fountain has water flowing from sunflowers made of wide showerheads and copper pipe planted in a claw-foot bathtub. And the arrangement of a cuckoo clock and a flat-screen video view of peaceful lake waters on a natural plywood wall slyly enhances the faux-rustic ambience.
Sandra Gering, West 22nd Street,through Jan. Composed of lines of different lengths and colors and various thicknesses, these antic figures seem to vibrate on and under the paintings lightly brushed surfaces.
Moore rings many Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B variations on his basic format, which, while it commits to the visible, manages to engage the mystery of what lies beyond it.
Nixons famous Brown Sisters, a set of group portraits of four sisters made annually, starting in It is almost painfully touching to see the beautiful siblings evolve from teenagers to late middle age. And then you begin to wonder how long this can go on before one of the five participants will no longer be available.
Yossi Milo, West 25th Street,through Jan. Johnson ROBERT STONE Made with a loose, watercolorlike touch, this young British artists oil-on-canvas paintings depict enigmatic and vaguely comical scenes, like tiny Canadian Mounties having a secret funeral in the woods, or a pair of travelers in oddly mixed costumes posing with a coffin.
They are just sweet and peculiar enough to give you pause. James Nicholson, West 27th Street,through Jan. Location One, 26 Greene Street,through Feb.
The best piece is best experienced by descending on Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B ladder into a kind of rabbit hole.
Peter Blum, 99 Wooster Street,through Jan. All the proposals, mostly illustrative works on paper ranging in spirit from scathingly critical to earnestly visionary, are presented by this entertaining if not especially profound exhibition. Also good, at Envoy, a gallery that shares the Taylor space, is the New York debut of Nils Erik Gjerdevik, a young Norwegian artist who cannibalizes snippets from Art Nouveau to graffiti into playfully calligraphic designs.
Closing Monday. The large, Victorian-style silhouettes are not without possibilities, though perhaps they are too Kara Walker-like; the hanging assemblages made of braided hair, fabric and found objects have an erotically stirring poetic delicacy. In the s and 70s, he turned to what you could call Pointillist Color Field Painting, and though the sensuous impact of Your Fire - Human Drama - Momentos En El Tiempo: Johnny Indovina Live Acoustic, color and thickly stippled paint is strongly asserted, the works are also animated by intimations of cosmic mysticism.
Knoedler, 19 East 70th Street,closing tomorrow. Come Dec 27, might Taiwanese pop superstar Jay Chou have to perform to empty seats at a concert in Singapore? After a series of successful concerts in Taiwan and Hong Kong, plus three sold-out shows in Malaysia last year, youd expect Jay Chou to take a break.
But no. The Opus 2. Several overlapping lace flounces over chiffon finished the lower edge, above which were tiny garlands of small pink roses, with-out foliage.
Approximate running times are in parentheses. The past always catches up with you; blood is thicker than water; be careful what you wish for. These are among the stale-but-true bromides that are acknowledged by the title character in Donald Marguliess sincere but doggedly unsurprising new play about the midlife crisis of a suddenly successful novelist Adam Arkin. While this comic drama is steeped in an admirably humble and often touching spirit Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B acceptance, it seldom does what Mr.
Margulies has achieved repeatedly before: make the familiar seem fresh. Polly Draper and Ari Graynor stand out in an excellent cast, smoothly directed by Daniel Sullivan Biltmore Theater, West 47th Street, Tuesdays, Thursdays and Fridays at 8 p. Heard not so long ago issuing from the Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B form of Edna Turnblad in the musical Hairspray, Mr. Fiersteins voice is one of the most distinctive in theater, variously evoking a kazoo, a congested saxophone, wind in a bottle and echoes from a crypt.
It is, in a way, its own multicolored show. Whether it fits comfortably into the little Russian village of Anatevka is another issue. But at least it brings a bit of zest to Mr. Leveauxs abidingly bland production Tuesdays at 7 p.
But audience members strong enough to sit through this rickety jukebox of a show will discover that the production, directed and choreographed by John Carrafa, does have a reason to be.
Good Vibrations sacrifices itself to make all other musicals on Broadway look good. As the shows washboard-stomached performers smile, wriggle and squeak with the desperation of wet young things hung out to dry, you feel their pain.
It is unlikely, however, to be more acute than yours Portraying Jo the tomboy, Ms. Foster creates a dizzyingly hyperkinetic creature who, were she living in the 21st century, would probably be on Ritalin. Foster a Tony winner for Thoroughly Modern Millie shows a gift for fresh, comic line readings. But her energy is often less infectious than exhausting.
The same can be said of the show, directed by Susan H. Watching the production is rather like speed-reading Alcotts novel. And the cast members, who include the mellow-voiced Maureen McGovern, mostly bring to mind s-themed editions of the American Girl series of dolls Virginia Theater, West 52nd Street, Yes, the troubles between Roman Catholics and Protestants that Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B roiled Northern Ireland for decades do cast an emotional shadow over this heartfelt and funny if unexceptional stage memoir, descriptively subtitled one wee girls story about family, war, Jesus and Hollywood.
