Composer
Olga Thomas “I was born in Moscow into a family rich in musical history. A family who throughout the generations were prolific musicians and inventors,” Olga Thomas tells us. The composer is known to the public primarily for her ‘musical gifts’ to the royal family that have been heard topping the classical charts.
himself. “He suggested that I should stay the way I am, he did not wish to affect my creativity and make me a cliché composer as he described it. He encouraged me just to be myself. Instead of teaching me we spent our lessons playing wonderful piano duets by the great composers. It was absolutely amazing.”
She shares more about her family saying, “My mother, who was a musician and costume designer, was my first and greatest inspiration. I was very lucky to have both musical multi-subjects, such as piano, composition, musicology, history etc and the normal academic curriculum in the same school, the famous Gnessin school which gave us one of the best piano performers Evgeny Kissin. I was very lucky to study piano under the same teacher as Evgeny Kissin.”
She is grateful for his mentorship and belief in her “unique” style. For Olga, composing has always been a part of her life. “I have a permanent ‘background application’ in my brain which constantly composes. Situations, images, stories inspire me all the time.”
Olga’s training continued at the Moscow Tchaikovsky Conservatoire where she met the “wonderful” composer Edison Denissov. “[He] was was equally great as a classical composer and a film composer.” Soon, she was learning from the man
Inspiration can come from reading a great novel or even a trip to the grocery store! “When I was having my driving lessons, I drove my poor instructor mad because every interesting situation was leading to a composition.” Her ‘Roundabout Waltz’ was based on some driving frustrations she experienced on, what else, a roundabout! The piece came to the attention of Peter Falk (of Colombo fame), in fact, he liked it so much that Olga transformed it into
‘Just One More Thing’ in his honor. “He later invited me to his beautiful house in LA, showed me his drawings and asked me to compose ten more pieces!” One tune that would feature on the West End production of the Cheery Orchard was composed at the age of 5! “Obviously, I didn’t tell anyone that I composed it when I was 5!” If you are a fan of classical crossover you are sure to enjoy the music Olga creates. More specifically she describes her style as, “very cinematic…. It has catchy tunes and can bring visual images when you hear it.” While that is her personal style she of course accommodates and adapts to the various projects she is involved in. She writes in a unique way: “My compositions come to me entirely, the whole piece and I just tidy them up. I jokingly compare it to Athena emerging complete from the head of Zeus.” Olga’s uncanny ability to find inspiration in everyday moments has led to success in television and film. “I always knew that it is what I was going to do. Interestingly it was the film project what brought me together with the famous Hollywood dynasty, the Douglas Family, and since then we have been friends for very many years.”
Of course, the process varies. “The way I compose for any drama depends on particular projects. The Douglases, for instance, gave me the script. When I compose for the BBC drama I also usually have the scripts.” When it came to the film Chernobyl Olga was presented with the unfinished film footage. “I saw the visual part and absorbed the mood of the film.” Olga’s musical gifts for the royal family have blossomed out of “lifelong admiration” for the Royal Family. “My first piece related to the Royal Family, “Themes of Life and Glory,” was written as a tribute to The Queen Mother soon after she died. I wrote it to celebrate her life and express my great admiration. To be honest, I could never imagine that one day, years later it will be presented to HM!” It was through her friend Carroll Froth that Olga became involved in the Cruse Bereavement Care charity a cause which she holds close to her heart. It just so happened that the Queen was a Royal patron of the same. “It was decided by the Cruse trustees to give Her Majesty a gift of music, my piece, Themes of Life and Glory. I had the immense honor to present this composition to HM in St James’s Palace.”
Another touching moment came when Olga heard her own music being played. “When I entered the Palace and heard my music played there I had tears in my eyes.” Olga is now the resident composer for the charity. “Since 2009 I wrote several compositions as my private musical gifts on behalf of the charity, to commemorate the most important events in the life of the Royal Family, all of them were presented to The Queen.” Generously 100% of the profits from these compositions is donated to charity. Her album, ‘Jubilation’ is a collection of these themed compositions and was recorded with the Royal Marines. “The album was released to celebrate Her Majesty The Queen’s 90th Birthday year and to commemorate the longest reign of any monarch in British history. All proceeds from sales of the album were split between Cruse Bereavement Care and Royal Navy and Royal Marines Charity.”
Olga composed ‘Royal Platinum Love Song’ in a “very cinematic” style. The song reached No.1 on the classical charts and featured the vocals of Joanna Forest and Daniel Koek with producer Robert Emery. She wrote carefully for the singer, “I had in mind their voices, their vocal reach and capabilities, I took in mind their tone and wrote the songs to suit their beautiful, rich vocal offerings.” ‘Royal Hollywood Love Song’ was originally written for Joel Douglas on the occasion of his wedding. “I composed it in the majestic setting of Clark Gable's house. It was then played for Her Majesty the Queen at her Golden Jubilee reception on behalf of Cruse Bereavement Care, a charity for which the Queen is a patron.” When Olga heard about Prince Harry’s engagement to Meghan Markle she was inspired to re-imagine the song for them. “I went into Angel studios with a 72-piece orchestra and recorded the song in the most spectacular cinematic Hollywood way
possible.” She believes that “Love is universal… This piece is about love, it is emotional, epic, romantic, grand and very cinematic. All these characteristics are there. It has the feel of the State Music, related to our Royalty, it has the quality of the film music of Hollywood and it conveys love from the beginning to the end.” Although Olga is partial to the piano, she also enjoys writing for the violin. “I have a soft spot for that instrument, one of my ancestors who immigrated to the USA was the founding professor of violin when the Eastman School of Music was opened in September 1921. He was
Concertmaster in the London Philharmonic, then the Rochester Philharmonic and then from 1933 till 1964 with Boston Symphony Orchestra.” She often pairs violin, with oboe and piano. “When we did the album ‘Jubilation’ it was Royal Marines Band, as I jokingly call it, ‘no strings attached’ arrangement. Though in real life I am very strongly attached to the Royal Marines and always greatly enjoy collaborating with them.” In addition to composing, Olga enjoys teaching private lessons. “I try to be an inspiration for my students. I have always had a great respect for
the teaching profession and was very lucky myself to have great teachers.” She believes teaching is meant to be a passion and not simply something someone does when a performance career doesn’t pan out as planned. “Quite the contrary, one has to be very successful in order to share experience, knowledge etc. with others through teaching. The teacher has to be a source of inspiration. I continue to be creative in my teaching as well. Like with my compositions my style is ‘tailored’ to fit specific individual students.” This tailoring was especially beneficial in one of Olga’s student with Parkinson’s disease. Because of the nature of her illness, the student only had limited capacity in her left hand. Olga says she “created a special
way” and was very proud that she passed her music exams. “The examiner commented on a good coordination between her hands. It was such a great achievement for both of us. There even was a special BBC program about it.” She continues to work for the future saying, “I would love to perform for Her Majesty The Queen in person, it would be a lifelong dream fulfilled. I will also release a Christmas themed EP ‘A Royal Christmas with Olga Thomas’, which will feature my latest releases as well as Anno Domini. And once again Joanna Forest and Daniel Koek will feature on a brand new track recorded with the 72 piece orchestra titled ‘This Is His Song’ which will be released as my next single along with the EP at the end of November.”
