Gerda Danielson News
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2015-01-30 21:45:22
"Imagine a singer with the virtuosity of Joan Sutherland or Ella Fitzgerald, the public persona of Eleanor Roosevelt, and the audience of Elvis, and you have Umm Kulthum, the most accomplished singer of her century in the Arab world," writes Musicologist Virginia Danielson and present Interim Library Director of NYU Abu Dhabi. She is also the author of "The voice of Egypt: Umm Kulthum, Arabic Song and Egyptian Society in the Twentieth Century".
2013-03-01 11:24:43
[…] and then the choir. Where will it end up? That’s the worrisome part. Otero works the entire spectrum of each instrument’s range, counterintuitively: the lows from Ljova Zhurbin’ s viola, the highs from Adam Fisher’s cello, bassist Pablo Aslan switching in a split second from an elegant pulse to mournful bowed lines. Ivan Barenboim also switches between plaintive clarinet and brooding bass clarinet, running the gamut from jaunty optimism to sheer despair. Nicolas Danielson’s violin remains the one constant alongside the piano, a cynical dialectic of sorts. Dreamy Tschaikovskian melodicism jostles against creepy, morose chromatics, agitated Mingus urban bustle, rapidfire two-handed Schumannesque stampedes with a surreal Twin Peaks glimmer and Shostakovian anguish. Stern classical scales quash any distant, tentative hope echoing from the choir; tiptoeing strings hand off to plaintive clarinet over resonant deadpool piano that rises only to an elegaic gleam. At this point, it’s pointless to […]
2013-03-01 11:14:29
[…] and then the choir. Where will it end up? That’s the worrisome part. Otero works the entire spectrum of each instrument’s range, counterintuitively: the lows from Ljova Zhurbin’ s viola, the highs from Adam Fisher’s cello, bassist Pablo Aslan switching in a split second from an elegant pulse to mournful bowed lines. Ivan Barenboim also switches between plaintive clarinet and brooding bass clarinet, running the gamut from jaunty optimism to sheer despair. Nicolas Danielson’s violin remains the one constant alongside the piano, a cynical dialectic of sorts. Dreamy Tschaikovskian melodicism jostles against creepy, morose chromatics, agitated Mingus urban bustle, rapidfire two-handed Schumannesque stampedes with a surreal Twin Peaks glimmer and Shostakovian anguish. Stern classical scales quash any distant, tentative hope echoing from the choir; tiptoeing strings hand off to plaintive clarinet over resonant deadpool piano that rises only to an elegaic gleam. Again, you have been warned: watch […]
2012-04-21 21:36:02
Kate Tucker
[…] myself a band name. I hesitate even today to play solo shows, because when people hear Kate Tucker, I want them to think of a sound, not the solo artist. I think that I’ve been very fortunate, it happened rather quickly. When I first started recording, I recorded a solo EP (Euros Turannos), and one of the guys who worked with me on it happened to be a neighbor of mine in Seattle (Nick Danielson)–I kind of developed a friendship with him and brought him along to record what became the Sons of Sweden record, and he was a main collaborator on that. We worked together over the years since then, but what happened with The Sons of Sweden was I brought those guys on to record those songs, and when we got out of the studio, we decided we had such a fun time hanging out for a […]
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