Larry Keyes – Emily's Music Dump

August 22, 2016June 23, 2021

Brahms – Ballades – Rhapsodies – (Glenn Gould)

Johannes Brahms (1833-1897)

Ballades, Opus 10

Rhapsodies, Opus 79

Glenn Gould, Piano

Recording Location: CBS Recording Studios, New York, NY, 1982

ONE-SENTENCE REVIEW:

There is nothing to review about Glenn Gould’s final piano recordings – just listen and love.

ORIGINAL LINER NOTES: (by Peter Eliot Stone)

The nineteenth century ballade took its earliest inspiration from literary sources – the ballads or narrative poems, usually German or English in origin, dealing with legendary, historical or often purely romantic characters and happenings.

Thus, ballades were early characterized by a programmatic content that could easily seize the imagination both of composer and listener alike. Works by some composers, such as Frederic Chopin, were even considered to parallel lines of poems – in Chopin’s case those by fellow-countryman Adam Mickiewicz.

Johannes Brahms, on the other hand, devoted his ballades, as a rule, to “absolute” music, and his Four Ballades, Op. 10 of 1854 contain only one “programmatic” piece – the first in D minor.

This Ballade musically embodies the famous Scottish ballad of patricide, Edward (“Why does your brand sae drop wi’ bluid, Edward, Edward?”), which Brahms knew in translation from Johann Gottfried Herder’s Stimmen der Volker and which he later set for alto and tenor (Op. 75, No. 1). Brahms climaxes this grim dialogue between mother and son with the Beethovenian fate motif that was to color many of his other works. When the opening theme returns, Brahms treats it in a surprisingly operatic fashion.

The second Ballade, in D major, departs from its lyrical mood with a dramatically contrasting middle section.

The elfin third Ballade, in B minor, labelled intermezzo and functioning in the set as a scherzo, likewise differentiates its middle section. Brahm’s interest in the inner voices of the fourth Ballade, in B major, reveals the influence of his friend Robert Schumann, but Brahm’s more classic reserve and his formal sophistication yield glimpses of the master’s mature style.

Brahms dedicated his Two Rhapsodies, Op. 79 (1879), to the charming and musical Elisabeth von Herzogenberg, originally entitling them “Capriccio (presto agitato)” and “Molto passianato.” For Brahms, the word capriccio did not seem to imply a light-hearted caprice (unless he used the titles ironically). Almost all of his caprices were gloomy, turbulent, and in the minor mode.

Regarding publication in 1880, Brahms suggested the title “Rhapsody” to Elisabeth. She answered: “You know I am almost most partial to the non-committal word Klavierstucke, just because it is non-committal: but probably that won’t do, in which case the name Rhapsodien is the best, I expect, although the clearly defined form of both pieces seems somewhat at variance with one’s conception of a rhapsody.”

Somewhat at variance, indeed!

Temperamentally “youthful” but compositionally mature, there is nothing improvisatory or irregular about these pieces. The first, in B minor, contains its agitation within a da capo form to which a coda has been added.

The second, in G minor, unleashes its passion through what for all intents and purposes is a sonata form. Yet the pieces do not resemble movements that might flow from the pen of the neo-classicist Brahms when he intended to write a sonata. Here, Brahms eschews the stable expository section for the instability of development right from the start.

In the first Rhapsody, the middle, bagpipe-like section, is based on a complete exposition of a “second theme” that had been arrived at prematurely and in the “wrong” key in the first section where it was then interrupted by a further intensive development of the first theme.

The G-minor Rhapsody opens with a true primary-group theme whose iambic rhythm, one of Brahm’s fingerprints, contrasts fittingly with the march-like secondary group theme. But the oppressive nature of this second Rhapsody continues to the bitter end, unlike the brief B-major close of the first Rhapsody which somewhat softens its turbulence.

TRACK LISTING:

1: Brahms Ballade, Op. 10, No.1 (D-Minor)
2: Brahms Ballade, Op. 10, No. 2 (D-Major)
3: Brahms Ballade, Op. 10, No. 3 (B-Minor)
4: Brahms Ballade, Op. 10, No. 4 (B-Major)
5: Brahms Rhapsody, Op. 79, No. 1 (B-Minor)
6: Brahms Rhapsody, Op. 79, No. 2 (G-Minor)

FINAL THOUGHT:

Below is a fascinating (audio) recording of the complete Brahms Ballades recording session from 1982. I didn’t listen to the complete 5 HOUR (!!) recording – but just so much great audio of Gould being Gould (so to speak). Enjoy!

