A common wheelbarrow.

Older wheelbarrow

Wheelbarrows on the Belomorkanal

A wheelbarrow is a small hand-propelled vehicle, usually with just one wheel, designed to be pushed and guided by a single person using two handles to the rear, or by a sail to push the ancient wheelbarrow by wind. The term "wheelbarrow" is made of two words: "wheel" and "barrow." "Barrow" is a derivation of the Old English "bearwe" which was a device used for carrying loads.

The wheelbarrow is designed to distribute the weight of its load between the wheel and the operator so enabling the convenient carriage of heavier and bulkier loads than would be possible were the weight carried entirely by the operator. As such it is a second-class lever. Traditional Chinese wheelbarrows, however, had a central wheel supporting the whole load. Use of wheelbarrows is common in the construction industry and in gardening. Typical capacity is approximately 170 litres (6 cubic feet) of material.

A two-wheel type is more stable on level ground, while the almost universal one-wheel type has better maneuverability in small spaces, on planks or when tilted ground would throw the load off balance. The use of one wheel also permits greater control of the deposition of the load on emptying.

History[link]

Ancient Greece and Rome[link]

The wheelbarrow may have existed in ancient Greece in the form of a one-wheel cart.^[1] Two building material inventories for 408/407 and 407/406 B.C. from the temple of Eleusis list, among other machines and tools, "1 body for a one-wheeler (hyperteria monokyklou)"^[2] (ὑπερτηρία μονοκύκλου in Greek):

Since dikyklos (δίκυκλος) and tetrakyklos (τετράκυκλος) mean nothing but "two-wheeler" and "four-wheeler," and since the monokyklos (μονόκυκλος) body is sandwiched in the Eleusis inventory between a four-wheeler body and its four wheels, to take it as anything but a one-wheeler strains credulity far beyond breaking point. It can only be a wheelbarrow, necessarily guided and balanced by a man...what does now emerge as certainty is that the wheelbarrow did not, as is universally claimed, make its European debut in the Middle Ages. It was there some sixteen centuries before.

Although evidence for the wheelbarrow in ancient farming and mining is absent, it is surmised that wheelbarrows were not uncommon on Greek construction sites for carrying moderately light loads. There is no evidence of use of wheelbarrows by Roman builders although this may be due to scant surviving evidence.^[3] The 4th century Historia Augusta reports emperor Elagabalus to have used a wheelbarrow (Latin: pabillus from pabo, one-wheeled vehicle^[4][5]) to transport women in his frivolous games at court.^[6] While the present evidence does not indicate any use of wheelbarrows into medieval times, the question of continuity in the Byzantine Empire is still open, due to a lack of research yet.^[3] Some have even suggested that the wheelbarrow was somehow even transmitted to China before disappearing in Western Europe, although support for this is scant.^[7]

Ancient China[link]

The one-wheeled Chinese wheelbarrow, from Zhang Zeduan's (1085–1145) painting Along the River During Qingming Festival, Song Dynasty.

The earliest descriptions of single-wheeled Chinese wheelbarrows come from 2nd century Han Dynasty tomb murals and brick tomb reliefs.^[8] The painted tomb mural of a man pushing a wheelbarrow was found in a tomb at Chengdu, Sichuan province, dated precisely to 118 AD.^[9] The stone carved relief of a man pushing a wheelbarrow was found in the tomb of Shen Fujun in Sichuan province, dated circa 150 AD.^[10] And then there is the story of the pious Dong Yuan pushing his father around in a single-wheel lu che barrow, depicted in a mural of the Wu Liang tomb-shrine of Shandong (dated to 147 AD).^[11] However, there are even earlier accounts than this that hark back to the 1st century BC and 1st century AD. The 5th century Book of Later Han stated that the wife of the once poor and youthful imperial censor Bao Xuan helped him push a lu che back to his village during their feeble wedding ceremony, around 30 BC.^[9] Later, during the Red Eyebrows Rebellion (c. 20 AD) against the usurper Wang Mang (45 BC–23 AD), the official Zhao Xi saved his wife from danger by disguising himself and pushing her along in his lu che barrow, past a group of brigand rebels who questioned him, and allowed him to pass after he convinced them that his wife was terribly ill.^[9]

