Also part of A Winged Victory for the Sullen.
A self-taught pianist … Read Full Bio ↴Also part of A Winged Victory for the Sullen.
A self-taught pianist from the age of 7, Dustin O'Halloran's personal histories give us some clue to the thickly-woven tapestries of his music: he has lived in LA (where he studied art at Santa Monica College and formed the much-adored Devics with Sara Lov), Italy (in the depths of rural Emilia Romagna) and Berlin. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression – and here is where we see some explanation into Dustin's quiet rise to notoriety and his continued ascension.
Having gained serious recognition with his stunning score to Sofia Coppola's 2006 film Marie Antoinette (which sits neatly alongside his soundtrack work for William Olsen's An American Affair (2010) and Drake Doremus' Sundance-winning Like Crazy (2011), Dustin has quickly become one of the most recogniseable names in the broad-reaching “post-classical” field, a definition of the genre rather than vice-versa. Now sitting alongside peers and friends Max Richter, Hauschka and Johann Johannsson (who, incidentally, aided Dustin in mixing his newest album) on FatCat's dedicated orchestral imprint 130701, new album Lumiere is a glowing addition to O'Halloran's musical canon, at once an amalgamation of everything that his music has been leading up to, and an unprecedented step forwards in terms of timbral palette and harmony. Featuring NYC’s ACME Quartet, Stars Of The Lid's Adam Wiltzie and prodigious young composer Peter Broderick among the guest musicians, the scale of Lumiere is expansive: “it made me realize how important it is to find players that truly understand what you do and to create a language with them,” writes Dustin.
Dustin's rock background - primarily with Bella Union's “dream-pop” outfit Devics – has yielded an unassuming, perceptive approach to composing modern classical pieces. Inspired by, among others, Arvo Part, Philip Glass, Hans Otte, John Luther Adams, Olivier Messiaen, Ennio Morricone, Gavin Bryars, there is no lack of articulation or academic musicality in Dustin's work, but there is also none of the aloofness or detachment that is so readily perceived around contemporary classical music. This can perhaps be attributed to the environments in which Dustin has worked - Lumiere is full of those rare elements of life shared by both vibrant cities and lush countrysides: colour, both organic and rich, sensorial intrigue and a deep awareness of space. Or perhaps it is a product of Dustin's synaesthesia, a condition he first noticed around the time of his performance at New York's Guggenheim Museum for their Kandisnky retrospective and 50th anniversary gala. Able to visualize his compositions as vividly as a painter might see his own work, Dustin's expressiveness is beyond compare.
Lumiere is Dustin's third solo full-length, following Bella Union albums released in 2004 and 2006 respectively (Piano Solos vol. 1 and Piano Solos vol. 2). These two records were originally opportunity for Dustin to express a non-Devics creative streak: gently and privately pieced together piano suites written and recorded on a beautifully-restored 1920's Sabel piano in his Italian farmhouse. The compositions, however, gradually grew into fully-formed solo pieces as Dustin's ambitions and designs developed. The path, of course, would eventually lead him to Lumiere's majestic, swooning ensemble arrangements and a focus-shift away from the piano as his work's primary timbre without losing any of the affection for the instrument that bore his first two records.
A sublime solo live album - entitled Vorleben – was released by FatCat / 130701 in June 2010.
(2) American post-classical pianist and composer Dustin O'Halloran (born September 1971) began his musical life a guitarist. He has claimed in interviews that he didn't really begin to study the piano in earnest until he was in college and studying music. While attending Santa Monica College, he met Sara Lov and started the band Dévics. The quartet released four albums and six singles on Bella Union between 1998 and 2006. O'Halloran began to take the piano seriously while with the band, and then in formal music studies in both Italy and Berlin (where he now resides). He released his first two albums, entitled Piano Solos, Vol. 1 and Piano Solos, Vol. 2 on Bella Union in 2004 and 2006, respectively. During the latter year he was given the opportunity to score filmmaker Sofia Coppola's film Marie Antoinette. In 2009, he composed the score for director William Olsen's An American Affair, which was released on the Filter imprint before the film. In 2010, he scored director Drake Doremus' feature Like Crazy (which won an award at the Sundance Film Festival in 2011). Lumiere, his debut album for Fat Cat's orchestral 130701 imprint was issued in February 2011 to stellar reviews. It featured O'Halloran's piano in a slightly more populated sonic field that included other musicians like the ACME Quartet, Stars of the Lid's Adam Wiltzie, and fellow composer Peter Broderick. This was followed by a live solo piano recording, Vorleben, on the same label in June of that year. ~ Thom Jurek, Rovi
A self-taught pianist … Read Full Bio ↴Also part of A Winged Victory for the Sullen.
