name	Piano
image capt	Bösendorfer grand piano
background	keyboard
hornbostel sachs	314.122-4-8
hornbostel sachs desc	Simple chordophone with keyboard sounded by hammers
inventors	Bartolomeo Cristofori
developed	Early 18th century
range	}}

The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal. Although not portable and often expensive, the piano's versatility and ubiquity have made it one of the world's most familiar musical instruments.

Pressing a key on the piano's keyboard causes a felt-covered hammer to strike steel strings. The hammers rebound, allowing the strings to continue vibrating at their resonant frequency. These vibrations are transmitted through a bridge to a sounding board that more efficiently couples the acoustic energy to the air. The sound would otherwise be no louder than that directly produced by the strings. When the key is released, a damper stops the string's vibration. See the article on Piano key frequencies for a picture of the piano keyboard and the location of middle-C. In the Hornbostel-Sachs system of instrument classification, pianos are considered chordophones.

The word ''piano'' is a shortened form of ''pianoforte'', the Italian word for the instrument (which in turn derives from the previous terms "gravicembalo col piano e forte" and fortepiano). The musical terms "piano" and "forte" mean "quiet" and "loud," and in this context refers to the variations in volume of sound the instrument produces in response to a pianist's touch on the keys: the greater a key press's velocity, the greater the force of the hammer hitting the string(s), and the louder the note produced.

History

Early history

The piano is founded on earlier technological innovations. The first string instruments with struck strings were the hammered dulcimers. During the Middle Ages, there were several attempts at creating stringed keyboard instruments with struck strings. By the 17th century, the mechanisms of keyboard instruments such as the clavichord and the harpsichord were well known. In a clavichord the strings are struck by tangents, while in a harpsichord they are plucked by quills. Centuries of work on the mechanism of the harpsichord in particular had shown the most effective ways to construct the case, soundboard, bridge, and keyboard.

The invention of the modern piano is credited to Bartolomeo Cristofori (1655–1731) of Padua, Italy, who was employed by Ferdinando de' Medici, Grand Prince of Tuscany, as the Keeper of the Instruments. He was an expert harpsichord maker, and was well acquainted with the body of knowledge on stringed keyboard instruments. It is not known exactly when Cristofori first built a piano. An inventory made by his employers, the Medici family, indicates the existence of a piano by the year 1700; another document of doubtful authenticity indicates a date of 1698. A friend of the family by the name of Sebastian LeBlanc suggested the idea to switch the black and white keys The three Cristofori pianos that survive today date from the 1720s.

While the clavichord allowed expressive control of volume and sustain, it was too quiet for large performances. The harpsichord produced a sufficiently loud sound, but had little expressive control over each note. The piano was likely formed as an attempt to combine loudness with control, avoiding the trade-offs of available instruments.

Cristofori's great success was solving, with no prior example, the fundamental mechanical problem of piano design: the hammer must strike the string, but not remain in contact with it (as a tangent remains in contact with a clavichord string) because this would dampen the sound. Moreover, the hammer must return to its rest position without bouncing violently, and it must be possible to repeat a note rapidly. Cristofori's piano action was a model for the many different approaches to piano actions that followed. Cristofori's early instruments were made with thin strings, and were much quieter than the modern piano—but compared to the clavichord (the only previous keyboard instrument capable of dynamic nuance via the keyboard) they were much louder and had more sustain.

Cristofori's new instrument remained relatively unknown until an Italian writer, Scipione Maffei, wrote an enthusiastic article about it (1711), including a diagram of the mechanism. This article was widely distributed, and most of the next generation of piano builders started their work due to reading it. One of these builders was Gottfried Silbermann, better known as an organ builder. Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern damper pedal, which lifts all the dampers from the strings simultaneously.

Silbermann showed Johann Sebastian Bach one of his early instruments in the 1730s, but Bach did not like it at that time, claiming that the higher notes were too soft to allow a full dynamic range. Although this earned him some animosity from Silbermann, the criticism was apparently heeded. Bach did approve of a later instrument he saw in 1747, and even served as an agent in selling Silbermann's pianos.

Piano-making flourished during the late 18th century in the Viennese school, which included Johann Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Streicher (daughter of Stein) and Anton Walter. Viennese-style pianos were built with wood frames, two strings per note, and had leather-covered hammers. Some of these Viennese pianos had the opposite coloring of modern-day pianos; the natural keys were black and the accidental keys white. It was for such instruments that Wolfgang Amadeus Mozart composed his concertos and sonatas, and replicas of them are built today for use in authentic-instrument performance of his music. The pianos of Mozart's day had a softer, more ethereal tone than today's pianos or English pianos, with less sustaining power. The term ''fortepiano'' is nowadays often used to distinguish the 18th-century instrument from later pianos.

In the period lasting from about 1790 to 1860, the Mozart-era piano underwent tremendous changes that led to the modern form of the instrument. This revolution was in response to a preference by composers and pianists for a more powerful, sustained piano sound, and made possible by the ongoing Industrial Revolution with resources such as high-quality piano wire for strings, and precision casting for the production of iron frames. Over time, the tonal range of the piano was also increased from the five octaves of Mozart's day to the 7⅓ or more octaves found on modern pianos.

Early technological progress owed much to the firm of Broadwood. John Broadwood joined with another Scot, Robert Stodart, and a Dutchman, Americus Backers, to design a piano in the harpsichord case—the origin of the "grand". They achieved this in about 1777. They quickly gained a reputation for the splendour and powerful tone of their instruments, with Broadwood constructing ones that were progressively larger, louder, and more robustly constructed. They sent pianos to both Joseph Haydn and Ludwig van Beethoven, and were the first firm to build pianos with a range of more than five octaves: five octaves and a fifth during the 1790s, six octaves by 1810 (Beethoven used the extra notes in his later works), and seven octaves by 1820. The Viennese makers similarly followed these trends, however the two schools used different piano actions: Broadwoods were more robust, Viennese instruments were more sensitive.

By the 1820s, the center of innovation had shifted to Paris, where the Pleyel firm manufactured pianos used by Frédéric Chopin and the Érard firm manufactured those used by Franz Liszt. In 1821, Sébastien Érard invented the double escapement action, which incorporated a ''repetition lever'' (also called the ''balancier'') that permitted a note to be repeated even if the key had not yet risen to its maximum vertical position. This facilitated rapid playing of repeated notes, and this musical device was pioneered by Liszt. When the invention became public, as revised by Henri Herz, the double escapement action gradually became standard in grand pianos, and is still incorporated into all grand pianos currently produced.

Other improvements of the mechanism included the use of felt hammer coverings instead of layered leather or cotton. Felt, which was first introduced by Henri Pape in 1826, was a more consistent material, permitting wider dynamic ranges as hammer weights and string tension increased. The sostenuto pedal (see below), invented in 1844 by Jean Louis Boisselot and improved by the Steinway firm in 1874, allowed a wider range of effects.

One of the major technical innovations that helped to create the sound of the modern piano was the use of a strong iron frame. Also called the "plate", the iron frame sits atop the soundboard, and serves as the primary bulwark against the force of string tension. The increased structural integrity of the iron frame allowed the use of thicker, tenser, and more numerous strings. In a modern grand the total string tension can exceed 20 tons. The single piece cast iron frame was patented in 1825 in Boston by Alpheus Babcock, combining the metal hitch pin plate (1821, claimed by Broadwood on behalf of Samuel Hervé) and resisting bars (Thom and Allen, 1820, but also claimed by Broadwood and Érard). Babcock later worked for the Chickering & Mackays firm who patented the first full iron frame for grand pianos in 1843. Composite forged metal frames were preferred by many European makers until the American system was fully adopted by the early 20th century.

Other important advances included changes to the way the piano was strung, such as the use of a "choir" of three strings rather than two for all but the lowest notes, and the implementation of an over-strung scale in which the strings are placed in two separate planes, each with its own bridge height. (This is also called "cross-stringing". Whereas earlier instruments' bass strings were a mere continuation of a single string plane, over-stringing placed the bass bridge behind and to the treble side of the tenor bridge area. This ''crossed'' the strings, with the bass strings in the higher plane.) This permitted a much narrower cabinet at the "nose" end of the piano, and optimized the transition from unwound tenor strings to the iron or copper-wrapped bass strings. Over-stringing was invented by Jean-Henri Pape during the 1820s, and first patented for use in grand pianos in the United States by Henry Steinway, Jr. in 1859.

Duplex scaling, patented in 1872 by Theodore Steinway, enhanced the voice of each note by using sympathetic vibration. Short lengths of non-speaking wire were bridged by the aliquot throughout much of upper range of the piano, always in locations that caused them to vibrate in conformity with their respective overtones—typically in doubled octaves and twelfths. Somewhat similar systems were developed by Blüthner (Aliquot stringing, 1873), as well as Taskin (1788), and Collard (1821). Each used more distinctly ringing, undamped vibrations to modify tone.

Some early pianos had shapes and designs that are no longer in use. The square piano (not truly square, but rectangular) was cross strung at an extremely acute angle above the hammers, with the keyboard set along the long side. This design is attributed to Gottfried Silbermann or Christian Ernst Friderici on the continent, and Johannes Zumpe or Harman Vietor in England, and it was improved by changes first introduced by Guillaume-Lebrecht Petzold in France and Alpheus Babcock in the United States. Square pianos were built in great numbers through the 1840s in Europe and the 1890s in America, and saw the most visible change of any type of piano: the iron-framed, over-strung squares manufactured by Steinway & Sons were more than two-and-a-half times the size of Zumpe's wood-framed instruments from a century before. Their overwhelming popularity was due to inexpensive construction and price, although their tone and performance were limited by narrow soundboards, simple actions and string spacing that made proper hammer alignment difficult.