For the latest information about Olga Thomas visit:
olgathomascomposer.com
Voice Divine
Katie Marshall Teenage soprano Katie Marshall’s love for music began early: “I first fell in love with classical music and asked to have Classical singing lessons at 6 years of age.” She was nurtured in a musical family and enjoys singing in different languages including Italian, Latin, German and French.
accompanied and presented, perhaps for the first time to the crossover audience. Early Music fits Katie’s voice like a glove and it’s easy to picture her following in the steps of Elin Manahan Thomas. Her takes of Caccini’s “Ave Maria” and Mozart’s “Laudate Dominum” are especially lovely.
Her new EP “Voice Divine” shows new-found maturity. In Katie’s words: “I am very excited to have recorded an album of songs that have been a part of my life for so many years.”
Katie’s dedication to vocal health is promising. “Looking after my voice is very important as I want to be singing for many more years to come. I have many exercises that I do to keep my voice healthy. Alongside learning new repertoire and languages, I work on my voice every day and want to inspire more young people to learn classical singing.”
The album features the Kent Sinfonia Orchestra “who I performed with a few years ago at a charity concert held at Rochester Cathedral.” It is produced by VOCES8 musical director who also recorded Katie’s debut EP. It was mastered at Abbey Road Studios by Simon Gibson. Katie’s lovely clear high notes are one of the highlights of the album which opens with “O Mio Babbino Caro.” The second track, “Art Thou Troubled” by Handel is beautifully
Katie plans to continue her studies at a music college in the future, but for now, is “enjoying all the opportunities I have to perform.” She was recently honored with a nomination for a Classic Brit Award in the Sound of Classical Poll. Katie can also be heard on the Downtown
Abbey Christmas CD in a duet with Julian Ovenden. She also supports many charities including ‘Born Free’ for whom she is an ambassador. “I am performing for ‘Abigail’s Footsteps’ at their ‘Queen’ Concert in October at Rochester Cathedral and will be duetting with Jonathan Ansell on some classic Queen songs that Freddie Mercury sang with Montserrat Caballé.
I am also supporting and performing again this year for Battersea Dogs and Cats Home and Nichols Spinal Research at their Christmas Concerts in London.” In addition to singing Katie enjoys “dance, drama, yoga, swimming, cooking and walks in the countryside.”
To purchase the EP visit Katie’s website:
katiemarshallmusic.com
Down Under With
Josh Piterman Jokingly referred to as the ‘bad boy of Australian musical theatre’ while promoting the musical ‘Twisted’ Josh Piterman is, in fact, a charming tenor whose career has balanced the worlds of classical crossover and Broadway. His lyrical voice combines the best of both worlds.
He made his professional debut in ‘The Drowsy Chaperone.’ “I got the pleasure of performing alongside some of the most well-known and revered actors in the Australian Industry, including Geoffrey Rush. It was an incredible show and an amazing learning experience.”
In his younger years, Josh’s greatest passion was for sports but music found a way of taking over his life. “Like most guys, I started in High School. My first musical was ‘Fame’ when I was 16. I wasn't very good,” he says modestly but admits, “I liked being front and center so I was certainly on the right track.”
Josh has since performed several roles including Edward in Blood Brothers, Corny Collins in Hairspray, Ramon Gutierrez in An Officer and a Gentlemen among others.
Josh refined his skills while studying at The University of Ballarat Arts Academy. “My family wasn't very musical but they were certainly supportive of all my musical and theatrical endeavors. Getting a break though definitely came down to hard work.”
“Currently I’m playing Gerry Goffin, (Carole Kings first husband and writing partner) in Beautiful: The Carole King Musical, which is touring across Australia. We recently brought up our 300th show. It has definitely been the most challenging and rewarding role to play. Gerry was such a troubled genius. A complex man with his own mental demons, but a beautiful romantic man at the same time. Transforming into him 8 times a week is something very special.”
