Podcasts about arditti quartet

Tänaõhtusel Eesti Muusika Päevade kontserdil astub üles legendaarne Arditti Quartet – üks maailma juhtivaid keelpillikvartette, kelle kirg uue muusika vastu on kujundanud kaasaegset kvartetirepertuaari juba üle 50 aasta.

La primera se refiere a una escuela de especulación intelectual surgida en el último cuarto del siglo XX en el Reino Unido, y propone obras disonantes y atonales, densas y abstractas. La segunda recupera, a partir de la llegada del minimalismo, elementos tonales olvidados._____Has escuchadoDistentio (1992) / Walter Zimmermann. Ensemble Recherche. Mode (2002)Et lux (2009) / Wolfgang Rihm. Huelgas Ensemble, Paul Van Nevel, director; Minguet Quartett, cuarteto de cuerda. ECM (2015)Funérailles I (1969-1977) / Brian Ferneyhough. Arditti Quartet; Ensemble Recherche; Virginie Tarrête, arpa. Stradivarius (2005)Time and Motion Study I (1971-77) / Brian Ferneyhough. Carl Rosman, clarinete bajo. Etcétera (1998)_____Selección bibliográficaÁLVAREZ FERNÁNDEZ, Miguel, “Disonancia y emancipación: comodidad en/de algunas estéticas musicales del siglo XX”. Espacio Sonoro, n.º 4: [PDF]BALIK, Jessica, “Romantic Subjectivity and West German Politics in Wolfgang Rihm's Jakob Lenz”. Perspectives of New Music, vol. 47, n.º 2 (2009), pp. 228-248*BONS, Joël, “Entretien avec Brian Ferneyhough”. En: Musique en création. Contrechamps Editions, 1997*COURTOT, Francis, Brian Ferneyhough: figures et dialogues. L'Harmattan, 2009*DELIÈGE, Célestin, Cinquante ans de modernité musicale: de Darmstadt à l'IRCAM. Contribution historiographique à une musicologie critique. Mardaga, 2003*DUNCAN, Stuart Paul, “Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity'”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 136-172*FERNÁNDEZ, Isaac D. G., “Los retornos en la música contemporánea”. Sinfonía Virtual: Revista de Música Clásica y Reflexión Musical, n.º 8 (2008), consultada el 21 de junio de 2023: [Web]FERNEYHOUGH, Bryan, “Form-Figure-Style: An Intermediate Assessment”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 32-40*FISK, Josiah, “The New Simplicity: The Music of Górecki, Tavener and Pärt”. The Hudson Review, vol. 47, n.º 3 (1994), pp. 394-412*FOX, Christopher, “Walter Zimmermann's Vom Nutzen Des Lassens”. Tempo, n.º 154 (1985), pp. 49-50*HARVEY, Jonathan, “Brian Ferneyhough”. The Musical Times, vol. 120, n.º 1639 (1979), pp. 723-728*HERNÁNDEZ CRISTANCHO, Diego A., Una composición elaborada a partir del concepto de sintaxis musical de la nueva complejidad. Tesis de grado, Universidad Distrital Francisco José de Caldas, 2015, consultada el 21 de junio de 2023: [Web]HOWARD, Luke B., “Motherhood, ‘Billboard,' and the Holocaust: Perceptions and Receptions of Górecki's Symphony No. 3”. The Musical Quarterly, vol. 82, n.º 1 (1998), pp. 131-159*THEOCHAROUS, Georgios, “Not Too Violent: The Fall of Notation in Michael Finnissy's Autumnall for Solo Piano”. Perspectives of New Music, vol. 52, n.º 1 (2014), pp. 4-27*TOOP, Richard, “On Complexity”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 42-57*TRUAX, Barry, “The Inner and Outer Complexity of Music”. Perspectives of New Music, vol. 32, n.º 1 (1994), pp. 176-193*ULMAN, Erik, “Some Thoughts on the New Complexity”. Perspectives of New Music, vol. 32, n.º 1 (1994), pp. 202-206*WARNABY, John, “Wolfgang Rihm's Recent Music”. Tempo, n.º 213 (2000), pp. 12-19*WILLIAMS, Alastair, “Swaying with Schumann: Subjectivity and Tradition in Wolfgang Rihm's ‘Fremde Szenen' I-III and Related Scores”. Music & Letters, vol. 87, n.º 3 (2006), pp. 379-397* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Irvine Arditti, Ralf Ehlers and Ashot Sarkissjan talk about 50 years Arditti Quartet - having performed a multitude of premieres and met so many different composers. They share thoughts about playing in a string quartet and how their different personalities melt into this wonderful ensemble form.

