Craig Armstrong

Craig Armstrong Radio

Music

FEATURED SONG

Play
Play Next
Add to queue

Memory Takes My Hand: As we loved (Soprano & Orchestra)

Album: Craig Armstrong: 'Memory Takes My Hand', 'One Minute', 'Immer'

Released: Jun 2, 2008

Label: EMI Classics

1. Play
2. Play Next
3. Add to queue
Memory Takes My Hand: As we loved (Soprano & Orchestra)
1:43
73,122 plays
1. Play
2. Play Next
3. Add to queue
Alpine Tunnel
3:01
108,595 plays
1. Play
2. Play Next
3. Add to queue
This Love [Explicit]
4:02
352,804 plays
1. Play
2. Play Next
3. Add to queue
Weather Storm
3:50
99,605 plays
1. Play
2. Play Next
3. Add to queue
Glasgow Love Theme
2:14
130,877 plays

Total Plays: 661,348 / Plays Today: 1See All Featured ►

General Info

Genre: Classical / Electronica / Experimental
Location Glasgow, Please select your region., Un
Profile Views: 502562
Last Login: 1/26/2011
Member Since 11/14/2005
Website craigarmstrong.com
Type of Label Major
Bio
Craig Armstrong’s music is as varied as it is successful. Born in 1959 in the east end of Glasgow, the musician and composer headed to London in 1977 to train at the Royal Academy of Music. Under the tutelage of such greats as Cornelius Cardew and Malcolm MacDonald, he developed an approach that evokes the most delicate shifts in atmosphere and emotion. On his return to Glasgow, Armstrong became in-house composer at the influential Tron Theatre, working for the first time with director Michael Boyd (now at the Royal Shakespeare Company) and writer Peter Arnott. Armstrong would team up again with Arnott on orchestral work Memory Takes My Hand, for the re-opening of Glasgow’s Kelvingrove Museum. It was also at the Tron that Armstrong met actor/ director Peter Mullan, whose films (including The Magdalene Sisters and Neds) he continues to provide the music for today. Hollywood greats Armstrong’s early work, scoring for theatrical productions such as Boyd’s radical 1993 interpretation of Macbeth, laid the foundations for a spectacular career in film. Since the mid-nineties, he has created scores for both Hollywood and independent films, from Mullan’s directorial debut The Close Trilogy to Bafta, Golden Globe and Novello award-winning soundtracks for Baz Luhrmann’s William Shakespeare’s Romeo and Juliet and Moulin Rouge! Many more films have benefited from Armstrong’s expert touch, including Richard Curtis’ Love Actually and Taylor Hackford’s Oscar-winning biopic Ray. Classic and modern Running alongside his scoring work, Armstrong has built an impressive repertoire of both popular and classical music; a distinction of genres that he would prefer not to make, focusing simply on the excitement and integrity of the music itself. Shared inspiration with Bristol trip-hop outfit Massive Attack led to the platinum-selling album Protection, and Armstrong’s talents for arranging, remixing and composition have also been called upon by names as diverse as the London Sinfonietta, Yoko Ono, the Barbican and the Pet Shop Boys. Collaborative energy He has nurtured a long-time collaboration with Berlin-based poet and electronic artist AGF, working with her on various pieces as well as forming three-way collective The Dolls with Finnish musician Vladislav Delay. Armstrong’s influence extends to the world of visual arts, too, with pieces such as One Minute: 15 Pieces for Orchestra seeing him work with Scottish artists Dalziel Scullion to mark the unveiling of the new Perth Concert Hall. Other orchestral works include Gesualdo, an operetta with words from author Ian Rankin commissioned by Scottish Opera, as well as acclaimed pieces for the BBC Scottish Symphony Orchestra, choral ensemble Cappella Nova and award-winning violinist Clio Gould. A central virtuosity His series of solo albums, including the collaborative As If to Nothing (2002), and 2004’s Piano Works, reveal a more personal insight into a composer whose virtuosity is at the heart of every note. Working primarily from his studio in Glasgow, Armstrong continues to draw inspiration and support from the city and people he loves. In 2010 he accepted an OBE at the Palace of Holyroodhouse for his contribution to music. Written by Clare Harris (clareharris.net)
Members
We've just launched the new Craig Armstrong website. Please visit at craigarmstrong.com for all updates and news. Website design by http://remote-location.com/
Influences
This page is maintained by Craig Armstrong's management company
Sounds Like
Music

More ▼Less ▲

Stream

No recent updates in this category.

