Podcast appearances and mentions of anna thorvaldsdottir

Schwarze Strände, gelbe Flüsse, Schroffe Klippen, wilde Schluchten, pfeifender Wind, tosende Brandung, fauchende Vulkane - die Natur in Island ist rauh. Die Natur, in der die Komponistin Anna Thorvaldsdottir aufgewachsen ist. Die Natur ist ihre grösste Inspiration, aber nicht im romantischen Sinne: Sie schreibt keine Naturprogrammmusik, ihre natürliche Umgebung wirkt bei ihr mehr als Katalysator ihrer eigenen Gefühle und musikalischen Gedanken. Anna Thorvaldsdottir komponiert für die berühmtesten Sinfonieorchester der Welt, für die New Yorker wie für die Berliner Philharmoniker. Ihre Musik berührt ein grosses Publikum, und das ganz unmittelbar. Man lässt sich gerne entführen in Thorvaldsdottirs urwüchsigen, erdigen Klanglandschaften. Für Orchester komponiert sie am liebsten und am meisten, und ihre sinfonischen Dichtungen reflektieren auch große Fragen wie unseren Umgang mit der Natur, oder auch kosmische Phänomene wie schwarze Löcher. Diese Saison ist Anna Thorvaldsdottir Creative Chair beim Tonhalle-Orchester Zürich und stellt in der Limmatstadt mehrere ihrer Orchester- und Kammermusikwerke vor.

We update our running list of the year's best songs with the cinematic pop of Oklou, Icelandic composer Anna Thorvaldsdottir, the experimental hip-hop group clipping. and more.Featured artists and songs:1. Oklou: "family and friends," from 'choke enough'2. Anna Thorvaldsdottir: "Part V" and "Part VIII," from 'UBIQUE'3. clipping.: "Keep Pushing," from 'Dead Channel Sky'4. Sandbox Percussion: "Don't Look Down," from 'Cerrone: Don't Look Down'5. Lucrecia Dalt: "cosa rara (feat. David Sylvian)" (single)6. Anouar Brahem: "The Eternal Olive Tree," from 'After the Last Sky'Enjoy the show? Share it with a friend and leave us a review on Apple or wherever you listen to podcasts. Questions, comments, suggestions or feedback of any kind always welcome: allsongs@npr.org Hear the songs in the All Songs Considered playlists in Apple Music and Spotify.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In der rauen Natur Islands ist sie aufgewachsen, die Komponistin Anna Thorvaldsdottir. Die Natur ist auch ihre grösste Inspiration: Ein Katalysator, der ihre musikalischen Ideen und Gedanken verstärkt. 01:20 - Aktuell: BCC - Basel Composition Competition Seit 2017 lädt dieser Wettbewerb alle zwei Jahre jeweils 12 Komponistinnen und Komponisten nach Basel ein, die es ins Finale geschafft haben. Ihre Stücke werden dann von den drei Basler Orchestern gespielt, dem Sinfonieorchester Basel, dem Kammerorchester Basel und der Basel Sinfonietta. Ein Gespräch mit Jurymitglied Liza Lim, der australischen Komponistin. (Gabrielle Weber) 10:15 - Neuerscheinungen: Wechselbäder Death and the Maiden mit dem Kuss Quartett und dem Flötisten Maurice Steger: Franz Schubert, Iris ter Schiphorst und Marc Andre (Rubicon). Und: Nubya Garcia: Odyssey (bandcamp) (Jaronas Scheurer) 36:20 - Gespräch: Anna Thorvaldsdottir, Creative Chair beim Tonhalleorchester Zürich. Am liebsten komponiert sie für grosses Orchester, nämlich kontemplative Klanglandschaften, die auch grosse Fragen der Menschheit und des Universums reflektieren. Und die nach der Seele greifen: Urwüchsige, archaische Klanglandschaften sind das. (Moritz Weber) 51:30 - Swiss Corner: Das Ear We Are Festival In Biel wieder von 6. bis 8. Februar. Akustische Kur für Zukunftsweh und Weltengrau.

