Podcasts about berio

durée : 00:14:48 - Le siècle de Luciano Berio - par : Laurent Vilarem - 2025 célèbre les cent ans de Luciano Berio. Quatre compositeurs/trices évoquent l'héritage du compositeur italien et l'influence de ce dernier sur leurs propres œuvres. On partira également à Tours pour le beau festival Easy Listening. - réalisé par : Arthur Rayrole

durée : 01:28:17 - En pistes ! du mardi 08 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On écoutera plutôt une Gnossienne pour évoquer l'univers singulier et excentrique d'Erik Satie avec le nouvel album que lui consacre le pianiste Alain Planès. A retrouver également : les duos pour violon de Bartok et Berio en miroir, les oeuvres tardives de Mozart par l'Ensemble Resonanz...

durée : 01:28:17 - En pistes ! du mardi 08 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On écoutera plutôt une Gnossienne pour évoquer l'univers singulier et excentrique d'Erik Satie avec le nouvel album que lui consacre le pianiste Alain Planès. A retrouver également : les duos pour violon de Bartok et Berio en miroir, les oeuvres tardives de Mozart par l'Ensemble Resonanz...

Komende week verschijnt er een nieuwe biografie van de Nederlandse componist Willem Pijper: Een lied dat niet sterven zal. We luisteren naar muziek van Willem Pijper én naar muziek van zijn leerling Henk Badings.  Er is een mooie nieuwe cd verschenen met vioolduo's van Bartók en Berio, er gaat komende week weer een nieuw stuk in premiere en Splendor heeft nieuwe musici aangetrokken die we graag aan je voorstellen!  * Concerttip 1: Minimal Music Festival: The Monochrome Project (https://www.muziekgebouw.nl/nl/agenda/14554/the-monochrome-project/verpletterend-minimal) * Concerttip 2: vioolconcert Schönberg en werk van Martijn Padding (https://www.muziekgebouw.nl/nl/agenda/13741/new-european-ensemble-maria-milstein/schonberg-padding) * Podcast over Willem Pijper (https://www.npoklassiek.nl/podcasts/willem-pijper-in-het-licht-van-de-eeuwigheid)

fWotD Episode 2882: Pierre Boulez Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 26 March 2025 is Pierre Boulez.Pierre Louis Joseph Boulez (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music.Born in Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.Boulez was also one of the most prominent conductors of his generation. In a career lasting more than sixty years, he was music director of the New York Philharmonic, chief conductor of the BBC Symphony Orchestra and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent appearances with many other orchestras, including the Vienna Philharmonic and the Berlin Philharmonic. He was known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the production of Wagner's Ring cycle for the centenary of the Bayreuth Festival, and the world premiere of the three-act version of Berg's opera Lulu. His recorded legacy is extensive. He also founded several musical institutions. In Paris he set up the Domaine musical in the 1950s to promote new music; in the 1970s he established the Institut de Recherche et Coordination Acoustique / Musique (IRCAM), to foster research and innovation in music, and the Ensemble intercontemporain, a chamber orchestra specialising in contemporary music. Later he co-founded the Cité de la musique, a concert hall, museum and library dedicated to music in the Parc de la Villette in Paris and, in Switzerland, the Lucerne Festival Academy, an international orchestra of young musicians, with which he gave first performances of many new works.This recording reflects the Wikipedia text as of 00:21 UTC on Wednesday, 26 March 2025.For the full current version of the article, see Pierre Boulez on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.

In deze Vrije Geluiden horen we de vertelkracht van muziek: van de ogenschijnlijk huiselijke problematiek in Ahsleys opera 'Improvement - Don Leaves Linda' - via een enigszins onsmakelijke doch onvergetelijke anekdote over Harry Sacksioni - naar de folk songs van Loevendie en Berio en eindigend met een kleine vooruitblik naar morgen! 

Der Oboist Francois Leleux ist in München quasi zuhause. 1992 hat er den ARD Musikwettbewerb gewonnen, 12 Jahre lang war er Solo-Oboist des BRSO und inzwischen hat er eine Professur an der Münchner Musikhochschule. In der Reihe "Nachtwache" des Münchener Kammerorchesters tritt er morgen als Solist auf. Und hier auf BR Klassik ist er oft zu hören, zum Beispiel mit solch wunderschöner Barockmusik. Neben Mozart und Berio wird Bohuslav Martinu zu hören sein. Sein Oboenkonzert. Das gilt als ziemlich anspruchsvoll, vielschichtig - was erwartet das Publikum in diesem Stück?

Su mundo interior—inquietante, tenebroso, apocalíptico, espejo de los horrores de la guerra que ha vivido—queda plenamente patente en su obra. Amplia es su paleta de intereses y técnicas, que va del serialismo al collage, del cine a la electrónica, del jazz a la radio._____Has escuchadoConcerto for Trumpet and Orchestra: Nobody Knows the Trouble I See (1954). Hakan Hardenberger, trompeta; SWF Sinfonieorchester Baden-Baden; Michael Gielen, director. Philips (1993)Concerto pour violoncelle et orchestre en forme de “pas de trois” (1965). Siegfried Palm, violonchelo; Rundfunk-Sinfonieorchester Saarbrücken; Hans Zender, director. CPO (1997)Die Soldaten. Primer acto, primera escena: Strofe (1991). Milagro Vargas, mezzo-soprano; Nancy Shade, soprano [et al.]; Chor des Staatstheaters Stuttgart; Staatsorchester Stuttgart; Bernhard Kontarsky, director. Teldec (1991)Requiem für einen jungen Dichter. Prolog a Ricercar (1967-1969). SWF-Sinfonieorchester Baden-Baden; Michael Gielen, director. Sony (1995)_____Selección bibliográficaBERGÉ, Pieter et al., “Bernd Alois Zimmermann: Requiem für einen jungen Dichter”. En: Dies Irae: Kroniek van Het Requiem. Leuven University Press, 2021*EBBEKE, Klaus, Sprachfindung. Studien zum Spätwerk Bernd Alois Zimmermanns. Schott, 1986GRUHN, Wilfried, “Integrale Komposition. Zu Bernd Alois Zimmermanns Pluralismus-Begriff”. Archiv für Musikwissenschaft, vol. 40 (1983), pp. 287-302HELLEU, Laurence, “Les Soldats de Bernd Alois Zimmermann”; une approche scénique. Éditions mf, 2011HIEKEL, Jörn Peter, Bernd Alois Zimmermanns “Requiem für einen jungen Dichter”. Franz Steiner, 1995KONOLD, Wulf, Bernd Alois Zimmermann (1986). Michel de Maule, 1998KORTE, Oliver, “Zu Bernd Alois Zimmermanns später Reihentechnik”. Musiktheorie, vol. 15 (2001), pp. 19-39LOSADA, C. Catherine, “Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann”. Music Theory Spectrum, vol. 31, n.º 1 (2009), pp. 57-100WENZEL, Silke, Text als Struktur. Der Kohelet im Werk Bernd Alois Zimmermanns. Weidler, 2001ZIMMERMANN, Bernd Alois, Écrits. Editado por Philippe Albèra. Contrechamps, 2010 *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

durée : 00:59:08 - Mateusz Kowalski & le concerto en fa mineur de Frédéric Chopin / Pierre Bibault & la Sequenza de Luciano Berio - par : Sébastien Llinares - "Mateusz Kowalski, guitariste polonais qui a participé en soliste à un projet fou, l'adaptation pour la guitare du concerto en Fa mineur de Frédéric Chopin, accompagné de {oh!} Orkiestra. Le guitariste Pierre Bibault qui vient nous faire redécouvrir La Sequenza de Luciano Berio" Sébastien Llinarès - réalisé par : Patrick Lérisset

