Where to stream Stranger Things : Netflix Honorable Mention 1 on iTunes in the US and the UK, and it hit No. Thanks to her song “Running Up That Hill” being the thing that could keep Max (Sadie Sink) out of Vecna’s grasp, Bush’s single reached No. He may have saved the lives of our Hawkins heroes, but it came at a price.Įddie tragically met his demise, but the exact opposite happened for singer/songwriter Kate Bush, who - like Metallica - saw a resurrection in popularity after her talent was revealed to a new generation of music lovers. Eddie made the ultimate sacrifice in the Upside Down, distracting the demo-bats with an awesome guitar rendition of Metallica’s “Master of Puppets” that drew praise from the band itself. Eddie instantly became a fan favorite, but we could never have anticipated that he would be the bearer of one of 2022’s biggest music moments. The long-awaited Stranger Things Season 4 finally arrived this year, introducing us to Joseph Quinn’s Eddie Munson. Even though it was my first recording after a 21-year hiatus, as you can see, I remain my own worst critic, and despite that long hiatus, I don't cut myself much slack.(Image credit: Netflix) Stranger Things: Eddie Munson And Kate Bush Won Our Hearts The little Sony had limitations to it to be sure, but I could have done a lot more with the dynamics. One thing I would do differently, however, would be to make far more of the subtle dynamics. So if I were to re-record it in the future, I'd probably stick to that approach. Rachmaninoff might disagree if he could be here, but I feel quite strongly about it. Without the repeat, the piece is more compact and has more impact. So to me, the repeat is, well, too repetitive. The piece moves along at a leisurely pace, and those sigh motifs become well ingrained in the listener's brain after awhile. This morning I was thinking: In this rendition of the "Moment", I didn't do the repeat because I never liked it. But in any recording, the pianist is the key ingredient for better or worse. There are variables, of course, in any recording-the piano, the mics, the recorder, room acoustics, and even sometimes extraneous noises. Thanks so much for your comments! I appreciate that. Believe it or not, this recording was made on a small Sony cassette tape stereo "boom box" recorder! This "Moment Musical" was my first recording since my senior recital in 1963, without much piano playing in between. I also recall at that time being influenced by the recording made by Ruth Laredo. with old names like that and you having been only 3 in 1984, I'm feeling a bit ancient here! But my playing you hear in this instance, given the style of the piece, comes down from Matthay for sure. (She also studied at the conservatory with Miklos Schwalb, a student of Ernst von Dohnanyi and David Barnett, a student of Howard Brockway and Alfred Cortot.) My second teacher (later in life) studied with Anthony di Bonaventura, a pupil of Isabelle Vengerova. From the time I was very young, I definitely got a full training in that! And I apply it to this day, even though over the years Matthay's stock has slipped a bit among current pedagogues. He was a student of Tobias Matthay, who developed the approach of using relaxed arm weight in producing a rich tone. One of my first teacher's teachers was Albion Metcalf at the New England Conservatory of Music in Boston. OK, you're forcing me to give up my secrets.
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