Why not...

Videos

00:00 | 0 plays | Jan 1 0001

You have no videos.

Music

The Incredible Hulk
19 Songs | Mar 26, 2013
Plunkett And Macleane
20 Songs | Nov 26, 2007
Elizabeth: The Golden Age (OST)
20 Songs | Nov 5, 2007
As If To Nothing
15 Songs | Oct 9, 2007

Comments

Clipboard

Craig Armstrong’s music is as varied as it is successful. Born in 1959 in the east end of Glasgow, the musician and composer headed to London in 1977 to train at the Royal Academy of Music. Under the tutelage of such greats as Cornelius Cardew and Malcolm MacDonald, he developed an approach that evokes the most delicate shifts in atmosphere and emotion. On his return to Glasgow, Armstrong became in-house composer at the influential Tron Theatre, working for the first time with director Michael Boyd (now at the Royal Shakespeare Company) and writer Peter Arnott. Armstrong would team up again with Arnott on orchestral work Memory Takes My Hand, for the re-opening of Glasgow’s Kelvingrove Museum. It was also at the Tron that Armstrong met actor/ director Peter Mullan, whose films (including The Magdalene Sisters and Neds) he continues to provide the music for today. Hollywood greats Armstrong’s early work, scoring for theatrical productions such as Boyd’s radical 1993 interpretation of Macbeth, laid the foundations for a spectacular career in film. Since the mid-nineties, he has created scores for both Hollywood and independent films, from Mullan’s directorial debut The Close Trilogy to Bafta, Golden Globe and Novello award-winning soundtracks for Baz Luhrmann’s William Shakespeare’s Romeo and Juliet and Moulin Rouge! Many more films have benefited from Armstrong’s expert touch, including Richard Curtis’ Love Actually and Taylor Hackford’s Oscar-winning biopic Ray. Classic and modern Running alongside his scoring work, Armstrong has built an impressive repertoire of both popular and classical music; a distinction of genres that he would prefer not to make, focusing simply on the excitement and integrity of the music itself. Shared inspiration with Bristol trip-hop outfit Massive Attack led to the platinum-selling album Protection, and Armstrong’s talents for arranging, remixing and composition have also been called upon by names as diverse as the London Sinfonietta, Yoko Ono, the Barbican and the Pet Shop Boys. Collaborative energy He has nurtured a long-time collaboration with Berlin-based poet and electronic artist AGF, working with her on various pieces as well as forming three-way collective The Dolls with Finnish musician Vladislav Delay. Armstrong’s influence extends to the world of visual arts, too, with pieces such as One Minute: 15 Pieces for Orchestra seeing him work with Scottish artists Dalziel + Scullion to mark the unveiling of the new Perth Concert Hall. Other orchestral works include Gesualdo, an operetta with words from author Ian Rankin commissioned by Scottish Opera, as well as acclaimed pieces for the BBC Scottish Symphony Orchestra, choral ensemble Cappella Nova and award-winning violinist Clio Gould. A central virtuosity His series of solo albums, including the collaborative As If to Nothing (2002), and 2004’s Piano Works, reveal a more personal insight into a composer whose virtuosity is at the heart of every note. Working primarily from his studio in Glasgow, Armstrong continues to draw inspiration and support from the city and people he loves. In 2010 he accepted an OBE at the Palace of Holyroodhouse for his contribution to music. Written by Clare Harris (http://clareharris.net/)