Una de las características de su obra es la incorporación de sonoridades no codificadas de la voz, como risas, susurros o carraspeos. He aquí su tema: la voz, su naturaleza orgánica, traspuesta y abierta a la sensibilidad de la escucha a través de los incipientes procedimientos electrónicos._____Has escuchadoCorale (1981). Maryvonne Le Dizès, viola; Ensemble InterContemporain; Pierre Boulez, director. Sony Classical (1990)Folk Songs. Black Is the Color (1964). Cathy Berberian, mezzosoprano; Julliard Ensemble; Luciano Berio, director. BMG Classics (1973)Laborintus 2. Première partie (1965) / textos de Edoardo Sanguineti. Ensemble Musique Vivante; Chorale Expérimentale; Luciano Berio, director. Harmonia Mundi (1987)Sinfonia. O King (1968). Göteborg Konserthus; Peter Eötvös, director. Deutsche Grammophon (2005)_____Selección bibliográficaBERIO, Luciano, Un recuerdo al futuro. Acantilado, 2019*BOULEZ, Pierre y Enzo Restagno, Sequenze per Luciano Berio. Ricordi, 2000COHEN-LEVINAS, Danielle (ed.), Omaggio a Luciano Berio. L'Harmattan, 2006*DALMONTE, Rossana y Bálint András Varga (eds.), Luciano Berio: Two Interviews. Marion Boyars, 1985ECO, Umberto, “Eco in ascolto: entrevista de Umberto Eco con Luciano Berio”. Revista de Occidente, n.º 114 (1990), pp. 123-136*FERRARI, Giordano, “El teatro musical como crítica de la sociedad: Passagio de Luciano Berio y Edoardo Sanguineti”. Doce Notas Preliminares, n.º 14 (2004-2005), pp. 120-138FERRARI, Giordano (ed.), Le théâtre musical de Luciano Berio: actes des six journées d'études qui ont eu lieu à Paris et à Venise entre 2010 et 2013. L'Harmattan, 2016FLYNN, George W., “Listening to Berio's Music”. The Musical Quarterly, vol. 61, n.º 3 (1975), pp. 388-421*HALFYARD, Janet K., Berio's Sequenzas: Essays on Performance Composition and Analysis. Ashgate, 2007*HICKS, Michael, “Text, Music, and Meaning in the Third Movement of Luciano Berio's Sinfonia”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 199-224*JOOS, Maxime, “Luciano Berio: Dramaturgie et Œuvre Ouverte”. Musurgia, vol. 10, n.º 2 (2003), pp. 7-27*MEHINOVIC, Vedran, “Two Late Orchestral Works of Luciano Berio”. Tempo, vol. 69, n.º 273 (2015), pp. 20-29*MULLER, Theo y Luciano Berio, “‘Music Is Not a Solitary Act': Conversation with Luciano Berio”. Tempo, n.º 199 (1997), pp. 16-20*NEIDHÖFER, Christoph, “Inside Luciano Berio's Serialism”. Music Analysis, vol. 28, n.º 2-3 (2009), pp. 301-348*OSMOND-SMITH, David, “Berio and the Art of Commentary”. The Musical Times, vol. 116, n.º 1592 (1975), pp. 871-872*—, Berio. Oxford University Press, 1991SZENDY, Peter, “Un roi à l'écoute”. En: L'Opéra éclaté: la dramaturgie musicale entre 1969 et 1984. Editado por Giordano Ferrari. L'Harmattan, 2005 *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

15 marzo 2024 - Emanuela Ferro - SPECIALE IANUA

durée : 00:59:08 - En pistes, contemporains ! du dimanche 17 mars 2024 - par : Emilie Munera - Au programme : Luciano Berio, Kevin Puts, Maciej Zimka, Zanési et Jean-Marie Rens. - réalisé par : Céline Parfenoff

In de jaren veertig en vijftig was de muziek van Scelsi nog nauwelijks bekend, en die van Maderna en Berio werd in de jaren vijftig algemeen tot de voorhoede van de Italiaanse avantgarde gerekend en bereikte dus een zeer klein publiek. Giacinto Scelsi was in alle opzichten wat de Duitsers een ‘Einzelgänger' noemen. Hij schreef […]

In this episode, we delve into the intricacies of Stephen Tramontozzi's new solo double bass album, Basso Novo. Tramontozzi shares the three-fold mission behind the album: to uncover and bring to light underappreciated works for the double bass, to transcribe works from other instruments for the double bass, and to commission new works for the instrument. This is his fourth, and most ambitious recording project to date, with all tracks designed for solo double bass and featuring contemporary works. Among the highlights, Tramontozzi commissioned Larry Wolfe from the Boston Symphony Orchestra for a suite, "Blomidon Set", inspired by Bach suites but adding a twist from Celtic, Scottish, Irish, and Acadian fiddler traditions. An exciting addition to the album is "The Earth and Stars", a piece written by talented composition student at the San Francisco Conservatory of Music, José Vargas. This piece, which Tramontozzi premiered in the previous year, stands out as the only track where he used his orchestra tuned bass. The album also features other important works like "Ballade" by Ranjbaran, written for the 1999 International Society of Bassists solo competition, "Hommage a J.S. Bach" by Zbinden, and Berio's short gem "Psy". Join us as we explore the rich sounds and captivating stories behind Basso Novo. Check out the sheet music for Blomidon Set here, and be sure to check out the latest album on Apple Music and Spotify! Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor!   Dorico - This podcast episode is sponsored by Dorico: the next-generation music notation software from Steinberg, that's packed with smart, time-saving features to help you spend less time in front of your computer and more time doing what you love: making music.   The latest version of Dorico 5, includes Iconica Sketch, a new orchestral sound library, bringing more expressive playback, and making it easy to produce more life-like performances with a dynamic stereo soundstage. Try Dorico Now For 60 Days For Free: visit dorico.com     theme music by Eric Hochberg

La voz es algo que caracteriza los seres, que los identifica; cada voz es diferente, sea una voz humana sea de un animal. Es algo que sale del interior y que conecta con el entorno. La voz expresa sentimientos, emociones, estados de ánimo y significados. La riqueza expresiva de la voz fue ampliamente explorada por los compositores del siglo XX: Stockhausen, Schoenberg, Nono, Maderna y otros muchos artistas desde diferentes formas artísticas y disciplinas (no sólo desde la música sino también desde la poesía, la literatura, el teatro, la radio, el arte sonoro, etc. exploraron sus posibilidades más atrevidas. Empezaremos escuchando una canción original que nos envía desde China nuestro amigo Daniel XU Tao. Es una de las canciones de los 24 períodos climáticos del año solar, que comienza un nuevo ciclo del año nuevo chino; se publicó al final del 2020 para el Festival del año nuevo 2021, promovido por el Gobierno del Distrito de Chaoyang del Municipio de Beijing. En este programa iniciamos una serie de programas sobre la voz escuchando obras de Schoenberg, Marinetti, Berio, Katy Barberian, y Fatima Miranda.Escuchar audio

durée : 00:25:05 - Jean Pierre Drouet, compositeur et percussionniste (2/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

Come vi avevamo anticipato in questo articolo giovedì 14 dicembre parte la tredicesima edizione di Masterchef Italia. Gli aspiranti Chef sono pronti per sfidarsi a colpi di fornelli sotto l'attento giudizio dei tre famosissimi Chef Bruno Barbieri, Antonino Cannavacciuolo e Giorgio Locatelli, pronti per decretare il miglior chef amatoriale.