But Ms. Hughess title more directly refers to her big, inquisitive and exceptionally expressive eyes, which Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B secure that wee girl a ticket to a happier life. Belfast Blues, which recounts her experience growing up amid poverty and violence in Belfast in the s and 80s, does not bring any groundbreaking insights to familiar territory.
Hughes is a bright, inviting presence, and the surprising agent of her deliverance from the troubled atmosphere of her youth gives the show a modestly refreshing twist Culture Project, 45 Bleecker Street, Tuesdays through Fridays at 8 p. The landowner Lyubov Ranevskaya Petronia Paleyreturning penniless from her life abroad, is as elegant as she is self-delusional. Against her beauty and her dignity, Lopakhin Wendell Piercethe archetype of the small-minded arriviste, is a hard man to like.
But this production brings out their shared past in subtle but forceful gestures that complicate the audiences sympathies Harlem School of the Arts Theater, St.
Nicholas Avenue, near st Street, Wednesdays through Saturdays at 8 p. But it also retains relevance to ambition and success in the 21st century.
It has a hero worth rooting for, a healthy dose of sacred and profane love, some sharp jabs at class difference, villains who merit a hearty hiss and plenty of New York attitude and humor Theater at St. Clements, West 46th Street, Clinton, Tuesdays through Saturdays at 8 p. A patient of Carl Jung and an acquaintance of Sigmund Freud who ultimately became a psychoanalyst herself, Spielrein has a history that has provided material for two movies and two plays.
The first of these was Willy Holtzmans Sabina, first produced by Waterman (Original Mix) - Klangwerk - Waterman Stages in and now in revival as part Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B the companys 20th-anniversary season.
The new production, directed by Ethan McSweeny, is hampered by an unsatisfactory performance from Marin Ireland in the title role. It provides a provocative window into the much-studied relationship between Freud and Jung. Peter Strauss gives an admirably understated performance as a paternalistic Freud, and Victor Slezak, as Jung, gives persuasive dramatic life to a now-mythic figure. Gareth Armstrong gives it a game try, but Shylock, his minute dissertation on the evolution of one of Shakespeares most memorable characters, although deftly performed, is no exception.
While his pocket synopses of anti-Semitism, Elizabethan England, Marlowes Jew of Malta and even a Baedeker of famous actors renditions of Shylock are edifying, they are not sufficiently enlightening or entertaining.
The most riveting lines of Mr. Armstrongs monologue belong to Shakespeare himself Wednesdays through Fridays at 8 p. Yes, that surefire laugh trigger in old Blighty plays an unexpectedly large role in Rufus Norriss murky new version of the familiar fairy tale for the Young Vic Theater Company. Norris, a talented young British director whose Broadway-bound production of Festen snapped up many London theater awards, isnt interested in pretty pictures.
His vigorously staged, grotesquely comic Sleeping Beauty, which unfolds in smoky darkness beneath a queasy yellow moon, is entirely in tune with the current vogue for teasing out thickets of disturbing subtext in childrens literature.
The productions eccentric designs accentuate the predominantly eerie air New Victory Theater, West 42nd Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B, Tonight at 7; tomorrow and Sunday at 1 and 7 p.
But Texas Homos is a pleasant exception. The titles tone The Old New Town - Jan Jarczyk - > serve a purpose: it signals that the language in this show is far filthier than some theatergoers might care for, but the play is artfully constructed and convincingly acted, especially by Reed Birney and Richard Bekins in the central roles.
Cecil Mr. Birney and Jim Bob Mr. Bekins have been caught engaging in gay sex in a police sting at a public restroom in Tyler, Tex. Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B one is the town doctor and the other a preacher, and since both have wives and children, this creates more than Tico Tico - Various - Movie Songs few problems.
Texas Homos is not really about gay men at all. It is about Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B who has a secret life, and the nightmare that envelops such people once they are discovered. Birneys portrait of desperation and defiance feels dead on, and so does Mr.
Bekinss of resignation and surrender Tuesdays through Fridays at p. This monologue, which runs just over an hour and requires Resignation - Brad Mehldau Trio - The Art of the Trio - Recordings: 1996-2001 stagecraft, is as unassuming in its means as it is astonishing in its impact. Its one of those treasured nights in the theater -- treasured nights anywhere, for that matter -- that can leave you both breathless with exhilaration and, depending on your sensitivity to meditations on the bleak and beautiful mysteries of human experience, in a puddle of tears.
Also in stitches, here and there. Eno and his performer, the actor James Urbaniak, hereby reinvent that seemingly moribund theatrical genre, the solo show. They are immeasurably aided by the work of the director Hal Brooks. Urbaniak, is alternately lyrical and affectless, ecstatic and flat, sardonic and sincere. Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B comic riffs and deadpan hipster banter keep interrupting the corrosively bleak narrative: Mr.
Eno might be called a Samuel Beckett for the Jon Stewart generation. Lets try that again, minus the conditional: Mr. A mock spelling bee, it pokes serious fun at its twitchy tween contestants -- in the loopy spirit of the movies Waiting for Guffman and Best in Show -- but also pays affectionate tribute to these quirky young spelling titans.