His love for sport once again crossed paths and Josh was given the opportunity to sing the Australian national anthem for the NRL State of Origin game at the Brisbane Suncorp stadium. The event was broadcast live in 90 countries! The passion for sport and fitness also led Josh to become certified as a personal trainer and open his business PITFIT. He aims to assist musical theater performers to train their bodies in a way that is uniquely specialized for their profession. What helps to set Josh apart as a singer is his commitment to the character. “I think it’s always an emotional connection,” he tells us that draws him to a song. “Whether that be melodically, lyrically or just feel. I love to listen to someone really feel. That doesn't mean they have to be painful or melancholy, but I always want to hear someone delivering their truth.” He advises young singers to focus first and foremost on the character and emotion when auditioning. “I guess Brian Cranston says it best when he talks about the trap most young actors fall into when auditioning. We generally go into an audition looking to get a job/role when really, we should be going in to convey the most compelling version of whatever character we’ve been asked to audition for. It’s that simple. There’s power in that. There’s focus
in that. There’s less pressure in that and more often than not the quality of the work is far better when we approach things from that angle.” Josh was part of the group ‘The Ten Tenors’ in 2008 and tells us that “Classical crossover has always been at the core of me. It’s the style I most love to sing in and is most natural for me.” He’s had to make “minor adjustments in placement and tone when doing musicals” in comparison to his crossover sound. “In each show, I try to make the vocal choices character based so there will always be a natural shift away from my true authentic sound, however, I do believe the root/core of any singer’s sound should always remain intact because that’s what keeps everything together. Having performed roles in ‘West Side Story’, ‘Hairspray’, ‘Blood Brothers’, ‘Cat’s, ‘The Last Five’ years etc, I have always relied on my ability to be versatile, otherwise, I’d probably have worked a lot less.” His self-titled debut was released under Fanfare Records (distributed through Sony) and featured the City of Prague Philharmonic Orchestra. The album was a hit in Australia and Josh tells us, “There was never a moment of doubt” when it came to choosing the classical crossover genre for the record. The collaboration with his record company also seemed like
a perfect fit. “It really came about through my work in musicals. Sony has a lot to do with Beautiful so the connection there was pretty strong and very natural.” The album features; “Unchained Melody,” “Wicked Game,” “Creep” “Hallelujah” “A thousand years” (Por Mil Anos Mas) and seven others. Josh’s bucket list includes playing the title role in ‘Phantom of the Opera’ and he also thinks ‘The Notebook’ would make an interesting musical. “What a love story that would be onstage!” We can also expect to hear more crossover music from Josh in the future. “I want to tour this album first, but I already have loads of ideas for [album] number two!” The concert stage will allow Josh to authentically show himself “as much
as possible” which is a complete shift from his transformation into the various roles he plays on stage. Josh hopes to share the album internationally and to “spend a lot more time sharing my love for crossover music with the world.” Josh recently shared the stage with another Australian classical crossover artist, Mirusia Louwerse. One song he is especially looking forward to performing from the album is ‘Say Something’ originally by A Great Big World and Christina Aguilera. “There’s an emotional level to it that just gets me every time. I have yet to perform it live but I have a feeling it will be extra special in a live setting. But I always love singing ‘The Prayer’ live. It’s about as good as classical/crossover gets for me.”
joshpiterman.com.au
5 Questions with flautist
Christopher Leigh 1.
At what age did you begin playing the flute?
I started playing the flute when I was about 12 years old. I was going into junior high & had to pick an elective. It was either drama, speech or band. I was painfully shy, so the first two were definitely not going to happen, & I had already been playing the piano, so band was the easy choice. My piano teacher just happened to play the flute, so that’s really how I came to play it at all.
2
. Tell us about your most recent release. How did the inspiration come
about? I would say the inspiration for this album started way back when I was around 11 years old or so, & I heard Vanessa Mae playing Bach’s Tocatta & Fugue on an electric violin. It really just blew my mind. I didn’t know that A. electric violins were a thing, or B. that you could take such a well-known piece of classical music & totally rock it out! Shortly after hearing Vanessa Mae, I found Bond, & they were taking even more classical tunes I was familiar with & putting this pop/rock spin on them. I was totally hooked on it & knew that’s what I wanted to do someday.
3.
Most memorable performance to date?
Right before my album came out, I was asked to perform on tv. I was interviewed about my upcoming album, & I played Infrared from the album. It was such a fun experience, & it was really cool to have my music broadcast across the entire state. I’d love to do it again!
4.
Who are you currently listening to (for enjoyment or inspiration)?
I listen to a wide variety of music, but I really have an affinity for older rock. I’m writing this as I sit here in a Pink Floyd t-shirt. I’ve always got my radio tuned to Classic Vinyl. Some of my favorites are David Bowie, Prince, Led Zeppelin, Allman Brothers, & really too many more to name. But I also still listen to the people who got me interested in playing this style of music. I still find inspiration from groups like Bond & Vanessa Mae, & I listen to a lot of Lindsey Sterling as well. I often cover her songs on my YouTube channel. She even shared one of them last year!
5.
Favorite piece of classical music you play?
I think probably my favorite piece is the version of the Devil’s Trill by Giuseppe Tartini. It’s the last track on my album, & probably the one that took me the most time to learn & record. It was originally written for violin, but I’ve always loved it & was determined to play it. There are always challenges when adapting a piece not meant for a wind instrument, the biggest being where to breathe! That, along with it being relatively fast in tempo, really made that piece a challenge for me, but enjoy it.
Follow Christopher at
christopherleighmusic.com
Question and Answer with
Emi l i rackemann By Chantelle Constable Emili Rackemann is a virtuoso pianist with seven albums and over 140 compositions to her name. Her ancestors Professor Frederic Rackemann and brother Ludwig of Germany consorted with Felix Mendelssohn and Clara Schumann during the mid-nineteenth century. As a child in the Australian outback, by day she patrolled the land and checked watering points in an old Land Rover and by night she wrote short stories and played the piano for her family, serenading them into another day. Here, in an exclusive interview with Classical Crossover Magazine, Emili talks about her inspirations and creative habits, her passion for electronic music, and vision for women in the arts.
How did growing up in the outback inspire you musically? Given I was immersed within the rural environment, it wasn’t until our family sold the cattle station was when I realized how much the outback taught me resilience; to never give up nor think that anything was impossible. When I have writer’s block, I frequently visit my inner child, the young girl who felt inspired to dream
big, write stories in her father’s old brown diary and create simple melodies while daydreaming about horses. I will often ‘go home’ and upon reflecting on a simple memory of my childhood, I re-enter the present moment with a name or story I never would have thought to write about. The outback will always inspire me to stretch the limits of sound and storytelling. It is a place where I can always refresh my creativity and dig deeper into many worlds.
Tell me about your quest to bring women composers into the limelight. My quest is to share our beautiful raw ‘womanhood’ culture in a man’s world; to educate women that by embracing their essence, we also guide society into redefining what it means to be equal but also different. Rather than crying out for acceptance, we need to rest our desperate plea to be noticed and instead, focus on being the feminine creators that we are. ‘Into the limelight’ I believe will appear when we have learned to let go of our personal subconscious struggles surrounding equality. Who are some of your female heroes -- from any career/field?