Markus Ophälders"Espressività"Un percorso tra poesia e musicaFestival Filosofiahttps://festivalfilosofia.itFestival Filosofia, SassuoloDomenica 17 Settembre 2023, ore 10:00Markus OphäldersEspressività. Un percorso tra poesia e musicaSottolineando le ambivalenze della Dichtung, tra poiesis e dictare, tra voce e suono, quali sono i rapporti tra l'espressività della parola poetica e l'espressività dei suoni della musica? In cosa consiste l'incontro tra il compositore Berio e lo scrittore Calvino, in merito al processo di creazione?Markus Georg Ophälders insegna Estetica e Filosofia dell'arte e della musica presso l'Università degli Studi di Verona, dove dirige anche il Centro di Ricerca ORFEO - Suono Immagine Scrittura. Ha insegnato presso l'Università degli Studi di Milano Statale e svolto studi di filosofia, psicologia e germanistica a Berlino, Milano e Bologna. Le sue ricerche vertono principalmente su problemi di teoria estetica, filosofia della storia e della politica nonché filosofia della musica nella riflessione filosofica tedesca dell'Ottocento e Novecento. Una delle problematiche centrali riguarda la critica della cultura e i cambiamenti degli assetti strutturali e culturali della società nelle attuali condizioni di potere, masse, tecnica, alienazione e reificazione. Ha pubblicato numerosi saggi dedicati al Romanticismo e all'Idealismo tedeschi nonché alla Scuola di Francoforte e a problemi specifici della letteratura e della musica moderna e contemporanea. Tra le sue ultime pubblicazioni in lingua italiana: Filosofia arte estetica: incontri e conflitti (Milano 2008); Labirinti. Saggi di estetica e di critica della cultura (Milano 2008); Dialettica dell'ironia romantica (Milano 2000, 2016).IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

We met violist Nathan Sherman at the New Music Dublin festival in April and were excited to learn that he had not one but two albums featuring commissioned music written as companion pieces to works by Luciano Berio. Host Seth Boustead talks with Sherman and features music from the albums Folk Songs featuring Michelle O'Rourke and Ficino Ensemble and Totemic featuring the Sherman Petcu Duo.

Beim letzten Abo-Konzert des SWR Symphonieorchestes in dieser Saison steht der spanische Dirigent Pablo Heras-Casado mit einer ausgefallenen Stückauswahl am Pult: Luciano Berios „Quatre Dédicaces“, Igor Strawinskys „Psalmensinfonie“ und „Die erste Walpurgisnacht“ von Felix Mendelssohn Bartholdy stehen auf dem Programm. Warum ihn zeitgenössische Musik fasziniert und das Singen für ihn über allem steht, verrät er im Gespräch.

Episode 100 Crosscurrents in Early Electronic Music: Italy—Part 1 Playlist Berio, Maderna, Nono, Zuccheri, RAI Studio di Fonologia Musicale (RAI), Milan Luciano Berio, “Mutazioni” (1955) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). The first complete tape work by Berio at the newly founded RAI studio, which he was running with composer Bruno Maderna. Sound engineering by Marino Zuccheri. Berio and Maderna kept an open mind about the music that would be produced under its roof. They did not align themselves aesthetically with either the musique concrète approach taken in Paris or the serialist, rules-based composing style of Cologne. “Bruno and I immediately agreed,” explained Berio, “that our work should not be directed in a systematic way, either toward recording acoustic sounds or toward a systematic serialism based on discrete pitches.”[1] As a consequence, Alfredo Lietti Marino Zuccheri, engineers for the studio, filled it with equipment that appealed to a wide spectrum of compositional needs. In 1956, studio no. 3 at RAI had a custom-built cabinet with six vertical racks consisting of audio generators (9 sine wave oscillators, 1 white noise generator, 1 pulse generator), sound modifiers (plate reverb, octave filter, high pass filter, low-pass filter, variable band-pass filter, third-octave filter, ring and amplitude modulators), and a mixing panel. Several tape recorders were available mix and match sounds. You can almost sense the excitement of the creation of these foundational works as each composer brought their own individualism to the sound a translated that into electronic music. 3:36 Berio & Maderna, “Ritatto di Città (poema radiofonico)” (1955) (1955 RAI). File from the RAI Archives. This is an excerpt from a radiophonic production that was 26' long. 6:05 Bruno Maderna, “Notturno” (1956) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). Maderna's first official solo tape work produced at the RAI studio. From an original disc released by the RAI in 1956. 3:24 Luciano Berio, “Perspectives” from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). An eight-part work of experiments in transforming musical sounds and rhythms with electronic manipulation. 6:36 Bruno Maderna, “Música su Due Dimensioni” from História da Música Eletroacústica (1958). 7:10 Luciano Berio, “Momenti”(1960) from Images Fantastiques (Electronic Experimental Music) (1968 Limelight). This release was an American collection of European electronic music released on the Limelight label, a subsidiary of Philips. Although released a few years after “Momenti” was available elsewhere, this was an album that captivated my imagination at the time. You hear Berio's innate sense for fashioning unique sounds and rhythms with this sound material, adding some reverb to give it depth, producing audio that is reminiscent of natural sounds, but transformed to give it an other-worldly quality. 7:02 Bruno Maderna, “Dimensioni II (Inventione su Una Voce)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Anyone familiar with Italian new music will know the name of Cathy Berberian. She was an American operatic mezzo-soprano and for a time (1950-64) was married to Luciano Berio. She was a kind of muse for the modern composers at the Milan studio, lending her incredible vocal capabilities to tracks that could then be transformed into electronic music. One such famous piece, not included here because it is so familiar, is “Thema (Omaggio a Joyce)” by Berio. Instead, I wanted to feature another tape piece, this one by Maderna, because he not only transforms Berberian's voice using electronic techniques but allows her to express herself as well in some unmodified sections. This marks a period where Maderna was longer magnetic tape pieces, ten minutes or more each. Unlike his shorter, more frenetic works, these longer pieces gave him time to develop themes, apply long silences, and structure his works around variations on his audio materials. 10:52 Luigi Nono, “Omaggio a Vedova” (1960) (1976 Wergo). A magnetic tape work by another outstanding contributor to electronic music in Italy, Luigi Nono. Like Berio, Nono went on to be better known for his instrumental and vocal compositions. This work is an homage to artist Emelie Vedova. Note that we feature another homage to Vedova from 1967 later in the podcast, “Parete 1967 _1” by Marino Zuccheri. 4:52 Niccolò Castiglioni, “Divertimento” (1960) from Elektron 3 (1967 Sugar Music). Produced at the Studio di Fonologia Musicale di Milano. Castiglioni was an Italian composer, born in Milan who later came to the United States to teach composition at the University of Michigan. This work sounds a bit like chirping insects and is the only tape piece he produced at the RAI. 2:38 Bruno Maderna, “Le Rire” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Another long-form tape piece by Maderna. The voices heard and processed are those of Maderna, Cathy Berberian, and the sound designer Marino Zuccheri. The sounds in the beginning are modulated by sine waves and filters, plus some occasional ambient sounds like footsteps and rain. The second part of the work, beginning around the 11-minute mark, switches to more traditional musique concrete sounds reminiscent of drums, flutes, as well as white noise. 15:53 Luigi Nono, “La Fabbrica Illuminata” for voice and magnetic tape (1964) from Luigi Nono La Fabbrica Illuminata (1968 Wergo). Nono was also expanding his use of electronic sounds and wrapping them in vocal music. This work combines sounds created at the RAI with vocals written for a choir ( Chor Der RAI Mailand) and sopranos (Carla Henius). Marino Zuccheri helped Nono with the tape music. 16:28 Jon Hassell, “Music for Two Vibraphones” (1965) (1965 RAI). Yes, this is the Jon Hassell, the American composer and trumpeter. I know he is American, but I couldn't resist including this brief track that he recorded while in Milan in 1965. To my ears, this has an especially digital sound, especially when you consider how time consuming it must have been to assemble the opening sequence using tape editing. It is also a work of contrasts, with the explosive opening section giving way to about a minute of extremely quiet, almost ambient sound to close the work. 2:43 Marino Zuccheri, “Parete 1967 _1” (1967) from Parete '67 Per Emilio Vedova (2018 Die Schachtel). The sound mixer and designer at the RAI studio, Zuccheri often appears as a credit on works created in the studio. Working as a sound technician after World War II, Zuccheri was transferred to the RAI headquarters in Milan where he met Luciano Berio. He was instrumental in developing the system and layout of the Studio di Fonologia Musicale, where he worked until 1983. His close collaboration with the composers working at the Studio, above all Berio, Maderna and Nono, gave rise most of their notable tape pieces. Visitors, such as John Cage, were quick to acknowledge his steady hand as chief orchestrator of sound and engineering at the studio. He was often asked to provide electronic music for broadcast and film productions, of which this is one, a collaboration with Emilio Vedova for the preparation of the Italian pavilion of the Montreal Expo. 15:03 Luigi Nono, “Contrappunto Dialettico Alla Mente” (For Magnetic Tape)(1968) from Roland Kayn / Luigi Nono – Cybernetics III / Contrappunto Dialettico Alla Mente (1970 DGG). Another one of Nono's exquisite works combining vocals and electronic music on magnetic tape, recorded at RAI. In this work you can see how Nono complements the sound palette of the usual RAI sounds with sounds that are uniquely presented by human voices. Chorus, Coro Da Camera Della RAI; Conductor, Nino Antonellini; Soprano Vocals, Liliana Poli; Other Voices, Cadigia Bove, Elena Vicini, Marisa Mazzoni, Umberto Troni. 19:48 Opening background music: Bruno Maderna, “Serenata III” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). 11:20 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.   [1] Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, NJ: Prentice Hall, 1997), 48

