In Development

Here are some of the projects that we currently have in development:

Royal Liverpool Philharmonic Orchestra & Vasily PetrenkoRoyal Liverpool Philharmonic Orchestra & Vasily Petrenko

Commissioned by Select Music on behalf of Naxos, we had the opportunity to visit Liverpool ahead of recording sessions for the last instalment in the Royal Liverpool Philharmonic’s acclaimed Shostakovich symphony cycle under the baton of Vasily Petrenko. Symphony No.13 will be the final disc in a series that has garnered critical praise for the Orchestra and along with a glimpse behind the scenes, we interviewed Vasily about the development of the cycle and the challenges of committing such a work to disc.


Piano4HandsPiano4Hands
We are collaborating with the dynamic Piano4Hands to create two performance films of Poulenc and Fujikura, shot at Fairfield Halls right before a lunchtime recital. With a hall all to ourselves and the freedom to light creatively, we look forward to delivering a visually rich experience that perfectly marries the energy heard in their performances.


Iestyn Davies records HandelIestyn Davies records Handel with The King’s Consort
We were in the studio with leading countertenor Iestyn Davies who together with Carolyn Sampson and The King’s Consort was recording a disc of Handel arias for release on the Vivat label. Providing both film resources and photography from the sessions, check back on the site to go behind the scenes of the new disc.


Classical OperaClassical Opera
Our relationship with the incredible Classical Opera continues. Work is underway on footage from the recording sessions of Mozart’s early sacred singspiel Die Schuldigkeit des ersten Gebots and we returned to the studio for Mitridate, re di Ponto and an all-star cast including Miah Persson, Andrew Kennedy, Sophie Bevan and Lawrence Zazzo.


Royal College of MusicRoyal College of Music
A major new project is underway with the Royal College of Music to craft a series of films aimed at prospective students. Captured across multiple events and putting personal stories at the fore, we will communicate the breadth and quality of opportunities available to those considering studying at one of the world’s finest musical institutions.


London Handel FestivalLondon Handel Festival
TallWall Media was thrilled to work with the 2013 London Handel Festival, creating a suite of films to showcase (arguably) London’s most famous composer and the development of this important festival in the annual music calendar. Alongside performances and interviews with Laurence Cummings and other key contributors, we will bring a special focus to the Handel Singing Competition which has launched the careers of many notable young artists over the years.


Joseph SwensenJoseph Swensen
Filmed across two performances at the Théâtre du Châtelet Paris and St John’s, Smith Square London, we feel privileged to be collaborating with conductor and violinist Joseph Swensen in creating a set of films that showcase his unique musicianship, whether on the podium or as a sensational violin soloist/director. Check back on the site to watch a performance of the Brahms Violin Concerto, an engaging interview with Joseph and one of the most extraordinary violin encores you’ll likely see..


Gabrieli Consort & PlayersGabrieli Consort & Players
2013 kicked off in the studio with Paul McCreesh and the Gabrieli Consort & Players recording Britten’s monumental War Requiem. With massed choirs and top soloists in Susan Gritton, John Mark Ainsley and Christopher Maltman, the sound in the hall was incredible.


Charlotte Bray, composer
Last year we met young British composer Charlotte Bray. Intrigued by her background and path to becoming a composer, we were inspired to produce a profile film on her and her work. Over several months we have followed Charlotte with a camera capturing footage at the Oxford Lieder Festival (where Bray was composer-in-residence), at concerts in London and most recently at Schott Music’s offices in an interview with Mark-Anthony Turnage, her teacher at the RCM.

The following is an extract taken from that interview:

Charlotte Bray: “I remember my first lesson with Mark really clearly actually, we had a consultation lesson before I’d started [at the RCM], and I was pretty nervous before the lesson, but I guess it is quite a big deal showing your music to someone for the first time, especially someone that you really admire and want to study with.”

Mark-Anthony Turnage:What I did find really remarkable is that I noticed from the first lesson that you’d take lots of notes, it was amazing! It was great because some students just look blankly. I’d only been teaching two years when Charlotte studied with me and what I realised is that some students just want to be praised, some want to be ripped apart in a constructive way… what I noticed about Charlotte was that she took everything in.. she was writing things down and I thought this is great – it reminded me of when I studied with Olly Knussen because it was really a joy to teach her, because it wasn’t difficult!”

CB: “I guess there is that curiousness as well when you start composing later that you’re already aware of wanting to learn so much and wanting to absorb everything around you and wanting to just try everything out…”

MAT: “Yeah, but the remarkable thing about you Charlotte is that you developed really quickly. I see potential in quite a few students, but some just stop and you just really took off…”

CB: “I’m inspired by so many different things, I think that’s why it’s so hard to answer what inspires you because, one piece has so many different elements coming into it. There might be musical things that have struck you about another piece that you want to try out… I think you can’t help but be influenced by where you are in your life and what is happening around you or where you’re living.”

MAT: “I’ve changed actually… I would say that early on I had to have extra musical things to hook pieces on, for instance a painting, or poem or even a novel, there had to be something that would spark me off… But as I’ve got older, the music I write is more abstract, more probably about other music…  At certain points over the last three or four years I’ve got very influenced by going back to Bach and Beethoven and people that I admired when I was younger… and the pieces are much more abstract – I even wrote a cello concerto which I’ve just called cello concerto, which I never thought I’d do.

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