Artist: Michael Nyman
Genre(s):
Instrumental
Rock: Instrumental
Soundtrack
Other
Discography:
The Very Best Of: Film Music 1980-2001 (CD 2)
Year: 2001
Tracks: 20
The Very Best Of: Film Music 1980-2001 (CD 1)
Year: 2001
Tracks: 19
The Claim
Year: 2000
Tracks: 15
Wonderland
Year: 1999
Tracks: 11
And Do They Do - Zoo Caprices
Year: 1999
Tracks: 13
Wonderland
Year: 1998
Tracks: 11
The Suit and The Photograph
Year: 1998
Tracks: 13
The Claim
Year: 1998
Tracks: 15
Concertos
Year: 1997
Tracks: 20
After Extra Time
Year: 1996
Tracks: 26
The Kiss and Other Movements
Year: 1995
Tracks: 7
Noises, Sounds, and Sweet Airs
Year: 1995
Tracks: 20
Six Days Six Nights
Year: 1994
Tracks: 16
The Piano
Year: 1993
Tracks: 19
The Piano
Year: 1993
Tracks: 19
Time Will Pronounce
Year: 1992
Tracks: 4
The Essential Michael Nyman Band (Compilation)
Year: 1992
Tracks: 12
Prospero's Books
Year: 1991
Tracks: 14
Prospero's Book
Year: 1991
Tracks: 14
The Draughtsman's Contract
Year: 1989
Tracks: 7
The Cook, The Thief, His Wife and Her Lover
Year: 1989
Tracks: 5
The Cook, The Thief, His Wife And Her Lover
Year: 1989
Tracks: 5
Cook, Thief, His Wife and Her Lo
Year: 1989
Tracks: 5
A Zed and Two Noughts
Year: 1989
Tracks: 12
The Man Who Mistook His Wife For A Hat
Year: 1988
Tracks: 21
Drowning By Numbers
Year: 1988
Tracks: 13
Carrington
Year: 1987
Tracks: 19
The Draughtman's Contract
Year: 1982
Tracks: 7
The Fall Of Icarus CD 2
Year:
Tracks: 5
The Commissar Vanishes CD 1
Year:
Tracks: 5
Michael Nyman Live
Year:
Tracks: 16
Gattaca
Year:
Tracks: 24
Balanescu Quar
Year:
Tracks: 22
Celebrated for his modular, repetitive style, minimalist composer Michael Nyman was among experimental music's most high profile proponents, charles Herbert Best known in connexion with his film rafts for director Peter Greenaway. Born in London on March 23, 1944, he studied at the Royal Academy of Music and King's College, London, under communist composer Alan Bush and Thurston Dart, a musicologist specializing in the English Baroque. Under Dart's care, Nyman was introduced to sixteenth and 17th-century English rounds and canons, their repetitive, contrapuntal lines highly influencing his possess later act upon; Dart also encouraged him to journey to Romania in the interest of seeking out the country's native common people music traditions. Upon graduating during the mid-'60s, Nyman establish himself disconnected from both the drink down music of the multiplication and the school of modern composing heralded by Stockhausen; as a result, from 1964 to 1976, he worked non as a composer only as a music critic, writing for publications including The Listener, New Statesman, and The Spectator. In a review of British composer Cornelius Cardew, he first base introduced the countersign "minimal art" as a means of musical description.
During this same period, Nyman did stay playing, appearing with artists ranging from the Scratch Orchestra and Portsmouth Sinfonia to Steve Reich and the Flying Lizards. In 1974, he wrote the influential quran Experimental Music -- Cage and Beyond, an exploration of the influence of John Cage on a generation of composers and performers. Perhaps its most profound wallop was on Nyman himself, world Health Organization through writing the al-Qur'an seemed to attain his have muse; in 1976 he recognised an invitation from Harrison Birtwistle, Director of Music at the National Theatre, to format a identification number of 18th-century Venetian popular songs for a production of Goldoni's Il Campiello. Nyman's arrangements consisted of medieval instruments -- rebecs, sackbuts and shawms, bass drums, soprano saxophones, and the like -- designed for maximum volume to create a distinctive instrumental color; when the output complete, he began composition original music only to keep the same grouping of musicians together. Originally an acoustic building block, when rechristened the Michael Nyman Band in the early '80s, gain became essential to their artistic.
Nyman's showtime major success came in 1982 with the score to the Greenaway film The Draughtsman's Contract; his subsequent collaborations with Greenaway on pictures including 1988's Drowning By Numbers, 1989's The Cook, the Thief, His Wife and Her Lover, and 1991's Prospero's Books stay among his most high profile industrial plant, their notoriety advent at the peril of overshadowing his forays into opera, chamber music, vocal music, and dance heaps. The signatures of Nyman's ferment include non only when his habit of propellant repetition, only too a palette of idiosyncratic instrumental touches -- clunk keyboards, "rude" bass clarinets, and barytone saxophones, and extreme high school and low-down octave doublings. Mozart was a central influence in practically of his work out, including 1976's In Re Don Giovanni and 1983's I'll Stake My Cremona to a Jew's Trump; Schumann, meanwhile, was the major stirring behind the acclaimed 1986 chamber opera The Man Who Mistook His Wife for a Hat, piece Bartok shades 1988's String Quartet No. 2, commissioned for the Indian terpsichorean and choreographer Shobana Jeyasingh.
In 1990, Nyman composed Six Celan Songs, a work based on the poems of Paul Celan, for the German nightclub vocaliser Ute Lemper, with whom he first-class honours degree worked on the scotch for Prospero's Books. His most emotional compositions to date, they served as the clear impulsion for his score to Jane Campion's 1992 plastic film The Piano, easily Nyman's best-known work; like so many of his compositions, he obsessionally reworked the music to The Piano time and time over again, the haunting melodies reappearing arranged for standard piano concerto, for 2 pianos, for chamber ensemble, for soprano saxophone and strings (Lost and Found), and for soprano and string quartette (The Piano Sings). While 1992's The Upside-Down Violin reflected Nyman's continuing captivation with traditional ethnic musics, 1993's MGV, or Musique a Grande Vitesse, returned to the propulsive sounds of the Michael Nyman Band. Other major whole works include 1992's Time Will Pronounce, 1993's Yamamoto Perpetuo (a composition for unaccompanied fiddle scripted for Alexander Balanescu), 1994's solo cembalo work Tango for Tim, and 1995's String Quartet No. 4. Among Nyman's plastic film heaps: 1995's Carrington and 1997's Gattaca.