The tall, vertically strung upright grand was arranged like a grand set on end, with the soundboard and bridges above the keys, and tuning pins below them. The term was later revived by many manufacturers for advertising purposes. Giraffe, pyramid and lyre pianos were arranged in a somewhat similar fashion in evocatively shaped cases.

The very tall cabinet piano was introduced about 1805 and was built through the 1840s. It had strings arranged vertically on a continuous frame with bridges extended nearly to the floor, behind the keyboard and very large ''sticker action''. The short cottage upright or ''pianino'' with vertical stringing, made popular by Robert Wornum around 1815, was built into the 20th century. They are informally called ''birdcage pianos'' because of their prominent damper mechanism. Pianinos were distinguished from the oblique, or diagonally strung upright made popular in France by Roller & Blanchet during the late 1820s. The tiny spinet upright was manufactured from the mid-1930s until recent times. The low position of the hammers required the use of a "drop action" to preserve a reasonable keyboard height.

Modern upright and grand pianos attained their present forms by the end of the 19th century. Improvements have been made in manufacturing processes, and many individual details of the instrument continue to receive attention.

History and musical performance

Much of the most widely admired piano repertoire, for example, that of Haydn, Mozart, and Beethoven, was composed for a type of instrument (the pianoforte) that is rather different from the modern instruments on which this music is normally performed today. Even the music of the Romantics, including Liszt, Chopin, Robert Schumann, Felix Mendelssohn and Johannes Brahms, was written for pianos substantially different from modern pianos.

Modern piano

Types

Modern pianos have two basic configurations (with subcategories): the grand piano and the upright piano.

Grand

In grand pianos, the frame and strings are horizontal, with the strings extending away from the keyboard. The action lies beneath the strings, and uses gravity as its means of return to a state of rest.

There are many sizes of grand piano. A rough generalization distinguishes the ''concert grand'' (between about 2.2 m and 3 m/9.84 feet long) from the ''parlor grand'' or ''boudoir grand'' (about 1.7 m to 2.2 m) and the smaller ''baby grand'' (around 1.5 m).

All else being equal, longer pianos with longer strings have larger, richer sound and lower inharmonicity of the strings. Inharmonicity is the degree to which the frequencies of overtones (known as partials or harmonics) sound sharp relative to whole multiples of the fundamental frequency. This results from the piano's considerable string stiffness; as a struck string decays its harmonics vibrate, not from their termination, but from a point very slightly toward the center (or more flexible part) of the string. The higher the partial, the further sharp it runs. Pianos with shorter and thicker strings, i.e. small pianos with short string scales, have more inharmonicity. The greater the inharmonicity, the more the ear perceives it as harshness of tone.

Inharmonicity requires octaves to be "stretched", or tuned to a lower octave's corresponding sharp overtone rather than to a theoretically correct octave. If octaves are not stretched, single octaves sound in tune, but double—and notably triple—octaves are unacceptably narrow. Stretching a small piano's octaves to match its inherent inharmonicity level creates an imbalance among all the instrument's intervallic relationships, not just its octaves. In a concert grand, however, the octave "stretch" retains harmonic balance, even when aligning treble notes to a harmonic produced from three octaves below. This lets close and widespread octaves sound pure, and produces virtually beatless perfect fifths. This gives the concert grand a brilliant, singing and sustaining tone quality—one of the principal reasons that full-size grands are used in the concert hall. Smaller grands satisfy the space and cost needs of domestic use.

Upright/vertical

Upright pianos, also called vertical pianos, are more compact because the frame and strings are vertical. The hammers move horizontally, and return to their resting position via springs, which are susceptible to degradation. Upright pianos with unusually tall frames and long strings are sometimes called ''upright grand'' pianos. Some authors classify modern pianos according to their height and to modifications of the action that are necessary to accommodate the height.

''Studio'' pianos are around 42 to 45 inches tall. This is the shortest cabinet that can accommodate a full-sized action located above the keyboard.

''Console'' pianos have a compact action (shorter hammers), and are a few inches shorter than studio models.

The top of a ''spinet'' model barely rises above the keyboard. The action is located below, operated by vertical wires that are attached to the backs of the keys.

Anything taller than a studio piano is called an ''upright''.

Other types

The 19th century saw the introduction of the toy piano.

In 1863, Henri Fourneaux invented the player piano, which plays itself from a piano roll. A machine perforates a performance recording into rolls of paper, and the player piano replays the performance using pneumatic devices. Modern equivalents of the player piano include the Bösendorfer CEUS and the Yamaha disklavier, using solenoids and MIDI rather than pneumatics and rolls.

A silent piano is an acoustic piano having an option to silence the strings by means of an interposing hammer bar. They are designed for private silent practice.

Edward Ryley invented the transposing piano in 1801. It has a lever under the keyboard as to move the keyboard relative to the strings so a pianist can play in a familiar key while the music sounds in a different key.

The prepared piano, present in some contemporary art music, is a piano with objects placed inside it to alter its sound, or has had its mechanism changed in some other way. The scores for music for prepared piano specify the modifications, for example instructing the pianist to insert pieces of rubber, paper, metal screws, or washers in between the strings. These either mute the strings or alter their timbre. A harpsichord-like sound can be produced by placing or dangling small metal buttons in front of the hammer.

Electric pianos use electromagnetic pickups to amplify the sound of the strings. Playing a note loudly causes the electric signal to clip, and the player can incorporate the distortion into his or her expressive range.

Digital pianos use digital sampling technology to reproduce the sound of each piano note. Digital pianos can be sophisticated, with features including working pedals, weighted keys, multiple voices, and MIDI interfaces. However, when one depresses the damper pedal (see below) on such an instrument, there are no strings to vibrate sympathetically. The synthesis software of some higher end digital pianos, such as the Yamaha Clavinova series, or the KAWAI MP8 series, incorporates physical models of sympathetic vibration.

With the advent of powerful desktop computers, highly realistic pianos have become available as affordable software modules. Some of these modules, such as the 2004 Synthogy's Ivory, use multi-gigabyte piano sample sets with as many as 90 recordings, each lasting many seconds, for each of the 88 (some have 81) keys under different conditions. Additional samples emulate sympathetic resonance, key release, the drop of the dampers, and simulations of piano techniques like re-pedaling to augment these conditions. Some other software modules, such as Modartt's 2006 Pianoteq, use no samples whatsoever and are a pure synthesis of all aspects of the physicalities that go into the creation of a real piano's sound.

Today, piano manufactures take advantage of innovative pianos that play themselves via a CD or MP3 player. Similar in concept to a player piano, the PianoDisc or iQ systems allow pianos to "play themselves" when the software interprets a certain file format. Such additions are quite expensive, often doubling the cost of a piano. These pianos are available in both upright and grand.

Keyboard

Almost every modern piano has 36 black keys and 52 white keys for a total of 88 keys (seven octaves plus a minor third, from A₀ to C₈). Many older pianos only have 85 keys (seven octaves from A₀ to A₇), while some manufacturers extend the range further in one or both directions.

Some Bösendorfer pianos, for example, extend the normal range down to F₀, with one other model going as far as a bottom C₀, making a full eight octave range. These extra keys are sometimes hidden under a small hinged lid that can cover the keys to prevent visual disorientation for pianists unfamiliar with the extra keys. On others, the colors of the extra white keys are reversed (black instead of white).

The extra keys are added primarily for increased resonance from the associated strings; that is, they vibrate sympathetically with other strings whenever the damper pedal is depressed and thus give a fuller tone. Only a very small number of works composed for piano actually use these notes. More recently, the Stuart and Sons company has also manufactured extended-range pianos, with the first 102 key piano. On their instruments, the frequency range extends from C₀ to F₈, which is the widest practical range for the acoustic piano. The extra keys are the same as the other keys in appearance.

Small studio upright acoustical pianos with only 65 keys have been manufactured for use by roving pianists. Known as ''gig'' pianos and still containing a cast iron harp, these are comparatively lightweight and can be easily transported to and from engagements by only two people. As their harp is longer than that of a spinet or console piano, they have a stronger bass sound that to some pianists is well worth the trade-off in range that a reduced key-set offers.

The toy piano manufacturer Schoenhut started manufacturing both grands and uprights with only 44 or 49 keys, and shorter distance between the keyboard and the pedals. These pianos are true pianos with action and strings. The pianos were introduced to their product line in response to numerous requests in favor of it.

Pianos have been built with alternative keyboard systems, e.g., the Jankó keyboard.

Pedals

Standard pedals

Pianos have had pedals, or some close equivalent, since the earliest days. (In the 18th century, some pianos used levers pressed upward by the player's knee instead of pedals.) Most grand pianos in the US have three pedals: the soft pedal (una corda), sostenuto, and sustain pedal (from left to right, respectively), while in Europe, the standard is two pedals: the soft pedal and the sustain pedal. Most modern upright pianos also have three pedals: soft pedal, practice pedal and sustain pedal, though older or cheaper models may lack the practice pedal. In Europe the standard for upright pianos is two pedals: the soft and the sustain pedals.

The sustain pedal (or, damper pedal) is often simply called "the pedal", since it is the most frequently used. It is placed as the rightmost pedal in the group. It lifts the dampers from all keys, sustaining all played notes. In addition, it alters the overall tone by allowing all strings, including those not directly played, to reverberate.

The soft pedal or ''una corda'' pedal is placed leftmost in the row of pedals. In grand pianos it shifts the entire action/keyboard assembly to the right (a very few instruments have shifted left) so that the hammers hit two of the three strings for each note. In the earliest pianos whose unisons were bichords rather than trichords, the action shifted so that hammers hit a single string, hence the name ''una corda'', or 'one string'. The effect is to soften the note as well as change the tone. In uprights this action is not possible; instead the pedal moves the hammers closer to the strings, allowing the hammers to strike with less kinetic energy. This produces a slightly softer sound, but no change in timbre.