Some years ago, my father told me a story about Kuru disease (laughing sickness), an incurable neurodegenerative disorder that was common among the Fore people of Papua New Guinea where he resided as a boy. After researching photos and footage of this terrifying illness, I later sat at the piano and composed what I would call ‘melodic turmoil’, signifying the horror these communities both witnessed and experienced. Within minutes, the confronting melodic frequencies brought about nauseousness, so I never recorded nor released it given its confronting tapestry of sound. This creative experience did, however, consolidate my belief’s surrounding the power of sound and the incredible influence it has on the human mind/body.
1. Bjork, female singer/songwriter for her artistry and exploration as both artist and human being. 2. Lyn White, Animals Australia - for shining the spotlight on animal abuse both in Australia and abroad. 3. Jane Goodall, primatologist and anthropologist - for her extensive work on conservation and animal welfare issues.
What are your earliest memories of music?
What is the most unusual source from which you have received inspiration?
I also frequently tormented my brothers while they practiced the piano, although little did I know this
My earliest memories of music are attending weekly singing lessons with my parents before we moved north to work on the station. I still remember singing up and down the scales while my parents were eagerly trying to focus.
would lead me into a world of curiosity. At age five, my parents decided to take me to weekly piano lessons, and by age eleven I composed my first composition titled, “Wars of Europe.” What are some of your other creative outlets? Do you still write short stories? Short stories and composition for me always work in unison. Without one I feel the creative process is lacking; although I’ve recently embraced a hidden passion for drawing. I use bright metallic pens and create different patterns which interlock and somehow seem to tell a story of its own. I call it ‘journey art’ as I assume it is reflective of what the subconscious mind wishes to express. What is your practice regimen like? Any particular rituals, when practicing or before performing? Leading up to a show I categorize a group of works for each practice session, and at approximately six weeks out, I like to rehearse the entire program at a slow tempo and without any sustain pedal. This exposes any technical errors which I would then single out ready for the next session. My only ritual when practicing is having a chai latte beside the piano
and ensuring my little pug, Gloria is tucked in bed and ready to lap up an afternoon of piano music. Life wouldn’t be the same without animals. She is my constant reminder that life is meant to be simple. How would you define “classical crossover” as it applies to your music? Although I consider my work as an aural tapestry of sound rather than one specific genre, I also feel “classical crossover” best describes the majority of my work, given my equal love for various genres. If one listens to Queens English followed by Van Vent Gogh or my upcoming release Elysian, “classical crossover” would be best describe my creative journey to its present. Not only does “classical crossover” reflect my music, it also has given me the opportunity to express myself visually in different ways. At what age did you know you wanted to be a professional musician? Did you ever consider any other career? Upon completing my first few compositions, my parents contacted the department of music at one of the local high schools, asking if we could look at their notating software. I remember walking into a room full of brand-new IBM Aptiva computers
and MIDI keyboards and being overwhelmed by the fact I would soon be able to notate my music. The lovely man who was head of the department asked what I wanted to do when I left school. My immediate response was ‘a composer. I want to write for film’. Although I toiled with the idea of practicing alternative medicine and becoming a professional horse trainer which, I equally committed to during and after music studies, music composition carved its way back into the front seat. It wasn’t until my mid 20’s is when I knew my childhood love for composing was a large part of my life purpose. What music did you listen to while growing up; who are some of your biggest influences? Country and classical music were the two most prominent genres I listened to when I was a child. Country music I naturally gravitated to because of my environment and those who surrounded me, although my parents loved classical music. I was always listening to Mum’s Pavarotti and Marina Prior tapes playing in the background. My parents always encouraged me to listen to and attend various concerts and musicals during my mid to late teens. During my early adulthood, I was busy exploring the intricacies of music technology, having bought my
first digital audio workstation at 18. During the day I attended lectures and spent a minimum of three hours locked away in a practice studio; while of an evening I would throw on my headphones and explore the ambient sounds of my Roland synthesizer, trying to capture that same feeling of freeness I felt when listening to eight-minute dance tracks. Today I enjoy a mixed playlist, ranging from classical with composers such as Erik Satie, Sergie Rachmaninoff, Clara Schumann, and Prokofiev, although my love of dance and electronic music is still part of my daily mantra. Groups such as Hybrid, Massive Attack, Phaelah, Bjork, Trifonic and yes, Underworld and a Cafe Del Mar’s Volume No. 5 still get a look in. Are you still an outdoorsy person? What are some of your non-musical hobbies? Living in the Australian Alpine Region, I am accessible to an abundance of outdoor activities including skiing, mountain bike riding, kayaking, paragliding, hiking and of course running; however, in early 2017, a friend invited to me attend our local Shotokan Karate Dojo. Upon observing instruction, I was immediately drawn to this incredible art form and now train three times a week with my father.
My connection with horses has also played a vital role in my life. Having trained competitively in the field of dressage throughout my child and young adulthood, any opportunity I have to be with horses I jump at. What are some difficulties, if any, you’ve encountered as a female musician and composer? To be honest, I think the only difficulty is being in a world surrounded by subconscious religious conditioning. So much of classical music was written by men and for religious purposes and while the great field of secular classical has developed in its own right, it seems to be the core contributor towards division between male and female in a traditional classical sense. We have been conditioned to listen to classical music for thousands of years. I attribute a deeper understanding of classical music in more recent history to classical crossover, as the genre has helped define the undefinable for a much wider international audience. This has also led to a gradual transition where more women composers are being recognized. Classical crossover means many things to many people, but I really connect with the idea of “out”, like in free jazz. From a structural standpoint, I know traditional forms of classical composition and everything outside that range or ideas considered experimental.