William Finns nimble, upbeat score provides the emotional underpinning for Rachel Sheinkins more satirical -- indeed often riotously funny -- book. The director James Lapine, Mr. Finns collaborator on Falsettos, is Shine - Be Bop Deluxe - Futurist Manifesto - The Harvest Years 1974 - 1978 in impeccable form, managing to transform into virtues two of the theaters most reliable pitfalls, namely audience participation and the usually ghastly conceit of adult actors playing kids Second Stage, West 43rd Street, Clinton, While they came up with a number of solutions, none were Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B.
History is reduced to good guys and bad guys, who both talk in slogans: should school teach kids to think for themselves or prepare them for the workforce? The decline of the school system is told simply as a story of dark conspiracies motivated by corporate greed. In the end, you get the sense that this show is made by people who have spent little time reflecting on the ideas of the other side Ker Wells and Tannis Kowalchuk, who wrote the drama with the director Raymond Bobgan, play the pair in this pedestrian production, which mixes mime, ballroom dance, first-person monologues, puppetry and naturalistic acting.
The play has few original thematic or design ideas and never reinvents the stock characters in an interesting way. In the end, it has no insight that you wont learn later this year in the revival of Edward Albees Whos Afraid of Virginia Woolf? Wednesdays through Sundays at 7 p. Parsons was a decidedly flawed hero, and Melody Cooper, the playwright, leaves those flaws in plain sight. As a young woman, Parsons, played by Ms. Cooper, called herself Lucy Gonzalez and tried to pass as Mexican and American Indian, chafing at any suggestion that she was black.
And in her militant-labor phase, with her white husband, Albert, she exhorted followers, Learn to use explosives. When the Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B domestic bliss is shattered by the Haymarket Riot ofLucy loses her bearings, and her son pays an appalling price.
Coopers recounting of this fascinating life could benefit Grinspoon - Easy a large infusion of understatement, but still, Parsonss story is one that deserves Gentian Violet - The Tables - Shady Whims & Obstacles be told, especially at a time when those with radical ideas are again under intense scrutiny Fridays at 8 p.
The play traces the history of Thalidomide, the sleeping pill widely distributed in Europe in the late s and early 60s that caused birth defects when taken by pregnant women. Mat Fraser, a seasoned and charismatic British actor who was himself a Thalidomide baby, stars as Duncan, a lounge singer coming to grips with the anger and resentment fueled by his lifelong struggles.
In Mr. Willetts fanciful dramatic scheme -- borrowed from a certain Dickens holiday favorite, as he acknowledges -- Duncans psychological scars are healed by a series of ghostly visitors who sweep him through time and space. The director Eliza Beckwiths production is also on the clunky side, with most of the acting not up Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B the standard set by Mr. That is whypace Adorno and Eislermodernist music had almost no use in the classical Hollywood cinema.
According to the musicologist Leonard Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B. Meyer, the universal appeal of romantic music is due to the importance given more to secondary parameters, such as dynamics, agogics, and expression rather than to primary parameters, which include overall form, harmony rules, syntactic relations between tones, and so forth. In romantic music, the affective compo nent has a greater importance than the structural one.
However, according to Meyer, the modernist dialects inflate the secondary parameters to an extreme, to the detriment of the primary parameters that tend to lose any importance. In romantic music, primary parameters are still there to guide the musical Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B. In modernist music, on the contrary, the common listener has no guide to follow; the piece of music sounds simply meaningless and emotionally neutral to him, when not causing anxiety because of the frustra tion of expectations and the total lack of some kind of conventional orientation signs.
The reasons are both economic and narrative. The economic reason can be easily explained: it was more affordable using original musicwhose copyrights were owned by the studiorather than undertaking the costly and often intricate legal paperwork required to secure the clearance for a copyrighted piece of music. If Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B viewer recognizes the piece, his attention can be drawn away from the visuals and the accompanying affective component of the music.
In this case, the listener knows the piece; its general structure is present to his memory Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B can be retrieved, inducing him to follow the music flow, to anticipate its development, to focus on its structure. When hearing this music in a scene, the viewer would probably disconnect from the narrative and be led to metatextual considerations such as Ah!
They are using the Pastoral. I wonder why they have chosen it, not to mention the connotations and extra textual associations that each famous repertoire piece carries along with it.
In a hypothetical film where the Pastoral were used as a background for an amiable party conversation in a trendy Manhattan flat, the viewer might project the pieces traditional associations with shepherds and rural scenes on the visuals, and judge the music to be out of place. Mankiewicz,musical direction by Alfred NewmanCary Grant plays a professor who is also the conductor of the facultys amateur orchestra.
They are shown rehearsing, quite appropriately, Brahmss Academic Festival Overture Akademische Festouvertre,op. The Classics : For A Mouthful Of Nylon - The Puppetmastaz - Creature Shock Radio score presents Brahmss theme even at non-diegetic level, which is motivated both by the congruence of the piece with the academic locale and because this piece is also present within the narrative world.
One of the most common uses of repertoire music, and a Max Steiner trademark, is that of using it to clarify in which geographical place or historical period the film is set. In general, film music does not use the classical art-music forms of sonata, fugue, and the like. Apparently with no form, film music actually has its own form in the film itself. The theme and variations technique is borrowed from art musicit consists in presenting a theme, which will be later reprised and transformed in terms of rhythm, harmony, melodic shape, instrumentation, and so forth.