Compositor, musicólogo, escritor, ensayista y director editorial mexicano, hijo de españoles exiliados, vertebra su creación sobre dos ejes primordiales: la propia identidad cultural musical del México prehispánico y la literatura que la materializa._____Has escuchadoEolo'oolin: For Six Percussionists (1984, rev. 1988). Percusión [participantes del Darmstadt Summer Courses, 1998]; Isao Nakamura, director. NEOS (2016)Hum (2006) / a partir de Pedro Páramo de Juan Rulfo. Neue Vocalsolisten Stuttgart; Sylvain Cambreling, director. Col Legno (2003)Quotidianus (2006). Julio Estrada, voz; Arditti Quartet. NEOS (2007)_____Selección bibliográficaESTRADA, Julio, “Raíces y tradición en la música nueva de México y de América Latina”. Latin American Music Review / Revista de Música Latinoamericana, vol. 3, n.º 2 (1982), pp. 188-206*—, “Pedro Páramo, ¿... esa música tierna del pasado?”. Revista Canadiense de Estudios Hispánicos, vol. 22, n.º 2 (1998), pp. 185-202—, “Focusing on Freedom and Movement in Music: Methods of Transcription inside a Continuum of Rhythm and Sound”. Perspectives of New Music, vol. 40, n.º 1 (2002), pp. 70-91*—, “Emanation of the Voice”. Perspectives of New Music, vol. 42, n.º 2 (2004), pp. 88-120GÓMEZ MACCHIA, Alejandra, “Conversación con Julio Estrada. Mi imaginación es música”. Revista de la Universidad de México, n.º 111 (2013): [PDF]*MORALES NIETO, Luis Miguel, “La escucha en 4'33' de John Cage, la escucha y la imaginación en Solo uno e Imaginaria de Julio Estrada”. Cuadernos de Investigación Musical, n.º 13 (2021), pp. 76-91*NIETO, Velia, Recherche-création dans l'œuvre de Julio Estrada. Tesis doctoral, Universidad de París VIII, 1999—, “El arte de frontera en la música de Julio Estrada”. Anales del Instituto de Investigaciones Estéticas, vol. XXIV, n.º 81 (2002), pp. 123-138SANDOVAL, Carlos, “Entrevista a Julio Estrada”. Heterofonía, n.º 108 (1993), pp. 60-69 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Compositora mexicana, destaca con una obra implicada en temas como las luchas de emancipación, el sufrimiento de las mujeres migrantes mexicanas en los Estados Unidos, el grave problema de los feminicidios y la lucha por los derechos humanos en su país._____Has escuchadoEspacios intemporales: para cuarteto de saxofones (2017). Sigma Project. Mode (2022)Recuerdos del porvenir (2006). Ensemble Recherche. Mode (2016)Uy U T'an (1998). Arditti Quartet. Mode (2006)_____Selección bibliográficaMORENO RIVAS, Yolanda, “Da capo y posmodernos”. En: La composición en México en el siglo XX. Consejo Nacional para la Cultura y las Artes de México (1994)Página oficial de la compositora, consultada el 20 de junio de 2023: [Web]PAREDES, Hilda, “La música en la poesía: una visión de poetas mexicanos”. Periódico de Poesía, n.º 41 (2011), consultada el 20 de junio de 2023: [Web]PULIDO, Esperanza, “Mexican Women in Music”. Latin American Music Review / Revista de Música Latinoamericana, vol. 4, n.º 1 (1983), pp. 120-131*VELASCO-PUFLEAU, Luis, “On Music and Political Concerns: An Interview with Hilda Paredes”. Revista Vórtex, vol. 8, n.