On grand pianos, the middle pedal is a sostenuto pedal. This pedal keeps raised any damper already raised at the moment the pedal is depressed. This makes it possible to sustain selected notes (by depressing the sostenuto pedal before those notes are released) while the player's hands are free to play additional notes (which aren't sustained). This can be useful for musical passages with pedal points and other otherwise tricky or impossible situations.

On many upright pianos, the middle pedal is called the "practice" or ''celeste'' pedal. This drops a piece of felt between the hammers and strings, greatly muting the sounds. Often this pedal can be shifted while depressed, into a "locking" position.

There are also non-standard variants. On some pianos (grands and verticals), the middle pedal can be a bass sustain pedal: that is, when it is depressed, the dampers lift off the strings only in the bass section. Players use this pedal to sustain a single bass note or chord over many measures, while playing the melody in the treble section. On the Stuart and Sons piano as well as the largest Fazioli piano, there is a fourth pedal to the left of the principal three. This fourth pedal works in the same way as the soft pedal of an upright piano, moving the hammers closer to the strings.

Unusual pedals

The rare transposing piano (such as owned by Irving Berlin) has a middle pedal that functions as a clutch that disengages the keyboard from the mechanism, enabling the keyboard to be moved to the left or right with a lever. The entire action of the piano is thus shifted to allow the pianist to play music written in one key so that it sounds in a different key.

There were three piano companies to include extra pedals other than the standard two or three. Two of these companies offered a piano with four pedals (Crown and Schubert Piano Co.), and Wing and Son of New York offered a five-pedal piano from approximately 1893 through the 1920s. There is no mention of the company past the 1930s. Labeled left to right the pedals are Mandolin, Orchestra, Expression, Soft, and Forte (Sustain). The Mandolin pedal produces a sound similar to a vibrato feel by bouncing a set of small hammers against the strings, enabling the piano to mimic a mandolin, guitar, banjo, zither and harp. The Orchestra (Orch) pedal used a similar approach, lowering a set of metal-tipped felt strips in between the hammers and the strings. This extended the life of the hammers when the Orch pedal was used, a good idea for practicing, and created an echo-like sound that mimicked playing in an orchestral hall.

The ''pedalier'' piano, or pedal piano, is a rare type of piano that includes a pedalboard, enabling bass register notes to be played with the feet, as is standard on the organ. There are two types of pedal piano: the pedal board may be an integral part of the instrument, using the same strings and mechanism as the manual keyboard, or, less frequently, it may consist of two independent pianos (each with its separate mechanics and strings), which are placed one above the other, a regular piano played by the hands and a bass-register piano played by the feet. This was developed primarily as a practice instrument for organists, although there is a small repotoire written specifically for the instrument.

Construction

Many parts of a piano are made of materials selected for strength and longevity. This is especially true of the outer rim. It is most commonly made of hardwood, typically maple or beech, and its massiveness serves as an essentially immobile object from which the flexible soundboard can best vibrate. According to Harold A. Conklin, the purpose of a sturdy rim is so that "the vibrational energy will stay as much as possible in the soundboard instead of dissipating uselessly in the case parts, which are inefficient radiators of sound."

Yet Bösendorfer, the Austrian manufacturer of high quality pianos, constructs their rim from spruce, the very same wood that the soundboard is made from. Their idea is to concertedly involve the cabinet in the projection and coloration of sound. The ''loss'' of energy into the Bösendorfer case alters the instrument's tone, giving it perhaps less power but a complex and unusually resonant sound.

The finest hardwood rims are made by laminating thin (hence flexible) strips of hardwood, bending them to the desired shape immediately after the application of glue. This system was developed by Theodore Steinway in 1880. The thick wooden posts on the underside (grands) or back (uprights) of the piano stabilize the rim structure, and are made of softwood for stability. The requirement of structural strength, fulfilled by stout hardwood and thick metal, makes a piano heavy; even a small upright can weigh 136 kg (300 lb), and the Steinway concert grand (Model D) weighs 480 kg (990 lb). The largest piano built, the Fazioli F308, weighs 691 kg (1520 lb).

The pinblock, which holds the tuning pins in place, is another area where toughness is important. It is made of hardwood, (typically hard maple or beech), and is laminated for strength, stability and longevity. Piano strings (also called piano wire), which must endure years of extreme tension and hard blows, are made of high carbon steel. They are manufactured to vary as little as possible in diameter, since all deviations from uniformity introduce tonal distortion. The bass strings of a piano are made of a steel core wrapped with copper wire, to increase their mass whilst retaining flexibility. If all strings throughout the piano's compass were individual (monochord), the massive bass strings would overpower the upper ranges. Makers compensate for this with the use of double (bichord) strings in the tenor and triple (trichord) strings throughout the treble.

The plate, or metal frame, of a piano is usually made of cast iron. It is advantageous for the plate to be very massive. Since the strings vibrate from the plate at both ends, vibrations absorbed by the plate result in energy loss to the desired (efficient) sound transmission channel, namely the bridge and the soundboard. While some manufacturers use cast steel in their plates, most prefer cast iron. Cast iron is easy to cast and machine, has flexibility sufficient for piano use, is much more resistant to deformation than steel, and is especially tolerant of compression. Plate casting is an art, since dimensions are crucial and the iron shrinks about one percent during cooling.

Including an extremely large piece of metal in a piano is potentially an aesthetic handicap. Piano makers overcome this by polishing, painting, and decorating the plate. Plates often include the manufacturer's ornamental medallion. In an effort to make pianos lighter, Alcoa worked with Winter and Company piano manufacturers to make pianos using an aluminum plate during the 1940s. Aluminum piano plates were not widely accepted, and were discontinued.

The numerous grand parts and upright parts of a piano action are generally hardwood, e.g., maple, beech, or hornbeam. However, since WWII, makers have used some plastics. Early plastics were incorporated into some pianos in the late 1940s and 1950s, but proved disastrous because they lost strength after a few decades of use. The Steinway firm once incorporated Teflon, a synthetic material developed by DuPont, for some grand action parts in place of cloth, but abandoned the experiment due to excessive friction and a "clicking" that developed over time. (Teflon is "humidity stable" whereas the wood adjacent to the Teflon swells and shrinks with humidity changes, causing problems.) More recently, the Kawai firm built pianos with action parts made of more modern materials such as carbon fiber reinforced plastic, and the piano parts manufacturer Wessell, Nickel and Gross has launched a new line of carefully engineered composite parts. Thus far these parts have performed reasonably, but it will take decades to know if they equal the longevity of wood.

In all but the poorest pianos the soundboard is made of solid spruce (that is, spruce boards glued together along the side grain). Spruce's high ratio of strength to weight minimizes acoustic impedance while offering strength sufficient to withstand the downward force of the strings. The best piano makers use quarter-sawn, defect-free spruce of close annular grain, carefully seasoning it over a long period before fabricating the soundboards. Cheap pianos often have plywood soundboards.

In the early years of piano construction, keys were commonly made from sugar pine. Today they are likely to be made of spruce or basswood. Spruce is typically used in high-quality pianos. The black keys were traditionally made from ebony and the white keys were covered with strips of ivory, but since ivory-yielding species are now endangered and protected by treaty, plastics are now almost exclusively used. Also, ivory tends to chip more easily than plastic. Legal ivory can still be obtained in limited quantities. The Yamaha firm invented a plastic called "Ivorite" that they claim mimics the look and feel of ivory; it has since been imitated by other makers.

Care and maintenance

thumb|The piano at the social center in the 19th century (Moritz von Schwind, 1868). The man at the piano is Franz Schubert.Pianos need regular tuning to keep them on pitch, which is usually the internationally recognized standard concert pitch of A4 = 440 Hz. The hammers of pianos are voiced to compensate for gradual hardening, and other parts also need periodic regulation. Aged and worn pianos can be rebuilt or reconditioned. Often, by replacing a great number of their parts, they can perform as well as new pianos. Older pianos are often more settled and produce a warmer tone.

Piano moving should be done by trained piano movers using adequate manpower and the correct equipment for any particular piano's size and weight. Pianos are heavy yet delicate instruments. Over the years, professional piano movers have developed special techniques for transporting both grands and uprights, which prevent damage to the case and to the piano's mechanics.

Tuning

thumb|left|A [[piano tuning|piano tuner]]The relationship between two pitches, called an interval, is the ratio of their absolute frequencies. Two different intervals are perceived as the same when the pairs of pitches involved share the same frequency ratio. The easiest intervals to identify, and the easiest intervals to tune, are those that are just, meaning they have a simple whole-number ratio. The term ''temperament'' refers to a tuning system that tempers the just intervals (usually the perfect fifth, which has the ratio 3:2) to satisfy another mathematical property; in equal temperament, a fifth is tempered by narrowing it slightly, achieved by flattening its upper pitch slightly, or raising its lower pitch slightly. A temperament system is also known as a set of bearings.

Tempering an interval causes it to beat, which is a fluctuation in perceived sound intensity due to interference between close (but unequal) pitches. The rate of beating is equal to the frequency differences of any harmonics that are present for both pitches and that coincide or nearly coincide.

Piano tuning is the act of adjusting the tensions of the piano's strings, thereby aligning the intervals among their tones so that the instrument is in tune. The meaning of the term ''in tune'' in the context of piano tuning is not simply a particular fixed set of pitches. Fine piano tuning carefully assesses the interaction among all notes of the chromatic scale, different for every piano, and thus requires slightly different pitches from any theoretical standard. Pianos are usually tuned to a modified version of the system called equal temperament (''see Piano key frequencies for the theoretical piano tuning''). In all systems of tuning, each pitch is derived from its relationship to a chosen fixed pitch, usually A440.