Leitmotivcoined for Richard Wagners Wort-Ton-Dramasis the association and identification of each character, situation, or idea with a musical motif, which is reprised and developed narratively throughout the work. Probably also because of the founding fathers familiarity with Wagnerian music, the leit motiv was largely adopted in Hollywood.
It is a very good fit for film narration, because it is an efficient aid to memorize and recognize characters and situations, it reinforces the film narrative through a parallel musical storytelling, and gives the overall score When A Man Loves A Woman - Various - When A Man Loves A Woman coat of cohesion and formal coherence.
The other typical technique is Mickey-Mousing. In the American cinema, it seems to have been inherited from the musical accompaniment used in vaude ville, where the actors antics and tumbles used to be stressed and punctuated by snare drum rolls and cymbal clashes.
An explicit synch-point is that moment where a musical gesture and a visual action undoubtedly match, the composer having deliberately composed with that precise synch-point in mind. A typical example is a descending movement in the visuals mirrored by a descending gesture in the music, like someone falling down the stairs accompanied by a rapidly descending violins scale. As the term itself suggests, Mickey-Mousing derives from cartoons, where this technique is strongly present: think of Scott Bradleys scores for MGMs Tom and Jerry short films, in which the mouses furtive footsteps are individually mirrored by plucks of pizzicato strings.
In What Scoundrels Men Are! Gli uomini, che mascalzoni! Herein, the term Mickey-Mousing is used each time the music closely duplicates the visual action, not just as a technique for cartoons or slapstick comedies.
The term is used this way by practitioners too, and in classical Hollywood music Mickey-Mousing is employed, in a more or less marked way, for dramatic effect as well, not merely for comic episodes. For him, film music had to fit like a glove28 and his point is clearly demonstrated in the score he composed for The Informer John Ford, Even Korngolds music, which is less adherent to visuals, presents episodes of Mickey-Mousing: in The Sea Hawk, Alan Hales character stuns the prison guard with a bang on the head, which is stressed by music.
Consider the poetics of musical realism of the early years of sound cinema: it reveals a concern that the presence of music, not motivated realistically by showing a diegetic on-screen source, could indeed draw the viewers attention to the music rather than to the narrative.
Similarly, the Tiotusen Röda Rosor - Black Ingvars - Earcandy Six adherence of non-diegetic music to the visuals can be explained by the attempt to motivate its source. These days, the Mickey- Mousing technique is obsolete and attracts the viewers attention to the structural aspects of music rather I’ll Kill You - Dickybird - Indéfendable making the music transparent.
Yet, following the aforementioned Congruence-Associationist theory, it can be argued that in the early days when non-diegetic music was suspected of not being transparent and motivated enough, Steiner had this idea: if music seemed to emanate from the actors movements, maybe viewers would not be distracted by asking them selves where that music came from.
A leitmotiv is so tied to the character that the music appearance is simply motivated by the characters arrival. Another technique that sometimes showed a similarly tight correspondence between the music and what happened on-screen was dialogue underscoring, that is, music accompanying a dialogue scene.
However, one needs to distinguish the case in which some music was merely placed in the background to fill the silencewallpaper musicfrom that in which dialogue underscoring was modeled around the actors lines. In the first instance, music acted as a sound-coloring layer for the actors lines; for an extreme example Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B stock music just as a sound-filler, see Glen or Glenda Edward D.
Wood Jr, In the best, and rarer, cases, the composer would take into considera tion the pitch of the actors voices, their timbre, the content of the single lines, and the pauses in the dialogue, and he would write the music accordingly. He would write above or below the actors pitches so that music would not interfere with the frequencies of their voices; he would make sure that the orchestral timbres blended harmoniously with those of the actors; he would meaningfully introduce a musical cell of an already presented leitmotiv to reinforce one par ticular line; and he would calculate when the dialogue paused, so that music could soar in those moments and retreat in the background as the dialogue resumed.
The score composed with all such aforementioned techniques had to be brought to life, performed through some musical means. The classical Hollywood standard was the richly orchestrated sound of the late-nineteenth-century symphony orchestra. However, while Wagners, Richard Strausss, and Mahlers orchestras had a hundred or more players, studio orchestras were assembled for recording, not for live performance, and consisted of Fallhead - Devil Bone maximum of sixty players.
The first reason is his torical. In the Nickelodeons of the silent period, projections were accompanied by a pianist or a couple of instrumentalists. Larger theaters had a chamber orchestra made up of a dozen players. Only the luxurious picture palaces had a full symphony orchestra, and the most ambitious and important film produc tions, such as The Birth of a Nation D.
Griffith,used to tour along with a large symphony orchestra. When introducing synchronized sound, Hollywood kept up with this association and also enlarged the string section. A large string section was indeed typical of the symphony orchestras of first-class theaters and distinguished them from the smaller salon orchestras. The preference of the symphony orchestra as the musical means for film music can also be explained in narrative terms: it is the richest ensemble as to instrumental timbres and is capable of so many color combinations and hues as to make it completely versatile in meeting a wide array of narrative demands.