º 2 (2020), pp. 1-22 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Compositor austriaco de origen húngaro, toma contacto con las vanguardias a través de Stockhausen. Crea un estilo propio basado en la búsqueda de nuevos modelos rítmicos y la exploración de texturas y densidades sonoras. Apparitions, Atmosphères y Lux aeterna son algunas de sus obras maestras._____Has escuchadoChamber Concerto: movimento preciso e meccanico (1970). London Sinfonietta. David Atherton, director. DECCA (1990)Continuum: para clave (1968). Olga Pashchenko, clave. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 2 de noviembre de 2022Lontano: For Large Orchestra (1967). Wiener Philharmoniker; Claudio Abbado, director. Deutsche Grammophon (1990)Lux Aeterna (1966). Schola Cantorum Stuttgart; Clytus Gottwald, director. WERGO (1988)String Quartet No. 1 “Métamorphoses Nocturnes” (1954). Arditti Quartet. Sony Classics (1997) _____Selección bibliográficaBEFFA, Karol, György Ligeti. Fayard, 2016BERÁ, Camille, “De Platon à Dodecahedron: les apports des textures ligétiennes et de la musique électronique chez un groupe de Metal extrême”. Itamar. Revista de Investigación Musical: Territorios para el Arte, n.º 5 (2019), pp. 143-161*BOUKOBZA, Jean-François, György Ligeti: Études pour piano. Contrechamps, 2019BULUT, Zeynep, “Theorizing Voice in Performance: György Ligeti's Aventures”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 44-64*CLENDINNING, Jane Piper, “The Pattern-Meccanico Compositions of György Ligeti”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 192-234*DROTT, Eric, “Ligeti in Fluxus”. The Journal of Musicology, vol. 21, n.º 2 (2004), pp. 201-240*—, “Lines, Masses, Micropolyphony: Ligeti's Kyrie and the Crisis of the Figure”. Perspectives of New Music, vol. 49, n.º 1 (2011), pp. 4-46*DUCHESNEAU, Louise y Wolfgang Marx (eds.), Györgi Ligeti: Of Foreign Lands and Strange Sounds. Boydell Press, 2011*GALLOT, Simon, György Ligeti et la musique populaire. Éditions Symétrie, 2010HICKS, Michael, “Interval and Form in Ligeti's Continuum and Coulée”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 172-190*KERÉKFY, Márton. “‘A ‘New Music' from Nothing': György Ligeti's Musica Ricercata”. Studia Musicologica, vol. 49, n.º 3-4 (2008), pp. 203-230*LEVY, Benjamin R., “Shades of the Studio: Electronic Influences on Ligeti's Apparitions”. Perspectives of New Music, vol. 47, n.º 2 (2009), pp. 59-87*—, Metamorphosis in Music: The Compositions of György Ligeti in the 1950s and 1960s. Oxford University Press, 2017LIGETI, György, Écrits sur la musique et les musiciens. Contrechamps, 2014PABLO, Luis de, “Conversaciones con Ligeti: sobre ‘Ligeti in Conversation' de Péter Várnai, Josef Häusler, Claude Samuel y György Ligeti”. Saber Leer, n.º 2 (1987): [PDF]*RICHART, Robert W., György Ligeti, A Bio-Bibliography. Greenwood Press, 1990ROIG-FRANCOLÍ, Miguel A., “Harmonic and Formal Processes in Ligeti's Net-Structure Compositions”. Music Theory Spectrum, vol. 17, n.º 2 (1995), pp. 242-267*SEARBY, Mike, “Ligeti's Chamber Concerto - Summation or Turning Point?”. Tempo, n.º 168 (1989), pp. 30-34*—, “Ligeti the Postmodernist?”. Tempo, n.º 199 (1997), pp. 9-14*STEINITZ, Richard, György Ligeti: Music of the Imagination. Northeastern University Press, 2003TAYLOR, Stephen Andrew, “Ligeti, Africa and Polyrhythm”. The World of Music, vol. 45, n.º 2 (2003), pp. 83-94*TOOP, Richard, György Ligeti. Phaidon, 1999 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