In this exclusive interview, Nick Zanetti sits down with Johannes Moser, one of the most brilliant cellists of our time. Hailed by Gramophone magazine as "one of the finest among the astonishing gallery of young virtuoso cellists," Johannes Moser has performed with the world's leading orchestras such as the Berliner Philharmoniker, New York Philharmonic, Los Angeles Philharmonic, and many more. He has worked with legendary conductors including Riccardo Muti, Zubin Mehta, Pierre Boulez, Gustavo Dudamel, and others. Johannes shares his experiences on tour, his passion for music, and the importance of innovation in his field. He also talks about his commitment to expanding the classical repertoire by commissioning new works from contemporary composers, and his dedication to teaching. He has collaborated with artists like Emanuel Ax, Joshua Bell, and Leonidas Kavakos, and participated in international festivals such as the Verbier and Gstaad Festivals. In the 2024/25 season, Johannes will have the privilege of performing the world premiere of Anna Thorvaldsdottir's Cello Concerto with the San Francisco Symphony, and will collaborate with major orchestras like the Chicago Symphony Orchestra and the Sydney Symphony Orchestra. Don't miss this unique opportunity to discover the secrets of one of the greatest cellists of his generation, as he discusses music, nutrition, and how he keeps his body and mind at their best for his performances. In questa intervista esclusiva, Nick Zanetti parla con Johannes Moser, uno dei più brillanti violoncellisti del nostro tempo. Acclamato dalla rivista Gramophone come "uno dei più straordinari tra i giovani violoncellisti", Johannes Moser ha collaborato con le orchestre più prestigiose al mondo, come la Berliner Philharmoniker, la New York Philharmonic, la Los Angeles Philharmonic e molte altre. È stato diretto da leggendari direttori d'orchestra come Riccardo Muti, Zubin Mehta, Pierre Boulez, Gustavo Dudamel e molti altri. Johannes condivide la sua esperienza in tournée, la passione per la musica e l'importanza dell'innovazione nel suo campo. Parla anche del suo impegno per ampliare il repertorio classico, commissionando nuove opere a compositori contemporanei e la sua dedizione nell'insegnamento. Ha lavorato con artisti di fama come Emanuel Ax, Joshua Bell e Leonidas Kavakos, e ha partecipato a festival internazionali come il Verbier Festival e il Gstaad Festival. Nella stagione 2024/25, Johannes avrà il privilegio di eseguire la prima mondiale del Concerto per Violoncello di Anna Thorvaldsdottir con la San Francisco Symphony e di collaborare con importanti orchestre come la Chicago Symphony Orchestra e la Sydney Symphony Orchestra. Non perdere questa opportunità unica di scoprire i segreti di uno dei più grandi violoncellisti della sua generazione, mentre discute di musica, nutrizione, e come mantiene il suo corpo e la sua mente al meglio per le sue esibizioni.

Zuerst spätromantisch, dann atonal und schliesslich 12-tönig: Der österreichische Komponist Arnold Schönberg hatte drei überzeugende musikalische Gesichter. Diesem epochalen Neuerer wünschen wir alles Gute zum 150. Geburtstag! Ausgerechnet am 13. September kam der abergläubische Visionär zur Welt, immerhin nicht an einem Freitag den 13. Ein solcher sollte aber dann sein Todestag werden am 13. Juli 1951. Dazwischen komponierte er nicht nur sehr schöne, revolutionäre und interessante Musik, sondern schaffte nichts weniger als das jahrhundertealte tonale System aufzulösen. Mit Auswirkungen bis heute: Anders als in der populären Musik dominiert in der klassischen zeitgenössischen Musik heute die Atonalität. [01:30] Aktuell: - Arnold Schönbergs Leben und Wirken im Schnelldurchlauf. [8:00] Neuerscheinungen: - Berg / Schönberg / Webern: Klavierwerke. Elisabeth Leonskaja, Klavier. Warner 2024. - Schönberg, Fauré: Pelléas et Mélisande. Frankfurt Radio Symphony Orchestra, Paavo Järvi. Alpha Classics 2024. [31:00] Talk: Der polnische Dirigent Krzysztof Urban?ski ist als neuer Chefdirigent des Berner Symphonieorchesters angetreten. [47:00] Swiss Corner: Nach St. Gallen, Bern und Basel eröffnen auch die Zürcher Musikhäuser und Ensembles ihre Saisons. Ab Mittwoch das Tonhalle-Orchester Zürich unter Paavo Järvi und erstmals mit einer weiblichen Creative Chair, der Isländerin Anna Thorvaldsdottir; und am Freitag das Collegium Novum Zürich (CNZ) unter anderem mit zwei Uraufführungen im vielseitigen, existenziellen Auftaktabend "Guerra".

SynopsisIn 1895, H.G. Wells published The Time Machine, a sci-fi classic that fired the imagination of Victorian readers. How fantastic it would be to be able to experience past, present, and future at will!Well, on today's date in 2019, Icelandic composer Anna Thorvaldsdottir invited the audience at that year's Point Music Festival in Gothenburg, Sweden, to experience past, present and future all at once via the premiere of an orchestral work she titled Aiōn, after the ancient Greek god of time.The title is a metaphor, as Thorvaldsdottir put it, “connected to a number of broader ideas: How we relate to our lives, to the ecosystem, and to our place in the broader scheme of things, and how at any given moment we are connected both to the past and to the future, not just of our own lives but across — and beyond — generations.”At the 2019 premiere, dancers from the Iceland Dance Company moved in and around the players of the Gothenburg Symphony, creating striking visuals to accompany music one reviewer described as “weirdly unearthly, or awesome with oceanic majesty,” and another suggested that “[Aiōn] has the same archaic brutality as Stravinsky's Rite of Spring.”Music Played in Today's ProgramAnna Thorvaldsdottir (b. 1977): Aiōn; Iceland Symphony Orchestra; Eva Ollikainen, conductor; innova 810 (original release) and Sono Luminus 92268

‘Prelude' is de opmaat naar het AVROTROS Vrijdagconcert! Gastsprekers: zangeres Saskia Voorbach Het Groot Omroepkoor heeft het podium helemaal voor zichzelf in een avontuurlijk programma waarin je de pure koormuziek op een totaal ander manier kunt beleven. Thema van dit jaar is Noorderlicht. U hoort de mooiste muziek voor koor à capella van Noord-Europese componisten als Pēteris Vasks en Anna Thorvaldsdottir. Meer info & kaarten (https://www.npoklassiek.nl/concerten/7433d0fc-4c1d-4dff-8353-0720761bfbd5/the-living-room-noorderlicht) In deze podcast vertelt presentator Leonard Evers je iedere week meer over de bijzondere stukken die gaan klinken in TivoliVredenburg én op NPO Klassiek. Dat doet hij samen met verschillende gasten die in de studio aanschuiven. Aan de hand van muziekfragmenten word je warm gemaakt voor de mooie composities die je te wachten staan. Abonneer je nu! Alles over het AVROTROS Vrijdagconcert (https://www.nporadio4.nl/programmas/avrotros-vrijdagconcert) Prelude-Spotifylijst 'Leonards luistertips' (https://open.spotify.com/playlist/0HnaH8gzitGVB6zboIzgbu)