Physics

When the key is struck, a chain reaction occurs to produce the sound. First, the key raises the wippen, which forces the jack against the hammer roller (or "knuckle"). The hammer roller then lifts the lever carrying the hammer. The key also raises the damper; and immediately after the hammer strikes the wire it falls back, allowing the wire to resonate. When the key is released the damper falls back onto the strings, stopping the wire from vibrating. The vibrating piano strings themselves are not very loud, but their vibrations are transmitted to a large soundboard that moves air and thus converts the energy to sound. The irregular shape and off-center placement of the bridge ensures that the soundboard vibrates strongly at all frequencies. (See Piano action for a diagram and detailed description of piano parts.)

There are three factors that influence the pitch of a vibrating wire.

Length: All other factors the same, the shorter the wire, the higher the pitch.

Mass per unit length: All other factors the same, the thinner the wire, the higher the pitch.

Tension: All other factors the same, the tighter the wire, the higher the pitch.

A vibrating wire subdivides itself into many parts vibrating at the same time. Each part produces a pitch of its own, called a partial. A vibrating string has one fundamental and a series of partials. The most pure combination of two pitches is when one is double the frequency of the other.

For a repeating wave, the velocity, ''v'', equals the wavelength, ''λ'', times the frequency, ''f''.

''v = λf''

On the piano string, waves reflect from both ends. The superposition of reflecting waves results in a standing wave pattern, but only for wavelengths λ = 2L, L, L/2, … = 2L/n, where L is the length of the string. Therefore the only frequencies produced on a single string are ''f'' = n''v''/(2L). Timbre is largely determined by the content of these harmonics. Different instruments have different harmonic content for the same pitch. A real string vibrates at harmonics that are not perfect multiples of the fundamental. This results in a little inharmonicity, which gives richness to the tone but causes significant tuning challenges throughout the compass of the instrument.

Striking the piano key with greater force increases the amplitude of the waves and therefore the volume. From ''pianissimo'' (''pp'') to ''fortissimo'' (''ff'') the hammer velocity changes by almost a factor of a hundred. The hammer contact time with the string shortens from 4 ms at ''pp'' to less than 2 ms at ''ff''. If two wires adjusted to the same pitch are struck at the same time, the sound produced by one reinforces the other, and a louder combined sound of shorter duration is produced. If one wire vibrates out of synchronization with the other, they subtract from each other and produce a softer tone of longer duration.

Well-known piano makers

Some well-known piano makers are (in alphabetical order): Baldwin, Bechstein, Behr Brothers Piano Company, Blüthner, Bösendorfer, Broadwood, Fazioli, Feurich, Förster, Heintzman, Kawai, Mason & Hamlin, Overs, Pearl River, Petrof, Pleyel, Schimmel, Steingraeber & Söhne, Steinway & Sons, Stuart & Sons, Wm. Knabe & Co., Yamaha.

Role

The piano is a crucial instrument in Western classical music, jazz, film, television, and most other complex western musical genres. A large number of composers are proficient pianists—and because the piano keyboard offers an easy means of complex melodic and harmonic interplay—the piano is often used as a tool for composition.

Pianos were, and still are, popular instruments for private household ownership.

Pianos sometimes referred to by nicknames including: "the ivories", "the joanna", "the eighty-eight", "the black(s) and white(s)", and "the little joe(s)". Playing the piano is sometimes referred to as "tickling the ivories".

See also

;General

Jazz piano

Musica Obscura

Piano extended technique

Piano transcription

Piano trio

PianoForte Foundation

Street piano

String piano

;Technical

Agraffe

Aliquot stringing

Piano acoustics

Sounding board

;Related lists

List of classical pianists (recorded)

List of films about pianists

List of piano brand names

List of piano makers

Piano compositions category

;Related instruments

Electric piano

Electronic keyboard

Electronic piano

Harmonichord

Keyboard instruments

Keytar

Organ and Pipe organ

;Other

Pianos

Pianist

Notes

References

The authoritative ''New Grove Dictionary of Music and Musicians'' (available online by subscription), contains a wealth of information. Main article: "Pianoforte".

The ''Encyclopædia Britannica'' (available online by subscription) also includes much information on the piano. In the 1988 edition, the primary article can be found in "Musical Instruments".

The Piano Book by Larry Fine (4th ed. Jamaica Plain, Massachusetts: Brookside Press, 2001; ISBN 1-929145-01-2) gives the basics of how pianos work, and a thorough evaluative survey of current pianos and their manufacturers. It also includes advice on buying and owning pianos.

''Giraffes, black dragons, and other pianos: a technological history from Cristofori to the modern concert grand'' by Edwin M. Good (1982, second ed., 2001, Stanford, Calif.: Stanford University Press) is a standard reference on the history of the piano.

''The Early Pianoforte'' by Stewart Pollens (1995, Cambridge: Cambridge University Press) is an authoritative work covering the ancestry of the piano, its invention by Cristofori, and the early stages of its subsequent evolution.

Further reading

External links

The Piano Page

History of the Piano Forte, Association of Blind Piano Tuners, UK

The Frederick Historical Piano Collection

The Pianofortes of Bartolomeo Cristofori, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art

Piano Reviews

Category:Composite chordophones Category:Italian inventions Category:Keyboard instruments Category:Percussion instruments

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name	Kate Bush
background	solo_singer
birth name	Catherine Bush
transformice name	Katebush
birth date	July 30, 1958
birth place	Bexleyheath, Kent, England
instrument	Vocals, piano, keyboards, bass guitar, guitar, violin
genre	Art rock, progressive rock, alternative rock
occupation	Musician, vocalist, songwriter, record producer
years active	1975–present
label	EMI Records (1975–present)Columbia Records (U.S.) (1989–2009)Legacy Recordings (2010–present) Fish People (division of EMI) 2011–
website
notable instruments	Fairlight CMI }}

Kate Bush (born Catherine Bush 30 July 1958) is an English singer-songwriter, musician and record producer. Her eclectic musical style and idiosyncratic vocal style have made her one of the United Kingdom's most successful solo female performers of the past 30 years. Bush was signed by EMI at the age of 16 after being recommended by Pink Floyd's David Gilmour. In 1978, at age 19, she topped the UK Singles Chart for four weeks with her debut single "Wuthering Heights," becoming the first woman to have a UK number-one with a self-written song. She was also the most photographed woman in the United Kingdom the following year.

After her 1979 tour—the only concert tour of her career—Bush released the 1980 album ''Never for Ever'', which made her the first British solo female artist to top the UK album charts and the first female artist ever to enter the album chart at No. 1. In 1987, she won a BRIT Award for Best British Female Solo Artist. She has released ten albums, three of which topped the UK Albums Chart, and has had twenty-five UK Top 40 hit singles including "Wuthering Heights," "Running Up that Hill," "King of the Mountain," "Babooshka," "The Man with the Child in His Eyes," and "Don't Give Up" (a duet with Peter Gabriel)—all of which reached the Top 10.

In 2002, Bush's songwriting ability was recognised with an Ivor Novello Award for Outstanding Contribution to British Music. In 2005, she released ''Aerial'', her first album in 12 years. The album earned her a BRIT Award nomination for Best Album and another for Best Solo Female Artist. During the course of her career, she has also been nominated for three Grammy Awards. In early 2011, EMI Records also announced an upcoming re-issue of four of Bush's albums (''The Dreaming'', ''Hounds of Love'', ''The Sensual World'' and ''The Red Shoes'') under the name of her own label, Fish People, now that Bush has regained full control over these records. Bush released ''Director's Cut'' on 16 May 2011, which contains reworked material from her albums ''The Sensual World'' (1989) and ''The Red Shoes'' (1993). As of May 2011, Bush was working on an album of new material.

Early life

Bush was born in Bexleyheath, Kent, to English physician Robert Bush and his Irish wife, Hannah Daly. She was raised in their farmhouse in East Wickham, Kent, with her older brothers, John and Paddy. Bush came from an artistic background: her mother was a former Irish folk dancer, her father was an accomplished pianist, Paddy worked as a musical-instrument maker and John was a poet and photographer. Both brothers were involved in the local folk music scene. John was a karateka at Goldsmiths College karate club and Bush also trained there, becoming known as "Ee-ee" because of her squeaky kiai. One of the instructors, Dave Hazard, later noted in his autobiography that her dance moves seemed to owe something to karate. Her family's musical influence inspired the young Kate to teach herself to play the piano at age 11. She also played the organ in a barn behind her parents' house and studied the violin. She soon began writing her own tunes and eventually added lyrics to them.

Career

Bush attended St Joseph's Convent Grammar School (later the St Joseph's campus of Bexley College) and a Catholic girls' school on Woolwich Road in Abbey Wood, London, in the mid-1970s. During this time her family produced a demo tape with over 50 of her compositions, which was turned down by record labels. David Gilmour of Pink Floyd received the demo from Ricky Hopper, a mutual friend of Gilmour and the Bush family. Impressed with what he heard, Gilmour helped Bush get a more professional-sounding demo tape recorded that would be more saleable to the record companies. The tape was produced by Gilmour's friend Andrew Powell, who would go on to produce Bush's first two albums, as well as by sound engineer Geoff Emerick. The tape was sent to EMI executive Terry Slater, who would become famous for signing The Sex Pistols. Slater was impressed by the tape and signed her. At that time, Pink Floyd was an important act to EMI. The British record industry was reaching a point of stagnation. Progressive rock was very popular and visually oriented rock performers were growing in popularity, thus record labels looking for the next big thing were considering experimental acts.

Bush was put on retainer for two years by Bob Mercer managing director of EMI group-repertoire division. According to Mercer he felt Bush's material was good enough to be released but felt if the album failed it would be demoralizing and if it was successful Bush was too young to handle it. For the first two years of her contract, Bush spent more time on school work than making an album. She left school after doing her mock A-levels and having gained ten GCE O-Level qualifications. In 2005, Bush stated in an interview with Mark Radcliffe on BBC Radio 2 that she believed EMI signed her before she was ready to make an album so that no other record company could offer her a contract. After the contract signing, EMI forwarded her a sizeable advance which she used to enroll in interpretive dance classes taught by Lindsay Kemp, a former teacher of David Bowie, and mime training with Adam Darius.