A self-taught pianist from the age of 7, Dustin O'Halloran's personal histories give us some clue to the thickly-woven tapestries of his music: he has lived in LA (where he studied art at Santa Monica College and formed the much-adored Devics with Sara Lov), Italy (in the depths of rural Emilia Romagna) and Berlin. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression – and here is where we see some explanation into Dustin's quiet rise to notoriety and his continued ascension.
Having gained serious recognition with his stunning score to Sofia Coppola's 2006 film Marie Antoinette (which sits neatly alongside his soundtrack work for William Olsen's An American Affair (2010) and Drake Doremus' Sundance-winning Like Crazy (2011), Dustin has quickly become one of the most recogniseable names in the broad-reaching “post-classical” field, a definition of the genre rather than vice-versa. Now sitting alongside peers and friends Max Richter, Hauschka and Johann Johannsson (who, incidentally, aided Dustin in mixing his newest album) on FatCat's dedicated orchestral imprint 130701, new album Lumiere is a glowing addition to O'Halloran's musical canon, at once an amalgamation of everything that his music has been leading up to, and an unprecedented step forwards in terms of timbral palette and harmony. Featuring NYC’s ACME Quartet, Stars Of The Lid's Adam Wiltzie and prodigious young composer Peter Broderick among the guest musicians, the scale of Lumiere is expansive: “it made me realize how important it is to find players that truly understand what you do and to create a language with them,” writes Dustin.
Dustin's rock background - primarily with Bella Union's “dream-pop” outfit Devics – has yielded an unassuming, perceptive approach to composing modern classical pieces. Inspired by, among others, Arvo Part, Philip Glass, Hans Otte, John Luther Adams, Olivier Messiaen, Ennio Morricone, Gavin Bryars, there is no lack of articulation or academic musicality in Dustin's work, but there is also none of the aloofness or detachment that is so readily perceived around contemporary classical music. This can perhaps be attributed to the environments in which Dustin has worked - Lumiere is full of those rare elements of life shared by both vibrant cities and lush countrysides: colour, both organic and rich, sensorial intrigue and a deep awareness of space. Or perhaps it is a product of Dustin's synaesthesia, a condition he first noticed around the time of his performance at New York's Guggenheim Museum for their Kandisnky retrospective and 50th anniversary gala. Able to visualize his compositions as vividly as a painter might see his own work, Dustin's expressiveness is beyond compare.
Lumiere is Dustin's third solo full-length, following Bella Union albums released in 2004 and 2006 respectively (Piano Solos vol. 1 and Piano Solos vol. 2). These two records were originally opportunity for Dustin to express a non-Devics creative streak: gently and privately pieced together piano suites written and recorded on a beautifully-restored 1920's Sabel piano in his Italian farmhouse. The compositions, however, gradually grew into fully-formed solo pieces as Dustin's ambitions and designs developed. The path, of course, would eventually lead him to Lumiere's majestic, swooning ensemble arrangements and a focus-shift away from the piano as his work's primary timbre without losing any of the affection for the instrument that bore his first two records.
A sublime solo live album - entitled Vorleben – was released by FatCat / 130701 in June 2010.