Nevertheless, the Chinese historical text of the Sanguozhi (Records of the Three Kingdoms), compiled by the ancient historian Chen Shou (233–297 AD), credits the invention of the wheelbarrow to Prime Minister Zhuge Liang (181–234 AD) of Shu Han from 197–234.^[12] It was written that in 231 AD, Zhuge Liang developed the vehicle of the wooden ox and used it as a transport for military supplies in a campaign against Cao Wei.^[13] Further annotations of the text by Pei Songzhi (430 AD) described the design in detail as a large single central wheel and axle around which a wooden frame was constructed in representation of an ox.^[13] Writing later in the 11th century, the Song Dynasty (960–1279) scholar Gao Cheng wrote that the small wheelbarrow of his day, with shafts pointing forward (so that it was pulled), was the direct descendent of Zhuge Liang's wooden ox.^[14] Furthermore, he pointed out that the 3rd century 'gliding horse' wheelbarrow featured the simple difference of the shaft pointing backwards (so that it was pushed instead).^[14]

A metal wheel barrow in Haikou City, Hainan Province, China

Wheelbarrows in China came in two types. The more common type after the 3rd century has a large, centrally mounted wheel. Prior types were universally front-wheeled wheelbarrows.^[3] The central-wheeled wheelbarrow could generally transport six human passengers at once, and instead of a laborious amount of energy exacted upon the animal or human driver pulling the wheelbarrow, the weight of the burden was distributed equally between the wheel and the puller.^[15] European visitors to China from the 17th century onwards had an appreciation for this, and was given a considerable amount of attention by a member of the Dutch East India Company, Andreas Everardus van Braam Houckgeest, in his writings of 1797 (who accurately described its design and ability to hold large amounts of heavy baggage).^[16] However, the lower carrying surface made the European wheelbarrow clearly more useful for short-haul work.^[17] Today, traditional wheelbarrows in China are still in wide use.^[18]

Chinese sailing carriage[link]

Wheelbarrows near Xi'an, c.1905 by Baptist missionary John Shields

Sailing wheelbarrows

Although there are records of Chinese sailing carriages from the 6th century^[19] these land sailing vehicles were not wheelbarrows, and the date of which the sail assisted wheelbarrow was invented is uncertain.^[20] Engravings are found in van Braam Houckgeest's 1797 book.^[21]

European interest in the Chinese sailing carriage is also seen in the writings of Andreas Everardus van Braam Houckgeest in 1797, who wrote:

Near the southern border of Shandong one finds a kind of wheelbarrow much larger than that which I have been describing, and drawn by a horse or a mule. But judge by my surprise when today I saw a whole fleet of wheelbarrows of the same size. I say, with deliberation, a fleet, for each of them had a sail, mounted on a small mast exactly fixed in a socket arranged at the forward end of the barrow. The sail, made of matting, or more often of cloth, is five or six feet high, and three or four feet broad, with stays, sheets, and halyards, just as on a Chinese ship. The sheets join the shafts of the wheelbarrow and can thus be manipulated by the man in charge.^[22]

These sailing wheelbarrows continued in use into the twentieth century.

Medieval Europe[link]

Types of medieval wheelbarrows

The wheelbarrow reappeared in Europe sometime between 1170 and 1250. Medieval wheelbarrows universally featured a wheel at or near the front (in contrast to their Chinese counterparts, which typically had a wheel in the center of the barrow),^[23] the arrangement now universally found on wheelbarrows.

Research on the early history of the wheelbarrow is made difficult by the marked absence of a common terminology. The English historian of science M.J.T. Lewis has identified in English and French sources four mentions of wheelbarrows between 1172 and 1222, three of them designated with a different term.^[24] According to the medieval art historian Andrea Matthies, the first archival reference to a wheelbarrow in medieval Europe is dated 1222, specifying the purchase of several wheelbarrows for the English king's works at Dover.^[25] The first depiction appears in an English manuscript, Matthew Paris's Vitae duorum Offarum, completed in 1250.^[26]

By the 13th century, the wheelbarrow proved useful in building construction, mining operations, and agriculture. However, going by surviving documents and illustrations the wheelbarrow remained a relative rarity until the 15th century.^[27] It also seemed to be limited to England, France, and the Low Countries.^[28]

Modern times[link]

In the 1970s, British inventor James Dyson produced his ballbarrow, an injection moulded plastic barrow with a spherical wheel.

The Honda HPE60, an electric power-assisted wheelbarrow, was produced in 1998.^[29][30]

See also[link]

Wikimedia Commons has media related to: Wheelbarrows

• Hand truck
• Dolly (tool)
• Wheelbarrow race
• Wheelbarrow Olympics

References[link]

• M. J. T. Lewis, "The Origins of the Wheelbarrow," Technology and Culture, Vol. 35, No. 3. (Jul., 1994), pp. 453–475
• Andrea L. Matthies, "The Medieval Wheelbarrow," Technology and Culture, Vol. 32, No. 2, Part 1. (Apr., 1991), pp. 356–364
• Needham, Joseph (1986). Science and Civilization in China: Volume 4, Physics and Physical Technology, Part 2, Mechanical Engineering. Taipei: Caves Books Ltd.
• Temple, Robert. (1986). The Genius of China: 3,000 Years of Science, Discovery, and Invention. With a forward by Joseph Needham. New York: Simon and Schuster, Inc. ISBN 0-671-62028-2.