[This recording receives the VERY RARE 88 out of 88 for the simple fact – it’s Glenn Gould’s last piano recording before his death. It may not deserve 88 out of 88 (from a review standpoint) but as a huge Gould fan, anything less would be silly.]

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

June 10, 2016June 23, 2021

Brahms – Symphony No. 4 (Bruno Walter)

Johannes Brahms (1833-1897)

Tragic Overture, Opus 81

Symphony No. 4, in E Minor, Opus 98

Columbia Symphony Orchestra, Bruno Walter (Conductor)

Recording Location: American Legion Hall, Hollywood, California (Tragic Overture 1960; Symphony No. 4 1959)

ONE-SENTENCE REVIEW:

The final recording of the Brahms symphony cycle Bruno Walter and the Columbia Symphony Orchestra, the 82-year-old genius really brings a weight and importance to Brahms that only an 82-year-old genius can bring.

ORIGINAL LINER NOTES: (None)

This is a discount CD from the remastered CBS Masterworks recordings – so, unfortunately, no notes. I would have loved to have read about the recording of the Brahms symphony cycle.

TRACK LISTING:

1: Tragic Overture, Opus 81 [13:18]
Symphony No. 4, Opus 98
2: Allegro non troppo [12:55]
3: Andante moderato [11:46]
4: Allegro giocoso; Poco meno presto [6:26]
5: Allegro energico e passionaato; Piu Allegro [11:16]

FINAL THOUGHT:

These great old recordings aren’t heard that much anymore. So happy I have them in my collection. This project is allowing me to go back and listen to CDs that I may not have ever heard again.

The above links at the top of the page are of the actual recordings reviewed here (no video). Below is just a really great live performance of Brahms’ Symphony No. 4 – Bernard Haitink conducting. Enjoy!

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

July 30, 2013June 23, 2021

Beethoven Symphony No 6 – Brahms Symphony No 2

Ludwig Van Beethoven (1770-1827)

Symphony No. 6 in F, Opus 68 – “Pastoral”

BBC Symphony Orchestra (Sir Adrian Boult, conductor)

Recorded live on August 1, 1972 at the Royal Albert Hall, London

Johannes Brahms (1833-1897)

Symphony No. 2 in D, Opus 73

BBC Symphony Orchestra (Sir John Pritchard)

Recorded live on September 3, 1981 at the Royal Albert Hall, London

ONE-SENTENCE REVIEW (BEETHOVEN):

OK – so unlike my last review of Beethoven’s 6th Symphony (which was awful), this one is a terrific live recording from 1972 – conducted by Sir Adrian Boult – and that’s pretty much all you need to know.

ONE-SENTENCE REVIEW (BRAHMS):

Though the Brahms Symphony No. 2 is not a personal favorite (I’m afraid if I would have been present during the performance you might have heard me yawn on the recording), but this is still a great live performance of (in my opinion) a boring symphony and a must listen for any fan of Brahms.

ORIGINAL LINER NOTES:

No liner notes – it’s just another one of those cheap discs (cheaply made – not cheap performances by any means) that came with my paid subscription to BBC Music Magazine in the early 1990s. That magazine is long gone and it was sad when it went away. I used to love to get those surprise discs every month in the mail. Ah, well…

TRACK LISTING:

1-5: Beethoven – Symphony No. 6 in F, Opus 68 (Pastoral)
6-9: Brahms: Symphony No. 2 in D, Opus 73

Note: These bottom videos are meant to be a really good live recording that I can share and not just the sound recordings of the CDs being reviewed (those are meant to be the links at the top).

FINAL THOUGHT:

Very competent, solid recording. It’s Beethoven as Beethoven should be played and Brahms as Brahms should be played – nothing wrong with that.

