The orchestra performs Christmas at the Movies, an impressive concert medley for orchestra presenting music from five classic holiday films, including some of the most memorable songs and themes from Home Alone, How the Grinch Stole Christmas, Miracle on 34th Street, The Polar Express, and The Nightmare Before Christmas – treats for the whole family!

The programme includes the suite from Serge Prokofiev’s 1934 film score for Lieutenant Kijé and excerpts from Tchaikovsky’s Nutcracker Suite as they appeared in Disney’s 1940 classic cinematic and musical masterpiece, Fantasia. The orchestra also performs music from John William’s great score for Harry Potter & The Philosopher’s Stone.

Tenor Jorge Avilés joins the orchestra to sing great Christmas songs from such films as Holiday Inn and Rudolph the Red-Nosed Reindeer and to lead the traditional carol sing-along. An audience favourite, this Argentinean tenor made Canada his home some 30 years ago after having studied voice and oratorio with the International Bach Society in his native city of Buenos Aires. Jorge Avilés appears as soloist with Canadian orchestras and recently toured Poland & the Czech Republic, singing the tenor solo in Mozart’s “Sparrow” Mass in C and coaching the tenor section of the choir.

Tickets are (general admission) / FREE (children under 5 – please call in advance) and available by calling (403) 670-5430, on-line at http://2ccs1011christmas.eventbrite.com/, or at the door.

For more information, please call (403) 670-5430 or visit http://www.calgarycivicsymphony.ca

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In the Ajay Devgan movie All the Best, we missed the Pritam we knew. And now, in De Dana Dan, he is back with the same vigor like before in his music. With De Dana Dan, this is the 11th film he has composed music for.

De Dana Dan’s music is akin to that of Kambakkht Ishq to some extent. The song ‘Paisa’ reminds us of the ‘Om Mangalam’ song from Kambakkht Ishq. Even The Punjabi pop band RDB, the one who crooned both these songs are getting better and better with their music. The album has a heard-before feel but surprisingly intriguing. It contains six originals and an equal number of remixes. The song that stands out leaving a mellow effect is the opening track ‘Rishte Naate’. The song is an easy on the ear romantic track crooned by Rahat Fateh Ali Khan and Suzzane Demello.

‘Gale lag ja’ is yet another tuneful, mushy number that generates interest. And it has been crooned soothingly by Javed Ali and Banjyotsana.

Baamulaiza is a good enough track with some Hinglish lyrics crooned by Mika Singh, Dominique Cerejo and Style Bhai. It leaves a good effect, though it has nothing new to offer.  Sunidhi Chauhan croons ‘Hotty naughty’ that has a pinch of hip hop in it, which will make you groove.

Finally there is the title track ‘De Dana Dan’, which is full of life and heartiness, crooned by Ad Boys.

On an whole De Dana Dan’s music does the trick. With some tub thumping beats, stimulating lyrics and scorching euphony, the music of De Dana Dan is GOOD.

De Dana Dan is about Nitin (Akshay Kumar) and Ram (Sunil Shetty) who are only lucky in love and otherwise their life is a big zero as is their bank balance! But now their rich girlfriends, Anjali (Katrina Kaif) and Manpreet (Sameera Reddy) have given them an ultimatum to earn enough money so that they can elope. Or else forget them forever. Broke and desperate Nitin and Ram need to make big money and fast. They hit upon an audacious plan to kidnap Moolchandji, the spoilt dog of rich bitch Archana (Archana Puran Singh).   But Moolchandji runs away, and the police think it’s Nitin who’s been kidnapped. As the guys try to get their hands on the ransom money, they encounter assorted characters like a Chinese Don, a hired assassin, an ACB officer, a club dancer, an ambassador, a young frustrated wife, a letch, a drunken waiter and a dead body nobody wants. What happens next is De Dana Dan as everything and everyone goes helter-skelter.

That said, click tracks and drum machines are two of the worst things ever to happen to popular music. First, drum machines like all machines are expressionless in the true sense. No human being is behind the sound at the moment that sound is made. Of course, the technology is a human artefact, and the programming carries human intention that may contain aesthetic expression. But it is the machine that executes the actual music. The essential
link in the moment of performance between the soul and sound waves is not there. The music is literally “soul-less”. It is a huge irony that “beatboxes” came to dominate a type of music that once termed itself “soul”.

Second, both click tracks and drum machines force an inhuman straitjacket onto music-making. Much of the prejudice against popular music that exists in the field of so-called “serious music” is based on a mixture of ignorance, cultural brainwashing and an inadequate critical vocabulary with which to describe how popular music achieves its greatest effects. But with regard to tempo, for once, the reaction of the classical musician is right on the money. If you suggested to an orchestra that they could improve their performance of a Beethoven symphony or a Rachmaninov piano concerto with a click track, so they would all be perfectly in time, they would fall off their stools laughing. When they recovered, they would insist that your click track idea would, at one digital stroke, remove all the expression from the music. In order for music to “breathe”, performers must be free to pause slightly before a chord or modulation or phrase. Classical scores are full of terms such as accelerando, ritenuto, rallentando,a tempo all of which indicate departures from strict time. In other words, “TPV” is an essential element of music performance. Why should popular music be any different?