As things were, the studios, following a criterion of efficiency, obviously tended Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B utilize the tools already at their disposal. Speaking of musical means, a few words must be said about orchestrators. In general, to orchestrate means expanding a piece of musicfor example, one written in a condensed form on four stavesto a multiple-stave full score so that it is suitable for being played by a symphony orchestra, generally with out making additions of harmonic or contrapuntal nature.
An arrangement, on the other hand, means orchestration plus heavier interventions on the original composition, such as rewritings, integrations, and cuts. Orchestration is a crucial step in creating the overall color and sound of the piece by carefully balancing the various timbres of the Vanilla Fudge - Mystery. It affects greatly how a piece of music will finally sound and is not a mechanical operation but an essential part of the art of compositionan art itself, as Maurice Ravels Bolero shows.
In the Hollywood music departments, it was not only customary but even stated by union rules that the composer had to compose and then hand the music to someone else to orchestrate it. Of course, there were and are also cases where the Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B is indeed the ghostwriter behind the final result and Nitro - Minus Live one who gives musical shape to the amateurish efforts of some would-be composer.
A famous example is Charles Chaplin. Credited as composer of the scores for his films, he actually mostly whistled the tunes, which were then arranged for orchestra by a Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B of collaborators, among them David Raksin, who arranged Chaplins melodies for Modern Times The use of orchestrators in Hollywood was mainly due to time constraints.
To meet punishing production schedules37 and allow the already-pressed composer to focus entirely on the key operation of creating the leitmotivs and composing the tight-timed single cues to accompany the scenes, Princess - Strawberry - Strawberry other Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B nical and less-creative steps were assigned to collaborators, called orchestra tors.
The orchestrators task was to transcribe the condensed composers sketches, a sort of shorthand score, to a detailed full score without adding anything substantial. These are Steiners words about his work for Gone with the Wind :. We were scoring all night all the time You say I slept four or five hours, then a doctor [would] come in about noon to give me a Benzedrine injection so I didnt fall over.
No one arranges my music. But its all from me. Nobody arranges any thing from me. They just orchestrate what I write down. I dont remember him. Why sure, you got to have orchestrators. How are you going to write all that? Its done from score. You see, I write six lines, or eight lines. The original. They take it off and put it in score. Its no great trick Moreover, the composers usually wrote their sketches in a shorthand, often messy handwriting, which would have been unintelligible for a conductor to lead the orchestra from or for a copyist to extract the individual parts.
Each composer had his trusted collaborators, who were familiar with his idiom and idiosyncrasies, and knew how to read the composers shorthand and what kind of musical effects he wanted. However, in art music, using an orchestrator was and still Im Leaving You - Various - Music from The Life: A New Musical seen as a grave sin typical of a hack, a symptom of poor skills and artistic incompetence.
Perhaps influenced by these prejudices, some film composers like Bernard Herrmann, Ennio Morricone, George Delerue, and more recently Howard Shore prefer to do all the work themselves, a choice that can be the result of an unconventional temperament, a lack of trust in collaborators, the desire to stand out, or a moral categorical imperative for an artistic integrity that would otherwise be threatened.
With an art-composer attitude, Ennio Morricone strongly and vexedly rejects the idea of using an orchestrator: Q: Have you ever had any collaborators? A: Never, it is an absolute moral principle. No, absolutely Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B collaboration at all.
I like composing, its my job, the only thing I can do. I cannot charge others with doing something that I feel deeply mine. Whoever writes music for films without orchestrating each segment is nothing but a dilettante.
Even composers like Copland, Korngold, and Rzsa, who skillfully orchestrated their own art-music compositions, used orchestrators when working in Hollywood. The myth is simply that Bernard Herrmann is the only major film composer in Hollywood who does his own orchestrations.
This assertion has found its way into the film-music aficionados lore and seems to owe its existence to two things: 1 An ignorance of the real relationship between the composer and the orchestrator in Hollywood, and 2 a blind faith in the word of Bernard Herrmann on this subject who is in no small part responsible for the propagation of the myth.
There are numerous composers in Hollywood whose sketches are so complete and so detailed that the orchestrator really becomes, in effect, an intelligent copyist.
Nor is this practice of orchestrating from highly detailed sketches restricted to the film-music world. Prokofiev, with the ironic exception of his score to the film Alexander Nevsky, had all of his scores orchestrated from detailed sketches.
As Victor Seroff points out, Prokofiev devised a system that permitted him not to lose time on the long trip across the country. Because the vibration of the train made it impossible to write the orchestral score, he did all his preparatory work by marking in his piano score which of the instruments was to play this or that melody or passage. What is the typical formal function fulfilled by the classic Hollywood style? Claudia Gorbman sees Max Steiner as the epitome of the classical style and illustrates his style in these terms: So while illustration to the minutest detail was a hallmark of Steiners style in particular, our overall model of classical-era film music also must include the general tendency toward musical illustration.
Almost all film music from the thirties, forties, and fifties was conceived this way. So, what is the function that Mickey-Mousing fulfilled?