External links[link]

Look up wheelbarrow in Wiktionary, the free dictionary.

• Better Homes and Gardens guide to picking a wheelbarrow
• Tip of the Pops - solar powered wheelbarrow disco
• The Medieval Technology Pages

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2011)

Nyman in 2010

Michael Laurence Nyman, CBE (born 23 March 1944 in Stratford, London) is a British composer of minimalist music, pianist, librettist and musicologist, known for the many film scores he wrote during his lengthy collaboration with the filmmaker Peter Greenaway, and his multi-platinum soundtrack album to Jane Campion's The Piano. His operas include The Man Who Mistook His Wife for a Hat, Letters, Riddles and Writs, Noises, Sounds & Sweet Airs, Facing Goya, Man and Boy: Dada, Love Counts, and Sparkie: Cage and Beyond, and he has written six concerti, four string quartets, and many other chamber works, many for his Michael Nyman Band, with and without whom he tours as a performing pianist. Nyman stated that he prefers to write opera rather than other sorts of music.^[1]

Biography[link]

Nyman was born in Stratford, London. He was educated at the Sir George Monoux Grammar School, Walthamstow. He studied at King's College, London under Alan Bush.,^[2] and was accepted at the Royal Academy of Music in September, 1961, and studied with Bush and Thurston Dart, focusing on piano and seventeenth-century baroque music. He won the Howard Carr Memorial Prize for composition in July 1964.^[3]

In 1969, he provided the libretto of Harrison Birtwistle's opera Down by the Greenwood Side and directed the short film Love Love Love (based on, and identical length to, the Beatles' "All You Need Is Love"^[4]) before settling into music criticism, where he is generally acknowledged to have been the first to apply the term "minimalism" to music (in a 1968 article in The Spectator magazine about the English composer Cornelius Cardew). He wrote introductions for George Frideric Handel's Concerti Grossi, Op. 6 and conducted the most important interview with George Brecht in 1976.

Nyman drew frequently on early music sources in his scores for Greenaway's films: Henry Purcell in The Draughtsman's Contract and The Cook, the Thief, His Wife & Her Lover (which included Memorial and Miserere Paraphrase), Heinrich Ignaz Franz von Biber in A Zed and Two Noughts, Wolfgang Amadeus Mozart in Drowning by Numbers, and John Dowland in Prospero's Books, largely at the request of the director.

Nyman says he discovered his aesthetic playing the aria, "Madamina, il catalogo è questo" from Mozart's Don Giovanni on his piano in the style of Jerry Lee Lewis, which "dictated the dynamic, articulation and texture of everything I've subsequently done."^[5]

Nyman at the 2009 Venice Film Festival

He has scored numerous films, the majority of them European art films, including several of those directed by Peter Greenaway. His few forays into Hollywood have been Gattaca, Ravenous (with musician Damon Albarn), and The End of the Affair. He wrote settings to various texts by Wolfgang Amadeus Mozart for "Letters, Riddles and Writs", part of Not Mozart. He has also produced a soundtrack for the silent film Man with the Movie Camera. Nyman's popularity increased after he wrote the score to Jane Campion's award-winning 1993 film The Piano. The album became a classical music best-seller. He was nominated for both a British Academy Award and a Golden Globe.

Among Nyman's other works are the opera Noises, Sounds & Sweet Airs (1987), for soprano, alto, tenor and instrumental ensemble (based on Nyman's score for the ballet La Princesse de Milan); Ariel Songs (1990) for soprano and band; MGV (Musique à Grande Vitesse) (1993) for band and orchestra; concertos for saxophone, piano (based on The Piano score), violin, harpsichord, trombone, and saxophone & cello recorded by John Harle and Julian Lloyd Webber; the opera The Man Who Mistook His Wife for a Hat (1986), based on a case-study by Oliver Sacks; and four string quartets. In 2000, he produced a new opera on the subject of cloning on a libretto by Victoria Hardie titled Facing Goya, an expansion of their one-act opera Vital Statistics. The lead, a widowed art banker, is written for contralto and the role was first created by Hilary Summers. His newest operas are Man and Boy: Dada (2003) and Love Counts (2005), both on libretti by Michael Hastings.

He has also composed the music for the children's television series Titch which is based on the books written and illustrated by Pat Hutchins.