Bush also wrote and made demos of close to 200 songs, a few of which today can be found on bootleg recordings and are known as the ''Phoenix Recordings''. From March to August 1977, she fronted the KT Bush Band at public houses around London – specifically at the Rose of Lee public house (now Dirty South) in Lewisham. The other three band members were Del Palmer (bass), Brian Bath (guitar), and Vic King (drums). She began recording her first album in August 1977, although two tracks had been recorded during the summer of 1975.

''The Kick Inside'' and ''Lionheart''

As part of her preparation for entering the studio, Bush toured pubs with the KT Bush Band. However, for her debut album ''The Kick Inside'' (1978) she was persuaded to use established session musicians, some of whom she would retain even after she had brought her band-mates back on board. Her brother Paddy Bush played the harmonica and mandolin, unlike on later albums where he would play more exotic instruments such as the balalaika and didgeridoo. Stuart Elliott played some of the drums and would become her main percussionist on subsequent albums.

Bush released ''The Kick Inside'' when she was 19 years old, but some of the songs had been written when she was as young as 13. EMI originally wanted the more rock-oriented track "James and the Cold Gun" to be her debut single, but Bush insisted that it should be "Wuthering Heights". Even at this early stage of her career, she had gained a reputation for her determination to have a say in decisions affecting her work. "Wuthering Heights" topped the UK and Australian charts and became an international hit. Bush became the first woman to reach number one in the UK charts with a self-penned song. A second single, "The Man with the Child in His Eyes", reached number six on the UK charts. It also made it onto the American Billboard Hot 100 where it reached number 85 in early 1979. Bob Mercer felt that Bush's relative lack of success in the United States compared to the rest of the world was due to her music being a poor fit for American radio formats and that there were no outlets for the visual presentation central to Bush's appeal. "The Man with the Child in His Eyes" went on to win her an Ivor Novello Award in 1979 for Outstanding British Lyric. EMI capitalised on Bush's appearance by promoting the album with a poster of her in a tight pink top that emphasised her breasts. In an interview with ''NME'' magazine in 1982, Bush criticised the marketing technique, stating: "People weren't even generally aware that I wrote my own songs or played the piano. The media just promoted me as a female body. It's like I've had to prove that I'm an artist in a female body." In late 1978, EMI persuaded Bush to quickly record a follow-up album, ''Lionheart'', to take advantage of the success of ''The Kick Inside''. Bush has often expressed dissatisfaction with ''Lionheart'', feeling that she needed more time to get it right. The album was rushed out of the studio in Nice on the French Riviera. The album was produced by Andrew Powell, assisted by Bush. While it has its share of hits, most notably "Wow", it did not garner the same reception as her first album, reaching number six in the UK album charts.

Bush was displeased with being rushed into making the second album. She set up her own publishing company, Kate Bush Music, and her own management company, Novercia, to maintain complete control over her work. The board of directors of these companies was herself and members of her family. Following the album's release, she was required by EMI to undertake heavy promotional work and an exhausting tour, the only one of her career. The tour, named The Tour of Life, began in April 1979 and lasted six weeks. This live show was co-devised and performed on stage with magician Simon Drake. Typical of her determination to have control, she was involved in every aspect of the show's production, choreography, set design, and staff recruitment. The shows were noted for her dancing, complex lighting and her 17 costume changes per show. Because of her intention to dance as she sang, her sound engineers used a wire coat hanger and a radio microphone to fashion the first headset mic to be used by a rock performer, at least since the Swedish group Spotnicks used a very primitive version in the early 1960s.

''Never for Ever'' and ''The Dreaming''

Released in September 1980, ''Never for Ever'' saw Bush's second foray into production, co-producing with Jon Kelly. Her first time as a producer was on her ''Live On Stage'' EP, released after her tour the previous year. The first two albums had resulted in a definitive sound evident in every track, with orchestral arrangements supporting the live band sound. The range of styles on ''Never for Ever'' is much more diverse, veering from the straightforward rocker "Violin" to the wistful waltz of hit single "Army Dreamers". ''Never for Ever'' was the first Kate Bush album to feature synthesisers and drum machines, in particular the Fairlight CMI, to which she was introduced when providing backing vocals on Peter Gabriel's third album in early 1980. It was her first record to reach the top position in the UK album charts, also making her the first female British artist to achieve that status, and the first female artist ever to enter the album chart at the top. The top-selling single from the album was "Babooshka", which reached number five in the UK singles chart. In November 1980, she released the Christmas single "December Will Be Magic Again", which reached number 29 in the UK charts.

September 1982 saw the release of ''The Dreaming'', the first album Bush produced by herself. It was also a major departure for Bush, being initially composed on the Fairlight CMI rather than piano, with songs extensively revised and rebuilt in the studio, rather than merely arranged there. With her new-found freedom, she experimented with production techniques, creating an album that features a diverse blend of musical styles and is known for its near-exhaustive use of the Fairlight CMI. ''The Dreaming'' received a mixed critical reception in the UK at first. Many were baffled by the dense soundscapes Bush had created, and some critics accused the album of being over-produced. In a 1993 interview with ''Q'', Bush stated: "That was my 'She's gone mad' album." However, the album was hailed as a "masterpiece" and a "musical ''tour-de-force''" by critics in America, and the album became her first to enter the US charts, albeit only reaching number 157. The album entered the UK album chart at no.3, but is to date her lowest selling album, garnering only a gold disc.

"Sat in Your Lap" was the first single from the album to be released. It pre-dated the album by over a year and peaked at number 11 in the UK. The album's title track, featuring the talents of Rolf Harris and Percy Edwards, stalled at number 48, while the third single, "There Goes a Tenner", failed to chart, despite promotion from EMI and Bush. The track "Suspended in Gaffa" was released as a single in Europe, but not in the UK.

Continuing in her storytelling tradition, Bush looked far outside her own personal experience for sources of inspiration. She drew on old crime films for "There Goes A Tenner", a documentary about the war in Vietnam for "Pull Out The Pin", and the plight of Indigenous Australians for "The Dreaming". "Houdini" is about the magician's death, and "Get Out Of My House" was inspired by Stanley Kubrick's film of Stephen King's novel ''The Shining''.

''Hounds of Love'' and ''The Whole Story''

''Hounds of Love'' was released in 1985. Because of the high cost of hiring studio space for her previous album, she built a private studio near her home, where she could work at her own pace. ''Hounds of Love'' ultimately topped the charts in the UK, knocking Madonna's ''Like A Virgin'' from the number one position.

The album takes advantage of the vinyl format with two very different sides. The first side, ''Hounds of Love'', contains five "accessible" pop songs, including the four singles "Running Up that Hill," "Cloudbusting," "Hounds of Love," and "The Big Sky." In August 1985, ''NME'' featured Bush in a "Where Are They Now" article. "Running Up that Hill" reached number 3 in the UK charts and also re-introduced Bush to American listeners, climbing to number 30 on the Billboard Hot 100 in November 1985. The second side of the album, ''The Ninth Wave'', takes its name from Tennyson's poem, "Idylls of the King," about the legendary King Arthur's reign, and is one continuous piece of music. The album earned Bush nominations for Best Female Solo Artist, Best Album, Best Single, and Best Producer at the 1986 BRIT Awards. In the same year, Bush and Peter Gabriel had a UK top ten hit with "Don't Give Up," and EMI released her "greatest hits" album, ''The Whole Story'', for which she recorded the single "Experiment IV" and provided new vocals and a refreshed backing track to "Wuthering Heights." Bush won the award for Best Female Solo Artist at the 1987 BRIT Awards.

''The Sensual World'' and ''The Red Shoes''

The increasingly personal tone of her writing continued on 1989's ''The Sensual World'', with songs about unexpressed and unrequited love ("Love and Anger" and "Never Be Mine," respectively), and the pressures on modern relationships ("Between a Man and a Woman"). One of the quirkiest tracks on the album, touched by Bush's black humour, is "Heads We're Dancing," about a woman who dances all night with a charming stranger only to find out in the morning that he is Adolf Hitler. The title track drew its inspiration from James Joyce's novel ''Ulysses''.

''The Sensual World'' went on to become her biggest-selling album in the US, receiving an RIAA Gold certification four years after its release for 500,000 copies sold. In the United Kingdom album charts, it reached the number two position.

In 1990, the boxed-set ''This Woman's Work'' was released and included all of her albums with their original cover art, as well as two discs of all single B sides recorded from 1978–1990. In 1991, Bush released a cover of Elton John's "Rocket Man," which reached number 12 in the UK singles chart and in 2007, was voted the greatest cover ever by readers of ''The Observer'' newspaper. She recorded "Candle in the Wind," as the single's b-side.

''The Red Shoes'' was released in November 1993. ''The Red Shoes'' features more high-profile cameo appearances than Bush's previous efforts, including contributions from composer and conductor Michael Kamen. Comedian Lenny Henry, Prince, Eric Clapton, Gary Brooker of Procol Harum, Trevor Whittaker, and Jeff Beck also contributed to the album. The album gave Bush her highest chart position in the US, reaching number 28, although the only song from the album to make the US singles chart was "Rubberband Girl", which peaked at number 88 in January 1994. In the UK, the album reached number two, and the singles "Rubberband Girl," "The Red Shoes," "Moments of Pleasure," and "And So Is Love" all reached the top 30. That same year, the short film ''The Line, the Cross & the Curve'', written and directed by Bush, and starring Bush and English actress Miranda Richardson, used six of the songs on the album.

The initial plan had been to take the songs out on the road (though a new tour did not transpire), so Bush deliberately aimed for a live-band feel, with less of the studio trickery that had typified her last three albums and that would be difficult to recreate on stage. The result alienated some of her fan base, who enjoyed the intricacy of her earlier compositions, but others found a new complexity in the lyrics and the emotions they expressed.