The Tanglewood Music Center's 2023 Festival of Contemporary Music, with events July 27 through July 31, offers concerts dedicated to works from the current musical landscape and landmark 20th-century pieces; conversations with music-makers; and performance opportunities for the Fellows of the Tanglewood Music Center. This year's festival is curated by and features music from four international female composers at the top of the game: Gabriela Lena Frank, Anna Thorvaldsdottir, Tebogo Monnakgotla, and Reena Esmail.In January of this year, Ed Gazouleas was named Interim Director of the Boston Symphony Orchestra's Tanglewood Music Center and he joins us.

durée : 01:00:14 - En pistes, contemporains ! du dimanche 02 juillet 2023 : Spécial Coup de cour de la saison - par : Emilie Munera - Ce dimanche, les producteurs du Carrefour de la création vous vont part de leurs coups de cœur de l'année. De Martin Matalon en passant par Thomas Adès et Anna Thorvaldsdottir, dernier tour de piste de la saison chez les contemporains ! - réalisé par : Céline Parfenoff

As the CBSO prepares for a summer of tours to Aldeburgh, Japan, and the BBC Proms, the orchestra's new Chief Conductor Kazuki Yamada speaks to presenter Tom Service about the joy of music and the goosebumps he experiences while conducting. Tom travels to the South Downs to speak to Australian director Barrie Kosky about a new production, opening this weekend at Glyndebourne, of Poulenc's Dialogues des Carmélites. He's joined by sopranos Golda Schultz and Sally Matthews, as well as conductor Robin Ticciati, to talk about the story of sixteen nuns who meet their death at the hands of the French Revolution. Amid rehearsals at the Royal Opera House, Music Matters hears about the World Premiere of a new ballet, Untitled 2023 – a collaboration between the Royal Ballet's resident choreographer Wayne McGregor and composer Anna Thorvaldsdottir. They discuss the somatic relationship between body, dance and music, and why listening to Thorvaldsdottir's compositions is not a passive experience. And one hundred years after its premiere at the Aeolian Hall in June 1923, Tom speaks to the writer and broadcaster William Sitwell about his great-aunt Edith Sitwell's creative relationship with the composer William Walton – a collaboration which resulted in the entertainment, Façade. He's also joined by writer and researcher Lucy Walker. Together they discuss the work's nonsensical parody of popular music, jazz, and poetry and knotty issues it presents to contemporary audiences.

Tim travels to the home of Icelandic composer Anna Thorvaldsdottir for a classical chat. They discuss Icelandic's musical pedigree, her upcoming role as Featured Artist at the Aldeburgh Festival, her cameo in Todd Field's Tár and the importance (or unimportance) of a work's conceptual inspiration in the ears of the listener.…Featured Clips:ARCHORA, performed by the Iceland Symphony Orchestra under Eva OllikainenAIŌN, performed by the Iceland Symphony Orchestra under Eva OllikainenRó, performed by CAPUT Ensemble under by Guðni FranzsonLinks:Anna's website: https://www.annathorvalds.com/ Some info on her upcoming residency: https://www.annathorvalds.com/blog/2022/12/20/featured-artist-at-the-2023-aldeburgh-festival Andrew Mellor on Iceland as a classical music powerhouse: https://www.theguardian.com/music/2023/apr/05/iceland-classical-music-symphony-orchestra-uk-tour … Buy us a coffee innit: https://ko-fi.com/classicalpod … Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

Danmarks kvindelandshold i volleyball føler sig udelukket og nedprioriteret, fordi forbundet Volleyball Danmark, der står for at arrangere landsholdets aktiviteter, ikke har planlagt nogen officielle kampe for kvindelandsholdet de næste år. Derfor stiller kvindelandsholdet nu forbundet et ultimatum. Vi taler med holdets anfører, Helena Elbæk og Louise Sommer, bestyrelsesmedlem og formand for landsholds- og talentudvikling i Volleyball Danmark. Da folkene bag Holllywoodfilmen Tár skulle finde frem til nogle helt specifikke indspilninger til filmen, faldt de over Esbjerg Ensembles indspilninger på YouTube. Ensemblechef Gabriella Bergman fik en mail, og nu er Esbjerg Ensembles indspilning af Anna Thorvaldsdottir med i den oscar-vindende film. Værter: Linnea Albinus Lande og Jesper Dein.

