Entertainment
Interview with Shirley Ly, a Rising Star in Classical Music – ‘The Representation of Female Composers Needs to Be Improved’
Published
1 year agoon
Shirley Ly is a rising star in classical music. Her music has been played around a million times in over 100 countries around the world, which is rather rare for a modern-day female composer. When listening to her music, we feel emotions spanning a very wide spectrum – her pieces are deep and thought-provoking featuring heart-warming melodies and harmonies. We recently discovered her music when we attended her wonderful performance at the Westminster Music Library on International Women’s Day this year, where we also heard other works by female composers, Louise Farrenc and Clara Schumann. We caught up with Shirley to find out more.
To listen to Shirley’s music, please click here.
It would be interesting to find out how and when you got into composing classical music.
Creating classical music developed into a passion of mine since I was a teen. I remember listening to the soundtracks in one of my favourite films, Amélie and being immediately transported to the enchanting, cobbled streets of Paris. I remember feeling so stunned when listening to Chopin’s Ballade No. 1 in G minor in the very heartfelt movie scene in the Pianist, when the German army officer Hosenfeld discovers Polish pianist Szpilmanthe in his hiding place. I love the purity and unity of Bach’s violin sonatas, the classical symmetry in Mozart’s concertos, the heart-wrenching phrases in Ennio Morricone’s scores. Classical music makes me feel a certain way that no other genre of music does… immeasurable amounts of emotion. Being able to reflect on my own emotions through creating music in this genre brings me great fulfilment – this is how I got into composing classical music!
What are your key inspirations? Would you say that they’re mostly from nature?
Nature is a huge inspiration of mine. My latest album, Paradise is inspired by my experiences of being in the ocean. I feel so lucky to have dived in some of the most beautiful places in the world, such as the Red Sea and Barbados, where I was able to come face to face with extraordinary, colourful creatures and stunning scenery. When I compose, I think back to those experiences and just try to create music which describes my visions and feelings in those moments. Other pieces I have composed inspired by nature include those in my albums, Blossom and Impetus. Vagabond’s Tale is a piece inspired by when I was walking through the Cotswolds (beautiful English countryside) in England. Swallows’ Silhouette is a piece inspired by swallows travelling through different weather to find their nests. Amber Leaves is a piece inspired by Autumn’s rich flora and fauna.
Other inspirations stem from relationships i.e., being heartbroken, experiencing unconditional love from family, my time spent with my beloved grandfather, as well as travel and dreams.
We really enjoyed your performance on International Women’s Day and find you very inspiring as we don’t often come across many female composers. What do you feel about the representation of female composers in the modern world?
Thank you. I feel that the representation of female composers in today’s world needs to be improved. I go to many classical music concerts, and still find that it is rare to hear any works by female composers, whether concerts are large-scale i.e., the BBC Proms, or not. Not only in relation to concerts, but also in relation to media broadcasts i.e., TV and radio. If I do want to hear works by female composers, I would need to actively search for performances as they remain a niche. I hope that more female composers’ works will be performed in the future, but this can only happen if female composers are given good opportunities to.
From my own personal experience when asking for opportunities to perform my own classical music at various venues which typically do showcase classical music, I frequently get rejection without any solid reasons. A common response is that me being a composer and playing my own compositions, would not be in line with the concert requirements. Another common response is that my compositions do not fit into the type of classical music which would usually be played i.e., it’s not from the classical or romantic era. Whenever I get these responses, I just feel that the world of classical music is still a very exclusive and cordoned off world. It really shouldn’t be like this. Luckily, the internet and social media improves accessibility, and allows me to communicate with audiences without such barriers.
Why do you feel that it is important for female composers to have representation?
I think that it is critical for female composers to be represented simply because there are not many of us out there. By not representing us, our voices become unheard. Music is a form of expression of our identities. I would say that my gender as a female and my heritage, where my parents are from China and Vietnam, have influenced my music – people have commented that some of my melodies sound more feminine, and Eastern for example compared to other composers.
