tony blondal
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abigail alwin is a cellist, educator and improviser. she studied cello with erling blondal bengtsson and tony elliot at the university of michigan (bma ’92, mmed ’08 university of michigan) and has a rich career as an educator and performer. ms. alwin is recipient of the yale distinguished music educator award, being recognized for her innovative and exemplary pedagogy and curriculum as among the best in the united states. as director of orchestras at clague middle school in the ann arbor public schools, ms. alwin’s orchestras have been honored to perform at the michigan music conference in 2013, and their 10th anniversary opening collage concert in 2016. her young orchestras have consistently earned division i ratings at district and state orchestra festival, and have received the highest praise for their precision, energy and musicianship. in addition, her students explore their creativity through frequent improvisation and composition projects .
lakeith stanfield and his sorry to bother you crew reveal their most soul - crushing jobs in our freewheeling interview .
- two films for one ticket (2017)... (orchestrator )
- flesh and blood (2012)... (conductor - uncredited) / (orchestrator - uncredited )
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masta annually names an outstanding string educator in the state of michigan as the string teacher of the year. this award is presented to a leading string teacher who has taught in the state for at least 10 years, demonstrated quality teaching and indicated educational achievement in areas other than performance and demonstrated service to string education in michigan. the award is reserved for studio teachers in even numbered years and conductors or classroom teachers in odd numbered years. this years nominees continue the tradition of awarding the best in string teaching in michigan .
in addition, ms. alwin is the assistant conductor of the dexter (mi) community orchestra .
carol johnson teaches orchestra in jenison public schools, and has been teaching young string players in michigan for over seventeen years. during her tenure in jenison, the jps orchestra program has almost doubled in size, and now boasts over 550 string players each year. carol earned both her bachelors and masters degrees in music education from michigan state university, majoring on piano and violin. carol has been recognized often for her large group string teaching methods at the elementary and junior high levels, and all three of her junior high orchestras consistently receive first division ratings at msboa festivals. over the last decade, she has also mentored over twenty student teachers from various colleges and universities .
carol is highly sought - after as a conductor, clinician, teacher, and adjudicator at numerous schools, camps, and clinics around michigan. she proudly serves as music director of the masta string camps, having spent almost 20 summers on staff. carol has directed many msboa middle level string clinics, and was co - founder and director of the st. cecilia music center’s sinfonia youth orchestra. carol is a frequent presenter at the michigan music conference, and her 8th grade symphony orchestra was the only middle school orchestra selected to perform at the conference in 2010. as a guest teacher, she has presented to string students at michigan state university’s early careers day, and to grand valley state university’s strings methods classes. carol has served masta previously as newsletter editor, and she was also selected as the msboa district x orchestra teacher of the year twice .
in addition to teaching, carol spends a great deal of time performing, composing, and arranging. as a violinist, she has performed with the msu symphony orchestra, the jackson symphony orchestra, the west shore symphony orchestra, and for the last twelve years with the signature string quartet. carol has always had a passion for creating new music for her students to perform, and in 2007 began publishing her educational works for young string orchestras through alfred / belwin publications .
carol resides in hudsonville, mi, with her husband john, and two young sons, alex and devin .
nathan peters is an orchestra teacher in the chelsea schools, a position he has held since 1999. his middle school orchestras consistently receive superior ratings at festivals. in 2007, he conducted the chelsea beach middle school 8th grade orchestra in an honorary performance at the michigan music conference. he also assists with classes and conducting of the chelsea high school orchestras .
a strong advocate for chamber music performance, peters was the coordinator for the annual masta chamber music festival and competition from 2011 - 2016. in 2000, he co - founded the chelsea chamber players, a group with which he performs several chamber music concerts each year. peters regularly contributes to string education in michigan through several projects, including hosting the m. s. b. o. a. mid - level fall string clinic (since 2010), teaching violin, viola, and conducting at blue lake music camp (since 2012), and directing the chelsea m. s. fiddle club and summer fiddle camp. he taught violin and viola for three summers at the superior string alliance camp in the upper peninsula and has mentored student teachers from the university of michigan and michigan state university. peters has been teaching violin and viola private lessons since 1991. his students receive high praise from judges and are awarded scholarships to many music camps and university music departments in and out of the state of michigan. many of his students have performed movements of major concertos with orchestras .
peters received a certificate in music education from the university of michigan in 1999. his primary teaching mentors were donald parrish, dan long, and jed fritzemeier. he also has received suzuki violin teaching and orff - schulwerk teaching certificates, as well as training in conducting at the university of iowa and the university of ohio and in fiddling from the augusta center of the davis and elkins college and the brasstown folk school. peters studied violin performance with paul kantor at the university of michigan, receiving a bachelor of music degree in 1992, and viola performance with yizhak schotten at the university of michigan, receiving a master of music degree in 1993. he performed as a fellowship student at the aspen music festival and the roundtop festival. peters also has performed in many orchestras including the ann arbor symphony, the lansing symphony, the toledo symphony, and the michigan opera theater orchestra .
nathan peters lives in chelsea, michigan with his daughters, talia and lydia .