As a female classical crossover artist, I use sound collage and nonlinear themes in my compositions. I love testing the realms of structure. The classical canon for me is incredible, but I create using it both as a launching pad and something to be challenged. What advice would you give to young ladies (or young people in general) wanting to pursue music as a career? Never let your past circumstances define your present reality. As Alan Watts describes, ‘You are under obligation to be the same person you were five minutes ago’. Since hearing these words from such an incredible teacher, I have been more mindful about changing my past paradigms surrounding the stigma towards women in music. Does playing a synthesizer / electronic music help you communicate in a different fashion than playing traditional piano? Yes absolutely. Since my mid-teens, I have equally loved electronic music. I am fortunate to have a digital audio workstation where I compose both piano and more cinematic compositions. My husband and I also write electronic music together, therefore I often feel inspired by what
we do. I think the two genres dovetail beautifully. Describe your creative process. About how long does it take you to finish composing a song? The duration varies. Sometimes I compose a work within minutes. Other compositions require more technical detail; therefore, it can take up to a week. My creative process tends to vary quite a lot. If I am inspired by a story I have read or a documentary I have watched, within minutes I will go to the piano and start composing. Lately, my entire mind and body have almost become entranced in a meditative experience. At present I’m gravitating to Middle Eastern music, therefore my whole experience on the piano turns into a melodic mediation. That said I’m sure next week I will be drawn to another musical genre, story or culture, and again my music will take another turn or tell another story. Who would you like to collaborate with, and why? Hans Zimmer - for his adaptability and penchant for collaboration. It is difficult to characterize his style with a single example, hence why I would be honored to share my work with such a humble character.
Bjork - for her ability to constantly push herself into unknown territory. If there is one woman who knows how to embrace womanhood, it would be Bjork. Hybrid Soundsystem - I have always loved this group. They are true pioneers of the electronic genre, although have also mastered the art of orchestral sound with their cinematic approach to production. Nils Frahm - When it comes to emotion, this stunning composer/performer truly captivates one's soul. I would love to work on an album with Nils. Working with someone who understands simplicity is the most powerful tool, would be a beautiful and humbling experience. How did you discover your musical style, and how has it evolved over the years? I think having the opportunity of living both in the outback and in cities has led me to where I am in terms of musical style. I find when I discover another layer about myself, my musical style tends to embrace another fragment of what is neverending. I remember a student asking me, ‘did you create the music or did the music create you?’ Still, I keep asking myself that question.
What message or vibe do you hope people take away from your music? There are many messages I would like to translate to my audiences, although most importantly I wish to give listeners an opportunity to visit different worlds, perspectives, emotions and most of all, experience a moment where they can reflect on their own journey. Music is a powerful conduit for communication between individuals, so if I can take a small role in leading humanity towards their true identity, I am fulfilled. Have you released all of your albums as an independent artist? What are some of the lessons you have learned in that process? Yes, I have, and it has come with quite a few valuable lessons. Resilience and patience are the two words which best reflect my personal growth throughout this process. Leading up to my first album release, I paid a large sum of money to a graphic designer who was going to do a website for me. Unfortunately, it was not what I was expected, nor did I like not having the opportunity to share in the artistic design. After throwing away a few thousand dollars with nothing in return, I decided to throw myself in completely and take full reins of the project from web design to posters, CD
artwork, bookings, marketing plans, recordings, and mastering, I managed to be the one stop shop in service to myself. It hasn’t been an easy process, although it certainly has been rewarding. Knowing I can always rely on myself at any given time gives much comfort. Have you had a favorite teacher? What was some advice they gave you that you still cherish? There are many teachers who have directed me along the way, some of which aren’t related to music as such, although in all each person has given me a gift - either to learn by someone’s frailties or become the frailty itself. What value do you believe music has for the world in 2018 and beyond? Despite mainstream media’s fear-based motives, I believe we live in a world full where there is incredible beauty, creativity, and abundance. In my opinion, I feel music has been and will continue to be the ingredient which people gravitate to for a sense of belonging and validation. Where all else fails, music won’t.
Would you like to share anything about your upcoming project, Elysian? Elysian has been a special part of my musical journey. Inspired by the Elysian Fields of ancient Greek
Follow Emili at
emilirackemann.com
mythology, my love for all things beautiful is captured within this album. From the depths of ancient Egypt and Greek mythology to the beautiful landscapes of Mongolia and Africa, Elysian reflects the ‘beauty of all things beautiful’.
Bella Parsons By Chantelle Constable As a child in Poland, Bella Parsons began studying music at the age of six, passing her entry exam to piano and beginning instead on the violin, moving on to voice, guitar, and further piano later on. “I have loved classical music from my very first lessons… ...I was always inspired to push forward and to express myself through music. It was also a lot of work, but I have never had a moment when I wanted to stop learning music. I was also part of choirs and orchestras and that was a lot of fun to sing or play with others.” She came to the United States at age fifteen. She studied at Eastman School of Music in Rochester, NY for a year than in Wilmington School of Music in Wilmington, DE, both on a full scholarship. Bella received further scholarships to study Arts Management & Music at Shenandoah University and receive her Master's in Music at Azusa Pacific University, California.
With her sisters Aleksandra and Monika -- the three are identical triplets -- Bella is part of world pop group “Alizma.” Their first album “Tell Me How To Love You” features all original songs in English and Polish with a message dedicated to love and hope. According to their website, “The intention behind our music and lyrics is to convey positive and inspirational messages to our audiences around the themes of ‘staying true to who you are’ and choosing to ‘walk the path of life in truth and love.’” Bella says, “It is always fun to play/sing with others, especially if they happen to be your siblings. When I perform solo, I focus more on what I as Bella Parsons wants to say and express through music and what my heart is truly saying. I don't necessarily do it for the sake of money or even trying to impress anyone but for the sake of the gift which is music.”
Bella also collaborates with her husband Timothy under the name Timbella (timbella.com), in fact, Tim’s ability to “compose heavenly music” is one of the things that first attracted her to him.
atmosphere of school “...and being around many creative students who were always composing music and sharing it with friends either on the grass in front of dorms or in practice rooms.”
“I can write music in many different ways. I often just sing what is in my heart and record it on my phone or a computer and then add piano chords or sing it to someone who is able to play the piano well and compose. Or I'll sit at the piano and play and sing together, or that can be also with a guitar. I also love to compose on the violin with someone playing the piano with me. My favorite way, however, is to simply sing out any melody that is in my heart and have my husband Timothy improvise on the keyboard or a piano. I believe I have created my best music so far through that particular process. I don't think I have met anyone more gifted in regards to composing music and being able to feel the music the way that he does.”
