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Michael Nyman SANGAM - Michael Nyman meets Indian Masters
Michael Nyman Chamber Music Volume I Michael Nyman Chamber Music Volume II
The Piano Sings 2 Facing Goya - an opera in four acts composed by Michael Nyman with libretto by Victoria Hardie
COLLECTIONS - Film, Music, Photography VERTOV SOUNDS - The Composers Cut Series - Volume IV
Motion Trio and Michael Nyman McAlmont and Nyman: The Glare
MGV / The Piano Concerto 8 Lust Songs: I Sonetti Lussuriosi
NYMAN/GREENAWAY REVISITED - The Composers Cut Series - Volume THE PIANO - The Composers Cut Series - Volume III
NYMAN - SOUNDTRACKS (3CD box set) NYMAN - OPERA (4CD box set)

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Portrait of a Label
CD Track listing
1. Debbie from The Piano Sings
2. “Scarper!” from Man and Boy:Dada
3. The Mistress from The Libertine
4. Chasing Sheep is Best Left to Shepherds from The Draughtsman’s Contract
5. Miranda from Nyman/Greenaway Revisited
6. To the Edge of the Earth from The Piano
7. Psalm from Six Celan Songs
8. Life’s Chaos from Acts of Beauty
9. Magic Forest and Göering’s Hunting Party from Nyman Brass
10. “There you are...and that tree” from Love Counts
11. Knowing the Ropes from Mozart 252
12. Apri le coscie from 8 Lust Songs
13. 5th Region from MGV
14. City of Turin from The Glare
15. Come unto these Yellow Sands from Acoustic Accordions, Michael Nyman & Motion Trio
16. The Coldest Place on Earth first album release
Running Time 70 minutes

50000 Photos Can’t Be Wrong
DVD Track Listing
1. Barcelona Graffiti
2. Bookman
3. Missing Persons
4. Beach Fatties
5. Pavement Life
6. Girl in the Swimming Pool
7. Reflections
8. Greyman
9. Girl in the Bar
Running Time 22 minutes

Photo Book Series
1. Optical Theory
3. Barcelona and Palma Light
4. Greyman
5. Beaubourg Minder

COLLECTIONS - Film, Music, Photography

Collections is a unique combination of Michael Nymanís work as a composer, filmmaker and photographer
Available now in a Box set with a luxurious 52 page hard back photo book, a digipack containing a CD, DVD and additional booklet notes written specially by Michael.

Collections is a means of presenting, in a single space, some kind of interim overview of my current work as composer, film-maker and photographer.  Two time-based art forms, produced from seemingly separate creative viewpoints, even when, as seems to be inevitable with a 'soundtrack composer’, the sonic invades the visual. The writing of a piece of music may begin with a ‘chance’ observation which, through a long work-process results in an extended performable work,  whereas a typical Nyman film is generally created in the instant process of seeing, observing, capturing – the seen-but-unforeseen preserved for continuing observation. Generally the only preparation consists of simply carrying a camera and keeping my eyes open for the unpredicted and fleeting, the hidden and the often mundane and unnoticed. What could be referred to as the ‘persistence of the glance’ is, I suppose, what links the films with the music as time-objects – the camera does not stray from the futile attempts of a drunken man attempting to tie his tie on a Polish train at 7 in the morning [as in ‘Tieman’] or, in ‘Whistle while you Work’ a Lisbon street guitarist spending 6 minutes in total concentration tuning the strings of his ‘ready-made’ guitar to a C chord and a G chord which then accompany his to-die-for minimalist whistling. Quite often, unlike even a piece of music that has been ‘composed’ by playing directly into Logic, a film lasts simply the length of time it takes to shoot - 'The Cleaners Wear Prada' is a 9 minute film that took 9 minutes to shoot and required no editing and simply needed to have a soundtrack and title added. Some films, of which '50000 Photos Can't be Wrong' is the most obvious example, do not however fall into the model and 'NYman with a Movie Camera', which replaces on a shot-by-shot basis all Dziga Vertov's images in his 'Man with a Movie Camera' with images of my own, is another exception'.

Portrait of a Label as a title for the collection of musical works needs little explanation, since the album simply gathers together, in chronological order of their release, single tracks, representative images, so to speak, from each of the MN Records CDs, from ‘The Piano Sings’ in 2005 to ‘The Glare’ in 2009 (with The Coldest Place on Earth as a bonus track that connects both these albums). A personally-owned and self-curated record label gives a composer the power of independently presenting his recorded work-as-collection with a frequency and diversity that is denied to him by a major label. Such a compilation demonstrates how a composer may collect and connect everything across genres - chamber music, song cycles, orchestral music, collaborations, operas and soundtracks for the films of other film-makers and present them with an often disarming frequency. The music presented in this way then becomes part of an ever-increasing database, one of the purposes of which is to provide soundtracks for my films!
50000 Photos Can’t Be Wrong is a 22 minute multi-sectioned film in which my music, moving and still images interlace and engage in a dialogue of rhythm a intonation and acquired meaning. The title originated in a score commissioned by the Great North Run Cultural Festival in 2007 entitled 50000 Pairs of Feet Can't Be Wrong. When I was on a tour of Italy promoting my photobook ‘Sublime’ [Volumina, 2008], one concert venue accidentally replaced 'Pairs of Feet' with 'Photos', which obviously suggested to me a new audio-visual work, in which my own images replace the computer-based images of Richard Fenwick and Moshine with material derived from the 2000 or so photos in ‘Sublime’, generally re-animating the ‘photos in series’ but which are occasionally combined with genuine video material. The film enclosed in this compilation is a shortened version of ‘50000’ - the first and last movements of the 2007 work have been used as soundtracks for, respectively, my films ‘Slow Men Walking’ and ‘Witness 1’ and ‘Witness 2’.
CINE OPERA looks at a small selection of my photographs, unaccompanied by music, in their own right. It presents extracts from various of the photographic series concerned with recording the occurrence of time and the materiality of space, whether by conveying an atmospheric impression of a place with various randomly-selected exposures (Barcelona Light), the physical attribute of an object concerned with the act of seeing (Optical Theory), the random law of encounters (Beaubourg Minder), or that of the intensity of moment of boredom in an Italian opera house observing a less bored audience member (Greyman). The book takes its name from an extended photographic and series entitle CINE OPERA which I shot earlier in 2010 at the Teatro Cine Opera in the centre of Mexico City- a 1940s cinema now in a state of total but visually-stunning disrepair. I have become somewhat obsessed with the tragic loss of this building through neglect and self-destruction coupled and equally fascinated by a building whose sole purpose was to throw a beam of light on a screen: that screen will never be illuminated by that beam, but ironically a new set of light beams has appeared through the sun shining through holes in the ceiling during the two rare mornings when I had the privilege of shooting both stills and video there.

Michael Nyman August 2010

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Nyman & Motion Trio CD
Andy Findon, the flautist in the Nyman band.

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