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congratulations on your outstanding academic performance in fall 2017! we are proud of your achievements. selection to the dean’s honour roll is based upon achievement of a 3. 5 or higher gpa after completion of a minimum of 30 units at sfu, and a minimum of 12 units in the term being evaluated .
please note only students who have given consent for publication will have their names disclosed .
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i remember nona as part of my early childhood... we always ...
joyce and i will never forget 1949 and nona' s kindly help ...
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making a film is never an easy undertaking. a significant level of effort and incompetence has to be achieved to make adam sandler’s debacle - fest pixels look respectable and jack white’s voiceovers feel like stephen fry reciting william dunbar. somehow robinson crusoe manages to realise both of these with consummate ease .
robinson crusoe is a vague recitation of the classic daniel defoe tale of a man shipwrecked alone on a remote island. this particular version is told by crusoe’s parrot friend tuesday to an audience of mice on a pirate ship following crusoe’s temporary rescue at the hands of cut - throats. tuesday tells how the marooned crusoe befriends a bunch of local animals and describes their consequent attempts to fight off the invasion of a pair of hostile ratting cats from the wrecked ship .
the alleged narrative is appalling rectilinear. crusoe is shipwrecked. he meets initial hostility from the indigenous animals before making friends with them. shortly afterwards he finds himself fighting alongside his new found buddies against the belligerent felines. crusoe wins out. credits .
robinson crusoe isn’t helped by the most derivative, aggravating set of characters put to screen for years. crusoe, a feeble visual rehash of arthur from arthur christmas, is so overtly useless that instead of welcoming slapstick laughs, his miserable failure and subsequent drowning would be gratefully received. torrance’s kiki comes across as an arrogant, self - sure brooklyn street upstart who needs a clout, and dreamy parrot tuesday gives blu from rio the charm and depth of michael corleone. scrubby, the elderly goat with deficient hearing and eyesight spends the entire film asking ‘what was that? he’s said what? !? ’, undoubtedly styled as a hilarious running joke, yet feeling lethargic and tiresomely monotonous .
kesteloot, stassen and team have somewhat impressively produced a film without a single redeeming feature. robinson crusoe offers nothing to any demographic and is about the most worthless and infuriatingly substandard release this year. defoe would find davy jones’s locker, get himself comfortable and turn in his own watery grave. dreadful .
ring of honor announces the first - ever uk vs us international cup in ...
the sting song
until ...
was nominated for an academy award and won a golden globe .
if you have caught pieces of rolfe kent' s music for comedies on several inadequate soundtrack albums and desire a product that finally does justice to his work .
if you' re placing all your hopes on sting' s song for the film, because it fails to exude the same enticing, genre - bending personality of the score .
: (rolfe kent) after several years without audiences tasting the fruits of a fluffy meg ryan romantic comedy, the unlikely pairing of director james mangold and miramax films brought the affable actress back into the genre that made her famous. a little science fiction comes with her co - star hugh jackman as well; he plays a duke in 1876 who is accidentally sent through time to 2001 new york city and, despite misunderstandings and less than perfect intentions at each corner, the two predictably fall into each others' arms. the film' s generally positive reception (despite poor long term recognition) was matched for the most part by its soundtrack. becoming a staple of the light comedy scoring genre, composer rolfe kent was quickly asserting his position as a reliable and frequent composer for films that existed on the edge of the mainstream, including several entries during the early 2000' s that, for a short time, elevated his status. the romantic holiday season production of
ranked among the most popular that kent had been associated with to that point in his career. despite the hopes of miramax, the project' s star power and flighty love story may not have sustained the film to the same level as ryan' s other similarly targeted offerings, but it still managed a strong enough box office showing to gain the sting song for the film ,
until... ,
the recognition necessary for the awards season. the moderate success of the film, as well as sting' s contribution, also caused a much deserved album release for the score by kent. with his film scores rarely experiencing a lengthy release, milan record' s pressing of this score was much welcomed. kent' s work is geared perfectly towards the lighter side of comedy; his scores are often orchestral, though only moderately sized in depth .