Icelandic composer Anna Thorvaldsdottir beams in from Reykjavik to join Wise Music CEO and Creative Director Dave Holley and Gill Graham for this seventh episode of Composing Myself, for an illuminating conversation spanning her raison d'être and innate need to create music, the influence of Icelandic culture and geography on her compositions, the crucial importance of communication between composer and players, and the “magic in the dimensions” unique to an orchestra of 80-100 people. https://www.annathorvalds.com/Anna Thorvaldsdottir (b. 1977) is an Icelandic composer whose "seemingly boundless textural imagination” (NY Times) and "striking” (Guardian) sound world has made her "one of the most distinctive voices in contemporary music” (NPR). "Never less than fascinating” (Gramophone), her music is composed as much by sounds and nuances as by harmonies and lyrical material, and tends to evoke "a sense of place and personality” (NY Times) through a distinctive "combination of power and intimacy” (Gramophone). It is written as an ecosystem of sounds, where materials continuously grow in and out of each other, often inspired in an important way by nature and its many qualities, in particular structural ones, like proportion and flow. Anna's works have been nominated and awarded on many occasions - most notably, her "confident and distinctive handling of the orchestra” (Gramophone) has garnered her the prestigious Nordic Council Music Prize, the New York Philharmonic's Kravis Emerging Composer Award, and Lincoln Center's Emerging Artist Award and Martin E. Segal Award. Hosted on Acast. See acast.com/privacy for more information.

En islandsk tone præger aftens lydbillede. Som altid med afstikkere i natsværmerens eskapistiske natur. Anna Thorvaldsdottir er en gennemgående komponist, der får selskab af Max Richter, Benita Haastrup, Anne Roemer, Ólafur Arnalds, Bach med flere uventede gæster. Vært: Minna Grooss. www.dr.dk/p2

Carrying a fragile flower whilst walking a tightrope. Finding the balance between beauty and chaos. Being pulled along by forces outside of our control. On Cacophony we talk about 'diving into great music': Anna Thorvaldsdottir's Metacosmos might be the biggest dive yet - into a black hole! Universal and yet personal, her music is distinctive, compelling, moving and profound. Listening time: 23 mins (podcast 9', music 14') Performances here on Youtube (with video), Spotify, Apple Music and Bandcamp played by the Iceland Symphony Orchestra conducted by Daníel Bjarnason.   What do you think? Let me know with an easy voicemail or comment at Cacophonyonline.com, Facebook or Twitter.   If you'd like to support Cacophony there are easy, great, ways: - share this episode with someone you know - share the 100 second trailer - send us a little something at ko-fi.com - subscribe/ review and keep listening!   Thanks for listening!  

durée : 01:59:12 - Été Classique Matin du mercredi 13 juillet 2022 - par : Jean-Baptiste Urbain - Mais aussi Georg Philipp Telemann, Hans Zimmer, Carl Heinrich Graun, Domenico Scarlatti, Maurice Ravel, Franz Liszt, Gabriel Fauré... et bien plus encore ! - réalisé par : Arnaud Chappatte

durée : 00:59:43 - En pistes, contemporains ! - par : Emilie Munera - Cette semaine, place au clair-obscur avec le dernier album du Spektral Quartet consacré au premier quatuor à cordes de la compositrice islandaise Anna Thorvaldsdottir. Nous rendons également hommage au compositeur Harrison Birtwistle qui nous a quittés dimanche dernier. - réalisé par : Céline Parfenoff

durée : 00:12:27 - Le disque contemporain de la semaine - Vous souvenez-vous, dans la brume d'un demi-sommeil, d'avoir vu quelque chose ou quelqu'un dans votre chambre ? Ce faible halo de lumière, entourant cet objet maintenant inoffensif, c'est la pénombre - cette frontière entre la lumière et l'obscurité. C'est l'espace où vit Enigma.

There are many women composers these days, and this program introduces some of them: Caroline Shaw, Ellen Taaffe Zwilich, Anna Thorvaldsdottir, Lera Auerbach, Kaija Saariaho, Chen Yi, Jennifer Higdon, Libby Larsen, Missy Mazzoli, Gabriela Lena Frank, and Tania Leon.

Composer and USC educator Veronika Krausas discusses Shostakovich, Prokofiev and contemporary composer Anna Thorvaldsdottir. This talk was given at the first performance of Shostakovich and Prokofiev with Ludovic Morlot at Walt Disney Concert Hall. Pieces discussed: Anna THORVALDSDÓTTIR Metacosmos PROKOFIEV Piano Concerto No. 1, in D-flat major, Op. 10 SHOSTAKOVICH Symphony No. 10 See this year's Upbeat Live schedule at: laphil.com/ubl. Join us in person for our 2021/22 season! Get tickets: laphil.com/calendar.

Against all the odds, the boys were invited backstage to the Ivors Composer Awards. Tune in to hear them try almost too hard to brand themselves the Ant and Dec of the classical music world. Also – the late, great Victoria Wood in this week's analysis of Franz Schmidt's Fourth Symphony, not before some flagrant Handelian recycling.…Music referenced:'Pizzicato' from Delibes's SylviaSometimes Voices by Alex Paxton, performed by HYPER DUOCATAMORPHOSIS by Anna Thorvaldsdottir, performed by the Berlin Philharmonic under Kirill PetrenkoCaroline Kraabel's London 26 and 28 March 2020: Imitation: InversionRiver (O Nodi Re) performed by Zoe & Idris RahmanMartin Iddon's Lampades, performed by Jack Adler-MckeanSarabande from Act 3 of Handel's Almira‘Lascia la spina, cogli la rosa' from Handel's The Triumph of Time and Delusion‘Lascia ch'io pianga' from Act 2 of Handel's RinaldoFranz Schmidt's Symphony No. 4 performed by the Frankfurt Radio Symphony under Paavo Järvi… Buy us a coffee innit: https://ko-fi.com/classicalpod … Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

