Begley Flac

With the title Irish Minimalism, composer Dave Flynn has laid down a marker. Minimalism is associated with America, and specifically with composers like Steve Reich and Philip Glass (both of whom have spent a good portion of their careers disavowing the term) however, the hallmarks of the style (repetition, gradual incremental changes that accrue over time, steady rhythms which are often drawn from popular or traditional music, and a restrained sense of harmonic movement) are all compatible with Irish traditional music.

Multi-award-winning singer Philomena Begley is an Irish country star whose international career in show business spans fifty-five years.

With the title "Irish Minimalism", composer Dave Flynn has laid down a marker. Minimalism is associated with America, and specifically with composers like Steve Reich and Philip Glass (both of whom have spent a good portion of their careers disavowing the term). But the hallmarks of the style – repetition; gradual, incremental changes that accrue over time; steady rhythms, often drawn from popular or traditional music; and a restrained sense of harmonic movement – are all compatible with Irish traditional music. And after years spent as both a composer and performer working in the dual worlds of contemporary classical music and traditional song, Flynn has fashioned a personal musical language by recognizing that the differences between those two styles are not nearly as great, and certainly not as useful, as the similarities.

Hollywood's version of Meredith Willson's first musical, The Music Man, a massive hit onstage, was largely faithful to the show and itself became a massively successful film. The movie adaptation of Willson's second musical, the modestly successful The Unsinkable Molly Brown, was less faithful and became a modestly successful film. Both followed the story of Molly Brown, a real historical figure who capped her rags-to-riches story by surviving the Titanic disaster. The MGM movie jettisoned stage star Tammy Grimes in favor of Debbie Reynolds, but retained male lead Harve Presnell, who made his film debut. Only four songs – "Belly Up to the Bar, Boys," "I Ain't Down Yet," "I'll Never Say No," and "Johnny's Soliloquy" – were retained from the 16-song show score, and they were augmented by "Colorado, My Home," a song that had been cut from the show shortly after it opened, and "He's My Friend," which Willson wrote for the film.

Sans doute aucun autre chanteur d'opéra dans l'histoire de la musique n'a atteint le même niveau de célébrité internationale que le ténor Luciano Pavarotti; sa voix robuste, profonde et immédiatement reconnaissable l'a lancé dans la stratosphère de la reconnaissance universelle, habituellement réservée aux icônes de Hollywood et aux stars de la pop. Il a également suscité un regain d'intérêt pour l'Opéra lui-même en lui redonnant une popularité auprès du grand public.

Under the musical direction of Donal Lunny, features big names such as John McSherry, Nollaig Casey, Van Morrison, Maire Brennan, Stephen Cooney, Nomos, Matt Molloy, Pat Crowley, Noel Bridgeman, Maire Breatnach, Seamus Begley, John Spillane, Liam O' Flynn, Paul Brady, Mark Knopfler, Anuna, Brian Kennedy, Laoise Kelly, Maighréad Ní Dhomhnaill, Mairtin O' Connor, Iarla Ó Lionaird and Sharon Shannon.

Hollywood's version of Meredith Willson's first musical, The Music Man, a massive hit onstage, was largely faithful to the show and itself became a massively successful film. The movie adaptation of Willson's second musical, the modestly successful The Unsinkable Molly Brown, was less faithful and became a modestly successful film. Both followed the story of Molly Brown, a real historical figure who capped her rags-to-riches story by surviving the Titanic disaster. The MGM movie jettisoned stage star Tammy Grimes in favor of Debbie Reynolds, but retained male lead Harve Presnell, who made his film debut. Only four songs – "Belly Up to the Bar, Boys," "I Ain't Down Yet," "I'll Never Say No," and "Johnny's Soliloquy" – were retained from the 16-song show score, and they were augmented by "Colorado, My Home," a song that had been cut from the show shortly after it opened, and "He's My Friend," which Willson wrote for the film.

Wild Bill Davis was the stage name of American jazz pianist, organist, and arranger William Strethen Davis. With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and '40s to the organ-driven R&B of the 1950s and early '60s.