Many of Nyman's works are written for his own ensemble, the Michael Nyman Band, a group formed for a 1976 production of Carlo Goldoni's Il Campiello. Originally made up of old instruments such as rebecs and shawms alongside more modern instruments like the saxophone in order to produce as loud a sound as possible without amplification, it later switched to a fully amplified line-up of string quartet, three saxophones, trumpet, horn, bass trombone, bass guitar and piano. This line up has been variously altered and augmented for some works.

Nyman also published an influential book in 1974 on experimental music called Experimental Music: Cage and Beyond (Catalan, Spanish and French translations), which explored the influence of John Cage on classical composers.

In the 1970s, Nyman was a member of the Portsmouth Sinfonia – the self-described World's Worst Orchestra – playing on their recordings and in their concerts. He was the featured pianist on the orchestra's recording of Bridge Over Troubled Water on the Martin Lewis-produced 20 Classic Rock Classics album on which the Sinfonia gave their unique interpretations of the pop and rock repertoire of the 1950s–1970s. Nyman created a similar group called Foster's Social Orchestra, which specialised in the work of Stephen Foster. One of their pieces appeared in the film Ravenous and an additional work, not used in the film, appeared on the soundtrack album.

He has also recorded pop music with the Flying Lizards; a version of his Bird List from the soundtrack to Peter Greenaway's The Falls (1980) appears on their album Fourth Wall as "Hands 2 Take."

On 7 July 2007 Nyman performed at Live Earth in Japan. On 2008 Nyman realised, in collaboration with the cultural association Volumina, Sublime, an artist's book that unified his music with his passion for photography.

In a collaboration with friends Max Pugh and Marc Silver, Nyman is now beginning to exhibit his films and photography. Nyman’s video works are filmed with a hand-held camera, often before and after concerts and as part of his international travels, featuring everyday moments. Some works are left relatively unedited whilst others undergo split screens and visual repetition.^{[original research?]} Soundtracks to some of the video works use location sounds, whilst others recycle existing scores from his archive or a combination of both.

In October 2009, Nyman released The Glare, a collaborative collection of songs with David McAlmont, which cast his work in a new light. The album – recorded with the Michael Nyman Band – finds McAlmont putting lyrics based on contemporary news stories to 11 pieces of Nyman music drawn from different phases of his career.

"David did the research and chose most of the musical pieces," Nyman explains. "I suggested a few pieces,too but I really didn't do very much, although I think it's a true collaboration. You can identify who was responsible for what, but both aspects create a perfect synergy in which neither element can exist without the other."^{[cite this quote]}

Although the album was recorded in just two days, there was a huge amount of preparation and rewriting before they entered the studio. "They're third generation songs and when you listen to them, you ask 'Is it Nyman?' 'Is it soul?' 'Is it rock'n'roll?' It's all and none of them," the composer says. "I think we've created a new musical language. I'm no good at writing pop cliché – when I try, it invariably comes out sounding quite different."^{[cite this quote]}

The project has a long gestation for the pair first met in 2004 at a exhibition opening and talked about working together. Nothing came of it for almost five years until they got together again via Facebook, met up for lunch – and the idea for The Glare was born.

"I was surprised and delighted by what we've came up with," Nyman says. "So much so, that when I now play these pieces solo, it sounds like something's missing and the music needs David's voice and approach. That's a remarkable thing, because I've been playing these pieces for years. Of all the many collaborations I've been involved in, none has ever given me more pleasure and I'm desperate to take it on the road and play these."^{[cite this quote]}

Personal life[link]

He was married to Aet Nyman and has two daughters, Molly and Martha. His first string quartet quotes "Unchained Melody" in homage to Aet, who appears in Greenaway's The Falls, for which he also composed music. Molly is a composer in her own right; in collaboration with Harry Escott she has written several film scores including for The Road to Guantanamo by her father's frequent collaborator, Michael Winterbottom. Martha is a development researcher for the BBC.

Career highlights[link]

• 1961–67 – Studies at the Royal Academy of Music and King's College London.
• 1968–78 – Works as music critic (becoming first person to apply the word "minimalist" to music).
• 1976 – Founds the Campiello Band (now the Michael Nyman Band) and embarks on eleven-film collaboration with Peter Greenaway.
• 1981 – Releases first Michael Nyman Band album.
• 1993 – Soundtrack for The Piano wins an Ivor Novello Award, Golden Globe, BAFTA and American Film Institute award and goes on to sell over three million copies.
• 2002–2005 – Composer-in-Residence at Badisches Staatstheater in Karlsruhe, Germany, who performed three Nyman operas and more tunes for his daughters.
• 2007 – Performed on 7 July from Kyoto, Japan as part of the Live Earth global environmental awareness musical event.