This was a troubled time for Bush. She had suffered a series of bereavements, including the loss of guitarist Alan Murphy, who had started working with her on The Tour Of Life in 1979, and her mother Hannah, to whom she was exceptionally close. Many of the people she lost are honoured in the ballad "Moments of Pleasure." However, Bush's mother was still alive when "Moments of Pleasure" was written and recorded. Bush describes playing the song to her mother, who thought the line where she is quoted by Bush as saying "Every old sock meets an old shoe", was hilarious and "couldn't stop laughing".

''Aerial''

After the release of ''The Red Shoes'', Bush dropped out of the public eye for many years, although her name occasionally cropped up in the media with rumours of a new album release. Bush had originally intended to take one year off but despite working on material 12 years would pass before her next album release. The press often viewed her as an eccentric recluse, sometimes drawing a comparison with Miss Havisham from Charles Dickens's ''Great Expectations''. In reality, she was trying to give her young son a normal childhood, and needed a quiet place for her creative process to function. In 1998, Bush had given birth to Albert, known as "Bertie", fathered by her guitarist and now-husband Danny McIntosh. After living for many years on Court Road, Eltham, southeast London, the couple and their son moved away from the city and currently have two homes: a £2.5 million house in East Portlemouth on the Devon coast and a mansion on an islet on the Kennet and Avon canal at Sulhamstead in West Berkshire.

Bush's eighth studio album, ''Aerial'', was released on double CD and vinyl in November 2005. The first single from the album was "King of the Mountain", which was played for the first time on BBC Radio 2 on 21 September 2005.

As on ''Hounds of Love'' (1985), the album is divided into two sections, each with its own theme and mood. The first disc, subtitled ''A Sea of Honey'', features a set of unrelated themed songs, including "King of the Mountain"; "Bertie", a Renaissance-style ode to her son; and "Joanni", based on the story of Joan of Arc. In the song "π", Bush sings the number to 115 decimal places. The second disc, subtitled ''A Sky of Honey'', features one continuous piece of music describing the experience of being outdoors after waking at dawn, moving through afternoon, dusk, to night, then back to the following dawn of single summer's day. All the pieces in this suite refer or allude to sky and sea the in their lyrical content. Bush mixed her voice with cooing wood pigeons to repeat the phrases "A sea of honey, a sky of honey," and "You're full of beauty" throughout the piece, and uses recordings of actual birdsong throughout. ''A Sky of Honey'' features Rolf Harris playing the didgeridoo on one track, and providing vocals on "The Painter's Link". Other artists making guest appearances on the album include Peter Erskine, Eberhard Weber, Lol Creme, and Gary Brooker. Two tracks feature string arrangements by Michael Kamen, performed by the London Metropolitan Orchestra. A CD release of the single "King of the Mountain" included a cover of "Sexual Healing" by Marvin Gaye.

"King of the Mountain" entered the UK Downloads Chart at number six on 17 October 2005, and by 30 October it had become Bush's third-highest-charting single ever in the UK, peaking at number four on the full chart. ''Aerial'' entered the UK albums chart at number 3, and the US chart at number 48. Bush herself carried out relatively little publicity for the album, only conducting a handful of magazine and radio interviews. ''Aerial'' earned Bush two nominations at the 2006 BRIT Awards, for Best British Female Solo Artist and Best British Album.

In late 2007, Bush composed and recorded a new song, "Lyra", for the soundtrack to the fantasy film ''The Golden Compass''.

''Director's Cut'' and new material

On 16 May 2011, Bush released the album ''Director's Cut''. The album, which Bush has described as an entirely new project rather than a collection of mere remixes, contains 11 tracks of substantially reworked material from her earlier albums ''The Sensual World'' and ''The Red Shoes'', all of which have been recorded using analogue, rather than digital, equipment to create "a warmer sound". All the tracks have new lead vocals, new drums, and radically reworked instrumentation. Some of them have been transposed to a lower key to accommodate her lowering voice. Three of the songs, including "This Woman's Work", have been completely re-recorded, with lyrics often changed in places. The album has been met with a wide range of reviews with most reviewers a bit confused about the concept of the album itself, while responding with varying degrees of enthusiasm about its revamped tracks. Of particular note is the warmer, more intimate tone of the songs and the richer, more mature sound of her voice. This is the first album on her new label, Fish People, a division of EMI Records, with whom she's had a relationship since she started recording. In addition to the album ''Director's Cut'' in both its single CD form and in a box-set with the analog re-mastered ''The Red Shoes'' and ''The Sensual World'', Fish People will be releasing re-mastered editions of ''The Hounds of Love'' and ''The Dreaming''. The album debuted at number 2 on the United Kingdom chart.

The song "The Sensual World" has been renamed "Flower of the Mountain" and contains a passage of Molly Bloom's famous soliloquy from James Joyce's novel ''Ulysses''. Bush said, "Originally when I wrote the song "The Sensual World," I had used text from the end of Ulysses. When I asked for permission to use the text I was refused, which was disappointing. I then wrote my own lyrics for the song, although I felt that the original idea had been more interesting. Well, I'm not James Joyce am I? When I came to work on this project I thought I would ask for permission again and this time they said yes."

The first single released from the album was "Deeper Understanding" and contains a new chorus featuring computerized vocals from Bush's son, Albert. A video for the song, directed by Bush, has been released through her channel on YouTube. It features Robbie Coltrane as a man consumed by his relationship with his computer (voiced by Bush's son). Frances Barber plays the man's wife, and Noel Fielding also appears.

As of May 2011, Bush has stated that she is working on an album of new material, most of which has been written and one EMI executive has said, "we have been told to prepare for a November [2011] release."

Musical style

Bush's music is eclectic, using various styles of music even within the same album. Her songs have spanned genres as diverse as rock, pop, alternative and art rock. Even in her earliest works where the piano was a primary instrument, she wove together many diverse influences, melding classical music, rock, and a wide range of ethnic and folk sources, and this has continued throughout her career.

In an interview with ''Melody Maker'' magazine in 1977, she revealed that male artists had more influence on her work than females, stating: "Every female you see at a piano is either Lynsey De Paul, or Carole King. And most male music—not all of it but the good stuff—really lays it on you. It really puts you against the wall and that's what I like to do. I'd like my music to intrude. Not many females succeed with that."

The experimental nature of her music has led it to be described as a later, more technological, and more accessible manifestation of the British progressive rock movement. Southern England was the home to the most influential and successful acts of the progressive rock movement and, like other artists in this genre, Bush rejects the classic American style of making pop music, which was adopted by most UK pop artists. Bush's vocals contain elements of British, Anglo-Irish and most prominently (southern) English accents and, in its utilization of musical instruments from many periods and cultures, her music has differed from American pop norms. Elements of Bush's lyrics tend to be more unusual and less clichéd than American-style pop lyrics, often employing historical or literary references and avoiding autobiographical lyrics. She considers herself a storyteller who embodies the character singing the song and strenuously rejects efforts by others to insist that her songs are autobiographical.

Reviewers have used the term "surreal" to describe her music. Many of her songs have a melodramatic emotional and musical surrealism that defies easy categorisation. It has been observed that even the more joyous pieces are often tinged with traces of melancholy, and even the most sorrowful pieces have elements of vitality struggling against all that would oppress them.

Bush is not afraid to tackle sensitive and taboo subjects. "The Kick Inside" is based on a traditional English folk song (''The Ballad of Lucy Wan'') about an incestuous pregnancy and a resulting suicide. "Kashka from Baghdad" is a song about a homosexual male couple; ''Out'' magazine listed two of her albums in their Top 100 Greatest Gayest albums list. "The Infant Kiss" is a song about a haunted, unstable woman's almost paedophile infatuation with a young boy in her care (inspired by Jack Clayton's film ''The Innocents'' (1961), which had been based on Henry James's famous novella ''The Turn of the Screw''); and "Breathing" explores the results of nuclear fallout from the perspective of an unborn child in the womb. Her lyrics have referenced a wide array of subject matter, often relatively obscure, as in "Cloudbusting", which was inspired by Peter Reich's autobiography, "Book of Dreams", about his relationship with his father, Wilhelm Reich, and G. I. Gurdjieff in "Them Heavy People", while "Deeper Understanding", from ''The Sensual World'', portrays a person who stays indoors, obsessively talking to a computer and shunning human contact.

Comedy is also a big influence on her and is a significant component of her work. She has cited Woody Allen, ''Monty Python'', ''Fawlty Towers'', and ''The Young Ones'' as particular favourites. Horror movies are another interest of Bush's and have influenced the gothic nature of several of her songs, such as "Get Out of My House", inspired by Stanley Kubrick's ''The Shining'', and "Hounds of Love", inspired by the 1957 horror movie ''Night of the Demon''. Her songs have occasionally combined comedy and horror to form dark humour, such as murder by poisoning in "Coffee Homeground", an alcoholic mother in "Ran Tan Waltz" and the upbeat "The Wedding List", a song inspired by François Truffaut's 1967 film of Cornell Woolrich's ''The Bride Wore Black'' about the death of a groom and the bride's subsequent revenge against the killer.

Length of time between albums and perception of perfectionism

The length of time in between album releases has led to rumours in the media concerning her health or appearance. In the past, stories of weight gain or mental instability have been disproved by Bush's periodic reappearance. In 2011 Bush told BBC Radio 4 that the amount of time between album releases is extremely stressful noting: "It's very frustrating the albums take as long as they do...I wish there weren't such big gaps between them." In the same interview Bush denied she was a perfectionist in the studio, saying: "I think it's important that things are flawed...That's what makes a piece of art interesting sometimes – the bit that's wrong or the mistake you've made that's led onto an idea you wouldn't have had otherwise," and reiterated her prioritization of her family life.