In 2019 presenteerde het Holland Festival het ambitieuze Aus Licht!, een selectie van 16 uur uit het magnum opus Licht: die sieben Tage der Woche van Karlheinz Stockhausen (1928-2007). Het meest spraakmakende onderdeel hiervan was het Helikopterstreichquartett dat in 1995 in Amsterdam in première ging met het Arditti Quartet. Voor de tweede uitvoering namen de vier strijkers van het Pelargoskwartet plaats in evenzoveel helicopters. Op 7 mei 2-19 was er een proefvlucht voor de pers; ik was erbij en maakte een reportage. Mijn verslag van het hele project lees je op mijn blog. --- Send in a voice message: https://anchor.fm/thea-derks/message

Synopsis The expatriate American composer Conlon Nancarrow came to the conclusion that the rhythmically complex, intricate contrapuntal music he wanted to write would be too difficult for mere mortals to tackle, so he composed for a mechanical instrument: the player piano. Despite its complexity, Nancarrow's music drew some of its inspiration from the human, all-too-human jazz stylings of Art Tatum and Earl Hines, and the complex rhythmic patterns of music from India. Nancarrow was born in 1912 in Texarkana, Arkansas. At the age of 18, he heard Igor Stravinsky's “Rite of Spring,” which sparked his life-long interest in rhythmic complexity. Soon after, Nancarrow began private studies with American composers Roger Sessions and Walter Piston. He moved to Mexico City in 1940, where he lived and worked until his death. Nancarrow composed in almost total isolation until the late 1970s, when some of his piano roll compositions appeared on record. These created quite an impact, and the MacArthur Foundation awarded him its ‘genius' award. Late fame even brought a series of commissions from performers willing to take on the challenge of performing his difficult music. One of these pieces, Nancarrow's String Quartet No. 3, was premiered on today's date in 1987 by the Arditti Quartet. Music Played in Today's Program Conlon Nancarrow (1912 – 1997) — String Quartet No. 3 (Arditti Quartet) Grammavision 79440

In 1972, Betsy Jolas (b. 1926) traveled to Indonesia with Iannis Xenakis, Toru Takemitsu, Henri-Louis de la Grange, Maurice Fleuret and several others. While there, she encountered the Topeng dance, which, nearly 50 years later, inspired the composition of her 8th quartet, Topeng. This piece was written for the Arditti Quartet in 2019. In anticipation of her 95th birthday on 5 August 2021, she tells us what happened on that trip, what it was like traveling with Takemitsu and Xenakis, and why it is that Bali left such an indelible imprint on her music.MUSIC HEARD IN THIS EPISODEBetsy Jolas, Topeng for string quartet (2019)Performed live by the Arditti String QuartetSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Synopsis On today's date in 1995, the four members of the Arditti String Quartet entered four helicopters warming up their engines at an airfield in Holland. Followed by video cameras, each player's image and audio was relayed to huge video displays and loud-speakers on the ground for the mid-air  premiere of a work titled – what else – “Helicopter Quartet” by the avant-garde German composer Karlheinz Stockhausen. Guided by click-tracks, the Arditti Quartet coordinated their performance, which was mixed on the ground by the composer for an audience gathered in a concert auditorium during the 1995 Holland Festival. This music, like all the music Stockhausen wrote in the last years of his life, fit into his cycle of 7 operas, collectively titled “Light.”  Like Wagner's “Ring” operas from the 19th century, Stockhausen's operas attempted to synthesize world mythology into a visionary program for world salvation. Speaking of Wagner and helicopters automatically calls to mind the scene from Frances Ford Coppola's 1979 Vietnam War film, “Apocalypse Now,” in which helicopters blare Wagner's “Ride of Valkyries” from loudspeakers as they attack. By a bizarre coincidence, Wagner's opera, “Die Walküre,”  ALSO had its premiere performance on June 26th in 1870 – the same day as the premiere of Stockhausen's “Helicopter” Quartet! Music Played in Today's Program Karlheinz Stockhausen (1928 - 2007): Helicoptor Quartet (Arditti Quartet) Discques Montaigne Arditti Edition CD-35

