
Stories and reflections from the worlds of art, music and history.
| Platform | Pricing | Only free issues | Publishes | Weekly | |
|---|---|---|---|---|---|
| Issues | 24 | Founded | 8 months ago | Last Issue | 6 days ago |
| Active | |||||

There are some pieces of music that seem to remain inside the concert hall, and others that seem to spill beyond it into imagination almost immediately. Rimsky-Korsakov’s Scheherazade belongs very much to the second category. Even people wh...
Some film cues introduce a world. Others introduce a character. Dario Marianelli’s “Briony”, the opening track of Atonement, manages to do both in less than two minutes. It is only 1 minute and 44 seconds long, but it carries an extraordina...
There are soundtracks that accompany a film, and there are soundtracks that seem to teach the film how to breathe. Joe Hisaishi’s music for Kiki’s Delivery Service belongs very much to the second category. It is so beloved, and so immediate...
Some symphonies announce themselves immediately. They open a world, set a tone, and seem to know exactly where they are going from the first bar. Dvořák’s Seventh does something more unsettling. It begins as if we have entered in the middle...
What makes Howard Shore’s music for The Hobbit so interesting is that it does not behave like a simple prequel score. It would have been easy, and commercially quite understandable, to lean on familiarity: to bring back the Shire, a few Elv...
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The writers behind this newsletter.
art history & musicology student \ud83d\udc8c i love everything about life
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