The classical Hollywood style has been called excessively obvious49 since narrative information tended to be overstated in case viewers might fail to notice some thing important.
Classical narration used music, among other devices, to help the viewer understand and interpret correctly and as effortlessly as possible the plot presented in the film so that he could mentally construct from it the chrono logically and causally ordered story. Music helped this perception: it pinpointed the important information and guided the viewers attention, not only through Mickey-Mousing but also through leitmotiv.
What Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B Chion says about sound in general can be applied to music as well:. Try watching a Tex Avery cartoon without the sound, especially without the musical part. Silent, the visual figures tend to telescope, they do not impress themselves well in the mind, they go by too fast.
Owing to the eyes relative inertia and laziness compared to the ears agility in identifying moving figures, sound helps to imprint rapid visual sensations into memory.
Indeed, it plays a more important role in its capacity of aiding the apprehension of visual movements than in focusing on its own substance and aural density. The Mickey-Mousing technique thus primarily fulfills a spatial perceptive function. It makes viewers notice what narration wants them to notice by pointing their attention to a given action or visual detail within the framed space.
For example, in Casablanca when French Captain Renault finally sides with the anti- Nazi cause and throws a bottle of Vichy water in the trash can, Steiner Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B the fall of the bottle with a synchronized low chord to point our attention to the highly symbolic meaning of this action.
To summarize the four-point stylistic definition that has been articulated so far, the classical Hollywood style is characterized by the adoption of the late- romantic dialect language ; the use of leitmotiv and Mickey-Mousing techniques ; the use of the symphony orchestra musical means ; and although it also performed other formal functions typical of film musicsuch as the macro-emotive function, the micro-emotive function, the temporal perceptive function, and the cognitive functionits identifying one was the spatial perceptive function.
Photograph by Samantha Winslow Williams. John Williams on the recording stage ca. Top: John Williams at the piano ca. Bottom : John Williams at work in his studio ca. Photographer unknown. Top Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B John Williams on the recording stage for Jaws Photograph by Jonathan Player.
Courtesy Jonathan Player. Courtesy BSO Archives. Official Portrait of John Williams Photograph by Bachrach. Photo- graphs by Vincent Hardy. Courtesy Vincent Hardy.
Left, top, and bottom: John Williams conducting the New York Philharmonic Orchestra to film in a multimedia concert piece The conductors monitor can be seen above, on which a specially marked version of the video runs, alerting to Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B forthcoming synch points to be caught by the orchestra. Photographs by Vincent Hardy. Photograph by Christine Dehil. From the authors collection.
Part II. Steven, for this film, you need a better composer than I am. Youre right, John. But theyre all dead. T he change in contractual arrangements between musicians and studios in can be seen as the end boundary of the classical style.
Film music underwent such changes in terms of language, techniques, musical means, and functions that the new style blossoming in the s can be called modern style. Cinema and Film Music in the s. In the s, European cinema regained positions over Hollywood on the international scene. The up-to-date filmmakers of the Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B auteurswere all from Europe.
In modern art cinema, style and themes became more impor tant than narrative. Consider Michelangelo Antonionis idle moments and temps mort, in which the action slackens and narrative Shine - Be Bop Deluxe - Futurist Manifesto - The Harvest Years 1974 - 1978 is weakened, or Federico Fellinis excessive and conspicuously idiosyncratic style, or Alain Resnaiss narrative ambiguity, or Ingmar Bergmans important topics.
Specific sorts of realism motivate a loosening of cause and effect, an episodic construction of the syuzhet [ plot], and an enhancement of the. In the name of verisimilitude, the tight causality of classical Hollywood construction is replaced by a more tenuous linking of events.
The art films thematic crux, its attempt to pronounce judgments upon modern life and la condition humaine, depends upon its formal organization. Unlike most classical films, the art film is apt to be quite restricted in its range of [narrative] knowledge. Such restriction may enhance identification character knowledge matches oursbut it may also make the narration less reliable.
The narrow focus is complemented Trim Trim Troelala - De Glazenwassers* - De Glazenwassers psychological depth; art-film narra tion is more subjective more often than is classical narration.
To objective and subjective verisimilitude we may add a third broad schema, that of overt narrational commentary. Stylistic devices that gain prominence with respect to classical normsan unusual angle, a stressed bit of cutting, a striking camera movement, an un realistic shift in lighting or setting, a disjunction on the sound track, or any other break-down of objective realism which is not motivated as subjectivitycan be taken as the narrations commentary.
Russell Lack states:. Feelings rather than characters are transformed depending on what type of cinematic time they inhabit. This is something like a psychology of pure feelings as opposed to one rooted in characters or individuals.
Accordingly, music acts crucially as a navigator of feeling dispossessed from bodies, from biographies. Music in the modern cinema freely moves between the diegetic source that is revealed in the Santa Bring My Baby Back (To Me) - Elvis* - Christmas Peace and the non-diegetic music whose source is never revealed and vice versa.