Synopsis On today's date in 1995, the four members of the Arditti String Quartet entered four helicopters warming up their engines at an airfield in Holland. Followed by video cameras, each player's image and audio was relayed to huge video displays and loud-speakers on the ground for the mid-air  premiere of a work titled – what else – “Helicopter Quartet” by the avant-garde German composer Karlheinz Stockhausen. Guided by click-tracks, the Arditti Quartet coordinated their performance, which was mixed on the ground by the composer for an audience gathered in a concert auditorium during the 1995 Holland Festival. This music, like all the music Stockhausen wrote in the last years of his life, fit into his cycle of 7 operas, collectively titled “Light.”  Like Wagner's “Ring” operas from the 19th century, Stockhausen's operas attempted to synthesize world mythology into a visionary program for world salvation. Speaking of Wagner and helicopters automatically calls to mind the scene from Frances Ford Coppola's 1979 Vietnam War film, “Apocalypse Now,” in which helicopters blare Wagner's “Ride of Valkyries” from loudspeakers as they attack. By a bizarre coincidence, Wagner's opera, “Die Walküre,”  ALSO had its premiere performance on June 26th in 1870 – the same day as the premiere of Stockhausen's “Helicopter” Quartet! Music Played in Today's Program Karlheinz Stockhausen (1928 - 2007): Helicoptor Quartet (Arditti Quartet) Discques Montaigne Arditti Edition CD-35

Brian Ferneyhough is widely recognized as one of today's foremost living composers. Since the mid-1970s, when he first gained widespread international recognition, his music has earned him an enviable reputation as one of the most influential creative personalities and significant musical thinkers on the contemporary scene. Ferneyhough was born in Coventry, England, in 1943 and received formal musical training at the Birmingham School of Music and the Royal Academy of Music, London. In 1968 he was awarded the Mendelssohn Scholarship, which enabled him to continue his studies in Amsterdam with Ton de Leeuw, and the following year obtained a scholarship to study with Klaus Huber at the Basel Conservatoire. Following Ferneyhough's move to mainland Europe, his music began to receive much wider recognition. The Gaudeamus Composers' Competition in the Netherlands awarded Ferneyhough prizes in three successive years (1968-70) for his Sonatas for String Quartet, Epicycle and Missa Brevis respectively. The Italian section of the ISCM at its 1972 competition gave Ferneyhough an honourable mention (second place) for Firecycle Beta and two years later a special prize for Time and Motion Study III which was considered the best work submitted in all categories. Recent works have included Inconjunctions (2014), Contraccolpi (2016), and a collection of encounters influenced by Christopher Tye, Umbrations (2001-2017), premiered by the Arditti Quartet and Ensemble Modern at Wittener Tage für Neue Kammermusik. Associated with the most prestigious teaching institutions and international summer schools for contemporary music, from 1984 to 1996 Ferneyhough was Composition Course Co-ordinator at the biennial Darmstädter Ferienkurse für Neue Musik. In 1984 he was made Chevalier de l'Ordre des Arts et des Lettres and he has since been named a member of the Berlin Akademie der Künste, the Bayrische Akademie der Schönen Künste and a Fellow of the Royal Academy of Music. Most recently, he was awarded the 2007 Ernst von Siemens Music Prize.SUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Binaural recording: listen with headphones! Generative soundscape based on a two-dimensional random walk between four binaural soundscapes, recorded between 2019 and 2020 during rehearsals with Karlheinz Essl in Vienna, Austria: 1) dress rehearsal of the Arditti Quartet performing Essl's 3rd string quartet at the Mozartsaal of Konzerthaus Vienna 2) setting up the space for a concert of Essl's composition class with the Bösendorfer CEUS computer piano at the University of Music and Performing Art in Vienna 3) Ensemble Reconsil rehearsing Essl's toy piano concerto "under wood" at REAKTOR in Vienna 4) organ registration for Essl's piece "unbestimmt" at the St. Michael, Vienna for a concert of the festival WIEN MODERN http://www.essl.at/works/HEAD.html