Live performances

Bush's only tour took place 2 April – 13 May 1979, after which she gave only the occasional live performance. Several reasons have been suggested as to why she abandoned touring, among them her reputed need to be in total control of the final product, which is incompatible with live stage performance, a rumour of a crippling fear of flying, and the suggestion that the death of 21-year-old Bill Duffield severely affected her. Duffield, her lighting director, was killed in an accident during her 2 April 1979 concert at Poole Arts Centre. Bush held a benefit concert on 12 May 1979, with Peter Gabriel and Steve Harley at London's Hammersmith Odeon for his family. Duffield would be honoured in two later songs: "Blow Away" on ''Never for Ever'' and "Moments of Pleasure" on ''The Red Shoes''. Bush explained in a BBC Radio 2 interview with Mark Radcliffe that she actually enjoyed the tour but was consumed with producing her subsequent records.

During the same period as her tour, she made numerous television appearances around the world, including ''Top of the Pops'' in the United Kingdom, ''Bios Bahnhof'' in Germany, and ''Saturday Night Live'' in the United States (with Paul Shaffer on piano). On 28 December 1979, BBC TV aired the ''Kate Bush Christmas Special''. It was recorded in October 1979 at the BBC Studios in Birmingham, England; choreography by Anthony Van Laast. As well as playing songs from her first two albums, she played "December Will Be Magic Again", and "Violin" from her forthcoming album, ''Never for Ever''. Peter Gabriel made a guest appearance to play "Here Comes the Flood", and a duet of Roy Harper's "Another Day" with Bush.

After the Tour of Life Bush desired to make two more albums before touring again. At that point she got involved with production techniques and sound experimentation that took up a lot of time and prevented her from touring. Later on there were a couple of instances where she came close to touring again.

In 1982, Bush participated in the first benefit concert in aid of The Prince's Trust alongside artists such as Madness, Midge Ure, Phil Collins, Mick Karn and Pete Townshend. On 25 April 1986 Bush performed live for British charity event Comic Relief, singing "Do Bears... ?", a humorous duet with Rowan Atkinson, and a rendition of "Breathing". Later in the year on 28 June 1986, she made a guest appearance to duet with Peter Gabriel on "Don't Give Up" at Earl's Court, London as part of his "So" tour. In March 1987, Bush sang "Running Up that Hill" at The Secret Policeman's Third Ball.

On 17 January 2002, Bush appeared with her long-time champion, David Gilmour, singing the part of the doctor in "Comfortably Numb" at the Royal Festival Hall in London.

In 2011 Bush told Classic Rock Magazine "I do hope that some time I get a chance to do some shows. Maybe not a tour, but something"

Video projects

In 1979 Bush's one live show, The Tour of Life, was recorded for the BBC and for release on VHS as ''Kate Bush Live at Hammersmith Odeon''.

Bush has appeared in innovative music videos designed to accompany her singles releases. Among the best known are those for "Running Up that Hill," "Babooshka," "Breathing," "Wuthering Heights," and "The Man with the Child in His Eyes," and "Cloudbusting," featuring actor Donald Sutherland, who made time during the filming of another project to take part in the video. EMI has released collections of her videos, including ''The Single File'', ''Hair of the Hound'', ''The Whole Story'', a career video overview released in conjunction with the 1986 compilation album of the same title, and ''The Sensual World''.

In 1993, she directed and starred in the short film, ''The Line, the Cross & the Curve'', a musical co-starring Miranda Richardson, featuring music from Bush's album ''The Red Shoes'', which was inspired by the classic movie of the same name. It was released on VHS in the UK in 1994 and also received a small number of cinema screenings around the world. In recent interviews, Bush has said that she considers it a failure, and stated in 2001: "I'm very pleased with four minutes of it, but I'm very disappointed with the rest." In a 2005 interview, she described the film as "A load of bollocks."

In 1994, Bush provided the music used in a series of psychedelic-themed television commercials for the soft drink Fruitopia that appeared in the United States. The same company aired the ads in the United Kingdom, but the British version featured Elizabeth Fraser of Cocteau Twins instead of Bush.

In late 2006, a DVD documentary titled ''Kate Bush Under Review'' was released by Sexy Intellectual, which included archival interviews with Bush, along with interviews with a selection of music historians and journalists (including Phil Sutcliffe, Nigel Williamson, and Morris Pert). The DVD also includes clips from several of Bush's music videos.

On 2 December 2008, the DVD collection of the fourth season of ''Saturday Night Live'', including her performances, was released. A three DVD set of The Secret Policeman's Balls benefit concerts that includes Bush's performance was released on 27 January 2009.

Movie projects

In 1990, Bush starred in the black comedy film ''Les Dogs'', produced by ''The Comic Strip'' for BBC television. Aired on 8 March 1990, Bush plays the bride Angela at a wedding set in a post-apocalyptic version of Britain. While Bush's is a silent presence in a wedding dress throughout most of the film, she does have several lines of dialogue with Peter Richardson in two dream sequences. In another ''Comic Strip Presents'' film, ''GLC'', she produced the theme song "Ken", which includes a vocal performance by Bush. The song was written about Ken Livingstone, the leader of the Greater London Council, who would later be elected as mayor of London and at the time was working with musicians to help the Labour Party garner the youth vote.

She also produced all the incidental music, which is synthesiser based. Bush wrote and performed the song "The Magician", in a fairground-like arrangement, for Menahem Golan's 1979 film ''The Magician of Lublin''. In 1985, Bush contributed a darkly melancholic version of the Ary Barroso song "Brazil" to the soundtrack of the Terry Gilliam film ''Brazil''. The track was scored and arranged by Michael Kamen. In 1986, she wrote and recorded "Be Kind To My Mistakes" for the Nicolas Roeg film ''Castaway''. An edited version of this track was used as the B side to her 1989 single "This Woman's Work". In 1988, the song "This Woman's Work" was featured in the John Hughes film ''She's Having a Baby'', and a slightly remixed version appeared on Bush's album ''The Sensual World''. The song has since appeared on numerous television shows, and in 2005 reached number eight on the UK download chart after featuring in a British television advertisement for the charity NSPCC.

In 1999, Bush wrote and recorded a song for the Disney film ''Dinosaur'', but the track was ultimately not included on the soundtrack. According to the winter 1999 issue of ''HomeGround'', a Bush fanzine, it was scrapped when Disney asked her to rewrite the song and she refused. Also in 1999, Bush's song "The Sensual World" was featured prominently in Canadian filmmaker Atom Egoyan's film "Felicia's Journey". "The Man with the Child in His Eyes" is on the soundtrack for the 2007 British romantic comedy film ''Starter for 10''.

Collaborations

Bush provided vocals on two of Peter Gabriel's albums, including the hits "Games Without Frontiers" and "Don't Give Up", as well as "No Self-Control". Gabriel appeared on Bush's 1979 television special, where they sang a duet of Roy Harper's "Another Day". She has sung on two Roy Harper tracks, "You", on his 1979 album, "The Unknown Soldier", and "Once", the title track of his 1990 album. She has also sung on the title song of the 1986 Big Country album ''The Seer'', the Midge Ure song "Sister and Brother" from his 1988 album ''Answers to Nothing'', Go West's 1987 single "The King Is Dead" and two songs with Prince – "Why Should I Love You?", from her 1993 album ''The Red Shoes'', and in 1996, the song "My Computer" from Prince's album ''Emancipation''. In 1987, she sang a verse on the charity single "Let It Be" by Ferry Aid. She sang a line on the charity single "Spirit of the Forest" by Spirit of the Forest in 1989. 1990 saw Kate producing, for the only time in her career, one song for another artist, Alan Stivell's "Kimiad," on his album ''Again''. Stivell had appeared on ''The Sensual World''. In 1995, Bush covered George Gershwin's "The Man I Love" for the tribute album ''The Glory of Gershwin''. In 1996, Bush contributed a version of "Mná na hÉireann" (Irish for Women of Ireland) for the Anglo-Irish folk-rock compilation project ''Common Ground: The Voices of Modern Irish Music''. Bush had to sing the song in Irish, which she learned to do phonetically. Artists who have contributed to Bush's own albums include Eric Clapton, Jeff Beck, David Gilmour, Nigel Kennedy, Gary Brooker, and Prince. Bush provided backing vocals for a song that was recorded during the 1990s titled ''Wouldn't Change a Thing'' by Lionel Azulay, the drummer with the original band that was later to become the KT Bush Band. The song, which was engineered and produced by Del Palmer, is available for download and will be on Azulay’s upcoming CD.

Bush declined a request by Erasure to produce one of their albums because "she didn’t feel that that was her area".

In 2010, Bush provided vocals for Rolf Harris's cover of a traditional Irish song entitled "She Moves Through the Fair". Harris, who described the collaboration the "best thing I’ve done," is unsure of how to release the track.

Influence

From the 1980s onward, it has become almost standard for individualistic female singer-songwriters to be compared to Bush by the media. She has been noted as an influence on female artists such as Tori Amos, Björk, Alison Goldfrapp, Nerina Pallot, KT Tunstall, Happy Rhodes, Lily Allen, PJ Harvey, Little Boots, and Florence Welch, in addition to acts as diverse as Muse, OutKast, and Bloc Party. Paula Cole named Bush as an influence while accepting the Best New Artist Grammy in 1996. Ariel Pink wrote a tribute song for her titled "For Kate I Wait" on the album ''The Doldrums''. The trip-hop artist Tricky has said about Bush, "I don't believe in God, but if I did, her music would be my bible". Punk rocker John Lydon, better known as Johnny Rotten of the Sex Pistols, declared her work to be "fucking brilliant" and labelled her "a true original". Rotten once wrote a song for her, titled "Bird in Hand" (about exploitation of parrots) that Bush rejected. Rotten theorised that Bush thought the song contained insulting references aimed at her. Marc Almond chose "Moments of Pleasure" as one of his 10 favourite songs on Radio 2 in June 2007, saying that the song had a profound influence on him when he was combating drug addiction in New York in the 1990s. In November 2006, the singer Rufus Wainwright named Bush as one of his top ten gay icons. Outside music, Bush has been an inspiration to several fashion designers, most notably Hussein Chalayan.