French-American pianist Julia Den Boer today releases her second album, Kermès, on New Focus Recordings. The album's four stunning works by experimental female composers include Giulia Lorusso's Déserts, Linda Catlin Smith's The Underfolding, Anna Thorvaldsdottir's Reminiscence, and Rebecca Saunders' Crimson.Kermès Track List1. Giulia Lorusso — Déserts (2018) [15:02]2. Linda Catlin Smith — The Underfolding (2001) [20:58]3. Anna Thorvaldsdottir — Reminiscence (2017) [8:43]4. Rebecca Saunders — Crimson (2005) [18:22]Total Time: 63:05Purchase the music (without talk) at:Julia Den Boer: Kermes (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Synopsis Today's date in 1977 marks the birthdate of a composer whose debut release was greeted by critical raves. The New York Times noting “seemingly boundless textural imagination,” and National Public Radio hailed “one of the most distinctive voices in contemporary music.”  That debut disc was entitled “Rhízōma,” a Greek word meaning “mass of roots.” In botany it refers to a subterranean plant stem that sends out roots and shoots.  The roots and shoots of the composer whose works appeared on that debut seem firmly planted deep in her native Icelandic soil. Her name is Anna Thorvaldsdottir, and it's not too fanciful to hear in her music the stark beauty of Iceland's waterfalls, geysers, volcanoes, black sand beaches, and otherworldly lava fields.The opening track on her debut from 2011 was a work for chamber orchestra entitled “Hrím,” the Icelandic word for “frost.” In interview Anna Thorvaldsdottir says, “I was making up songs from an early age and studied a few different instruments before I found the cello which I became very passionate about. Then at around 19 years old I started to notate the music I had in my head and have been doing that ever since.” Music Played in Today's Program Anna Thorvaldsdottir (b. 1977): Hrím (Caput Ensemble) Innova 810 (original release) and Sono Luminus Editions 70018

Synopsis Today's date in 1977 marks the birthdate of a composer whose debut release was greeted by critical raves. The New York Times noting “seemingly boundless textural imagination,” and National Public Radio hailed “one of the most distinctive voices in contemporary music.”  That debut disc was entitled “Rhízōma,” a Greek word meaning “mass of roots.” In botany it refers to a subterranean plant stem that sends out roots and shoots.  The roots and shoots of the composer whose works appeared on that debut seem firmly planted deep in her native Icelandic soil. Her name is Anna Thorvaldsdottir, and it's not too fanciful to hear in her music the stark beauty of Iceland's waterfalls, geysers, volcanoes, black sand beaches, and otherworldly lava fields.The opening track on her debut from 2011 was a work for chamber orchestra entitled “Hrím,” the Icelandic word for “frost.” In interview Anna Thorvaldsdottir says, “I was making up songs from an early age and studied a few different instruments before I found the cello which I became very passionate about. Then at around 19 years old I started to notate the music I had in my head and have been doing that ever since.” Music Played in Today's Program Anna Thorvaldsdottir (b. 1977): Hrím (Caput Ensemble) Innova 810 (original release) and Sono Luminus Editions 70018

Le dimanche, on rêve souvent d'évasion... Axelle Thiry vous invite à suivre les pas d'un compositeur durant ses voyages, sur les routes plus connues et les sentiers les plus intimes, ou à revivre l'atmosphère musicale d'un lieu à un moment précis de son histoire. Un autre regard sur l'histoire de la musique, qui s'accompagne d'enivrants parfums nomades. Production et présentation : Axelle Thiry

Did you grow up hearing only dead white male composers? How much has that changed? What do you know about the music of Cécile Chaminade, William Grant Still, Chen Yi, Florence Price, Tania León, Mari Iijima, Galina Ustvolskaya, Ruth Gipps, Maria Szymanowska, Karen Tanaka or Anna Thorvaldsdottir? Elizabeth de Brito of The Daffodil Perspective talks about her radio show, tokenism and the wealth of female, black, Asian, and ethnically diverse composers who otherwise go overlooked and almost unheard, and why we need to radically rethink programming if we want classical music to become truly representative. https://www.mixcloud.com/TheDaffodilPerspective/ www.thedaffodilperspective.com If you enjoy this conversation, please subscribe, check out our other great episodes, and even better leave us a review. You can also follow us on social media and sign up to our mailing list at www.polyphonyarts.com/mailing-list  for updates and news about Music Works and Polyphony Arts. Producer: Virtual Concert Halls

Jess Gillam chats to composer and saxophonist Cassie Kinoshi about the music they love. With music by Heiner Goebbels, Anna Thorvaldsdottir, Dinah Washington and Prokofiev. Playlist: Heiner Goebbels - Suite for Sampler and Orchestra: Courante (Junge Deutsche Philharmonie, Peter Rundel) Louise Farrenc - Nonet in E flat major Op.38 for chamber ensemble: 3rd mvt; Scherzo vivace (Consortium Classicum) Prokofiev - Piano Concerto No. 5 in F Major, Op. 55; IV. Larghetto (Jean-Efflam Bavouzet, BBC Philharmonic, Giananfea Noseda) Dinah Washington - This Bitter Earth Empirical - The Simple Light Shines The Brightest Anna Thorvaldsdottir - In the Light of Air; III. Existence (International Contemporary Ensemble) Toru Takemitsu - Litany: II. Lento misterioso (Kotaro Fukuma, piano) Michael Nyman - Prosperos Magic (from Prosperos Books)

Für die Dirigentin Eva Ollikainen steht Aeriality von Anna Thorvaldsdottir in direkter Nachfolge der Symphonien von Anton Bruckner. Stille statt Klangmasse? Ein Musikmoment mit neuen Klängen, die inspirieren.