is a seattle recording, for instance, and while the scores produced in the northwest are often suitable for this exact kind of film, listeners have been known to complain about the lack of
oomph
that players from that region provide. nevertheless, for
, the performances never need more than the prescribed amount of power to bring life to kent' s lighter touch. the score varies from the realm of straight romantic drama in its opening theme to an obvious balance between the waltz and march - like period style of leopold, and the modern, urban jazz of kate. the key to the success of kent' s work for
the score opens with the wonderment of modern new york and a chase scene, both of which allow the full orchestra to flex its muscles in a fast pace of action. for the character of kate comes a more jazzy approach, with several henry mancini moments of light jazz employed throughout. there' s an almost thomas newman - like plucking of strings to kate' s theme as well, and some could argue that kent pulls off an even better sense of urban sophistication than newman does in his similar efforts. the somber, though appropriately capitalized saxophone performances add the expected urban drama in
. the light band elements offer some of the most authentic mancini - type comedy music to be heard in some time, achieving stylish comedy without resorting to outwardly strident rachel portman techniques. the march - like prancing of leopold' s cues are the weakest aspect of the score, but they add just barely enough pomp to his setting to make him believable. some of the elevated, grandiose moments, pronounced best in the brass theme heard in
leopold sees the completed bridge
and
galloping ,
take a few bars of bold expression from david arnold' s title theme for
, though not to any disheartening extent. on album, the score is a very easy listening experience, which speaks to great lengths about kent' s ability to merge all of these genres of music into one cohesive whole. no one track distracts the listener from the consistently orchestral tone and pleasing harmonies of the entire product. the sting song was the selling point of the album for milan records, with the film' s only awards nominations coming for that song. fitting with the longing romance of the film ,
until ...
is more solitary and melodic than many of sting' s other compositions and performances. the irony of
is that the jula bell performance of kent' s title theme in a jazzy song format at the end of the album matches the spirit of the score better than the sting song does. kent' s compositional and lyrical transference from score to song is strong, with
back where i belong
remaining a more consistent representation of the score (and indeed the whole of new york). although
may be a project of limited scope, and the orchestral performances may lack the power necessary to make the larger period cues really fly, the ensemble nails the jazzy, modern cues with ease. at forty minutes, the well - paced album will delight dedicated film score fans who have caught a glimpse of kent' s work here and there on inadequate or non - existent albums for other soundtracks .
newest: june 23, 2005, at 9: 40 p. m .
 1. until... - performed by sting (3: 12)  2. a clock in new york (1: 25)  3. i want him resplendent (1: 26)  4. leopold chases stuart to brooklyn (1: 54)  5. that was your best? (1: 17)  6. let' s go! (3: 13)  7. leopold sees the completed bridge (0: 48)  8. you did so great (kate' s theme) (1: 18)  9. galloping (1: 21)  10. dearest kate... (2: 13)  11. prolixin / leopold & charlie buy flowers (2: 20)  12. charlie wins patrice, leopold wins kate (3: 41)  13. secret drawer (2: 01)  14. time for bed (2: 14)  15. charlie realizes leopold was for real (1: 30)  16. kate goes to the awards (2: 24)  17. kate sees the pictures -
i have to go
( 2: 54)  18. you have to cross the girder (1: 51)  19. back in 1876 - waltz (2: 12)  20. back where i belong - performed by jula bell (2: 48 )
copyright © 2002 - 2018, filmtracks publications. all rights reserved. the reviews and other textual content contained on the urltoken site may not be published, broadcast, rewritten or redistributed without the prior written authority of christian clemmensen at filmtracks publications. all artwork and sound clips from kate & leopold are copyright © 2002, milan records and cannot be redistributed without the label' s expressed written consent. page created 3 / 22 / 02 and last updated 2 / 25 / 09.
tony blondal , is a film and television orchestrator and conductor , and record arranger . he started out his musical career playing live ( guitar ) and doing studio recording sessions ( guitar , mandolin , banjo , balalaika , charango and various instruments ) . he also pursued his other interests , which were writing orchestral and band arrangements for singers , and big band writing and arranging . through this early work he met a group of tv composers who were busy and needed someone to help orchestrate and copy their music for weekly recording sessions . that experience led to other opportunities and started him on a new path , and he soon transitioned to film orchestration . to this day he still works in film primarily , but also occasionally in television and video games . 
tony blondal, is a film and television orchestrator and conductor, and record arranger. he started out his musical career playing live (guitar) and doing studio recording sessions (guitar, mandolin, banjo, balalaika, charango and various instruments). he also pursued his other interests, which were writing orchestral and band arrangements for singers, and big band writing and arranging. through this early work he met a group of tv composers who were busy and needed someone to help orchestrate and copy their music for weekly recording sessions. that experience led to other opportunities and started him on a new path, and he soon transitioned to film orchestration. to this day he still works in film primarily, but also occasionally in television and video games.
tony blondal, is a film and television orchestrator and conductor, and record arranger. he started out his musical career playing live (guitar) and doing studio recording sessions (guitar, mandolin, banjo, balalaika, charango and various instruments). he also pursued his other interests, which were writing orchestral and band arrangements for singers, and big band writing and arranging. through this early work he met a group of tv composers who were busy and needed someone to help orchestrate and copy their music for weekly recording sessions. that experience led to other opportunities and started him on a new path, and he soon transitioned to film orchestration. to this day he still works in film primarily, but also occasionally in television and video games.