Honours[link]

Nyman was appointed Commander of the Order of the British Empire (CBE) in the 2008 Birthday Honours.^[6]

Nyman was awarded an honorary doctorate (DLitt) from The University of Warwick on 30 January 2007. At the ceremony The University of Warwick Brass Society and Chamber Choir, conducted by Paul McGrath, premiered a specially composed procession and recession fanfare composed by Nyman.^[7]

Works[link]

• 1963 – Introduction and Allegro Concertato for Wind Quartet (lost)
• 1963 – Divertimento for Flute, Oboe and Clarinet
• 1965 – Canzona for Flute
• 1974 – Bell Set No. 1 (multiple metal percussion)
• 1976 – 1–100 (4–6 pianos)
• 1976 – (First) Waltz in D (variable)
• 1976 – (Second) Waltz in F (variable)
• 1977 – In Re Don Giovanni (ensemble)
• 1978 – The Otherwise Very Beautiful Blue Danube Waltz (multiple pianos)
• 1979 – "The Masterwork" Award Winning Fish-Knife (ensemble)
• 1980 – A Neat Slice of Time (choir)
• 1981 – Think Slow, Act Fast (ensemble)
• 1981 – Five Orchestral Pieces for Opus Tree (band*) (based on Anton Webern's Five Orchestral Pieces, Op. 10)
• 1981 – M-Work (band)
• 1981 – 2 Violins
• 1982 – Four Saxes (Real Slow Drag) (saxophone quartet)
• 1983 – A Handsome, Smooth, Sweet, Smart, Clear Stroke: Or Else Play Not At All

(orchestra)

• 1983 – Time's Up (chamber ensemble)
• 1983 – I'll Stake My Cremona to a Jew's Trump (electric violin and viola, both players also simultaneously singing)
• 1983 – Love is Certainly, at Least Alphabetically Speaking (soprano and band)
• 1984 – The Abbess of Andouillets (choir)
• 1985 – Nose-List Song (soprano and orchestra) [this and the above three works are from an unfinished opera setting of Laurence Sterne's The Life and Opinions of Tristram Shandy, Gentleman, which Nyman has repeatedly cited as his all-time favourite book]
• 1985 – Childs Play (2 violins; harpsichord)
• 1985 – String Quartet No. 1
• 1986 – Taking a Line for a Second Walk (for orchestra (Basic Black) or piano duet)
• 1986 – The Man Who Mistook His Wife for a Hat (opera; libretto by Christopher Rawlence; adapted from the Oliver Sacks case study by Nyman, Rawlence, and Michael Morris^{[disambiguation needed ]})
• 1986 – And Do They Do (modern dance, 1986)
• 1987 – Vital Statistics (opera; libretto by Victoria Hardie)
• 1988 – String Quartet No. 2
• 1989 – Out of the Ruins (choir)
• 1989 – La Traversée de Paris (soprano and band)
• 1989 – The Fall of Icarus (band)
• 1989 – L'Orgie Parisienne Arthur Rimbaud setting (soprano or mezzo soprano and orchestra)
• 1989 – La Sept (band)
• 1990 – Shaping the Curve (soprano saxophone, string quartet or piano)
• 1990 – Six Celan Songs (contralto and orchestra)
• 1990 – Polish Love Song (soprano and piano)
• 1990 – String Quartet No. 3
• 1990 – The Kiss and Other Movements
• 1991 – The Michael Nyman Songbook A collection of songs based on texts by Paul Celan, Wolfgang Amadeus Mozart, William Shakespeare, and Arthur Rimbaud and recorded with vocalist Ute Lemper.
• 1991 – Where the Bee Dances (soprano saxophone and orchestra)
• 1991 – Fluegelhorn and Piano
• 1992 – Time Will Pronounce (violin, cello, and piano)
• 1992 – For John Cage (brass ensemble)
• 1992 – Self-Laudatory Hymn of Inanna and Her Omnipotence (alto and string orchestra or countertenor and viol consort)
• 1992 – The Convertibility of Lute Strings (solo harpsichord)
• 1992 – Anne de Lucy Songs (soprano and piano)
• 1992 – Le Mari de la Coiffeuse (The Hairdresser's Husband)
• 1992 – The Upside-Down Violin (orchestra/ensemble)
• 1993 – MGV: Musique à grande vitesse (band and orchestra)
• 1993 – The Piano Concerto (piano and orchestra)
• 1993 – Noises, Sounds & Sweet Airs (1993; opera-ballet setting William Shakespeare's The Tempest)
• 1993 – Yamamoto Perpetuo (violin solo)
• 1993 – Songs for Tony (saxophone quartet)
• 1994 – To Morrow (soprano or soprano saxophone, organ)
• 1994 – 3 Quartets (ensemble)
• 1994 – Concerto for Trombone (trombone, orchestra, and steel filing cabinets)
• 1995 – String Quartet No. 4
• 1995 – Tango for Tim (In memoriam Tim Suster) (harpsichord)
• 1995 – The Waltz Song (unison voices)
• 1995 – Viola and Piano
• 1995 – Grounded (mezzo-soprano, saxophones, violin, piano)
• 1995 – HRT [High Rise Terminal] (chamber ensemble)
• 1995 – Concerto for Harpsichord and Strings
• 1995 – Double Concerto for Saxophone and Cello (saxophone, cello, and orchestra)
• 1996 – After Extra Time (ensemble)
• 1996 – Enemy Zero (game music)
• 1997 – Enemy Zero – Original Soundtrack
• 1997 – Strong on Oaks, Strong on the Causes of Oaks (orchestra)
• 1997 – The Promise (piano)
• 1997 – Gattaca
• 1998 – Titch (worked on the main opening/closing piano theme).
• 1998 – Cycle of Disquietude (Coisas, Vozes, Lettras) (soprano, mezzo-soprano, and band)
• 1998 – Orfeu (band)
• 1998 – De Granada A La Luna (band)
• 1999 – The Commissar Vanishes (band)
• 1999 – The End of the Affair
• 2000 – Facing Goya (opera; libretto by Victoria Hardie)
• 2001 – a dance he little thinks of (orchestra)
• 2003 – Violin Concerto (violin and orchestra)
• 2003 – Man and Boy: Dada (opera; libretto by Michael Hastings)
• 2005 – Love Counts (opera; libretto by Michael Hastings)
• 2006 – gdm for Marimba and Orchestra (concerto)
• 2006 – Acts of Beauty' (song cycle)
• 2007 – A Handshake in the Dark (choral piece with orchestra; text by Jamal Jumá [world premiere 8 March 2007, Barbican, London, performed by the BBC Symphony Chorus and Orchestra, John Storgards conducting])
• 2007 – Interlude in C (expansion of a theme from The Libertine for Accent07 touring ensemble)
• 2007 – Eight Lust Songs song cycle
• 2008 – Yamamoto Perpetuo for Solo Flute (arranged by Andy Findon)
• 2009 – Sparkie: Cage and Beyond opera with Carsten Nicolai
• 2009 – The Musicologist Scores (band)
• 2010 – 2Graves
• 2010 – Vertov Sounds