Many artists around the world have recorded cover versions of Bush songs, including Charlotte Church, The Futureheads (who had a UK top ten hit with a cover of "Hounds of Love"), Placebo, Pat Benatar, Hayley Westenra, Jane Birkin, Natalie Cole, Ra Ra Riot, Maxwell, The Church and Nada Surf. The British dance act Utah Saints sampled a line from "Cloudbusting" for their single, "Something Good". Artists such as Tori Amos, Nolwenn Leroy, Patrick Wolf and Happy Rhodes (whose upper vocal range has been compared with the one of Kate Bush) have covered her songs in live performances. Coldplay said their track "Speed of Sound" was originally an attempt to re-create "Running Up that Hill". Suede front-man Brett Anderson has stated that "Wuthering Heights" was the first single he ever bought and mentioned "And Dream of Sheep" in Suede's song "These are the Sad Songs". British folk singer Jim Moray also references "And Dream of Sheep" in his self-penned track "Longing for Lucy". Progressive death metal act Novembre also covered "Cloudbusting" on their album ''Novembrine Waltz''. In 2009, John Forté released a hip hop version of "Running Up that Hill". In 2010, Theo Bleckmann has been performing his work ''Hello Earth! The Music of Kate Bush'' and plans to release the project as an album in 2011. In 1998 a collection of independent musicians including Syd Straw recorded the tribute album ''I Wanna Be Kate,'' which was released in CD and mp3 form.

Discography

''The Kick Inside'' (1978)

''Lionheart'' (1978)

''Never for Ever'' (1980)

''The Dreaming'' (1982)

''Hounds of Love'' (1985)

''The Sensual World'' (1989)

''The Red Shoes'' (1993)

''Aerial'' (2005)

''Director's Cut'' (2011)

See also

List of Kate Bush awards

References

Further reading

Vermorel, Fred and Judy, ''Kate Bush: Princess of Suburbia'' (1980) Target Books

Vermorel, Fred, ''The Secret History of Kate Bush and the Strange Art of Pop'' (1983) Omnibus Press ISBN 0.7119.0152.X

Cann, Kevin and Mayes, Sean, ''Kate Bush: A Visual Documentary'' (1988) Omnibus Press ISBN 0-7119-1039-1

Muskens, Helena; Racké, Quirine, ''Come Back Kate''. Snow White Films. Involved TV Channel: NPS. 2007

'I'm not some weirdo recluse' (''The Guardian'', 28 October 2005)

This Bush's mission finally gets accomplished (''National Post'', 22 December 2005)

Two Musicians who have worked with Bush describe her working style and non work personality

The Illustrated Collector's Guide to Kate Bush, 2nd Edition, published by Collector's Guide Publishing. A complete guide to everything Kate Bush. Includes albums, CDs, DVDs, books and other collectibles. It's complete up to Aerial.

The Bush era: Leafy lady Kate Bush's musical family tree sprouts cover versions and young seedlings by Marke B. and Irwin Swirmoff for the ''San Francisco Bay Guardian'' 15 July 2009

Withers, Debroah ''Adventures in Kate Bush and Theory ''. Hammeron Press, 1 March 2010. ISBN 0-9564507-0-9.

Thompson, Graeme ''Kate Bush: Under the Ivy''. Omnibus Press, 1 May 2010 ISBN 1-84772-930-4

'It's Coming For Me Through The Trees' – The Influence of Horror Cinema on the Music of Kate Bush, by James Gracey, The Blood Sprayer, 18 August 2010

External links

Official website

Category:English pop singers Category:English singer-songwriters Category:English female singers Category:English pianists Category:English record producers Category:English vegetarians Category:Female rock singers Category:BRIT Award winners Category:Ivor Novello Award winners Category:English people of Irish descent Category:People from Bexleyheath Category:People from South Hams (district) Category:People from Sulhamstead Category:1958 births Category:Living people

br:Kate Bush bg:Кейт Буш ca:Kate Bush cs:Kate Bush da:Kate Bush de:Kate Bush et:Kate Bush es:Kate Bush eo:Kate Bush fa:کیت بوش fr:Kate Bush fy:Kate Bush ga:Kate Bush hr:Kate Bush io:Kate Bush id:Kate Bush it:Kate Bush he:קייט בוש ka:კეიტ ბუში lv:Keita Buša lt:Kate Bush hu:Kate Bush ro:Kate Bush nl:Kate Bush ja:ケイト・ブッシュ no:Kate Bush pl:Kate Bush pt:Kate Bush ru:Буш, Кейт scn:Kate Bush sr:Kejt Buš fi:Kate Bush sv:Kate Bush th:เคต บุช tr:Kate Bush zh:凱特·布希

name	Clint Mansell
background	non_performing_personnel
birth name	Clinton Darryl Mansell
birth date	January 07, 1963
origin	Coventry, England
genre	ClassicalContemporary classicalElectronicAlternative
occupation	Musician, Composer
years active	1981–present
associated acts	Pop Will Eat Itself
website	clintmansell.com
notable instruments	}}

Clinton Darryl "Clint" Mansell, (born 7 January 1963) is an English musician, composer, and former lead singer and guitarist of the band Pop Will Eat Itself.

After the disbanding of Pop Will Eat Itself in 1996, Mansell was introduced to film scoring when his friend, director Darren Aronofsky, hired him to score his debut film, ''π''. Mansell then wrote the score for the next Aronofsky film, ''Requiem for a Dream'', which has been well received. Its main composition "Lux Æterna" has become extremely popular, appearing in a wide variety of advertisements and film trailers.

Mansell's composition for ''The Fountain'' was nominated for Best Original Score at the 64th Annual Golden Globe Awards. His other notable film scores include ''Moon'', ''Smokin' Aces'', ''The Wrestler'', and ''Black Swan''.

Career

Pop career

Mansell was the lead singer and guitarist of the British band Pop Will Eat Itself. When PWEI signed to Nothing Records, Mansell became friends with Trent Reznor, and he also performed back-up vocals on the 1999 album ''The Fragile'' by Nine Inch Nails.

Soundtrack composer

Mansell's score for Darren Aronofsky's ''π'' was followed up by his score for Aronofsky's next film, ''Requiem for a Dream'', which became a cult hit. Since their first collaboration in 1996, Mansell has composed the music to every Aronofsky film.

Other notable achievements include the theme for the film ''The Hole'', the music for the pilot episode of ''CSI: NY'', and the score for Aronofsky's later films ''The Fountain'', which was nominated for Best Original Score in the 64th Annual Golden Globe Awards, and ''The Wrestler''. Mansell has also contributed the score to HBO's Voyeur. The song was also used as the base theme for the song "Throw It Up" by Lil Jon. His most recent work has been on the soundtrack for ''Black Swan'' in 2010.

Mansell has garnered a cult following for his soundtrack work, so much that ''Smokin' Aces'' director Joe Carnahan admits to receiving "blatant threats" when the soundtrack was released without much of Mansell's score for the film.

Film trailers

The trailer for ''The Lord of the Rings: The Two Towers'' contained a rearranged version of the track "Lux Æterna", using a full orchestra and choir. The piece, named "Requiem for a Tower", was recorded especially for the trailer. The orchestration was arranged by Simone Benyacar, Dan Nielsen, and Veigar Margeirsson.

"Lux Æterna" has since become popular, with both the original and the "Requiem for a Tower" version having appeared in a wide variety of advertisements and trailers, including the trailer for the Red Sox–Yankees games in the 2007 Major League Baseball season, and trailers for the films ''Zathura'', ''The Da Vinci Code'', ''Sunshine'', ''Babylon A.D.'' and the TV series ''Lost'' and ''Top Gear''. It was also used on Sky Sports News and as the theme for ''Soccer Saturday'' from 2007-2009. In 2006, the theme was used in EuroSport LIVE trailers. The theme was also used by ''America's Got Talent'' as an introduction of the judges before being changed slightly. The new variant is now a regular piece on the show.

The piece "Death Is the Road to Awe" from the score for ''The Fountain'' was featured in a trailer for the 2007 film ''I Am Legend'', and the trailer for the film ''The Mist'', as well as the trailer for the film ''Frost/Nixon'', and toward the end of 2007 The Final Cut trailer for ''Blade Runner''.

Scoring credits

''Pi'', 1998

''Requiem for a Dream'', 2000

''World Traveler'', 2001

''The Hole'', 2001

''Knockaround Guys'', 2001

''Rain'', 2001

''Abandon'', 2002

''Murder by Numbers'', 2002

''Sonny'', 2002

''The Hire: Ticker'', 2002

''11:14'', 2003

''Suspect Zero'', 2004

''Sahara'', 2005

''Doom'', 2005

''The Fountain'', 2006

''Trust the Man'', 2006

''Smokin' Aces'', 2006

''Wind Chill'', 2007

''In The Wall'', 2007

''Definitely, Maybe'', 2008

''The Wrestler'', 2008

''Blood: The Last Vampire, 2009

''Moon'', 2009

''L'affaire Farewell'', 2009

''The Rebound'', 2010

''Black Swan'', 2010

''Last Night'', 2010

''Faster'', 2010

''United'', 2011

''Mass Effect 3'', 2012 (TBA)

References

External links

Mansell at Yahoo Movies

Mansell at Rotten Tomatoes

Interview focusing on Pop Will Eat Itself

The Wrestler Score review

Two and a Half Questions with Clint Mansell on Headphone Commute (2009)

Category:1963 births Category:British indie rock musicians Category:English film score composers Category:Living people Category:People from Coventry

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