It comes more and more to symbolize the sublime in the most imaginative examples of its use. Many emerging European authors of the period were wary of using music, such as Michelangelo Antonioni or Robert Bresson: How many films are patched up by music! Films are flooded with music. Music is cinemas falsest friend, as it deprives film time of its peculiar exclusivity and objectivity. When Alain Resnais hired Fusco to work for Hiroshima, mon amourthe composer immediately decided that he would not work out fixed themes for the characters [i.
If we examine the works of Ennio MorriconeJohn Barryand Henry Mancinithree of the most successful representatives of this new style, it is patent that the classical-style spatial perceptive function the case in which music directs the viewers attention to a particular element inside the framing holds a minority position in the new style. Consequently, the Mickey-Mousing and leitmotiv techniques became obsolete.
Modern style favored the emotive function adding or reinforcing the emotional tone of a scene or the cognitive function clarifying or implying the connotations and implicit meanings. The only kind of perceptive function retained is the temporal one: changing the perception of the visual rhythm, or temporally linking through a musical continuum events that might otherwise seem disconnected.
In the s, Hollywood cinema was weakened by a severe crisis, and as it was strongly influenced by Nouvelle Vague the New Wave and the European auteur cinema, so it was also influenced by the European music style.
Compared to the classical Hollywood tradition, European style had always been charac terized by a lower adherence between music and visuals and a minor use of leitmotiv. Instead of a continuous stream of music based on interwoven leitmotivs, the score was structured through a series of isolated set pieces closed in themselves. This modern stylistic feature can be found in the works of Nino Rota, for instance: Another function of nondiegetic film music is to bind the incidents of a film together in a common ambiance.
The thematic, instrumental, and stylistic continuities typical of film scores help to create a consistency of tone or feeling across the span of a film, especially where the events presented are not very tightly connected in a dramatic sense. Thus this, rather than any narrative task, seems to be the main function of Rotas score for Fellinis Amarcord. In the s, this style spread internationally because of the worldwide success of European films; Rotas music had a vast diffusion and visibility thanks Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B his collaboration with Fellini.
The technique of the closed musical number was also used by Ennio Morricone and disseminated through Black Star - Various - Sonic Seducer Cold Hands Seduction Vol. X enormous success of his scores for Sergio Leones Spaghetti-Westerns.
He openly rejects the classical style: The screen reflects a flat image that, perhaps, without music would remain flat. Music gives it a sense of vertical depth and horizontal dynamism, which can only be possible if music is surrounded by silence.
This is necessary because our hearing, and therefore our brain, cannot listen and understand more sounds of a different nature simultaneously.
We will never understand four people speaking at the same time. It is absolutely necessary, if the director wants to consider music in the right way, to isolate music and give the audience the time to listen to it in the best way. In Sergio Leones films, music emerges in closed musical numbers when there is no dialoguesimilar to Italian opera: I think that music should be present when the action stops and crystallizes; as in musical theater we can find the recitativo and the aria, music in cinema should be placed in correspon dence with the aria, when the action stops and there are thoughts and introspec tion, not when the action has its own narrative dynamics.
Hollywood style, and the consequent background music: In fact, Morricones music can best be described as foreground music. Consider the action sequences in many James Bond films.
John Barrys music gives pace and suspense but compared to the classic adventure films it follows a freer musical development, one not tightly synchronized with the visuals. No Terence Young,with those composed by Barry for the following films of the series. In the Dr. No scene where Bond squashes the tarantula that his enemies had hidden in his bed, New Day - The Seer - Arrival uses many punctuational stingers and a kind of Mickey-Mousing to accentuate each time Bond hits the spider.
Norman seems to still be following traditional tech niques. Other occurrences of such explicit synchronism are not found in the following Barry scores, when the modern style was already well established.
As to the musical means, the symphony orchestra was no longer the standard in modern style. The choice Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B ranged from jazz combos to big bands to small chamber ensembles To Kill a Mockingbird, Robert Mulligan,music by Elmer Bernstein or even solo improvisation on the visuals Miles Daviss music for Ascenseur pour lchafaud, Louis Malle, It was open to any other languages that were either trendy or experimental, includ ing dialects of twentieth-century art music such as atonality, modalism, and dodecaphonismfor example Leonard Rosenmans atonal score for Fantastic Voyage Richard Fleischer, or David Shires twelve-tone score for The Taking of Pelham Joseph Sargent, These linguistic innovations were due not only to aesthetic or realistic reasons but also to an unprecedented phenomenon: the increasing commercial importance of film music in the s.
Film music had to update according to the tastes of the new audience, which were certainly not in line with the symphonic late-romanticism of the classical style. The most obvious consequence was the growing importance of pop songs as core elements of the music track.
The relation between cinema and songs is as old as cinema itself. The main reason is to achieve the maximum Susan McKeown & Lindsey Horner - Mighty Rain benefit by having the film and the music industries supporting each other. As early as the nickelodeon period, the fad of illustrated songs, a kind of pre-karaoke, had been launched and was di rectly financed by music publishing houses.
In either case, popular songs Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B the lions share, and film studios either merged with music publishing companies or started their own subsidiaries in order to gain fully from the profitable song craze. All-symphonic film- music albums were rare and the market for film-music records was almost ex clusively concerned with songs, State Of The Heart - Rick Springfield - The Greatest Hits Alive (Special Limited Edition) were consequently included in the films sound track to promote the sale of the records.