"Ci stiamo espandendo sulla costa Ovest degli Stati Uniti, fidelizzando i consumatori". Lo dice Dusan Kaljevic, amministratore delegato di Filippo Berio negli Usa, al Summer Fancy Food Show di New York.sat/gtr

"Ci stiamo espandendo sulla costa Ovest degli Stati Uniti, fidelizzando i consumatori". Lo dice Dusan Kaljevic, amministratore delegato di Filippo Berio negli Usa, al Summer Fancy Food Show di New York.sat/gtr

Synopsis The “Three B's” are traditionally Bach, Beethoven, and Brahms, of course – but today we're offering Boccherini, Brahms, and Berio.The 20th century Italian composer Luciano Berio, noted for his avant-garde scores, was asked to orchestrate the F minor Clarinet Sonata by Johannes Brahms -- in 1986, for a Los Angeles Philharmonic concert featuring clarinetist Michele Zukofsky. Berio admired Brahms, and created a very respectful arrangement,  but Berio couldn't resist adding something of his own: a totally original 13-bar orchestral introduction that segues into the Brahms score. Eleven years earlier, on today's date in 1975, Berio's orchestration of one of the ”greatest hits” of the 18th century Italian composer Luigi Boccherini received its premiere performance in Milan. Originally a quintet for strings, Boccherini's “Night Music in the Streets of Madrid” was written around 1780 when he was living in Spain. This chamber work became very popular – even though Boccherini feared no one outside Madrid would understand it.  200 years after it was written, when asked to supply a short piece for the La Scala Orchestra in Milan, Berio arranged the final movement of Boccherini's quintet, music evoking the procession of Madrid's night watchmen signaling the midnight curfew. Music Played in Today's Program Johannes Brahms (arr. Luciano Berio) – Clarinet Sonata No. 1 in f, Op. 120, no. 1 Luigi Boccherini (arr. Luciano Berio) – Ritirata notturna di Madrid (Daniel Ottensamer, cl; Basel Symphony; Ivor Bolton, conductor.) Sony 19075982072

Maintaining Our Power, Treating Inflammation & Injury   Dr. Carlos Berio is my physiotherapist and is sharing his expertise on how to maintain our power, manage through the inflammation and rehab from injury (or prevent them entirely).   In this episode:   Dry needling trigger therapy for myofascial release 7 critical functional movements to test your mobility Your back / hamstrings / etc might not be a sign of tightness, but weakness The top 3 strength training moves to maintain strength, power and mobility It's about "hardio" not cardio How to maintain your core - no sit ups in sight! What is adhesive capsulitis (frozen shoulder)?  We can make small adjustments to avoid crossing the line into pain or injury Rejecting the belief that getting older means getting feeble or weak   SHOW NOTES: https://www.onairella.com/post/298-carlos-berio  Follow Ella on Instagram @onairwithella  CALL ME! Leave a message for Ella at +1 (202) 681-0388   