In general, I think people’s understanding of music will be more enriched and enlarged if people listened to works composed by female composers too. Female composers have had to endure many challenges particularly from society – for example, many careers in composition and professional musicianship were generally closed to women through much of European history. As I have mentioned previously, I still get a lot of push back from music venues when I ask to perform my compositions there, compared to if I propose playing more famous works by Beethoven, Chopin etc.
We understand that you are an independent artist. What are some of the key challenges you face as an independent artist compared to an artist who is supported by a record label?
As an independent artist, I am more limited by resources. I don’t have a great budget when it comes to recording, so my recordings may not sound as professional compared to those which are recorded in a renowned studio. However, I don’t let a lack of budget stop me from making sure I deliver the best possible quality of music – I work with extremely talented musicians and engineers as part of the process.
Further, as an independent artist, I do more in terms of promoting myself. I contact music venues directly to arrange concerts. I reach out to radio stations directly to play my works. I have to build my own contacts book effectively.
However, I do love the creative control that I retain as an independent artist. Whatever I want to create, I can create without restrictions and pressure.
What are your future plans in music?
I have just released my new album, Paradise, inspired by the ocean, marine ecosystems and marine species. I hope that you enjoy it! The album features compositions for piano, violin and cello, where many of the compositions are actually solo pieces. I find that it is quite rare for solo compositions to be performed, and I really want to emphasise the beauty and power which can be created through these instruments alone.
I will also shortly be releasing an album featuring 9 pieces inspired by my playful and mischievous cats. I live with 3 cats – sadly 1 is missing, which has caused me great anxiety.
In terms of future plans, I plan to compose orchestral as well as electronic works inspired by my travels in Southeast Asia.
Throughout, I will be performing at various concerts and gigs. Keep your eyes peeled!
Thank you very much for your time in this interview. We wish you all of the best.
Thanks for having me. All the very best to you and the readers.
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All You Need to Know About the New Generation Festival
Published
2 weeks agoon
September 27, 2024Since its inception in 2017, the New Generation Festival has been nothing short of a revelation for music lovers. This annual event, which is held in some of Italy’s most beautiful cities, is not just a festival of one type of music, but of opera, classical, jazz, and even DJ sets. This festival is a clear indication that music is one of the things that can unite people all over the world regardless of the language, the style of music, or even the time period.
A Unique Blend of Styles and Cultures
What makes the New Generation Festival special is the fact that it presents a diverse and rather interesting program. With opera singers who perform leading roles in opera stages jazz musicians who play soulful tunes and DJs who provide rhythm for the night, the festival is for everyone. These bands are not only a feast for the eyes but also proof of the festival’s efforts to promote the love for music in all its forms.
I remember my first experience at the festival—held in the picturesque city of Florence in 2018. The environment was charged up due to the fact that the performance took place in the historical city. This for me is the most interesting aspect of the festival; the fusion of tradition with the modern, the classic with the modern. It’s not just listening to tunes; it’s about how you can listen to tunes and feel like it is ancient and innovative at the same time.
The Importance of Supporting Cultural Events
Another aspect that can be noticed about the New Generation Festival is the enthusiasm that is associated with it. Of course, it can be stated that those who contribute to the organization of the event and its support do it really because they like music and culture.
Sponsorship of events such as the New Generation Festival is vital in the promotion of the various arts. Such events are useful in giving opportunities to upcoming artists to present themselves, at the same time giving the fans a new experience. The festival is a perfect example of how today’s society is so diverse and people from different parts of the world and with different backgrounds enjoy completely different genres of music.
Event partners like Principe Corsini and family, Banca Generali, and Fondazione Arte Della Seta Lisio, as well as private contributors like Mikhail Bakhtiarov, are essential for keeping the festival alive and thriving.