La compositrice Anna Thorvaldsdottir, jeune islandaise dont les espaces orchestraux immenses ont conquis le monde...

La compositrice Anna Thorvaldsdottir, jeune islandaise dont les espaces orchestraux immenses ont conquis le monde...

This week you can join James Bennett in his conversation with Icelandic composer Anna Thorvaldsdottir about her chamber opera UR_ (which was due to have its US premiere at this year's Mostly Mozart Festival at Lincoln Center which has since been cancelled), the role technology played in this collaboration with International Contemporary Ensemble and Nokia Bell Labs in enhancing the musical experience, what it means to be a composer during a pandemic and of course taking inspiration from nature.    James Bennett, HostLuka Vasić, Assistant ProducerRosa Gollan, ProducerLukas Krohn-Grimberghe, Executive Producer    

Saxophonist Jess Gillam is joined by composer Dani Howard, and between them they swap music by Thomas Adès, Anna Thorvaldsdottir and Fats Waller. Track we played today... Thomas Ades - In Seven Days: iv. Stars - Sun - Moon Nicolas Hodges (piano) London Sinfonietta, Thomas Ades Toshio Hosokawa - Japanese folksongs: no.2; Itsuki no komori uta (Lullaby of Itsuki) Emmanuel Pahud (flute) Christian Rivet (guitar) Steve Reich – Variations for Vibes, Pianos and Strings: I. Fast London Sinfonietta, Alan Pierson Anna Thorvaldsdottir - In The Light of Air (Existence) International Contemporary Ensemble Robert Schumann - Fantasiestücke, Op. 73; III. Rasch und mit Feuer Sol Gabetta (cello) Hélène Grimaud (piano) Fats Waller – Two Sleepy People Rae Morris - Do it (Acoustic Version) Satie - 3 Gymnopedies for piano, no.1 in D major; Jean-Yves Thibaudet (piano)

Op de CD 'Dwaallicht' spelen klarinettist Jelmer de Moed en pianist Rik Kuppen werken van Alban Berg en Robert Schumann. Een fraai debuutalbum van twee getalenteerd jonge musici! En verder een live-opname van Les Arts Florissants (dat dit jaar 40 jaar bestaat!) met werk van Gesualdo. En zoals altijd een paar tips voor bijzondere concerten in de komende weken. Met muziek van Gabriël Pierné, Igor Stravinsky, Carlo Gesualdo, Alban Berg, Anna Thorvaldsdottir, en Michael Moore.

1. Anna Thorvaldsdottir’s In the Light of Air:https://open.spotify.com/user/yd3pvj6u9lur21sni8znarqmh/playlist/22MsIEjWfcXFJQrrESB745?si=eLm5qw_YRF6qbU_haMHawg2. Gregory W. Brown’s Missa Charles Darwin:https://open.spotify.com/album/7fSXwqsyBjRmreve9R6dwr?si=u7xKb6KxQJaeJa2wfS4Bwg3. Enno Poppe’s Keilschrift:https://open.spotify.com/track/7va4X4tNwmThivQeBCHKg4?si=1HY70FFgQum9oyUQzypcCgYou can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:Richard Drehoff Jr. is a composer and pianist interested in creating works that explore a level of intimacy between performers and audiences. His music strives to manipulate our perceptions of time to develop a unique psychological affect for each piece, often juxtaposing the most fragile of sounds with obtrusive and harsh sonorities. Richard is the Co-Director of earspace, a North Carolina-based ensemble dedicated to the cultivation of invigorating and immersive performances of contemporary compositions, often featuring collaborations with video and mixed media artists. His works have been performed by earspace, the Mivos Quartet, the ECCE Ensemble, among others. He brought Enno Poppe’s Keilschrift.Dorothy Couper, viola, was graduated from New England Conservatory and Tufts University with a dual degree in Viola Performance and English Literature and from Peabody Conservatory with a Graduate Performance Diploma in Viola Performance. As a freelance orchestral musician, Ms. Couper plays with the Amadeus Orchestra, the Apollo Orchestra, the Delaware Symphony, the Maryland Symphony, and the National Philharmonic, among others. Dorothy is also an active member of the D.C. Musicians’ Union. As a chamber musician, Dorothy is a founding member of the Laurel Quartet, and was also a founding member of the Syrinx Ensemble while studying in Boston. She has also been a regular collaborator with Classical Revolution Baltimore and has been a guest artist with the Evolution Concert Series, the Edwin Trio, the HexaCollective, and the Iris Quartet. She brought in Anna Thorvaldsdottir’s In the Light of Air.Henry S. Gibbons, microbiologist by day and baritone by night, currently serves as the Bass section leader of the Handel Choir of Baltimore. Previously, while in North Carolina, he created the role of Malvolio in the world premiere of Joel Feigin’s Twelfth Night with Long Leaf Opera. Other operatic roles included Antonio in Hoiby’s The Tempest, and Balthazar in Amahl and the Night Visitors, and Bogdanowitsch in The Merry Widow with the Opera Company of North Carolina. He also performs oratorio and soloist roles, including Brahms’ Deutsches Requiem and numerous Bach cantatas, among others. He currently serves as a Research Microbiologist and principal investigator at the US Army’s Chemical Biological Center at Aberdeen Proving Ground, MD. He brought in Gregory W. Brown’s Missa Charles Darwin.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

There are many women composers these days, and this program introduces some of them: Caroline Shaw, Ellen Taaffe Zwilich, Anna Thorvaldsdottir, Lera Auerbach, Kaija Saariaho, Chen Yi, Jennifer Higdon, Libby Larsen, Missy Mazzoli, Gabriela Lena Frank, and Tania Leon.