(2) American post-classical pianist and composer Dustin O'Halloran (born September 1971) began his musical life a guitarist. He has claimed in interviews that he didn't really begin to study the piano in earnest until he was in college and studying music. While attending Santa Monica College, he met Sara Lov and started the band Dévics. The quartet released four albums and six singles on Bella Union between 1998 and 2006. O'Halloran began to take the piano seriously while with the band, and then in formal music studies in both Italy and Berlin (where he now resides). He released his first two albums, entitled Piano Solos, Vol. 1 and Piano Solos, Vol. 2 on Bella Union in 2004 and 2006, respectively. During the latter year he was given the opportunity to score filmmaker Sofia Coppola's film Marie Antoinette. In 2009, he composed the score for director William Olsen's An American Affair, which was released on the Filter imprint before the film. In 2010, he scored director Drake Doremus' feature Like Crazy (which won an award at the Sundance Film Festival in 2011). Lumiere, his debut album for Fat Cat's orchestral 130701 imprint was issued in February 2011 to stellar reviews. It featured O'Halloran's piano in a slightly more populated sonic field that included other musicians like the ACME Quartet, Stars of the Lid's Adam Wiltzie, and fellow composer Peter Broderick. This was followed by a live solo piano recording, Vorleben, on the same label in June of that year. ~ Thom Jurek, Rovi
Lion Theme
Dustin O'Halloran Lyrics
We have lyrics for these tracks by Dustin O'Halloran:
Form Is Dead "Dead Hearts" Tell me everything that happened Tell me ever…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@lorabelakva950
могу тебя очень ждать,
Долго-долго и верно-верно,
И ночами могу не спать
Год, и два, и всю жизнь, наверно!
Пусть листочки календаря
Облетят, как листва у сада,
Только знать бы, что все не зря,
Что тебе это вправду надо!
Я могу за тобой идти
По чащобам и перелазам,
По пескам, без дорог почти,
По горам, по любому пути,
Где и черт не бывал ни разу!
Все пройду, никого не коря,
Одолею любые тревоги,
Только знать бы, что все не зря,
Что потом не предашь в дороге.
Я могу для тебя отдать
Все, что есть у меня и будет.
Я могу за тебя принять
Горечь злейших на свете судеб.
Буду счастьем считать, даря
Целый мир тебе ежечасно.
Только знать бы, что все не зря,
Что люблю тебя не напрасно!
@vugarkasimov8372
Иван Бунин
https://youtu.be/D1inUMHVuyE
"Зачем и о чем говорить?
Всю душу, с любовью, с мечтами,
Все сердце стараться раскрыть —
И чем же? — одними словами!
И хоть бы в словах-то людских
Не так уж все было избито! Значенья не сыщете в них,
Значение их позабыто!
Да и кому рассказать?
При искреннем даже желанье
Никто не сумеет понять
Всю силу чужого страданья!"
@vugarkasimov8372
Ivan Bunin (22.10.1870 - 08.11.1953) - Russian writer.
Why and what to talk about? (Зачем и о чем говорить?)
Why and what to talk about?
All soul, with love, with dreams,
All heart try to open -
And what? - in one word!
And at least in human words
Not that everyone was beaten!
You will not find meaning in them,
The meaning of them is forgotten!
And who to tell?
With sincere even desire
No one can understand
All the power of someone else's suffering!
https://youtu.be/D1inUMHVuyE
Зачем и о чем говорить?
(Why and what to talk about?)
"Зачем и о чем говорить?
Всю душу, с любовью, с мечтами,
Все сердце стараться раскрыть —
И чем же? — одними словами!
И хоть бы в словах-то людских
Не так уж все было избито! Значенья не сыщете в них,
Значение их позабыто!
Да и кому рассказать?
При искреннем даже желанье
Никто не сумеет понять
Всю силу чужого страданья!"
(Russian language)
@SonySoundtracksVEVO
Listen to the official Lion soundtrack here: https://soundtracks.lnk.to/LionAY
@bananahappy5472
epic :)
@orionsector
This music is crazy beautiful, as was the movie. Best movie I have seen in years, and the most emotionally moving too.
@jeanne458
orionsector I feel exactly the same. I never cried so much for a movie, and G.od knows I'm a sensitive person.
@alesterssucksateverything7910
Makes me cry
@happysqui-squirrel4816
Crazy Emotionally … I haven’t cry like this for a long time… amazing story
@jkim8147
exactly the same❤
@siryon9841
this film was breathtaking. I hope it can be noticed for its beauty and purity at the oscars
@soph7957
im so angry that it didn't win anything... still pissed
@soph7957
@MoJean yes i am