Performed by the Arditti Quartet on Nov 1st, 2001 at Konzerthaus Vienna during the festival Wien modern. Binaural recording - listen with headphones! http://www.essl.at/works/upward.html In his story "Tlön, Uqbar, Orbis Tertius", Argentinean writer Jorge Luis Borges tells of a fictional culture whose language has no nouns at all: "There is no word that corresponds to the word 'moon', but there is a verb that would be 'lunare' in Latin or ‘to moon' in our language. ‘The moon rose above the river’ reads: blör u fang axaxcas mlö or in exact order of the words: 'Empor hinter dauer-fließen mondet'es (Xul Solar translates in a short form: upa tras perfluyue lunó. Upward, behind the onstreaming it mooned)." In this language, the simplest statements can only be expressed through complicated grammatical constructions, which are, however, full of poetry and magic, as in the example quoted above, to which my quartet owes its title. The string quartet has always been regarded as the supreme discipline of composition and a place of musical experimentation: four equal individuals - embodied by four string instruments - enter into a musical discourse, as if "four reasonable people are talking to each other", as Goethe once remarked. But what happens if this (sound) language no longer functions unconditionally because it has been stripped from one of its most essential elements - the nouns? This paradoxical question fascinated me immensely when I began composing my third string quartet. In this piece I abandoned melodic formulations, which - as the epitome of the thematic - once functioned as the nouns of a musical language. This deliberately chosen constraint (which I learned from the French poet Georges Perec, who wrote an entire novel without the letter 'e') I considered less as a restriction than as a liberation from certain musical clichés that still cling to the genre of the string quartet. In this piece I concentrated only on a few basic elements: long stretched drones, moving textures, pulsations and expressive sound eruptions. Like an alchemist in his laboratory, I allowed a plethora of musical figures to sprout, which are artfuyll interwoven in order to obtain a maximum of expressive sound intensity.

The fourth episode of Darmstadt On Air is hosted by Lucas Fels, cellist of the Arditti Quartet and Darmstadt cello tutor. Lucas visited Ellen Fallowfield in Basel in July 2020. Like Lucas, Ellen has a particular focus on contemporary music as a cellist. She is also a researcher and the creator of cellomap.com, an online resource for modern cello techniques. They talked about legendary cellists like Siegfried Palm and Anner Bylsma, about Helmut Lachenmann’s groundbreaking solo cello piece „Pression“, about extended techniques and multiphonics on the cello and about questions like: How to write it down? How to bring the instrumentalists' experiences back into scores? How can we describe and refine the interplay of research on the instrument and the composers' imagination? Many thanks to Ellen Fallowfield and Lucas Fels, to Hochschule für Musik Basel for providing room and equipment, to Omri Abram for recording, to Stefan Prins for the jingle, and to Olaf Mielke!

The second episode of Darmstadt On Air, the new audio podcast of the Darmstadt Summer Course on music and experiment, is dedicated to the role of interpreting artists. Yaron Deutsch, founder and guitar player of Ensemble Nikel seeks to shed some light on the importance of musicians for bringing new pieces into life. He asked Irvine Arditti, founder and first violinist of the Arditti Quartet, to discuss about what it means to receive a new score from a composer and to start from scratch, the musicians‘ impact on creation and what a personal sound could be. They’ve never talked before in real life, but had a lively exchange via telephone before they met on Zoom – Irvine from London and Yaron from Tel Aviv – on 16 July 2020 to record this conversation. Many thanks to Irvine Arditti and Yaron Deutsch, to Yaron also for the editing, Stefan Prins for the jingle, and Olaf Mielke!