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

July 26, 2013June 23, 2021

Beethoven – Symphony No. 6 – Pastorale

Ludwig Van Beethoven (1770-1827)

Symphony No. 6 in F Major, Opus 68 – “Pastorale”

Dresden Philharmonic (Herbert Kegel, conductor)

ONE-SENTENCE REVIEW:

So – this is another one of those ridiculous 1990s CD-ROM discs where you could, supposedly, follow along with the score while it played in your computer – but mostly it just jammed and the performances of these discs were always pretty terrible.

ORIGINAL LINER NOTES:

No liner notes but lots of instructions on how to get it to work in your computer. All very complicated and it never really worked. I tried a few of these discs and they were always pretty frustrating but I still bought them because the concept of being able to follow along with the score while a piece of music played was very new and very exciting.

I just wished it would have worked.

TRACK LISTING:

1: CD+ROM Data Track
2: Mvt. I: Allegro ma non troppo
3: Mvt II: Andante molto mosso
4: Mvt III: Allegro; Mvt. IV Allegro; Mvt V: Allegretto

But I give you a really good performance below:

FINAL THOUGHT:

It was a novelty and would have been really cool had it worked and had the performances chosen actually been decent. But, alas, these were pretty terrible discs from the Laserlight division of Delta Music Inc. (whatever that is).

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

July 17, 2013June 23, 2021

Beethoven – Symphony No. 4 and Symphony No. 5

Ludwig Van Beethoven (1770-1827)

Symphony No. 4 in B-flat Major, Opus 60

Symphony No. 5 in C Minor, Opus 67

New York Philharmonic (Leonard Bernstein, conductor)

ONE-SENTENCE REVIEW:

Back from vacation – oh, yeah – and starting with one powerhouse symphony that everyone in the world can hum and one forgotten symphony that gets no respect – and, in fact, is actually hated (which is which – do you think?)… regardless, this is a classic recording not to be missed.

ORIGINAL LINER NOTES (written by Michael Danner):

Symphony No. 4 in B-flat Major, Opus 60

This symphony lies like some sunlit valley between the cragged “Eroica” and the mountainous Fifth Symphony. Beethoven composed this work in 1806 during the summer months, it is generally believed, that he spent with his friends the von Brunswicks at their estate in Hungary.

Some musicologists – notably, Sir. George Grove – hold that the Fourth Symphony is an expression of the composer’s feelings for Countess Therese von Brunswick, to whom he was reputed to have become engaged.

“When writing the symphony,” said Sir George, “his heart must have been swelling with his new happiness. It is, in fact, the paean which he sings over his first conquest.

But the Fourth Symphony was not well received at its first performance, in Vienna, during the winter of 1807. One critic, admitting “wealth of ideas, bold originality and fullness of strength,” still complained of “neglect of noble simplicity” and “excessive amassing of thoughts.”

Carl Maria von Weber, then an aspiring twenty-year old musician, write a derisive article in which he had a violin claim, after a performance of the work, that it had been forced “to caper about like a wild goat” so that it could “execute the no-ideas of Mr. Composer.”

A more illuminating and sympathetic interpretation of the Symphony is left to us by Sir George Grove, who write that “a more consistent and attractive whole cannot be… The movements fit in their places like the limbs and features of a lovely statue; and, full of fire and invention as they are, all is subordinated to conciseness, grace and beauty.”

Symphony No. 5 in C Minor, Opus 67

In Berlioz’s opinion, the Symphony No. 5 was the first of Beethoven’s symphonies in which the composer “gave the reins of his vast imagination, without taking for guide or aid a foreign thought.”

It seems to come, wrote Berlioz, “directly and solely from the genius of Beethoven; he develops in it his own intimate thought, his secret sorrows, his concentrated rage, his reveries charged with a dejection, oh, so sad, his visions at night, his bursts of enthusiasm.”

The date of the Fifth has not been definitely determined. The Symphony was begun in 1805, shortly after the completion of the “Eroica,” but it was laid aside almost at once, and Beethoven presumably did not resume work on it until 1807.

It is supposed that he completed it in that year, though it remained unplayed for another twelve months. The first performance took place in Vienna, at the Theater an der Wien, on December 22, 1808.

