Podcast appearances and mentions of arne nordheim

Episode 155 Chapter 16, Other European Electronic Music Studios. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: OTHER EUROPEAN ELECTRONIC MUSIC STUDIOS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Luciano Berio, “Mutazioni” (1955). Tape composition produced at the RAI studio (Milan). 03:36 01:38 2.     Luciano Berio and Bruno Maderna, “Ritatto di Città (poema radiofonico)” (1955). Tape composition produced at the RAI studio (Milan). 06:05 05:14 3.     Bruno Maderna, “Notturno” (1956). Magnetic tape composition, RAI studio (Milan). 03:24 11:16 4.     Dick Raajimakers, “Song of the Second Moon” (1957). Tape composition produced at the Philips Research Laboratories (Eindhoven). 03:08 14:40 5.     Luciano Berio, “Thema–Omaggio a Joyce” (1958). Early text-sound composition using magnetic tape. RAI studio (Milan). 06:24 17:48 6.     Tom Dissevelt, “Whirling” (1958). Tape composition produced at the Philips Research Laboratories (Eindhoven). 02:37 23:56 7.     Luigi Nono, “Omaggio A Vedova” (1960). Tape composition produced at the R.A.I. (Rome). 04:52 26:32 8.     Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961). Tape composition produced at the Studio Di Fonologia Musicale Di Firenze (S 2F M) (Florence). 02:56 31:24 9.     Ake Karlung, “Antihappening” (1962). Tape composition produced at the studio of ABF, Stockholm (Norway). 03:51 34:20 10.   Alfred Janson, “Canon” (1964). Tape composition produced in his private studio (Norway). 12:27 38:08 11.   Lars-Gunnar Bodin, “Den heter ingenting, den heter nog ‘Seans 2'” (1965. Tape composition produced in the studios of Swedish Radio (Stockholm). 16:00 50:46 12.   Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965). Gruppo Nuove Proposte Sonore (NPS) (Padua). 05:46 01:06:46 13.   Arne Nordheim, “Response I” (1966) for 2 percussion groups and magnetic tape. Tape composition produced at NRK radio (Oslo). 18:09 01:12:32 14.   Enore Zaffiri, “Musica Per Un Anno” (1968, excerpt).  Tape composition produced at the Studio di Musica Elettronica di Torino (SMET) (Torino). 13:41 01:30:41 15.   Teresa Rampazzi, “Duodeno normale” (1972). Tape composition produced at the Gruppo Nuove Proposte Sonore (NPS) (Padua). 01:27 01:44:24   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 107 Crosscurrents in Early Electronic Music of Norway Playlist Arne Nordheim, “Epitaffio” (1963) for orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic sound material on the tape are taken from the end of the performance, but played during the opening section. It fuses the acoustic instruments and voices with electronics, filtering and speed changes. This recording is 10:15 Alfred Janson, “Canon” (1964) for chamber orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. In this piece, two tape recorders were used in performance. The first records for about four minutes and the, half a minute later, begins to play back what was recorded. The second tape recorder begins to record after the first tape machine ends, and then plays back what was recorded after another half minute, creating, in a sense, the structure of a canon. 12:27 Arne Nordheim, “Response I” (1966) for 2 percussion groups and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. Two percussionists respond to electronic sounds such as filtered white noise, sine waves and the filtered sounds of organ and metallic clanging distributed throughout the score. 18:09 Björn Fongaard, “Homo Sapiens” (1966) for magnetic tape from Poul Rovsing Olsen • Thorkell Sigurbjörnsson • Arne Mellnäs • Björn Fongaard – Nordiska Musikdagar 1968 Nordic Music Days Vol.3 (1969 His Master's Voice). Realized at the Norsk Riksringkastings studio, Oslo. 9:20 Bjørn Fongaard, “Galaxy” for 3 electric guitars in quarter-tones from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic part makes use of audio filtering, changing tape speed, and editing to treat some unorthodoxed playing on the guitar. 12:05 Kåre Kolberg, “Keiserens Nye Slips - Electronic Music” from Kåre Kolberg – Contemporary Music From Norway (1980 Philips). A foray in computer composed music synthesis realized in the Electronic Music Studios in Stockholm using a PDP 15/40 computer; it was programmed in the EMS-1 computer language developed in the same studio. 9:54 Jan Bang, “Artificial Reeves” from from Narrative From The Subtropics (2013 Jazzland). Norwegian release of the Norweigian electronic musician and composer Jan Bang. Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang. 3:05 Jan Bang, “Funeral Voyage” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Bass, Eivind Aarset; Guitar, Eivind Aarset; Synthesizer, Erik Honoré; Trumpet, Nils Petter Molvær. 5:26 Jan Bang, “Melee of Suitcases” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Piano, Electronics, Dai Fujikura; Vocals, Sidsel Endresen. 4:03 Safariari, “Fetsild” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic music project of Jon Furuheim. 2:16 Remington Super 60, “RS60 And Milano In Space (Remix)” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic pop rock group, from Fredrikstad, Norway, founded late 1998. 6:07 Opening background music: Arne Nordheim, “Caliban's Warning” (excerpt) from The Tempest (Suite From The Ballet) (1980 Philips). An abrupt moment of electronic sound blended into the instrumentation. The electronic realization was done in the Studio Eksperymentalne, Warsaw, Poland. The Tempest was commissioned by the Schwetzinger Festival and first performed by Ballet Rambert at the Rokokotheater, Schwetzingen on 3. May 1979. 7:35 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Norwegian vocalist and composer Maja S. K. Ratkje joins Wise Music Group CEO Dave Holley and Creative Director Gill Graham in this latest episode of Composing Myself, beaming in from her basement home studio on the fringes of Oslo. Maja talks about how as a child her sound world of birdsong and languages influenced her music, the intention of “using classical music to say something about the lives we are living in our time”, studying at the Norwegian Academy of Music and the first piece she wrote for other people to perform, how her experimental improvisational work draws a parallel with extreme sports, and her environmental protest sound art project ‘Desibel' - the world's largest mobile horn loudspeaker system.https://ratkje.no/The performing composer Maja S. K. Ratkje is at the forefront of the musical avant-garde. Despite its boldness and originality, her music is meant for sharing. At its heart lies Ratkje's own voice, an open door to her individual musicianship and a constant tool for realigning her work with natural expressions and human truths.Karlheinz Stockhausen, Olivier Messiaen and Arne Nordheim all tantalized Ratkje during her studies. She played in a gamelan ensemble, worked with the experimental percussionist Paal Nilssen-Love and joined the ensemble SPUNK as a vocalist, a move that would have a lasting impact on her day-to-day creativity.Ratkje's exploration of her own voice's timbral properties led to its involvement in the compositional process. In 2002, she released the album Voice, a catalogue of previously unexplored vocal production techniques fused with electronics that was awarded the Prix Ars Electronica. Ratkje's exploration of the voice as an instrument came to maturity in Concerto for Voice (2004), commissioned by Radio France.Ratkje's music frequently involves stark contrasts, more often in the delivery of balance and kinetic action than in the creation of shock or effect. Her ability to hold disparate materials in her grasp is as apparent as her care and restraint with that material. ‘Form is the most important aspect of composition and the reason I consider myself a composer,' Ratkje once said.While many of Ratkje's scores are notated, many stretch beyond the confines of traditional notation in aspiring to both greater precision and greater liberation. Some reveal her DNA as a performing and improvising musician; some ask performers to improvise or produce material themselves.Her music has links her to Norwegian identity and politics (Ro-Uro, 2014), to her beloved Japanese culture (Gagaku variations, 2002), to children under the age of three (Høyt oppe i fjellet, 2011) and to instruments as varied as the viol consort (River Mouth Echoes, 2008) and the world's largest mobile horn speaker system (Desibel, 2009).Ratkje's work Waves IIb was awarded Norway's coveted Edvard Prize and was further honoured by UNESCO and the International Rostrum of Composers in Paris. Ratkje was the inaugural winner of the Arne Nordheim Prize and was nominated for the Nordic Council Music Prize in 2013. She has been Composer-In-Residence at numerous institutions and festivals, has contributed to well in excess of 100 albums and has written music for dance, radio plays and gallery installations. She is a member of the Akademie der Künste in Berlin. Hosted on Acast. See acast.com/privacy for more information.