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Stāsta muzikoloģe Gunda Miķelsone Viduslaikos vairākās Eiropas kultūrās bija sastopamas makaroniskās vārsmas – dažādu valodu apvienojums literārā darbā vai skaņdarbā. Izdevums “Angļu viduslaiku literatūras enciklopēdija” šo fenomenu definē sekojoši: “Makaroniskās vārsmas ir teksti, kuros parādās vismaz divas dažādas valodas, no kurām nereti viena ir latīņu valoda. Tie atspoguļo viduslaiku Anglijas komplekso multilingvālo ainavu, un šie teksti atrodami daudzos un dažādos viduslaiku rakstos, literāros, reliģiskos un juridiskos tekstos; dažos gadījumos valodu izvēli noteikuši praktiski apsvērumi, bet to iecere var būt arī Dieva slavinājums, komiskums vai satīra.” Var piebilst, ka šādi teksti sastopami ne tikai angļu literatūrā, bet dažādās kultūrās, tomēr tos allaž vieno šāda formula: visbiežāk izmantotā valodu kombinācija ir latīņu valoda un kādas citas kultūras dzimtā valoda. Viens no slavenākajiem makaroniskās dzejas paraugiem ir krājums Carmina Burana, kas rokraksta veidā datējams ap 1230. gadu. Visos tajā ietvertajos dzejoļos dominē latīņu valoda, tomēr vērojami atsevišķi brīži ar latīņu, vācu un romāņu valodu grupas miju. Ar šo tekstu noteikti pazīstam vācu komponista Karla Orfa scēnisko kantāti Carmina Burana. Tā komponēta laikposmā no 1935. līdz 1936. gadam, un Orfa rīcībā bijis makaroniskā dzejas krājuma 1847. gada izdevums, ko publicējis Johans Andreass Šmellers. Lai gan krājumā atrodami 254 makaroniskās dzejas paraugi, Orfs no tiem savā opusā izmantojis tikai 24. Jau 1847. gada izdevuma ievadā Šmellers ir atzinis, ka viņa redakcija ir nepilnīga – pārrakstītājiem dažkārt trūkusi dziļāka izpratne par dzejoļu izkārtojumu, un tas veicinājis lappušu secības sajaukšanu, tomēr viņš bija mēģinājis krājumu sistematizēt, dziesmas sadalot divās daļās, kā arī veidojis atšķirīgu numerāciju, nopietna satura dziesmām piešķirot romiešu, bet pārējām, kas skar salīdzinoši nenopietnas un vieglprātīgas tēmas – arābu ciparus. Amerikāņu muzikologs Džeks Medisons Steins uzskata, ka opusa vienkāršība un savveida banalitāte daudzus zinātniekus savulaik atturējusi no padziļinātas kantātes izpētes, tomēr, visticamāk, Orfs tik vienkāršu mūzikas valodu izvēlējies apzināti, lai tā saskanētu ar darba tapšanas laikā valdošā nacistu režīma nostādnēm, kas aizgūtas no vācu filosofa Martina Heidegera (Martin Heidegger) tautas (Volk) koncepta un tiešā veidā sasaucas ar 1948. gadā Padomju Savienībā pieņemto antiformālisma likumu: mūzika nedrīkst būt disonanta, atonāla, haotiska, intelektuāla, nedrīkst izmantot divpadsmit toņu tehniku, kā arī nekādas ebreju vai džeza mūzikas ietekmes, taču tā drīkst atainot maskulīni spēcīgu vācu nacionālā patriotisma elpu. Tomēr aiz šķietami vienkāršotās ārienes Karla Orfa Carmina Burana eleganti apgājusi režīma ieteikumus un vienā opusā apvienojusi visdažādākās koncepcijas – iespējams, arī norādot uz kantātes autora slēptu protestu nacistu režīmam. To vidū ir pati latīņu tekstu izvēle – piemēram, kantātes 2. daļas Fortune plango vulnera 3. pants vēsta par valdnieku, kurš uzkāpis krietni par augstu, bet, cerams, drīz kritīs. Pavisam noteikti, ka Karla Orfa scēniskās kanātes Carmina Burana multilingvālisma ideja ietekmējusi arī latviešu komponistus – lai gan nevaram lepoties ar makaronisko vārsmu tekstiem, tomēr dažādu valodu tekstu kombinēšana fascinējusi arī mūsu nošuraksta meistarus. Kā senākie no piemēriem ir Jura Ābola kordarbi Tutaj (1975), “Bizantiešu cikls” (Carmina byzantinica, 1977) un komponista diplomdarbs kompozīcijā “Livonijas hronika” (1982) ar tekstiem senvācu un latīņu valodās, kur pats komponists savulaik atzinis, ka viņu iespaidojuši Karla Orfa meklējumi. Tomēr atskaņot diplomeksāmenā šīs kompozīcijas oriģinālversiju izrādījās neiespējami, jo toreizējais konservatorijas rektors Imants Kokars esot aizliedzis korim dziedāt “Livonijas hroniku” ar tekstu un licis iestudēt to kā vokalīzi. Ir ziņas, ka 20. gadsimta 90. gados komponists atgriezies pie “Livonijas hronikas” idejas un veidojis jaunu redakciju, kas iecerēta kā scēniskā oratorija. Tomēr līdz koncertatskaņojumam darbs nav nonācis.  Ar 1980. gadu datēts Artūra Grīnupa diemžēl nepabeigtais skaņdarbs “Simfoniski oratoriāls monuments Luidži Kerubīni piemiņai”. Tajā izmantots kanoniskais rekviēma teksts latīniski un paša komponista dzeja latviešu valodā. Skaņdarbu pabeidzis Aivars Kalējs, un tas pirmatskaņots tikai 2002. gadā, Grīnupa piemiņai veltītā koncertā Rīgas Domā. Edmunda Goldšteina recenzijā paustais liecina, ka Grīnupa atstātais nošu materiāls neļauj pietiekami izsmeļoši raksturot komponista ieceri, tomēr var nojaust, ka tajā bijis kas kopīgs ar Bendžamina Britena “Kara rekviēmu”, apvienojot reliģiozitāti un rūgtu ironiju.  Sākot ar 20./21. gadsimta miju, ir pieaudzis ne tikai multilingvālu skaņdarbu klāsts, bet arī pārstāvētās valodas. Piemēram, Andra Dzenīša kordarbā Om, Lux aeterna (2012) izmantots latīņu kanoniskais sakrālais teksts Lux aeterna un divi hinduistu teksti sanskritā – mantra gaismai Oṃ amogha un vēdiskā mantra visaugstākajai gaismai Om hreem, bet Evijas Skuķes fff jeb Forte fortissimo (2020), kas pēc Rolanda Kronlaka lūguma radīts Jāzepa Vītola Latvijas Mūzikas akadēmijas sestajam Mūsdienu mūzikas festivālam "deciBels" un iecerēts kā apzināta atbilde Lučāno Berio skaņdarbam A-Ronne, mijiedarbojas veselas trīspadsmit valodas. Šis ir arī viens no jaunākajiem dažādvalodu piemēriem latviešu mūzikā. Ar lielu interesi gaidīsim nākamos!

Con Isabel Juarez | En este episodio de Antiguallas descubre como la música antigua, sus géneros e instrumentos han inspirado a los compositores y compositoras de los siglos XX y XXI. Con música de Falla, Poulanc, Shaw, Hindemith, Berio, y muchos más.

Tom Service explores Luciano Berio's Sinfonia - an iconic piece of the late 1960s modernism, scored for orchestra and eight amplified voices who speak, whisper and shout texts by Samuel Beckett and Claude Lévi-Strauss. This groundbreaking work also incorporates a mass of musical quotations, from Bach to Stockhausen and everything in between. Tom's witness is the virtuoso sitarist and composer Jasdeep Singh Degun, who like Berio, took Monteverdi's opera Orfeo and reinvented it. Produced by Dom Wells

TODAY’s GUEST IS Dr. Carlos Berio! Today's guest is Dr. Carlos Berio, the first BJJ Physio and licensed Physical Therapist, and he’s back for round 2! Dr. Carlos J Berio, PT, DPT, MS, CSCS, CMTPT, HKC is the Executive Director, Head Sports Pain Expert, and Founder of SPARK Physiotherapy in Alexandria, VA. He is a... The post Episode #168 Dr. Carlos J. Berio on how to be healthy for performance, skill and life! first appeared on Next Level Guy.