Concerts were concerts in those days, and the audience that heard the premiere of the Fifth also heard the Sixth Symphony and the Choral Fantasy, the Piano Concerto in G, two numbers from the Mass in C, the aria “Ah, Perfido” and an improvisation by the the composer.

Apparently the performances were deplorable, and perhaps for this reason the new works on the program were indifferently received. But the subsequent history of the Fifth was one of repeated triumphs.

The first movement of this great work is possessed of a wild and demonic energy – “a frenetic delirium that explodes in frightful cries,” as Berlioz expressed it.

The second movement is a noble and melancholy contemplation; in form, variations on two themes.

The scherzo established a mood of mystery and terror that remind Berlioz of a sinister scene in Goethe’s Faust.

Suddenly, at the close of this movement, comes one of the greatest strokes in Beethoven, the mysterious bridge passage leading into the exultant shout that begins the finale, a glorious ascent from the darker recesses of the soul to the light of courageous, challenging life.

Note: Mr. Bernstein’s is a complete performance of the Fifth Symphony, with all repeats observed, exactly as Beethoven indicated.

TRACK LISTING:

1-4: Symphony No. 4 in B-flat Major, Opus 60
5-8: Symphony No. 5 in C Minor, Opus 67

FINAL THOUGHT:

Because Symphony No. 4 isn’t famous and we haven’t heard it a thousand times, it comes off as a little flat and boring while the Symphony No. 5, of course, does not disappoint, especially under Mr. Bernstein’s fiery baton! Classic. Classic. Classic.

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

June 15, 2013June 23, 2021

Beethoven – Symphony No 3 – Eroica

Ludwig Van Beethoven (1770-1827)

Symphony No. 3 in E-flat Major, Opus 55 – ‘Eroica’

The Academy Of Ancient Music (Christopher Hogwood, Conductor)

Recorded at Walhamstow Assembly Hall, London – August, 1985

ONE-SENTENCE REVIEW:

Even though this symphony, I think, is most effective when performed with the best modern instruments money can buy, this “authentic instrument” recording (thanks, Sir Hogwood) is the standard bearer and generation after generation will forever have this fabulous recording to know exactly how this masterpiece sounded in Beethoven’s day (provided the orchestras in Beethoven’s day didn’t suck).

ORIGINAL LINER NOTES (written by Barry Cooper):

Although Beethoven was born and brought up in Bonn, he moved to Vienna in 1792, at the age of nearly 22. Once there, he quickly became recognized as a virtuoso pianist, and he also become wildly admired for his remarkable ability at improvisation.

His reputation as a composer, however, developed more slowly, and until the end of the century his compositions found favor with only a small number of people. But two works did more than anything to broaden his popularity – the Septet Opus 20 of 1799-1800 and the ballet Die Geschopfe des Prometheus (The Creatures of Prometheus) of 1801.

The Prometheus music was to play an important role in the genesis of the Eroica Symphony of 1803, and so an understanding of the ballet and its background is essential for a full appreciate of the Symphony. Ballet in Vienna had reached new heights during the 1790s, with several being produced each year; many were new, with music by such composers as Sussmayr, Weigl and Wranitzky, and most were labelled as belonging to a particular type, such as comic, heroic or tragi-pantomime.

Beethoven’s Prometheus, first performed on 28 March 1801, formed part of this tradition and was described as a ‘heroic allegorical’ ballet (notice the word ‘heroic’).

The work was so successful that it received twenty-three performances in less than two years. The finale appears to have been particularly popular, and Beethoven soon took advantage by arranging the two main finale themes as Contretanze for use at balls (it is sometimes stated that the Contreanze preceded the ballet, but the sketches indicate that ballet undoubtedly came first).

In 1802, he used the principal finale theme again, this time for a set of piano variations Opus 35; he even requested the original publishers to mention on the title page that the them was from Prometheus, though his request was ignored.

As soon as he had finished sketching these variations, he wrote on the next two page of his sketchbook a plan for the first three movements of a symphony in E-flat – a plan that was to evolve into the Eroica Symphony.

The fact that there are no sketches for the finale at this initial stage suggests he had already decided to base this movement on the popular theme from Prometheus,; thus the Eroica became the fourth work to use this theme.