She believes in casting your net wide for musical inspiration, saying, “A painter can paint the Eiffel Tower in Paris but he can also paint the ocean or a city view. I believe us musicianscomposers are the same in that regard. We can paint with notes and with lyrics. We can musically paint a moment in time and capture it on the recording.”
Bella began composing music in college; drawing inspiration from romantic relationships and her faith, she was motivated by the creative
As with Alizma, the message that Bella hopes her listeners derive from her solo music is one of transparency and personal truth, regardless of what may be popular or better understood by the masses. “If it's in your heart and if it's true then you should express it and that is what I did. Also, I truly wanted to express my passion for the Word of God and my love for Him or rather His Love for me!”
As a hard-working performer, Bella likes to unwind by seeing movies, running, swimming, and getting her hair done. While she neither drinks nor smokes, she admits to a penchant for coffee. A former teacher, who had a Wagnerian career, swore by sugarfree Ricola cough drops and Bella stands by her advice to this day. Of all the places she has performed, which include “Las Vegas (where I lived for 7 years), New York, Los Angeles, Hollywood, Singapore, China, Hong Kong, Brazil, Bahamas, Germany, Poland, England, Italy, and most of the states in America,” her favorite place has been Hawaii. “I still have many places I would like to visit. I really love to perform anywhere and everywhere in the world… Traveling is one of my favorite things about sharing the gift of music.” Her dream duets include Josh Groban and Andrea Bocelli. While Bella is passionate about traditional classical music, she values the crowd appeal of classical crossover and its lack of form and boundaries. “I would love if my album was remixed by a DJ. I would still consider it a classical crossover album, but re-mixed version - so even wider audience could dance to it and simply understand it.” “Vita Aeterna” is an eleven-track original sacred album sung completely in Latin. It was largely
produced in Logic, a digital audio workstation and MIDI sequencer for the macOS platform, with the guest appearance of flautist Vivien Hibbert on some tracks. Fans of Enya and Sarah Brightman will appreciate the transportive, ethereal nature of the album, while the sacred influence of Bach is clearly divined. Bella’s evocative soprano voice strikes just the right balance between haunting and passionate, handling the Latin fluently and the high notes effortlessly. Here are some of Bella’s own words about the process of making the album: “For Vita Aeterna, I had the album title first and also the title of the main song. I knew exactly what I wanted to sing about and it was even more challenging because I wanted to make an album all in Latin, which happens to be one of my favorite languages to sing in… ...I then told my husband Timothy about it and he caught on to the idea and we made time to play/sing together and that's how our first two songs of the album came about "Vita Aeterna" (Life Eternal) and "Verbum" (The Word) were written just minutes apart. We simply improvised and sang/played our hearts out for a few minutes. I taped it on my phone and picked my favorite parts of the "jam" and then re-recorded the piano parts first. I then added the vocals and transformed it into Latin lyrics that fit
the melody line... The whole album was complete within four months.” “This is the first time I created a whole album, that was dedicated to God or about God. My number one inspiration for this Album was the Bible and God's direct Word. I chose to sing it in Latin because I really think it sounds beautiful spoken/sang in that language. Plus, my classical
background taught me to appreciate sacred music and that's where I really fell in love with it first… I consider music to be a vessel, a gift and I believe when I combine it with my faith in God it grows beyond my human capabilities because in some unknown way it touches hearts and souls in a way we cannot understand but can be a part of.”
bellaparsons.com
Collaborati o n i n musi c By Chris pinnella
C
ollaboration is key when you are creating something whether it be a new song, arrangement, album, or concert. However, at times we as artists can get into a certain headspace that can feel extremely isolating. From my own experiences as a singer, songwriter to being on the road and acting as a producer to a lot of my own concerts in addition to marketing, promoting, contracts, riders, stage plots, payroll, taxes, etc. I started to feel less like a musician and more like a businessman. I was collaborating but not on the creative side of things. My only moments of musical clarity were happening within a 2-hour time frame that began when I stepped out onto the stage for a concert or performance. I began talking with other musicians and was hearing extremely similar stories wherein there was a disconnect leading up to or between shows and projects as well as a lack of collaboration and doing something creative that didn’t have a paycheck attached to it or a deadline to meet. From there I decided to form The Musicians Collective which allows artists to join us at a specific location and together we choose a song to collaborate on that day. It can be a cover song or that artist’s original work or both. Genres don’t matter
because we are creating something new that fits everyone involved. We recently collaborated with a singer/songwriter and we covered a Bruce Springsteen song, turned it into a duet, added a saxophone player and some acoustic guitar. The week before that it was The Beatles ‘Something’ with our guest pianist being from a progressive metal band and our trumpet player being a highly skilled jazz player. We film the entire creative process and I’m toying with adding in an informal interview segment as well. The result so far after only three sessions has been incredible. It’s allowing for open and honest discussion about the industry, creative ideas, and a ton of inspiration. I’ve also found that the more open I’ve been to musical collaborations of any kind the more rewarding it’s been for me on an intellectual level. Getting to create with musicians from all different musical backgrounds has pushed my musical parameters and forced me to continuously strive to be better. There’s something to be said about being on stage live with your musicians whether it’s for 5 people or 15,000. You start a song and instantly this connection is made between everyone. That connection then radiates out to the audience, multiplies, and then is sent back to the
stage wherein an emotional connection is then made between audience, performer and song. That collaborative process, while it relies on the musician’s technical mastery (of their instrument), is, more importantly, a practice in giving and
receiving energy. That’s what we crave about the creative process — It’s the undeniable feeling you are taking part in something that feels spiritual, instinctual, raw, emotional, and perfectly imperfect.
Chris Pinnella is a talented singer, songwriter, and producer who began his career at the age of sixteen. He graduated from Marymount Manhattan College and was featured in “Simeon’s Gift” (co-written by Julie Andrews) in the title role. Chris has also toured with the Trans-Siberian Orchestra and performed at such distinguished venues as the Rainbow Room, Lincoln Center and Feinstein’s 54 Below.