The Labeque Sisters, Katia and Marielle Labeque, shot to fame in 1980 with their arrangements of Gershwin, including the Rhapsody in Blue, and for more than half a century have made a unique musical life together. Tom Service talks to Katia and Marielle about the broad range of music that they are creating, the boundaries that they are constantly pushing, and their sound-world within two pianos. Before the release of their award-winning Gershwin disc in 1980, Katia and Marielle Labeque predominantly performed contemporary music, and encountered the composer Olivier Messiaen, who overheard them practising his Vision de l'Amen while they were still students at the Paris Conservatoire. They've since worked with Boulez and Berio, and it was on tour in Los Angeles, performing Berio's Concerto for Two Pianos, that they happened across Gershwin for the first time. As students at the Paris Conservatoire, they had to fight to be accepted into the chamber music class, and they tell Tom about perceptions of piano duos and the mission to constantly seek new repertoire. The sisters' continual curiosity and creativity has led them on a journey, as Marielle describes it, where one chance encounter leads to another. They have commissioned new works from musicians of backgrounds from rock to classical, from Bryce Dessner to Nico Muhly, and they have worked alongside Giovanni Antonini who helped them to acquire two reproductions of Bach's Silbermann keyboards, which they keep in their Palazzo in Venice. The sisters speak to Tom at length about all their musical projects, delve into what keeps them going, and discuss how their distinct two-piano sound really works.

En este segundo programa de la temporada 2ª, entrevistamos a Iñigo Mendía, nuestro entrenador del DHJ masculino y a Alberto Mancebo, míster de nuestras chicas del DH.Regional. Además, escuchamos a Pablo, entrenador del Nacional Juvenil en la meritoria victoria frente al Athletic Club en Berio. Dale al PLAY, porque seguro que este podcast te va a entretener.   Nuestros locutores Gorka Andrés y Ander Iraguen, te acompañan durante 15 minutos.   Música sin derechos de autor. Autor: Waderman y A.K.1974. Temas: The Game Show Theme y Equinox.   Síguenos en nuestras redes sociales:  @antiguoko_ke en Instagram, @antiguoko en Twitter, @antiguoko en Tik Tok y también en nuestro Telegram y en nuestra página web: www.antiguoko.eus.   Gracias por tu confianza y si te gusta... ¡COMPÁRTELO!

Synopsis In James Joyce's novel “Ulysses,” the thoughts of its major characters keep shifting from the sights and sounds they encounter in and around Dublin to their private, non-stop interior monologues. This narrative technique came to be called “stream of consciousness” writing. In music, something similar occurred on today's date in 1968, when the Italian composer Luciano Berio conducted the Swingle Singers and the New York Philharmonic in the premiere performance of his new work entitled “Sinfonia.” “Sinfonia” included music quotes from Bach to Mahler intermingled with sung and spoken texts ranging from Claude Levi-Strauss to Samuel Beckett. There's even a bit of Joyce's “Ulysses” tossed in as well, alongside slogans from the student protests of 1968. The text of Sinfonia's second movement was a tribute to the recently-assassinated Civil Rights leader, Martin Luther King – and consisted of nothing but the intoned syllables of his name. “Sinfonia” was Berio's “stream of consciousness” interior monologue on the year 1968 made public with great theatrical flair: a dizzying mix of poignant music and political text. Berio was quoted as saying, “The juxtaposition of contrasting elements, in fact, is part of the whole point.” Somewhat to everyone's surprise, “Sinfonia” turned out to be a hit, and Columbia Records even released a recording of the work with its premiere performers. Music Played in Today's Program Luciano Berio (1925-2003) Sinfonia New Swingle Singers; French National Orchestra; Pierre Boulez, cond. Erato 88151 On This Day Births 1813 - Italian composer Giuseppe Verdi, in Le Roncole, near Parma. Probable true date of his birth, according to parish records, though Verdi celebrated it on the 9th, the date he believed correct; 1903 - Russian-born American composer and songwriter Vernon Duke (Vladimir Dukelsky), in Pskov (Julian date: Sept. 27); 1906 - American composer Paul Creston (Giuseppe Guttoveggio), in New York; 1920 - American Jazz composer and pianist Thelonious Monk, in Rocky Mount, N.C.; Deaths 1825 - Russian composer Dimitri Bortniansky, age c. 74, in St. Petersburg (Julian date: Sept. 28); Premieres 1919 - R. Strauss: opera, "Die Frau ohne Schatten" (The Woman Without a Shadow) at the Vienna Staatsoper, conducted by Franz Schalk, and with vocal soloists Lotte Lehmann (Barak's wife), Maria Jeritza (The Empress), Karl Oestvig (The Emperor), Richard Mayr (Barak), and Lucie Weidt (The Nurse); 1931 - Walton: oratorio, "Belshazzar's Feast," at the Leeds Festival; 1935 - Gershwin: opera "Porgy and Bess" at the Alvin Theater in New York City; The opera had a trial run in Boston which opened on September 30, 1935; 1938 - Shostakovich: String Quartet No. 1, in Leningrad, by the Glazunov Quartet; 1948 - Bernstein: song-cycle, "La Bonne Cuisine" (Four Recipes for Voice and Piano), at Town Hall in New York City, with mezzo-soprano Marion Bell and pianist Edwin MacArthur; 1968 - Berio: "Sinfonia," by New York Philharmonic and The Swingle Singers, with the composer conducting; 1985 - Benjamin Lees: Symphony No. 4 ("Memorial Candles") in Dallas, with Pinchas Zukerman the soloist; Others 1739 - Handel completes in London his Concerto Grosso in D, Op. 6, no. 5 and possibly his Concerto Grosso in F, Op. 6, no. 9 as well (Gregorian date: Oct. 21). 1739 - Handel completes in London his Concerto Grosso in G, Op. 6, no. 1 (see Julian date: Sept. 29); Links and Resources On Berio More on Berio and James Joyce

Super excited to announce new guest, Karen Blanchard, to The Story!Karen Blanchard earned a Master of Music Degree in Voice Performance and a Master of Music Degree in Choral Conducting from Temple University. She has sung with various professional choral ensembles throughout the Philadelphia area such as Opera Philadelphia, Philadelphia Singers, the Bridge Ensemble, the Spoleto Music Festival Chorus, and Choral Arts Society of Philadelphia. Karen currently sings with Philadelphia's premier contemporary music ensemble, The Crossing. Locally, she received high praise for her notable performance as soprano soloist in Berio's Folksongs with the Lancaster Symphony. Karen serves full time as the Director of Worship Arts at Community EC in Sinking Spring. She also supports and coaches local worship teams by providing vocal training workshops for churches throughout the Lancaster and Berk counties. Karen co-leads the Berks County Worship Collective, a group that meets once a month to support and encourage each other as well as leading worship for various multi-church worship events. Karen lives in Brownstown with her orchestral percussionist husband, Tom.Support this podcast at — https://redcircle.com/the-story/donations