During the next few months, the planned Symphony lay dormant, but Beethoven returned to it in the middle of 1803. He worked intensively on it throughout the summer, as usual composing the movements in the same order as they appear in the finished version.

By autumn 1803, the Symphony was more or less complete, but he continued touching it up for at least a year or so afterwards and it was not finally published until October 1806.

The Eroica or ‘Heroic’ Symphony was the first of his symphonies to have specific extra-musical associations. But although he doubtless expected the musical reference to his heroic ballet to be instantly recognized by the Viennese public, Prometheus was not the only hero he had in mind.

According to one account, General Abercromby (who had been killed in action in 1801) was the hero was provided the initial idea for the Symphony.

More significantly, Beethoven intended to dedicate the work to Napoleon, whom he regarded as the hero who had overthrown the tyranny of the Anicen Regime. He had even written out a dedicatory title page, when news reached Vienna that Napoleon had proclaimed himself emperor.

In a fit of rage, Beethoven is reported to have torn up the page, exclaiming, “Is he too nothing more than an ordinary man? Now he too will trample on all human rights.”

In a manuscript copy of the Symphony which he possessed and which still survives today, Napoleon’s name on the title page is so heavily deleted that there is a hole in the paper.

In the end, the Symphony was dedicated to Prince Lobkowitz, who not only paid Beethoven for the dedication but also enabled him to try out the Symphony several times at the prince’s palace before its first public performance on 7 April 1805.

The work is thus best regarded as a portrayal of the idea of heroism rather than of any individual; the title page of the first edition leaves the matter ambiguous, stating that the Symphony was ‘composed to celebrate the memory of a great man’ (‘compsta per festeggiare il sovvenire di un grand Uomo’) – either the memory of the Napoleon that was (before he became emperor) or of any great man.

The concept of heroism is portrayed in the music in a number of ways, most conspicuous of which is the size of the work. For Beethoven, a hero was apparently a larger-than-life character, and so the Symphony is substantially bigger than any previous one.

In the first movement it is the gigantic development section in the middle of the movement that best portrays the hero, as it builds up to a climax of ferocious discords, followed by a desolate theme in the woodwind and ultimately the triumphant return of the main theme.

The second movement is headed ‘Marcia funebre’ and alternates between minor and major – between mournful melancholy and noble pathos.

In the third movement, a scherzo and trio, the heroic element appears most clearly in the trio, where a theme of uncommon boldness is played on three horns instead of the usual two, giving a much fuller sound. This theme, like many of the main themes in the Symphony, is based on the notes of the tonic chord, a device that contributes much to the heroic quality of the music.

(Some analysts suggest these tonic-chord themes are derived from the two opening chords of the Symphony, but the sketches show that these two chords were very much an afterthought.)

In most earlier symphonies the finale was a relatively light movement, but the Eroica marks the beginning of a trend towards much weightier finales. This is hardly surprising when one remembers that the main themes of the Eroica finale was an important generating factor for the whole Symphony.

Beethoven did not specify any programme in the finale, but it is tempting to see the movement as reflecting the plot of Prometheus. The ballet begins with a storm, and similarly the finale of the Eroica has a stormy opening; next Prometheus encounters two statues he has made, and in the Symphony the stiff, unharmonized bass-line that follows the storm could hardly be more statuesque.

Prometheus brings the statues to life, and Beethoven likewise breathes life into the empty bass-line by adding various counterpoints, culminating in the addition of the tune borrowed from his ballet.

In the rest of the ballet the now living statues are introduced to various arts, while the remainder of the Symphony Beethoven proceeds to use a great variety of musical arts, including variation, fugue and symphonic development.

The meaning of the ‘allegorical ballet’ is this: Prometheus is a lofty spirit who finds the men of his day in a state of ignorance and civilizes them, making them susceptible to human passions by the power of harmony. Thus it concerns the creative artist, a hero who breathes life into his creations and civilizes those around him. This idea can also be discerned in the gradeur of the Eroica, where the real hero is surely the composer.

It is of course possible to appreciate the Eroica while knowing nothing of its connections with Prometheus and Napoleon. But if we are to make progress towards ‘authentic’ listening, which is the logical counterpart of authentic performances, it is essential to be aware that the original audiences would have understood at once the reference to Prometheus in the Eroica, as well as appreciating that the Symphony was breaking new ground.