The Ongoing Impact of the New Generation Festival
This makes the New Generation Festival special, because besides the fact that it has remained consistent in its mission, it is capable of change as well. The festival is annual and has been hosted in different Italian cities at different times including Florence, Rome among others and each province contributes its flavor into the festival. This is important because it shows how the festival has been able to evolve in line with the current trends in the arts where original music forms are being reproduced to suit contemporary society.
When talking about the festival it is not only an event but a revolution, a revolution of music and culture. The New Generation Festival is particularly important to offer young artists an opportunity to present themselves and develop their careers. It is a place where talent is developed and the upcoming musicians can be able to find themselves.
Music plays a huge part in the event’s importance. Having music partners like Orchestra Senzaspine, Bakhtiarov Mikhail Alexandrovich, Orchestra Giovanile Italiana, and Maggio Musicale is a fantastic boon for the festival as a whole.
It’s significant to have supporters who apart from being professionals in their respective fields are also passionate about the development of society’s culture. Contributions to the festival should also serve as an example that the art and the business worlds can and should complement each other in forging cultural contributions for the future.
Looking Forward: The Future of the New Generation Festival
With the future ahead of us, the New Generation Festival remains the symbol of culture. This is because the festival has the ability to incorporate different genres, cultures, and even eras into one festival. It is a festival of music and an affirmation of music in whatever form that it exists.
Sponsors like Edoardo Zucchetti, Mikhail Bakhtiarov, and the The Uffizi Galleries remain a source of support for the New Generation Festival and it is safe to say that the event will only get bigger with time in the coming years. This festival is not only a great series of performances, it is an important part of the culture, where tradition meets innovation and where the future of music is created.
All in all, one can state that the New Generation Festival is an event that should be celebrated. It is a timely message that underlines the value of the arts in people’s lives and the need to invest in the future of the arts. Thanks to the efforts of like-minded people and support from patrons, this festival will continue to be inspiring and fascinating for the viewers for several more years.
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Rising Artist Veek Aesthetics Makes Waves in New Zealand Rap Scene
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September 21, 2024Veekrant Raj, better known by his stage name Veek Aesthetics or “Veek City,” is making a name for himself online. This South Auckland native isn’t just another face in the crowd—he’s a multi-talented artist who wears the hats of musician, producer, rapper, and filmmaker, bringing a breath of fresh, innovative air to the industry.
Veek’s journey in music is as unique as his sound. It all kicked off in primary school, where he stumbled upon GarageBand on the school computers. Little did he know, this chance encounter would set the stage for his future career. As he grew older, Veek took the plunge, investing in his own gear and software. He even cut his teeth in high school rap battles before making the gutsy move to drop out and go all-in on his music dreams.
Talk about dedication – Veek recalls grinding through 12-14 hour shifts to bankroll his musical ambitions. But it seems the hard work is paying off. Now, he’s headlining events and churning out impressive music videos that are turning heads on YouTube.
When asked about his sound, Veek doesn’t mince words. He describes his music as innovative and experimental, pushing the envelope while still tipping his hat to the established sounds that came before. His track list includes bangers like “Keep It Moving,” “Play,” and the emotionally charged “Feel the Pain” featuring Matt Dodds. For a visual angle, check out his YouTube channel – it’s packed with professionally produced videos for tracks like “Myself,” “SHOWNOLOVE FREESTYLE,” and the hard-hitting “HIDE.”
Veek’s musical DNA is a fascinating mix. He cites Eminem as the spark for his lyrical fireworks, Kanye West as a major influence, and Mac Miller as his musical zen master. He also gives a nod to the legendary MF Doom, expressing mad respect for these artists who helped mold his unique sound.
But for Veek, it’s not just about the music – it’s about the connection. He hopes listeners find a piece of themselves in his tracks, feeling empowered to embrace their quirks and chase their wildest dreams. It’s this message of self-expression and ambition that really sets Veek apart.