*originally recorded by Nyman, Ned Sublette, Susan Krongold, Barbara Benary, Jon Gibson, Richard Cohen^{[disambiguation needed ]}, Virgil Blackwell, Peter Zummo, and Peter Gordon at The Kitchen, and intended for Peter Greenaway's short film, The Tree.

Nyman's music re-used[link]

• Nyman's "The Heart Asks Pleasure First" (from The Piano) is the music on which Italian rock noir band Belladonna's song "Let There Be Light" is based. Released in December 2010, the track features Michael Nyman himself on piano.^[8]
• Nyman's "The Heart Asks Pleasure First" (from The Piano) was used as backing music for one of the bank advertisements for Lloyds TSB broadcast on television. It has also been featured in episodes of 20/20.
• Music from Ravenous has been used at least once on WFYI's Across Indiana, in a segment titled "On the Trail of John Hunt Morgan", produced by Scott Andrew Hutchins.
• Nyman's soundtrack for Carrington is mostly based on his own String Quartet No. 3.
• A Cock and Bull Story contains music from The Draughtsman's Contract, as well as Nyman's arrangements of classical music used in Stanley Kubrick's Barry Lyndon (it does not use any music from Nyman's Tristram Shandy opera).
• Nyman's music for Peter Greenaway's films has been used in the Japanese television program Iron Chef.
• Popular "Chasing Sheep is Best Left to Shepherds" (from The Draughtsman's Contract) constituted the main theme of Spanish TV program Queremos Saber, presented by Mercedes Milà in the nineties.
• Nyman features in '9 Songs' (Michael Winterbottom, 2004) playing at the Hackney Empire on his 60th birthday.
• Nyman's MGV: Musique à grande vitesse was used in November 2006 for a new one-act ballet for the Royal Ballet in London, DGV (danse à grande vitesse) by Christopher Wheeldon.
• Nyman's "The Heart Asks Pleasure First" was covered by the Finnish symphonic metal band Nightwish. Nyman had refused to release the song initially; the band was later granted permission and the song was released in February 29 2012 as part of the single The Crow, the Owl and the Dove from their album Imaginaerum.
• Time Lapse was used in Sky's 2008 'Heroes' advert
• Selections from Nyman's catalogue formed part of the soundtrack for James Marsh's 2008 documentary, Man on Wire, a film about Philippe Petit, a Frenchman, who in 1974 illegally strung a tightrope between the top of the WTC buildings and danced between them for 45 minutes, thus committing the "artistic crime of the 20th century".
• Nyman's piece "Car Crash" from A Zed & Two Noughts was used for once on the final episode of a Greek series called 'To Kafe Tis Xaras'