During March 25–31, 2019 the University of New Mexico Department of Music and the UNM Robb Musical Trust presented the 48th Annual John Donald Robb Composers' Symposium. As part of this festival of new music, UNM hosted the 2019 Society of Composers, Inc. National Conference. ADJ•ective New Music's Andrew Martin Smith was on campus to experience the festival first-hand...as a new music groupie! This episode features interviews with composers Anne Neikirk (https://annieneikirk.com/), Jessica Rudman (https://www.jessicarudman.com/), and Jamie Leigh Sampson (http://jamieleighsampson.weebly.com/), as they discuss works performed by Krystal Grant, The Arditti Quartet, and Third Inversion...and much more!

In 2016 sloegen het Holland Festival, De Nationale Opera, het Koninklijk Conservatorium en de Stockhausenstiftung de handen ineen ineen om het magnum opus van de Duitse avant-gardist op de planken te brengen in de Amsterdamse Gashouder. Licht steekt in ambitie en omvang Wagners Ring des Nibelungenruim naar de kroon. Tegenover de vier avondvullende opera’s van zijn oudere collega plaatst Stockhausen ‘Sieben Tage der Woche’, die in totaal zo’n 26 uur duren. Nog nooit zijn alle zeven opera’s in één keer uitgevoerd. Mijn hart sprong op toen ik hoorde van deze moedige onderneming, die Nederland andermaal op de kaart zal zetten als modernemuziekminnend land. In tijden waarin cultuur en intellect wereldwijd onder vuur liggen kan degene die een grootse droom wil realiseren niet genoeg geprezen worden. Hulde dus aan de drie instellingen dat zij ons mee willen nemen op dit spannende avontuur. Jammer dat het ambitieuze project slechts een selectie van 16 uur omvat. – Vandaar de titel ‘Aus Licht’. Fluitiste en artistiek leider Kathinka Pasveer zei desgevraagd dat het simpelweg onmogelijk is in twee jaar tijd de veeleisende partituren onder de knie te krijgen. De musici worden namelijk niet alleen geacht de moeilijke partijen uit hun hoofd te spelen, maar moeten tevens acteren en een grote hoeveelheid elektronica bedienen. Alleen al de voorbereidingen voor een productie van Donnerstag aus Licht in Basel in 2016 namen een jaar in beslag. Om jonge musici vertrouwd te maken met de klankwereld van Stockhausen zette het Koninklijk Conservatorium een tweejarige masteropleiding op. Hier kregen studenten les van docenten die nog met Stockhausen persoonlijk gewerkt hebben. Naast diens erven Kathinka Pasveer en de klarinettiste Susanne Stephens zijn dat onder anderen de pianiste Ellen Corver en de slagwerker Renee Jonker. Collega-muziekjournalist Olivier Keegel startte een petitie om deze marathon-onderneming te voorkomen, maar zijn actie had gelukkig geen succes. Van 31 mei tot en met 10 juni kunnen we in drie voorstellingen 16 uur uit de opera Licht beleven. Een buitenkans. Afgelopen dinsdag 7 mei kreeg de pers alvast een voorproefje, tijdens een repetitie van het beroemde en beruchte Helikopterstreichquartett, onderdeel van ‘Mittwoch aus Licht’. Het beleefde in 1995 – eveneens in het Holland Festival - zijn wereldpremiére. Namen destijds de vier strijkers van het Arditti Quartet plaats in evenzoveel helicopters, nu waren het vier studentes van het Koninklijk Conservatorium, samen het Pelargos Kwartet geheten. Voor de repetitie begon vertelde Renee Jonker kort over de achtergronden en de praktische invulling. Zo startten in 1995 de helicopters gewoon direct vanachter de Gashouder, maar moest nu worden uitgeweken naar een weiland vlakbij de begraafplaats Sint Barbara. Thea Derks was erbij en ving reacties op van betrokkenen en journalisten. Thea Derks

Episode 58 features composer Joël-François Durand. Durand also designs and manufactures high-end tonearms for record players. His music has been commissioned and performed by many leading ensembles and orchestras in Europe, the US, Brazil, and South Korea, including Ensemble Intercontemporain, London Sinfonietta, Contrechamps, Arditti Quartet, ASKO, Nieuw Ensemble among many others.   In this podcast we talk about his studies with renowned masters, path to music composition, designing tonearms, personal stories and much more!   To learn more about Joël-François Durand please visit: http://www.joelfdurand.com/ http://durand-tonearms.com/   https://www.facebook.com/OffThePodium... © Off The Podium, 2017

Arditti Quartet perform Helmut Lachenmann String Quartet no. 1 'Gran Torso' at The Chapel, Kings College, London as part of an IMR/IMLR symposium on Lachenmann's music.