The proper locus to showcase a saleable song was the diegetic musical number by the female leada striking example of Laura Mulveys female-spectacle21often accompanied by some bankable musician.
First of all, lyrics could distract from the narrative context or interfere with dialogue. Moreover, famous songs could evoke associations and connotations that were likely to disconnect the viewer from the films narrative world. Also, a song is in itself less inaudible and less concealable than instrumental music: the structure of a song is rigid and cannot be bent and adapted to visuals, as is the case Slowmotion Girl - Laid Back - .Keep Smiling orchestral music.
In this way, it was possible to elegantly mask the actual motivation, which was to prompt viewers to go and buy tie-in records or sheet music when leaving the theater. The balance between realistically motivated diegetic songs and composi tionally motivated non-diegetic orchestral music broke down in the s, when an extrinsic economic motivation became mostly evident and prevailed over intrinsic aesthetic and formal motivations.
The first reason was technological. Another reason was sociological. In the s, film producers had discovered the potential of the teen audience and the importance of complying with its musical tastes, especially after the huge success of such films as Blackboard Jungle Richard Brooks,which featured rock n roll music by Bill Haley and His Comets, and whose LP album sold spectacu larly.
Whereas in the old days the decisive profits were the total net revenue of the studio, the sum of all the film projects, nowin the package-unit systemthe decisive profits were those of the single films. To secure such a success, a good solution was to team up with the burgeoning record industry, balancing a weak box-office performance with the potentially better sales of the films LP album. Controlling both the film and record industries and applying a carefully devised, synergistic cross-promotion not only advertised the film via the presence of the song on the radio and Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B record stores, but also promoted the song by having it showcased in the film.
In the s every major studio became an important shareholder in some existing record company or created its own subsidiary in order to collect profits from both markets. If we compare the classical style with the modern style as to the way songs were inserted in films, the difference can be seen in the move from the diegetic to the non-diegetic level, that is, the interpolated songs phenomenon.
The film credited with having established this trendthanks to its big success both in theaters and in record storesis A Man and a Woman Un homme et une femme, Claude Lelouch,music by Francis Lai. Sometimes songs are indeed thematically congruent, narratively functional, cleverly placed, and can function as effectively as an orchestral score. The American Graffiti music track, for example, Not Another Word - Various - Reggae Gold 94 made up of early s songs, with each scene supported by a different songhaving a formally consistent compositional motivation and being functional to the nostalgic mood of the film.
Empty Chasm - Witchaven - Terrorstorm music is also motivated realistically, not just because of the time setting of the story but also La Interferencia - El Aviador Dro Y Sus Obreros Especializados* - Sintesis: La Produccion Al Poder of the constant presence of car radios in the pro-filmic space.
This results in a subtly ambiguous play between diegetic and non-diegetic levels: Are the songs broadcast by the radio sets or are they non-diegetic? Can the characters actually hear the songs or, because the songs are outside the narrative world, can they be heard only by the viewers?
The theme song Goldfinger is showcased in a dedicated spot outside the narrative, in a title sequence constructed like a proto-video clip. The minor flexibility of songs resulted in debatable cases of incongruity and misplacement. The title song Never Say Never Again is an easy-listening, lightweight piano-bar style tune, which would sound perfect as a musical wallpaper at a cocktail party. Instead of being placed in its own space outside the narrative, the song flows under the action prologue over which the opening credits are superimposed.
In this sequence, Bond, here on a hostage- release mission, has to sneak into a South American estate surrounded by menacing armed men. Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B Philharmonic Orchestra. Toy Flutes. The Old Woman. Waltz of the Flowers. Pas de Deux. Dance of the Sugar Plum Fairy.
Final Waltz and Toy Flutes - The Royal Philharmonic Orchestra Conducted By Don Jackson - Tchaikovskys Nutcracker B. Nutcracker, ballet, Op. Overture Pyotr Il'yich Tchaikovsky.
March Pyotr Il'yich Tchaikovsky. Chocolate Pyotr Il'yich Tchaikovsky. Coffee Pyotr Il'yich Tchaikovsky.
Total Eclipse Of Your Heart - Various - 25 Jahre Internationale Pop Musik 1983, Sleep - Killing Moon - Slow Fog, Bonny Wood Green - Various - Music At Matt Molloys, Susannahs Still Alive - The Kinks - The Kinks часть 3-4, Ik Ben Joep Meloen - Various - Weg Met De Malaise, Leve De Polonaise, I Predict A Riot - Kaiser Chiefs - Enjoyment (DVD), Hangup - Ron Thal - Hermit, The Pressure (U.B.P. Classic Club Mix) - Various - La Demence No. 4 - Mixed, // - The Tumbled Sea - Melody/Summer, Дpyжба - Unknown Artist - Русское Слово, No Pain, No Gain - Various - The Super Mix Album (Phillys Favorite Remixes), Kohlstream - My Vitriol - Finelines, Empty Chasm - Witchaven - Terrorstorm, Born A Loser/Out To Win - Mohican Jack - Out To Win