It is also important to appreciate the genesis of the work – both its musical and extra-musical origins – so that we can approach it from the same angle as the composer. Such attitudes will certainly enhance our enjoyment of the music, and our receptiveness to the ideas that Beethoven was trying to communicate.

TRACK LISTING:

1-4: Symphony No. 3 in E-flat major – Opus 55 – ‘Eroica’

FINAL THOUGHT:

Napoleon had to get all cocky and name himself “Emperor” – doesn’t he realize that Beethoven’s 3rd Symphony could have been dedicated to him? What a dumb ass.

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

June 6, 2013June 23, 2021

Beethoven – Symphony No 1 and Symphony No 2

Ludwig Van Beethoven (1770-1827)

Symphony No. 1, Opus 21 in C Major

Symphony No. 2, Opus 36 in D Major

Columbia Symphony Orchestra (Bruno Walter, Conductor)

Recorded at American Legion Hall, Hollywood, California, 1959

ONE-SENTENCE REVIEW:

Now we’re getting into the meat – Beethoven Symphonies 1 & 2 – all I can say is Ludwig van is a talented man… the future looks promising.

ORIGINAL LINER NOTES (none):

Another budget disc from CBS Masterworks. They couldn’t even afford liner notes. But here’s a bit of info from our friends at Wikipedia:

SYMPHONY NO. 1

Ludwig van Beethoven’s Symphony No. 1 in C major, Op. 21, was dedicated to Baron Gottfried van Swieten, an early patron of the composer. The piece was published in 1801 by Hoffmeister & Kühnel of Leipzig. It is unknown exactly when Beethoven finished writing this work, but sketches of the finale were found from 1795.

The symphony is clearly indebted to Beethoven’s predecessors, particularly his teacher Joseph Haydn as well as Wolfgang Amadeus Mozart, but nonetheless has characteristics that mark it uniquely as Beethoven’s work, notably the frequent use of sforzandi and the prominent, more independent use of wind instruments.

Sketches for the finale are found among the exercises Beethoven wrote while studying counterpoint under Johann Georg Albrechtsberger in the spring of 1787.

The premiere took place on April 2, 1800 at the K.K. Hoftheater nächst der Burg in Vienna.

The concert program also included his Septet and Piano Concerto No. 2, as well as a symphony by Mozart, and an aria and a duet from Haydn’s oratorio The Creation. This concert effectively served to announce Beethoven’s talents to Vienna.

SYMPHONY NO. 2

Symphony No. 2 in D major (Op. 36) is a symphony in four movements written by Ludwig van Beethoven between 1801 and 1802. The work is dedicated to Karl Alois, Prince Lichnowsky.

The Second Symphony was mostly written during Beethoven’s stay at Heiligenstadt in 1802, at which time his deafness was becoming more apparent and he began to realize that it might be incurable.

The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. During that same concert, the Third Piano Concerto and the oratorio Christ on the Mount of Olives were also debuted. It is one of the last works of Beethoven’s so-called “early period”.

Beethoven wrote the Second Symphony without a standard minuet; instead, a scherzo took its place, giving the composition even greater scope and energy. The scherzo and the finale are filled with vulgar Beethovenian musical jokes, which shocked the sensibilities of many contemporary critics.

One Viennese critic for the Zeitung fuer die elegante Welt (Newspaper for the Elegant World) famously wrote of the Symphony that it was “a hideously writhing, wounded dragon that refuses to die, but writhing in its last agonies and, in the fourth movement, bleeding to death.”

TRACK LISTING:

1-4: Symphony No. 1, Opus 21 in C Major
5-8: Symphony No. 2, Opus 36 in D Major

FINAL THOUGHT:

Regardless of what Wikipedia, above, says – I think Symphony No. 1 is clearly a “Beethoven” symphony” and not as indebted to his predecessors (unless we’re talking about length) as others may believe. And no matter how many times I listen to Symphony No. 2, I just don’t get the “hideously writhing, wounded dragon…” It’s just not that violent (but I’m sure that joke killed at the Biergarten after the concert).

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)