Norra esiletõusvaima helilooja Arne Nordheimi balletisüidi "The Tempest" esitavad Bergeni Filharmoonikud Edward Gardneri juhatusel, sopran Beate Mordal ja bariton Jeremy Carpenter

Vi må snakke om musikk: I dag møter skoleelev Aaron Michael Gyring vår anmelder Ola Nordal for å høre på og synse om innspillinger av musikk av Jeans Sibelius og av Arne Nordheim. Musikk: «Caliban's Warning» Suite from the Ballet The Tempest, Vlll. / Arne Nordheim – Bergen Filharmoniske orkester, Beate Mordal & Jeremy Carpenter, dir. Edward Gardner (Lawo Classics 2023). Symphony NO. 1 in E Minor, Op. 39: l. / Jean Sibelius – Oslo Filharmoniske orkester, dir. Klaus Mäkelä (Decca 2022). Platene vi pratemelder: https://open.spotify.com/album/1jWCRQFO3hYyyZ9VCn1IhB?si=ZowF4B_JQKuxECI4irhYQQ https://open.spotify.com/album/7uGbWBY2KSfC4t5Ek6yfXP?si=BrCOiMNeQPeg5n98NrnGrg Les Nordals siste anmeldelser her, inkludert anmeldelsen hans av Nordheims The Tempest/Stormen med Bergen filharmoniske orkester: https://www.ballade.no/kunstmusikk/musikk-du-kan-skremme-folk-med/ Aarons farmor synger: https://open.spotify.com/track/2SpgBp6LB8Gi93ocBa3zMm?si=b864461cfff2436b Programleder/produsent: Siri Narverud Moen Redaktør: Guro Kleveland Jingel: Ulf Moen Denneche  

The bold and charismatic Maja Solveig Kjelstrup Ratkje is most definitely on the forefront, when it comes to the musical avant-garde, known for stark contrasts and a nuanced balances. She is celebrated and awarded with prizes both in Scandinavia and abroad, including the Edvard Prize and prestigious UNESCO Rostrum Award.  "The Nordic expression in music can be clear, often very strong and intimate. It's probably not the right to say it in such way, but it is 'very often to the point'. Even in making complex contemporary music, there is still a clear music expression. Arne Nordheim, probably the most famous Norwegian composer after Edvard Grieg, is the first name that comes to my mind, when people talk about Nordic music. And it is still full of warmth, directness and in some way comfort." Maja S. K. Ratkje, The Nordics Unveiled"We need to re-define what the Nordic identity is, as the world around is changing and we are becoming a bigger part of it. We need artistic reflections on what the rest of the world does to us and not only being nostalgic. We need the good art that lifts up the dark spaces and criticizes things that we too often take for granted. We need art that is beautiful in new ways and does not play only on clichés."Maja S. K. Ratkje, The Nordics UnveiledMore information about Maja S. K. Ratkje and her music on the following link.

Et af Europas absolut bedste kor gæster Vendsyssel Festival, med et program med overskriften Solen er rund efter et digt af Inger Christensen. Musikken er af Per Nørgård, Alfred Janson, Luciano Berio, Zad Moultaka, Kaija Saariaho og Arne Nordheim samt nordisk korlyrik af David Wikander og Edvard Grieg. Daniel Paulsen og Terje Viken, slagtøj. Dirigent: Grete Pedersen. (Festivalens åbningskoncert i Sæby Kirke 4. juli). Ca. 21.30Akkordeonisten José Valente, der er debuteret fra Det Kgl. Danske Musikkonservatorium, spiller Gubajdulinas Et Exspecto - Sonata in 5 movements. Vært: Klaus Møller-Jørgensen. www.dr.dk/p2koncerten