To keep updated on Chris please visit:
chrispinnella.com
Kathryn Grayson By Jennie Watters Katie Grayson and her friend scrambled over the fence at the St. Louis Municipal Opera Amphitheater to find the janitor. Earlier they had been practicing an aria from an RCA record at Katie's home. Although the only person present at the theater in Forest Park at this time of the day was the fellow who was there mopping floors, the little girls imagined they were auditioning. After all, he got to hear opera singers perform for real all the time! They sang their little hearts out. "Bravo!" the janitor applauded when they were finished, "You're as good as the singers who perform here on stage! Perhaps one day you'll be singing for an audience of thousands." The girls beamed, thanked him, then scampered away to learn another song. The next one would be even better! "We thought we were pretty hot stuff," Grayson reminisced as an adult. "That is until we learned that the janitor was stone deaf!" she laughed.
quite naturally, since her two older brothers and even her younger sister had four-octave ranges. "Sunday mornings, we all used to get together for a 'sing-song.' We might, for the time being, be living on potatoes, but we never sold the piano." Stories of how Kathryn first started taking professional voice lessons vary. A 1941 issue of Hollywood magazine Screen Album claims: "School life and home-taught singing enlivened uneventful years until Kathryn was fifteen, when the finger of Fate pointed to Fame, via a holiday trip to Texas. An accident, in which Kathryn and her mother were seriously injured, detoured them for five months of medical care, after which Papa Hedrick decided to join a former partner's real estate business in Hollywood...Arrived there, Mama Hedrick decided that her talented child should seriously study voice while enrolled in the Manual Arts High School."
"Katie" had been born Zelma Kathryn Elisabeth Hedrick on February 9, 1922. She came by her singing ability
If the old movie magazines are to be believed, an MGM talent scout discovered Grayson at a music
festival where she was performing. She was asked to audition before Mr. MGM himself, Louis B Mayer. For two or three hours, she sang songs by Deanna Durbin, Jeanette McDonald, and Grace Moore. She was offered a contract, but Kathryn had her doubts about stardom. "I was too plain. One glimpse in the glass at my turned-up nose, my awkward shaped face, convinced me that an audience would never look at and listen to me." She only signed once Mayer promised that she wouldn't have to appear onscreen until she was properly prepared. For a year before her first screen test, she was to take acting and singing lessons, put on a diet and trained in physical exercise. This, she was assured, would transform her into an ideal star. She agreed and her given name became "Kathryn Grayson." Mayer was as good as his word and Kathryn started a rigorous schedule that lasted for the year. Finally, the big day arrived. After doing some comedy bits, popular songs, and dramatic singing, Kathryn went to lunch. While she was eating Katherine Hepburn came running over, "I just saw your screen test, you are the greatest young actress I have ever seen," she gushed, impulsively kissing her hand. At such praise, Kathryn rushed to the executive building, breathlessly hoping that she was half as good as the great Katherine Hepburn said she was. She nearly cried when she saw herself
larger than life on the big screen. "I'm not pretty. I can't act. I'm a failure," she thought. She immediately went to L.B. Mayer's office and said, "Mr. Mayer, you have been very kind and I want to thank you very much, but I can see I'm not the right person to be in the pictures." Mr. Mayer tried to calm the young actress down and assured her that he'd heard nothing but positive feedback about her screen test. Her parents also urged her to persevere, telling her it wouldn't be fair to quit now, after all the time and money the studio had invested. So she moved forward, six months later making her debut in Mickey Rooney's movie "Andy Hardy's Private Secretary" (in the part of his teenage secretary.) Audiences loved the young coloratura soprano, whose voice, although occasionally a tad shrill, was strong, precise and angelic. One article described her as "fresh as a hyacinth and as sweet!" Fans did not realize that this sweetheart also had a tough streak. She rode a Harley-Davidson motorcycle to and from work, against the advice of studio executives. When Kathryn felt she needed to advocate for herself, she did. The Metropolitan Opera House was interested in giving her the leading role in Lucia di Lammermoor, but Louis B. Mayer told them she couldn't do it, which infuriated Kathryn. "We had this tremendous row," she said, "I loved the opera and wanted to do it
desperately." Mayer insisted that if she started this early in her career taking leading roles in operas, it would jeopardize her reputation as an actress. "Kathryn," Mayer said, "you're such a little rebel, I want you to go to a mountaintop and yell 'Go to hell!' and then I want you to listen to the echo coming back at you. I then want you to yell, 'God bless you!' and listen to that echo." Mayer got his way...this time. Even Mickey Rooney asked Louis B. Mayer for permission to do certain things, and he was known as the "box office king" from the late 30s to the early 40s. When Rooney married his first wife Ava Gardner, he paid his boss a special visit to get his blessing. Mayer considered himself the father of a large family, and he often treated his employees like his children. Kathryn Grayson by her own admission liked L.B Mayer, but she was not going to let him run her life. When she fell in love with divorcee John Shelton, she shocked everyone by running away to Las Vegas to elope! Her marriage to Shelton proved to be a tempestuous one which ended five years later after
several separations and attempts to reconcile. Kathryn had steady work at MGM, most notably Anchors Aweigh, a film that today is best remembered for the scene where Gene Kelly dances with the cartoon mouse (Jerry) from Tom and Jerry. SIXTEEN musical numbers are scattered throughout the two-and-a-halfhour runtime, much of it led by Spanish conductor and pianist Jose Iturbi. Although not a household name today, Iturbi was famous then and hoped to use his popularity to bring classical music to the masses. He and Kathryn were close, they would often go to dinner or concerts together as friends. Sadly, many serious musicians shunned him as soon as he got involved in Hollywood, accusing him of "prostituting his art" by appearing in movies. Kathryn stuck up for him saying, "If he was prostituting his art, then I'm grateful he did it...we gave the world some wonderful films!" Although her movies were fun to watch and financially successful, Kathryn Grayson realized that they
