So all-in-all, yes, I am proud of this comparison when applied to Our Cursed Rapture, but I must stress that we are going to strive for the development of our own style on future releases. I am actually pretty proud of the almost 100% replica of Dani Filth that Justin Corser and I pulled off on that album because it was pretty meticulous to record and pretty difficult overall. This time period was also around the time that I was writing OCR, so the end result was an album with quite a few "Cradle-isms" - at least when it comes to the vocals. during the time that I was learning to write lyrics and vocal patterns, Cradle Of Filth was an absolute obsession for me. Our Cursed Rapture's vocals were performed by both myself and Justin Corser. Is that a petty matter for you or are you proud of this comparison? Your vocal is quite similar to the Cradle Of Filth singer. We were really into bands like In Flames, Soilwork, and of course. I think this is mainly due to the fact that Mike Low, our original second lead guitarist, and I were very much into that style when we were writing our first demos and debut record, Our Cursed Rapture. Some of the music we have written so far does have some Swedish death influence to it. Is this correct and if so, could you explain why that is? Which bands from that region are the most interesting for you? You're from USA, but I hear "swedish" inspirations in your music. His Piano Trio, like his other numerous works, shows his immense mastery of all compositional forms, genres and styles - always shaped by events in his own fateful life, such as escape, expulsion, the murdering of his family and the constant danger to his own being.Influenced by? Or having an influence on. Until shortly before his death in 1996, Weinberg’s works were regularly performed with great enthusiasm by Russian artists and now, they slowly but increasingly are reaching the international concert stage. See More Your browser does not support the audio element.
His Piano Trio, like his other numerous works, shows his immense mastery of all compositional forms, genres and styles - always shaped by events in his own fateful life, such as escape, expulsion, the murdering of his family and the constant danger to his own being. As this project has meanwhile been completed, Roth wanted to return here to his first encounter with the music of Weinberg, the Piano Trio, Op. As a musician, when do you ever get to discover an entire oeuvre that is first-rate and yet has been forgotten?! The idea was obvious to tackle the complete recording of all works for violin. Much of it had never been recorded and Roth immediately saw the discovery of this music as a huge stroke of luck. It was then that a treasure chest opened up for Roth: a Violin Concerto with symphony orchestra and one with chamber orchestra, 3 solo Sonatas, 7 Sonatas with piano, many other pieces and a number of chamber music works. At the time Roth knew almost nothing about Weinberg’s biography or any of his other works, so he left the festival in the hope that Weinberg may have composed something else for violin. Not only were the characteristics of the inner turmoil obvious -, the deep abysses and darkness in this music - but also those of the hope contained therein, which repeatedly shone through. After the first rehearsal, Roth was shocked and moved by the intensity and energy of the music and touched by the beauty of this composition, which was new to him.
Linus Roth first encountered the music of Mieczysław Weinberg (1919-1996) in 2010 when he was scheduled to play his Piano Trio at a chamber music festival.
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