Discover the Iron Curtain's unlikeliest music haven and the people who made it happen. In 1957, the Polish Radio Experimental Studio (PRES) first opened its doors in Warsaw, and would very soon become an important European centre for the creation of exciting and original electro-acoustic music. But how did such a place even come to be built in Poland, just a few years after the death of Stalin and the severe artistic restrictions of Social Realism? In this episode, you will find out what exactly went on inside the strange electronic depths of the PRES, and how through the efforts of its first director, Józef Patkowski, the studio became a 'window to the world', hosting the best composers from both the Eastern Bloc and the West. You'll also hear the remarkable story of Eugeniusz Rudnik, a technician from a small Polish village, who after spending countless hours helping out others with tape machines and signal generators found unexpected success and recognition. Like our show? Sign up for our newsletter! Further listening Psalmus by Krzysztof Penderecki, 1961 Etude aux Chemins de Fer by Pierre Henri Marie Schaeffer, 1948 Studie 1 by Karlheinz Stockhausen, 1953 Study for One Cymbal Stroke by Włodzimierz Kotoński, 1959 Symphony - Electronic Music by Boguslaw Schaeffer, 1966 Ode to Light (Sculpture) by Arne Nordheim, 1968 Mobile for Magnetic Tape by Eugeniusz Rudnik, 1965 Further reading The Story Behind the Experimental Music Haven that Escaped Communist Censorship / from Culture.pl The Musical Milestones of the Polish Radio Experimental Studio / on Culture.pl PRES Cheatsheet: Four Giants from Poland's Legendary Music Studio / on Culture.pl A Foreigner's Guide to Polish Electronic Music / on Culture.pl Eugeniusz Rudnik / biography on Culture.pl Full archive of PRES articles on Culture.pl A History of Electroacoustic Music in Poland from the Perspective of the Polish Radio Experimental Studio 1957-1990 / on Sound Exchange Spatial Music: Design and the Polish Radio Experimental Studio / on post at MoMA How Much Rudnik is in Penderecki, and How Much Rudnik is in Nordheim? Interview with Eugeniusz Rudnik / on post at MoMA   Further watching 15 Corners of the World / on Ninateka.pl (Click 'English version' to the right of the player for subtitles) Eugeniusz Rudnik Q&A / from the Polish Cultural Institute in London's Youtube channel Uncovering the Soul of the Polish Radio Experimental Studio link opens page / on Culture.pl's Youtube channel Thanks Antoni Beksiak / for kindly initiating us into the technological and musical history of the studio. Antoni is a music critic, musician and festival curator (Turning Sounds et al.). He leads the bands Niewte and Gęba.  Łukasz Strusiński / for inviting us to the International PRES Conference in Łódź (October 2017) and helping us navigate this topic. Łukasz is a classical music expert and part of the Master Project team at the Adam Mickiewicz Institute. Agnieszka Pindera / for sharing her knowledge about the studio and those closely involved with it, including Józef Patkowski, Eugeniusz Rudnik and Władysław Sokorski. Agnieszka is a curator at Muzeum Sztuki in Łodź and organiser of the International PRES Conference held at the museum in 2017. Paweł Nowożycki / for talking to us about the iconic Black Room at PRES and its planned re-construction at the new Museum of Modern Art (MSN) building in Warsaw. Paweł is a curator at MSN and head of the PRES reconstruction project. David Crowley / for shedding light on the historical and artistic background of the studio as a place of creative openness behind the Iron Curtain and its important links with Western studios and composers. David Crowley is the Head of the School of Visual Culture at the National College of Art and Design in Dublin.   SFTEW Team: Wojciech Oleksiak, Adam Zulawski, John Beauchamp, Nitzan Reisner & Piotr Wołodźko

Hva det vil si å være æresborger. I Larvik diskuteres det om det bør bli en kvinne ved siden av Thor Heyerdahl, Arne Nordheim og Ingvar Ambjørnsen, Mens i Trondheim har politikerne bestemt at de skal SLUTTE å utnevne æreborgere av byen. Det mener flere er både dumt og trist, reporter er Lise Borchgrevink

Solitaire werd geschreven in 1968, met de schittering en breking van het licht in een diamant in het achterhoofd.

Op Radio 4 opent Tom Klaassen met fraai voor gitaarduo bewerkte muziek van Bach. Daarna muziek van Schönberg door het Cuarteto Quiroga, de nieuwe CD van Vijay Iyer, en het Stabat Mater van Knut Nystedt. Tegen middernacht klinken de wonderlijke geluiden van de Noorse componist Arne Nordheim.

- 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.

På 60 og 70-tallet jobbet komponist Arne Nordheim i et studio i Polen som ble kjent for sin elektroniske musikk. I dag sitter en mann som mener hans rolle i Nordheims musikk er mye viktigere enn det han har fått æren for. Hva skjedde egentlig i Experimental Studio og er det noe Norges fremste samtidskomponist har glemt å fortelle?