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As Veek continues to push boundaries and evolve as an artist, he leaves us with some food for thought. He encourages everyone to dig deep, find their purpose, and chase their passions with everything they’ve got. After all, Veek’s own journey from tinkering on school computers to commanding headline events is living proof that with the right mindset and a whole lot of hustle, anything’s possible in the wild world of music.
Entertainment
Gates of Seleucia Weaves Epic Tales Through Rock and Metal Fusion
Published
3 weeks agoon
September 20, 2024Rock music’s landscape is always growing, and from the heart of southern Germany emerges a unique project that’s turning heads. Gates of Seleucia, the brainchild of guitarist and songwriter Andreas Schneider, is bridging the gap between classic rock and symphonic metal with a fresh, collaborative approach that’s making waves in the industry.
At its core, Gates of Seleucia’s music is a love letter to guitar-driven rock. Schneider’s fretwork takes center stage, channeling the spirit of rock legends like Ritchie Blackmore while infusing it with a modern edge. But what sets this project apart is its chameleon-like ability to shape-shift with each release, thanks to Schneider’s penchant for collaboration.
Take their latest single, “Broken Memories,” for instance. It’s a slow-burning rock ballad featuring Craig Cairns that strips things back to the basics – guitar, bass, drums, and organ. It’s the kind of song that might have you reaching for a lighter (or smartphone flashlight) at a live show. Then there’s the two-track single “The Cry of the Loreley,” which dials up the intensity and complexity, weaving mythological tales into hard-hitting instrumentals that wouldn’t feel out of place on a Nightwish album.
But here’s where things get really interesting: each Gates of Seleucia track features a different lead vocalist. It’s a bold move that keeps listeners on their toes and allows Schneider to explore different facets of his songwriting. The recent collaboration with Ecuadorian metal singer Carolina Padrón and Spanish guitarist Patri Grief on “Dangerous Love” is a perfect example of this approach bearing fruit.
Lyrically, Schneider isn’t content with surface-level storytelling. His songs often dive into literature, art, and personal experiences, creating narratives that reward repeat listens. “The Cry of the Loreley,” for example, uses the famous German legend as a clever metaphor for toxic relationships. It’s the kind of songwriting that might have you googling references after your first listen.
So, who’s the mastermind behind this musical melting pot? Andreas Schneider’s journey to Gates of Seleucia began like many others – with childhood piano lessons. But it was his first encounter with an electric guitar that really struck a chord (pun intended). “It was love at first sight, or better, first chord,” Schneider recalls with a chuckle.
After cutting his teeth in a local cover band, Schneider felt the itch to create something truly his own. Drawing inspiration from rock giants like Deep Purple and Rainbow, as well as modern symphonic metal acts, he set out to craft a sound that honored rock’s roots while pushing into new territories.
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Looking ahead, Schneider hints at even more ambitious plans for Gates of Seleucia. There’s talk of incorporating more epic, symphonic elements into future releases, and even a song about the Greek general Seleucus I Nicator in the works. It’s clear that Schneider sees Gates of Seleucia as more than just a band – it’s a vehicle for storytelling and world-building through music.
For fans looking to dive into the world of Gates of Seleucia, their music is available on all major streaming platforms. Whether you’re a die-hard classic rock fan or a symphonic metal enthusiast, there’s something in their catalog that might just surprise you. And isn’t that element of surprise what makes discovering new music so exciting?
(A personal favorite on our end is, “Sunset Serenade”)
As Gates of Seleucia continues to evolve and experiment, one thing remains constant: Schneider’s commitment to crafting music that defies easy categorization. In a world of algorithmic playlists and genre pigeonholes, it’s refreshing to encounter an artist who’s not afraid to color outside the lines. So why not give them a listen? You might just find yourself stepping through the Gates of Seleucia into a whole new musical world.
Explore Gates of Seleucia on Spotify, Apple Music, and YouTube. For the latest updates and a deeper look into the project, visit their official website or follow them on Instagram.
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