On episode 1.7 we talk to composer Anna Thorvaldsdottir about her work In the Light of Air, which will be performed by the International Contemporary Ensemble at the upcoming Big Ears Festival. We also discuss the music scene in her homeland of Iceland. Our Deep Cut is Rued Langgaard's Music of the Spheres, a stunning work for orchestra and choir that was about fifty years ahead of its time.

Avanti Kammerorkester fra Finland med musik af Anna Thorvaldsdottir, Kaija Saariaho, Hans Abrahamsen og György Ligeti.Jakob Kullberg, cello.Caroline Wettergreen, sopran.Dirigent: Clément Mao. (Det Kgl. danske Musikkonservatorium, København 27. januar). Ca. 21.15 Modtageren af P2 Prisen 2018 Årets internationale album, Arcadi Volodos spiller Brahms: Klaverstykker, opus 76 og 118. Vært: Max Fage-Pedersen. www.dr.dk/p2koncerten

In this week's Music Matters Tom Service visits Reykjavik to ask whether Iceland is the most musical country in the world? With a population of just 350,000 Iceland still boasts multi-million-selling pop acts like Sigur Ros and Bjork, a world class orchestra, Oscar-winning composers, countless music festivals as well as a vibrant and world renowned contemporary music scene. And all these different genres seem to intertwine with each other effortlessly - so Tom is in Reykjavik to discover what the country's musical secret is. He drops into the Dark Music Days festival, an annual festival of new music which takes place in the darkest period of winter, to ask composers and musicians why their new music scene is the envy of the world. One of their most successful artists is the award winning multi-instrumentalist, composer and producer Olafur Arnalds. Olafur blends classical, pop and electonica and the result is sell-out tours - Tom meets him at his Reykjavik studio to find out how he defines his music and why he sees the heart of Iceland's music not in its nature, but in its people. Aside from the country's professional scene, amateur music making is also thriving - particularly in choirs. Tom meets the Karlakórinn Esja a young, local male-voice choir who meet every Wednesday night to sing together - they tell Tom why being in a choir is something Icelanders need to do. And he learns about the folk history behind Icelanders' love of singing from the ancient Rimur. And composers and experts talk about the importance of landscape in Icelandic music - from the early 20th-century composer Jon Leifs to Anna Thorvaldsdottir, one of the country's acclaimed young composers. Is Icelandic music really all about nature or is it all just a marketing scam?

BBC Radio 3’s Sara Mohr-Pietsch chats with festival featured composer Anna Thorvaldsdottir about her involvement in Spitalfields Music Festival 2017. Sara Mohr-Pietsch in Conversation is presented by Sara Mohr-Pietsch and produced by Freya Hellier. Credits: Anna Thorvaldsdottir: In the Light of Air. International Contemporary Ensemble with Anna Thorvaldsdottir. Label: Sono Luminus. Release date: 2015 Thank you to the generous support of The Landmark Trust who have kindly supported Spitalfields Music by making 13 Princelet Street available for festival use.