Arditti Quartet perform Helmut Lachenmann String Quartet no. 3 'Grido' at The Chapel, Kings College, London as part of an IMR/IMLR symposium on Lachenmann's music

Bach's austerely beautiful Art of Fugue has long fascinated musicians who have a taste for the modern and esoteric. The piece, left incomplete at the composer's death, reduced complex counterpoint to its bare essentials – so much that the composer didn't even indicate the instrument (or instruments) for which it was composed. In fact, most scholars agree that Bach probably intended the piece for the harpsichord, but a few string quartets have made their case for the work too. The New York-based Mivos Quartet recently brought the Contrapunctus XIX from The Art of Fugue to the WQXR Café as part of the station's month-long Bachstock festival. In an arrangement by Patrick Higgins, it dramatically calls attention to Bach's advanced sense of time and musical architecture. Formed in 2008 at the Manhattan School of Music, the Mivos Quartet has put much of its focus and resources into contemporary string quartet repertoire. But early-vintage works also turn up on their programs. "Maybe it seems random," says violist Victor Lowrie, "but when there's a program of new music, there's often much older music too – skipping the Classical and Romantic periods." Lowrie adds that, when compared to an exacting living composer, there's a great freedom when it comes to interpreting early music. Like the famous Arditti Quartet before them, Mivos's members are especially drawn to some of the knottier, more abstruse corners of the contemporary repertoire. Their touring calendar presents a who's-who of avant-garde presenters – from Darmstadt to Roulette and seemingly every modern art museum in between. (The quartet appears at Columbia University's Miller Theater on Dec. 9.) And their programs span established names like Kurtag and Ligeti to relative up-and-comers including Kate Soper and Missy Mazzoli.  But the Mivos musicians say they're hardly dogmatic about styles or genres. Cellist Mariel Roberts recalled a recent, eye-opening tour in Brazil, where she encountered idioms far removed from American or European traditions (more samba than serialism). It made for an amusing clash of cultures: "On the last night we were there, one composer was like, 'I don't understand why you guys have all of this weird music with no rhythm. In Brazil that's not something you do. Why would you take the soul out of music?' "I was like 'well, I never thought about it like that.'" Listen to the full concert above, which also features the fourth movement from Taylor Brook's quartet, El jardin de senderos que se bifurcan (also below), plus commentary from cellist Mariel Roberts and violist Victor Lowrie. Video: Kim Nowacki; Sound: Edward Haber; Production and Text: Brian Wise

David is an Icelandic composer currently residing in New York. His works have been performed by ensembles such as the Arditti Quartet, Ensemble Adapter, Ensemble Surplus, Avanti!, Eighth Blackbird, and Yarn/Wire. He is a founding member of the Icelandic Composer’s Collective s.l.a.t.u.r. and co-runs the record label Carrier Records with Sam Pluta and Jeff Snyder.In our conversation we talk about the Icelandic music scene, his approach to analyzing and working with material, and the differences between intentionality and perception. The music played on this podcast is Longitudinal Study #1 performed by Loadbang, and a clip from The Negotiation of Context C performed by Yarn/Wire.

TITLE: Jonathan Harvey String Quartet no. 4. Notes towards an analysis. ARTIST: Michael Clarke, Arditti Quartet, Gilbert Nouno COMPOSER: Jonathan Harvey DESCRIPTION: Prof. Michael Clarke analyses Jonathan Harvey's Sting Q...

A pedagogical resource tracing the Arditti Quartet’s preparations for the première of Brian Ferneyhough Sixth String Quartet

A documentary following the Arditti Quartet in rehearsal with Brian Ferneyhough

Arditti Quartet perform Ferneyhough 6th String Quartet,world premiere Donaueschinger Musiktage 2010