Stāsta diriģents Normunds Šnē Komponists, izpildītājs un klausītājs, protams, ir šis mūžam nedalāmais un mūzikai ļoti svarīgais trīsstūris. Taču kur īsti ir meklējams mūzikas sākuma grauds un iedvesmas pirmais mirklis? To nemaz nav tik vienkārši pateikt un formulēt. Tomēr mūzikas vēsture zina daudzus gadījumus, kad tieši kāda izpildītāja meistarība, iedvesma, iedvesmotā spēle un savas personības unikalitāte ir tā, kas pamudinājusi komponistus uzrakstīt kādu jaundarbu tieši šim savam sapņu izpildītājam. Viens no šādiem sapņu mūziķiem, protams, ir Heincs Holligers, ārkārtīgi plaša redzesloka cilvēks ar neaptveramām zināšanām mūzikas vēsturē, muzikoloģijā, ar neparastu talantu apveltīts komponists un, protams, obojists, kas 20. gadsimta vidū pavisam citā virzienā pagrieza skatu uz šo gadsimtiem seno instrumentu - oboju. Heinca Holligera jaunievedumi, individuālais, neparastais skats uz oboju un tas, kā viņš iedziļinājies šī instrumenta izpētē, ir tik neparasti un unikāli, ka viņam līdz šim brīdim ir veltīti apmēram 200 vairāk vai mazāk pazīstamu mūsdienu komponistu skaņdarbu. Iespējams, ka katrs instruments kādā savas attīstības stadijā gaida tieši to spēlētāju, kurš atklās visu, ko šis instruments spēj. Obojai Heincs Holligers tāds bija ilgi gaidīts viesis un sabiedrotais. Heinca spēle suģestēja daudzus pazīstamus 20. gadsimta skaņražus. Viņam skaņdarbus ir veltījis Eliots Kārters, Lučāno Berio, Kšištofs Pendereckis, Vitolds Lutoslavskis un daudzi, daudzi citi. Privātā sarunā meistars atklāja, ka, protams, viena daļa no šiem darbiem diez vai tiks vēl tik drīz izvilkta ārā no bibliotēku plauktiem un atskaņota, jo tie varbūt ir bijuši tādi eksperimentāli darbi, kuru eksperimentu rezultāti ir mazliet apšaubāmi. Šeit nāk prātā Mstislava Rostropoviča teiktie vārdi, kad, spēlējot kādu jaundarbu, kurš varbūt autoram nav sevišķi izdevies, un to darot varbūt mazliet sakostiem zobiem, viņš pie sevis ir atkārtojis: "Jā, Slava, bet pēc simt neveiksmīgiem darbiem sekos viens ģeniāls opuss!" Jāteic, ka Holligeram ar ģeniāliem opusiem ir tiešām laimējies, jo obojas literatūru ir papildinājuši tādi darbi kā Berio Septītā sekvence, Lutoslavska absolūti ģeniālais un neatkārtojamais Dubultkoncerts obojai un arfai, ko Heincs Holligers izpildīja kopā ar savu sievu un kas fiksēts vairākos ierakstos, Eliota Kārtera Koncerts obojai - tiem laikiem neticami virtuozs, spožs un novatoriskiem risinājumiem uzlādēts opuss. Pateicoties Heincam Holligeram, šodienas obojistu meistarība, protams, nav salīdzināma ar pagājušā gadsimta vidu, jo, iespējams, viņš parādīja tās robežas un pat mazliet tālāk, ko ir iespējams sasniegt uz šī vienkāršā pūšaminstrumenta, kurš šķita jau pilnībā izpētīts baroka, klasicisma un 20. gadsimta sākuma periodā. Runājot par Heincu Holligeru, mēle niez pastāstīt vēl kādu interesantu detaļu. 1982. gadā Maskavā notika Pirmais Starptautiskās mūzikas festivāls - dīvains pasākums, uz kuru tomēr bija ieradušies daudzi atzīti mākslinieki, arī Heincs Holligers ar dzīvesbiedri, Vitolds Lutoslavskis. Tā bija pirmā reize, kad man ar kolēģiem bija iespēja dzīvajā koncertā dzirdēt Heinca Holligera spēli, satikt viņu, uzrunāt, iepazīties. Iespējams, tieši šī tikšanās aizsāka mūsu pazīšanos un ciešas attiecības, kas ilgst vēl līdz pat šai dienai.  Tomēr stāsts nav par to. Izrādās, ka Heincs Holligers blakus savai fenomenālajai mūziķa darbībai ir arī - neticēsiet - bet spiegs… Apmēram pusgadu pēc mūsu tikšanās Maskavā mani izsauca Rīgā uz VDK un apmēram divas stundas man bija saruna ar kādu pieklājīgu, zilacainu jaunekli par to, ko tad mēs ar Heincu Holligeru esam runājuši. Šīs garās sarunas, ko tagad neatstāstīšu, finālā bija tāds brīdinājums: "Jūs nevarat iedomāties, cik ārvalstu izlūkdienesti ir prasmīgi un viltīgi, tāpēc es jums ieteiktu nekad mūžā nesaistīties un nepārrunāt atklāti neko ar tādiem, kaut vai liela mēroga māksliniekiem…" Šodien, protams, par to visu runājot, šī saruna liekas smieklīga, taču tas parāda tikai to, kādas bailēm bija lielas acis toreizējā padomju iekārtā no tāda mēroga mākslinieka. Kad es šo sarunu atstāstīju pašam "spiegam", viņš gardi smējās un teica - jā, viņš varbūt savā karjerā esot nokavējis kādu būtisku posmu… Bet daudz svarīgāk ir tas, ka, pateicoties Heincam Holligeram, mēs šodien tiešām esam sapratuši, kas ir iespējams uz obojas, mēs esam dzirdējuši viņa ekspresiju, viņa izteiksmi, un vēl joprojām, šobrīd - 83 gadu vecumā, meistara spēle fascinē ar savu aizrautību, entuziasmu un enerģiju. Tā joprojām ir atpazīstama no pirmās nots ar Holligeram raksturīgo ekspresiju, skaņas intensitāti, fantāzijas lidojumu.