As this visit to the festival draws to a close, Frank reflects on how the variety of offerings at the Spoleto Festival USA enhances the experience of attending events. Read the Full Dispatch > Several of the people from the Spoleto Festival USA I’ve interviewed for this series have expressed the same idea: that attending these varied events in close proximity to each other gives you an enhanced appreciation for each event that you might not have otherwise. As the end of my latest visit to the festival draws near, I can heartily confirm that’s true. Some of the concerts I’ve attended have distilled that concept to its most basic. For example, the Dialogues recital given by the brilliant pianist Pedja Muzejevich as part of the Music in Time series. He gave a performance at the Simons Center Recital Hall at the College of Charleston that juxtaposed the familiar language of Haydn piano sonatas with much more unusual works, such as John Cage’s Bacchanal for Prepared Piano, which at times makes the piano sound like a rhythmic machine, and in slower passages like an exotic Asian instrument. Having that type of sound experience gives you fresh perspective on how Haydn sounds now, and how his music might have sounded when it was first heard. Other combinations aren’t as stark in contrast, but just as meaningful. My favorite was the coupling of two works for chorus and orchestra by Ralph Vaughan Williams in one part of a concert, with the Mozart Great Mass in the other. Comparing Mozart’s stately yet profound religious expression with the lush and rapturous writing of Vaughan Williams made the qualities of each composer’s work stand out all the more. Of course, I would have enjoyed that program in any event since it featured one of my all-time favorite pieces. The Serenade to Music by Vaughan Williams featured exquisite solo violin work by the uncredited concertmaster, as well as beautiful vocal solos from soprano Sherezade Panthaki and tenor Jamez McCorkle (who also stood out during this festival for his moving rendition of Lensky’s aria in Tchaikovsky’s opera Eugene Onegin ). The pairing of Mahler’s 4 th Symphony with a contemporary orchestral piece was another concert program which worked wonderfully well. Anna Thorvaldsdottir’s atmospheric Dreaming (with its rumblings, chirps, groans, cracks and other sonic effects) brought to my mind images of great whales swimming in frozen seas, and majestic glaciers drifting in icy flows. Its introspective quality was offset nicely by the exuberant Mahler, which under John Kennedy’s direction was everything music by that composer can be. Imaginative, quirky, mercurial and sublime, the score frequently built to spine-tingling explosions of orchestral color perfectly modulated by the Spoleto Festival USA orchestra. Similarly, the contrast between the three opera productions made each more memorable. After the mannered Baroque approach of Vivaldi’s Farnace, and the austere modernity of Quartett by Luca Francesconi, Tchaikovsky’s Eugene Onegin seemed the pinnacle of lush Romanticism. It was also distinguished by the cinematic staging of director Chen Shi-Zheng, which used projected film of the striking soprano Natalia Pavlova (in close-up as well as silhouette) to take us into the inner life of her character, Tatyana. I also admired the forest of stylized birch trees that formed the main feature of the set (though they did cramp the choreography a bit in the ball scene that features some of Tchaikovsky’s most familiar opera music, the famous waltz and polonaise from the score which have become concert staples). The staging of Lensky’s aria was stunningly beautiful yet simple: the stage stripped bare all the way back to the walls of the backstage area, with both real and projected snowflakes swirling against the black background conveying Lensky’s desolation as he awaits the duel which he may not survive. Despite the embarrassment of artistic riches I’ve enjoyed over the past couple of weeks, there’s so much I didn’t have a chance to catch, so I guess a return visit for a future season is in order. After this experience, I certainly won’t hesitate to come back.

This week’s Meet the Composer Bonus Track is a world premiere recording of Anna Thorvaldsdottir’s piano work Scape. Scape, like many of Anna’s works, uses extended techniques to create unique, otherworldly textures. For this piece, Anna demands quite a bit of playing INSIDE the instrument, as well as a few somewhat unconventional preparations to the instrument itself. Prepared piano basically means a piano with stuff in it, screws, thimbles, tin foil, pieces of paper, the type of thing that’ll make a piano technician start to sweat. The first couple people to do this type of thing were crazy Americans, Henry Cowell and John Cage. Definitely take a moment to check those guys out, if you have a sec. Anna, very much in keeping with her timbral language, uses these techniques to carve out massive swaths of sonic texture, creating a huge universe in a relatively limited time frame. A couple weeks ago, Cory Smythe, pianist for the International Contemporary Ensemble, stopped by the Q2 Music studios to create the beautiful world premiere recording. –Nadia Sirota

- direkte fra Musikkonservatoriet i Esbjerg, hvor overskriften er Tidsrejse. Komponisterne er Zelenka, Arne Nordheim, Anna Thorvaldsdottir, Schnittke, Purcell, Adès og Bach. Vært: Klaus Møller-Jørgensen.

Anna Thorvaldsdottir is an Icelandic composer whose work conjures entire environments of sound, surrounding the listener in a dark and forbidding landscape. Anna thinks sonically; her music comes from a deeply non-verbal place, and she has developed a brilliant workflow which allows these ideas to remain mostly whole and unmolested through her creative process. Anna often favors massive ensembles, writing delicate and detailed parts for every player, but even when she is writing for smaller forces, she somehow summons these massive sonorities — detailed, elegant tapestries with a seductive gravity, which pull the listener in with their gradually revolving color and texture. - Nadia Sirota

Hear music for the combination of choir and percussion like "Whispers and Cries," by Australian born composer Andrew Byrne, which features fellow Aussie musicians Astra Choir and Speak Percussion.  The show won't always stick to traditional choirs and percussion. In Daniel Lentz's "Postludium," the choir members rub and strike wine glasses while singing, and Anna Thorvaldsdottir's "into-Second Self" features a layered choir of two brass instruments. In addition to rhythmic and driving drumming, hear more of the atmospheric and colorful role of percussion in music for the combination of choir and percussion. The centerpiece of the show, a work called "Whispers and Cries," by Australian born composer Andrew Byrne, features fellow Aussie musicians Astra Choir and Speak Percussion. PROGRAM #3670 Music for Choir and Percussion (First aired on 12/8/2014)   ARTIST(S) RECORDING CUT(S) SOURCE Daniel Lentz Missa Umbrarum Postludium, excerpt New Albion Records Amazon Andrew Byrne. Performed by Astra Choir and Speak Percussion Striking; Whispers and Cries Whispers and Cries: 1. Song for Voice [5:28] Available for purchase directly through composer here: andrewbyrne.com Daniel Lentz Missa Umbrarum Postludium [8:17] See above. Anna Thorvaldsdottir Aeriality into-Second Self [7:39] Deutsche Grammophon Amazon Andrew Byrne. Performed by Astra Choir and Speak Percussion Striking; Whispers and Cries Whispers and Cries: 2. Song for Crotales [5:24] See above. Andrew Byrne. Performed by Astra Choir and Speak Percussion Striking; Whispers and Cries Whispers and Cries: 3. Song for Piano [4:57] See above. Daniel Lentz Missa Umbrarum Lascaux, excerpt [9:12] See above.