Recordings[link]

• Man and Boy: Dada – MN Records 102
• The Very Best of Michael Nyman: Film Music 1980-2001 – Virgin EMI CDVED957
• String Quartets 1–3 – Decca 4730912
• Decay Music EMI CVE964 2004

References[link]

External links[link]

Wikimedia Commons has media related to: Michael Nyman

• Michael Nyman official site
• Michael Nyman's homepage at Chester Music
• Michael Nyman at the Internet Movie Database
• Michael Nyman at the British Film Institute's Screenonline
• The Power of the Cadence: Michael Nyman in conversation with Robert Davidson
• 'The Case Against Nyman Revisited' Recent article on Michael Nyman's use of pre-existing music
• Michael Nyman à grande vitesse, review article in The Oxonian Review
• Michael Nyman judged The Film of the Month competition in June 2009 on the independent filmmakers networking site Shooting People
• An Evening with Michael Nyman, BAFTA event video

Listening[link]

• Michael Nyman audio at Internet Archive

Martin Stääf (born 13 November 1978), aka Liquid Stranger, is a Swedish-born electronic musician, described by Generation Bass as ”the epitome of Transnational Dubstep covering everything from Latin, Asian, Eastern European and Jamaican Dancehall dubs.”^[1] Martin Stääf is known for his experimental approach to composition where he merges genres to create a unique style of music. Martin Woods of Chillbase describes Liquid Stranger's music as a “unique blend of Ambience, Big Band Jazz, Dubstep and Psychedelica drizzled over electronic Dub Reggae grooves.”^[2] Stääf lives in Scottsdale, Arizona.

History[link]

Early Years[link]

Martin Stääf was born 13 November 1978 in Varberg on the Swedish West Coast. He started playing the piano and did classical piano concerts between the ages of 6-8. Stääf started experimenting with synthesizers in the mid 80s and abandoned the classical music world to spend the next 10 years producing his own material. Stääf states: ”I never thought about releasing any of my music until I was 17. Then, all of a sudden, it was time to get a job and I realized that there was nothing else I wanted to do at that time than making music.”^[3]

Early career: late 1990s[link]

Martin Stääf worked in the commercial studio Bohus Sound Recordings 1997-1999 and engineered/produced various jazz and rock bands. During this time he also made a song for the Euro-Vision contest.^[3]

In 1997 Martin Stääf formed the outfit Necton together with Patrik Olsén, mainly focusing on progressive and psychedelic trance. Necton released two full length albums, 6 vinyl EPs, and were featured on numerous CD compilations. They were signed to Spirit Zone Recordings, Digital Structures and Spiral Trax. Necton toured extensively around the world between 1997-2003.

During this time, Martin Stääf released Nu Skool Breaks on labels Ministry Of Sound, Sound Of Habib, Muti Music, Random Recordings, Hope Recordings, and Muve Recordings under the alias Rhoca. Stääf also released funky Techno on Iboga Records, Plusquam Records, and Nanobeat Records.^[4]

The Liquid Stranger Project: 2003–2009[link]

Martin Stääf launched the Liquid Stranger project in 2003. His intention was to have one alias that would encompass all his musical output. Consequently, he has produced a wide variety of music under the name Liquid Stranger. At first, Stääf's plan was to keep his identity a secret. He never did interviews or showed his face on stage. Stääf states: ”After a while it became quite tricky. in fact, Interchill finally ruined this idea by writing my name on the record sleeves.”^[5] Liquid Stranger's creative output ranges from suggestive Ambient soundscapes to movie scores, pop, dub, infernalia, drill n bass, and electronica.^[6]

The first release under the name Liquid Stranger was the song Environmental Meltdown, featured on the compilation Global Psychedelic Chill Out - Compilation Vol. 4 by Spirit Zone Recordings.

