What It Is Like To Be A Woman In Hollywood
In the Middle, Somewhat Elevated
Hear a Playlist of Great Blues Singers
Interview: Mario Brunello, Cellist
What have been the greatest challenges of your career so far?
For me, the challenge continues to be the exploration of the “space” between the notes, and to see the other side of the notes, as if every note I play is a planet, a sphere that shows only one facet but possesses so many – to infinity.
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Maria Anna Mozart Was a Musical Prodigy Like Her Brother. Why Did She Get Erased from History?
Milo describes Nannerl’s fate: “left behind in Salzberg” when she turned 18. “A little girl could perform and tour, but a woman doing so risked her reputation…. Her father only took Wolfgang on their next journeys around the courts of Europe. Nannerl never toured again.” We do know that she wrote music. Wolfgang praised one composition as “beautiful” in a letter to her. But none of her music has survived.
The question may remain an academic one, but the life of Nannerl has recently become a matter of popular interest as well, not only in Milo’s play but in several novels, many titled Mozart’s Sister, and a 2011 film, also titled Mozart’s Sister, written and directed by René Féret and starring his daughter in the titular role.
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Interview: Mihail Doman, Composer & Pianist
How do you work? (as a composer)
I first create the theme on the piano. For Arhythmology it was a very basic motif in Em, which you can hear all-through-out the album. And then I build the songs around the theme and around some variations. After that, I create a rough draft of the song in my music program, so I have something to prepare the strings to. Then comes the sound design part – probably the best part. I use a lot of virtual synths. I usually like to do my own sounds, so a lot of times I start with an empty sound, like just a basic Sine or Saw wave.
Next is the string orchestra. Hopefuly on the next albums I’ll be able to use a live orchestra, but for now it was Native Instruments’ Session Strings, along with a really old East West Quantum Leap Library that I had lying around, to give it a bigger size ?Programming the strings is a super tedious work, because you basically have to write every note manually for every individual voice. And afterwards you have to tweak the velocity and the sample sounds until you have something that sounds natural.
As you can see, my process involves a lot of computer work, my music being very electronic as well. Using good old pen and paper certainly has its charm, but for my music I must go to the digital realm.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
There is no such thing as talent. There is only work, work and work.
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A Human-Robot Dance Duet