were not going to be enduring classics. Friends would ask "Why can't you do great stories?" and she wished she could but Mr. Mayer would say "The public likes you the way you are with the things you're doing, you make them happy!" She argued that the public would be even happier if she was allowed to appear in a movie with a better-developed plot and characters. She always had to play the part of the sweet, likable ingenue, which went along with the carefully crafted reputation the studio had built for her. Even Life magazine called her 1945 film, Two Sisters from Boston, "a pleasantly silly little musical." Grayson's character is a barroom singer with aspirations for the opera stage and "cuter than a bug's ear" sister June Allyson endeavors to keep her on the straight and narrow. Even though she had top billing and handled the role very well, she yearned to do more. Not much had changed by 1947 when she married her second husband, radio
singer Jonnie Johnston. On October 7, 1948, Kathryn gave birth to her only child, a daughter she named Patricia Kathryn Johnston (nicknamed "Patty Kate.") It wasn't long before the new mother was back to work, co-starring with Mario Lanza in the great tenor's first movie at MGM. She was in two mindless operatic musicals with Lanza: The Midnight Kiss and The Toast of New Orleans. By the time she was cast Showboat, in 1951, her marriage to Jonnie was on the rocks, and she was able to get a divorce granted to her on the grounds of "mental cruelty." Kathryn was delighted to play Magnolia Hawks in Showboat, the daughter of the riverboat captain. This was going to be an artistically profound historical film, set around the turn of the century, with glorious music by Jerome Kern. The other female lead was the character of Julie, a biracial woman who performs along the Mississippi River on the "showboat" - a traveling theater company. The part was written for a light-skinned person of color since
Julie is perceived to be white but when her lineage is revealed, she is kicked off the boat. Lena Horne was considered. Like Julie, she was biracial, and she was also a skilled singer. Horne had already performed with Kathryn Grayson, in Till the Clouds Roll By, during which she sang one of Showboat's most iconic songs: "Can't Help Lovin' That Man." However, at that time it was a challenge for any person of color to get ahead in Hollywood, no matter how talented. If an African American performer was in a movie in a nonsubservient role, their appearance was kept brief so that their scenes could be trimmed if theaters in certain parts of the country decided they didn't want to show them. Today, we would refer to it as "whitewashing," but not an eyelash was batted in 1951 when it was announced that Julie would be played by white actress, Ava Gardner. Another role for a woman of color was significantly reduced in the adaptation, that of the cook, "Queenie," which had been originally played by Hattie McDaniel in the 1936 Showboat movie. In MGM's version, Frances E. Williams appears
with minimized dialogue and no screen credit. If any of Showboat's leads noticed how parts involving black people were diminished, it doesn't appear that anything was said about it, which is a pity. During the filming of Showboat, Ava Gardener recalled how she and Kathryn would ignore "one of Metro's cardinal rules," and between takes "smuggle in enough tequila to send us back home in the best of humor." She and Howard Keel also got along extremely well. His deep baritone laugh set everyone at ease and they became fast friends. One thing that annoyed Keel about Kathryn was how, when they were dancing, she "moved like a Mack truck." He later found out it was because Kathryn felt selfconscious dancing close to her male co-stars and was trying to create distance. Her bust was an ample 39 inches, which is why she tried to get out of posing for pin-up photos. "I don't want to be known as the operatic Jane Russell," she would say. Ava was more blunt, joking that Kathryn "had the biggest boobs in Hollywood...with her, they didn't need 3-D!" In 1954, Kathryn Grayson WAS filmed in 3-D. Television was viewed as competition for the big studios, so
"[Mr. Mayer said] we should do great films to get and to keep our audience." They used the most advanced method available: stereoscopic 3D. Originally a Broadway play, Kiss Me Kate is an updated version of Shakespeare's Taming of the Shrew - Grayson being the "shrew." Not only is this Kathryn's most dynamic role, it's arguably one of the best musicals of the 50s. The New York Times called it "magnificent," and it certainly has a memorable Cole Porter score, a phenomenal cast (including one of Kathryn's best friends - dancer Ann Miller) eyepopping Technicolor and lavish costumes. Best of all the music carries the plot along, enhancing the emotion the characters are feeling. When delivering her solo number "I Hate Men," Kathryn practically spits out every word, justifiably angry with her ex-husband (Keel) who is acting like "a louse!" When Howard Keel mischievously connives to win her back, it's hard not to root for him. In
real life, Keel and Katie had acknowledged that they loved each other, but they decided remaining friends would be best. "We were mad about each other, and there was no way to stop it," Keel later disclosed, "I'm amazed we didn't say to hell with it and go someplace alone together, but that would have hurt too many people." Kathryn never remarried, but she was rarely lonely. In Santa Monica, she owned a 5,381 square foot Tudor mansion. Her aging parents had one wing to themselves, another wing was set aside for her singing teacher, and there was plenty of room left over for herself and her daughter, as well as the many nieces and nephews who would frequently visit. She acknowledged that "belonging to a big family is the best tonic, the best balance wheel, the most effective sanity-keeper and common-sense provider on earth." Kathryn also extended her home to anyone who needed a safe haven. When her former co-star Mario Lanza unexpectedly died of a massive heart
attack at the age of 38, Kathryn invited his wife and four children to live with her. They stayed with her for several months until they felt ready to get back on their feet. By that time, Kathryn was done with the movies. Her last movie (The Vagabond King) was so embarrassing that she admitted: "it should never have been made." Kathryn finally pursued the stage career that Louis B. Mayer had kept her from years ago. Few classical crossover singers go on to sing full opera, but in 1959 she fulfilled that dream, singing Puccini's Madame Butterfly. Throughout the 60s she had roles in La Boheme and La Traviata, as well as operettas like Orpheus in the Underworld, Naughty Marietta, and The Merry Widow. Kathryn also reprised roles from her movies Showboat and Kiss Me Kate,
and replaced Julie Andrews as Guinevere in Camelot on Broadway. Throughout the 70s and 80s, Kathryn Grayson gave many concerts, oftentimes with her old friend Howard Keel. On television, she had a recurring role on the hit show, "Murder She Wrote," starring another longtime friend Angela Lansbury. As she grew older, she began to travel less and started giving private singing lessons out of her home. It is the same Santa Monica mansion where she ended up living for 65 years. She passed away peacefully in her bed at the age of 88. It's a shame that she never finished writing the memoir she started. She realized that it wouldn't be the sensational tell-all publishers wanted. "I'm a Pollyanna," she confessed, "I love everything and I was saying everyone was beautiful. I just happen to think people are pretty wonderful."