When asked in an interview why he moved away from the trance scene, Stääf replied: ”I never really switched per se, I have always made tons of different types of music. During the time I toured with Necton, I produced various stuff like Ambient, Electro and Drill n bass. What excites me is the fusing of genres. I have no fixed style that I stay with too long, I do not like boundaries.”^[7]

Subnatura collective[link]

In 2003, Martin Stääf founded the musical collective Subnatura together with Marckus Andersson. Subnatura released 12 digital Ep's and were featured on net label Monotonik and the video DVD Collectanea: First Course, released by Escapi Music.^[8]

Candy Mind Records[link]

In 2004, Martin Stääf founded the record label Candy Mind Records together with his brother Jens Stääf. Candy Mind Records released 33 digital Ep's, and one full-length CD release from Dorothy's Magic Bag.^[9] During the Candy Mind era, Martin Stääf and his brother started the duo Hectopascal. They released the full-length album Anywhere And Me on Kahvi records. The Ep's Pixels and Pixies, and Alive In Veddige were released on Candy Mind Records.^[10]

Interchill Records[link]

In 2005, Stääf got signed to Canadian label Interchill Records. The song Political Finga was featured on Earth Octave Lounge Vol. 2, and received high praise from the dub community. The song Liquid Stranger On The Run appeared on the compilation Dissolving Clouds and got frequent plays on underground radio. Rick Anderson of Allmusic wrote about Liquid Stranger “As someone who has previously worked in progressive rock, punk, techno, breakbeat, and IDM genres, Staaf brings a certain sophistication to his Interchill-style dubtronica, and there is lots to hear for those who take the trouble to listen closely: the brass and orchestral samples bubbling beneath the surface of the gently churning dub of Liquid Stranger on the Run.”^[11]

The song We Meet At Last appeared on the compilation Bliminal, and was licensed by Velcrow Ripper for the film Fierce Light – Where Spirit Meets Action, released in 2008.

The Invisible Conquest[link]

Cover art for the Album The Invisible Conquest

The first full-length Liquid Stranger album, The Invisible Conquest, was released by Interchill Records in 2007. A bass-heavy album with melodic bass lines, percussive grooves, tribal accents and minimal psychedelic overlays. The Invisible Conquest received high ratings and praise from critics. Properly Chilled wrote of the album ”Liquid Stranger's sound has the grandeur of its peers without building an humongous ego. . .we give this record two thumbs way up and a standing ovation”,^[12] and Raves.com described it as ”A taste of the experimental, a chunk of tribal, all wrapped around a root of dub excellence. . .dub vibes that shoot right through to the middle of your gut.”^[13] Morpeus Music describes the music of Liquid Stranger as ”Bass driven atmospheric chillout. Liquid Stranger creates mostly instrumental montages with strong rhythmic content.”^[14]

The Intergalactic Slapstick[link]

The second full-length Liquid Stranger album was released by Interchill Records in 2009. This album saw Liquid Stranger moving significantly into heavier Dubstep and reggae influenced grooves. Vocalists Brother Culture, Danman, Deeyah and Warrior Queen are featured on the album. Seb Taylor from Kaya Project plays Steel Guitar on the songs His Fully Automatic Wheelbarrow, and Dew Point. Dub-connection wrote of the album ”the production varies and waves between a electro-dub chill-out and powerful tracks in the limit of drum and bass with a bit of stepper to spice the sound.”^[15] Morpheus Music wrote of the album ”The diverse roots of Liquid Stranger's sound sprawl across electro, ambient, grime, global, breaks and garage.”^[16] Sun Is Shining wrote ”Some albums float your boat with one or two tracks becoming ingrained in your mind for days, weeks and even months. Once in a blue moon an album levitates that boat out of the water and into the clouds. LS’s long awaited second album is certainly filed in the latter category.”^[17]

The Private Riot[link]

The third full-length Liquid Stranger album was released on Rottun Recordings in 2010. This album features 10 dark and energetic Dubstep songs, described by Music and Happy Life as "totally devastating dance-floor monsters." ^[18] The album received high praise in the electronic music scene, with the song "Ripple" hitting number 1 on Beatport's top download charts for an extended period of time.

Background information[link]

Influences[link]

Martin Stääf mentioned in an interview on BBC radio that his main influence comes from music from vintage computer games.^[19] In an interview with Chillbase, Stääf says that he does not listen to music all that much, except when he is on a concert. In the same interview Stääf explains that he gets inspiration from movie soundtracks, dreams, and everyday life.^[2]

Discography[link]

Albums[link]

• Anywhere And Me (2005)
• The Invisible Conquest (2007)
• The Intergalactic Slapstick (2009)
• The Private Riot (2010)
• Mechanoid Meltdown (2010)
• The Arcane Terrain (2011)
• Cryogenic Encounters (2012)
• The Renegade Crusade (2012) | Not Released

Singles[link]

• It Came From The Dessert (2003)
• Subsonic Soil (2004)
• Pixies And Pixels (2004)
• Dead Or Alive (2005)
• Spores (2005)
• Alive In Veddige (2005)
• Banana(Electro)Split (2006)
• Monster (2009)
• Steel Trap (2009)

Tracks appear on[link]