Notre premier invité s'appelle Laurent Bardainne, son groupe Le Tigre d'Eau Douce. Après Love Is Everywhere, Laurent Bardainne emporte son Tigre d'Eau Douce dans une exploration dédiée à l'astre du jour. Arnaud Roulin (complice de Bardainne dans Thomas de Pourquery Supersonic et feu Poni Hoax) à l'orgue Hammond, Sylvain Daniel (Camélia Jordana et l'ONJ) à la basse, Philippe Gleizes à la batterie, Roger Raspail aux percussions : c'est avec le même quartet de fidèles qu'il a écrit ces nouvelles aventures félines. Le saxophone mat de Bardainne laissant les grands noms du jazz spirituel faire écho dans ses clés, le compas musical ouvert depuis le hip hop jusqu'aux rythmes africains, de Pharoah Sanders jusqu'à Kruhangbin et Sault, Hymne Au Soleil (hommage à la composition du même nom de Lili Boulanger) guide le Tigre dans un voyage onirique et cinématographique. Vers une soul rétro futuriste où synthétiseurs et chœurs féminins s'invitent, eux aussi, à briller dans les rayons solaires. Aux commandes de son biplan, la carlingue personnalisée d'une peinture reproduisant le coup d'une patte à quatre griffes, Laurent Bardainne l'avait enfin retrouvé. Lui dont il avait perdu la trace à la faveur d'une escapade chimérique à travers plaines et forêts. Robe orange rayée de noir. Vif, rapide, bondissant. Dans l'immaculé doré du désert noyé de soleil, sa silhouette gracieuse se dessinait distinctement. Le Tigre d'Eau Douce. Par une mélodie de saxophone ténor captivante, de celles auxquelles il le savait réceptif, Bardainne lui signala sa présence depuis les airs. Même précédé par sa réputation, le super prédateur reste toujours à l'affût. La venue de son maître, il l'avait anticipée depuis quelques mesures déjà, depuis qu'il avait perçu, portés par les vents, les rythmes africains qui secouaient la mécanique de l'engin volant. Sûr de son fait et de la route à emprunter dans cette infinité ocre, l'œil brillant de malice d'avoir repéré l'ombre qui allait accompagner son effort, le Tigre entama sa course. Et toute la physionomie de ce qui jusque-là ressemblait à un désert changea alors.   Déblayée par les grooves organiques et le souffle de l'orgue Hammond, la voie s'ouvrait au Tigre à mesure qu'il progressait. Ses pattes s'enfonçaient dans les profondeurs du jazz pour en ressortir couvertes de soul, l'écume filait depuis ses babines, laissant dans sa traîne sablée des cristallisations hip hop. Dans cette émulation à l'esthétique seventies sophistiquée, où ses crocs saillants ne reflétaient plus que la lumière du saxophone, les touches de synthétiseurs finissaient même par leur faire entrevoir le futur. Arrivés à destination, le moteur du biplan secoué de hoquets et suppliant qu'on le refroidisse, Bardainne et son félin haletant se posèrent. Ensemble, ils contemplèrent l'oasis prospère et onirique, habitée par cette musique qui avait accompagné leur périple. Redoutables pour qui s'égare, les rayons de l'astre solaire étaient devenus ces alliés miraculeux capables de faire naître et renaître la vie. Et ce n'était peut-être pas le Tigre d'Eau Douce qui l'avait attiré là, mais Laurent Bardainne qui l'avait poussé jusqu'ici...   Titres joués - Oh Yeah - La Vie la Vie la Vie voir le clip  - Hymne au Soleil voir le clip Jazz à Vienne 2021  - Jou An Nou Rivé (Feat. Célia Wa) - Oiseau (Feat Bertrand Belin) écouter clip audio   Puis nous recevons Oan Kim dans la #SessionLive.   Oan Kim est un saxophoniste, chanteur, compositeur, ainsi que réalisateur et photographe franco-coréen. Il sort l'album Oan Kim & the Dirty Jazz (auto-prod) À 5 ans, sa mère le met au violon (c'était ça ou le violoncelle), qu'il pratique pendant 15 ans. À l'adolescence, il se passionne pour le jazz et se met au saxophone alto, puis ténor. Persuadé qu'il doit aussi être un pianiste correct pour devenir compositeur, il étudie le piano jazz à la Bill Evans Piano Academy. Il se passionne pour la musique contemporaine, suit les conférences de Pierre Boulez au Collège de France, étudie les partitions de Berio, Nono, Ferneyhough, Xenakis, Cage, fréquente l'IRCAM comme d'autres les discothèques. Il poursuit en même temps des études d'écriture musicale au CSNM de Paris, étudiant l'harmonie et l'orchestration avec Jean-François Zygel, le contrepoint, la fugue, l'analyse musicale avec Michael Levinas et la musique indienne avec Patrick Moutal. Depuis, il compose des musiques pour l'audiovisuel (documentaire et télé) et pour l'Art contemporain, collaborant notamment régulièrement avec l'artiste Jungwan Bae et les photographes de l'agence MYOP. Enthousiasmé par la scène indé, il décide d'y participer et crée le groupe de rock Film Noir (un album sorti chez le Son du Maquis), puis le duo electro-rock Chinese Army (trois EP sortis notamment sur le label Balades Sonores) qu'il forme avec le guitariste Benoît Perraudeau. Avec ces deux formations, il fait plus de 80 concerts en France et à l'étranger.   Depuis 2019, il renoue avec le saxophone jazz et entame un nouveau projet que la pandémie le pousse à développer en solo, entre jazz et musiques modernes, quelque part entre Pharoah Sanders et Radiohead.. Par ailleurs à ses activités musicales, il est aussi un photographe et réalisateur de documentaire ayant reçu plusieurs prix (Prix Swiss Life à 4 mains, Silver Horn du Krakow Film Festival, Prix des Nuits Photographiques, Tomorrow's Artist Prize Sungkok Museum), membre co-fondateur de l'agence M.Y.O.P de photographes indépendants. Titres interprétés - Mambo, Live RFI voir le clip  - Agony, extrait de l'album Oan Kim & the Dirty Jazz voir le clip  - Wong Kar Why, Live RFI voir le clip   Musiciens - Oan Kim, saxophone et voix - Benoît Perraudeau, guitare - Paul Herry-Pasmanian, basse - Brice Tillet, batterie.   Son Benoît Letirant, Fabien Mugneret, Mathias Taylor   Bonus, clip de Teenage Riot, une reprise de Sonic Youth (Rediffusion du 11 mars 2022)

Amb "Turandot" acaba la gran tradici

In 1964, the popular 20th century composer Luciano Berio was commissioned by Mills College in California to write a piece for voice and chamber orchestra. What Berio came up with is one of his most remarkably creative works, which is really saying something considering the innovative and constantly evolving way that he wrote music. Berio once said:  “My links with folk music are often of an emotional character. When I work with that music I am always caught by the thrill of discovery… I return again and again to folk music because I try to establish contact between that and my own ideas about music. I have a utopian dream, though I know it cannot be realized: I would like to create a unity between folk music and our music — a real, perceptible, understandable conduit between ancient, popular music-making which is so close to everyday work and music.” The words "thrill of discovery" are at the core of what makes the Folk Songs so wonderful and easy to listen to. They combine a modernist classical aesthetic with songs that are of such beauty that it is hard not be overwhelmed by them. Berio took 11 folk songs from 5 different regions of the world, from places as far away as the United States and Azerbaijan, and transformed them. He wrote: “I have given the songs a new rhythmic and harmonic interpretation: in a way, I have recomposed them. The instrumental part has an important function: it is meant to underline and comment on the expressive and cultural roots of each song. Such roots signify not only the ethnic origins of the songs but also the history of the authentic uses that have been made of them.” Today on the show I'm going to take you through these 11 songs, going on a historical expedition to find some of their roots and to get as close to the original songs as I can, and then looking at how Berio re-worked these songs into this cycle that consistently stuns people with its beauty and creativity. If you've never heard these pieces before, get ready, because Berio will take you on a remarkable journey. Join us!

Peter Vuust is a Professor at the Center for Music in the Brain in Aarhus, a jazz musician, and composer. In this conversation , we talk about his recent review in Nature Reviews Neuroscience, how he got to where he is, active inference in music, jazz improvisation, and much more.BJKS Podcast is a podcast about neuroscience, psychology, and anything vaguely related, hosted by Benjamin James Kuper-Smith. In 2022, episodes will appear irregularly, roughly twice per month. You can find the podcast on all podcasting platforms (e.g., Spotify, Apple/Google Podcasts, etc.). Timestamps00:05: How Peter became a jazz musician04:54: How Peter became professor of neuroscience08:20: How to combine two different professions practically?11:50: Start discussing 'Music in the brain'24:53: How do prediction errors change with familiarty of a piece of music?38:18: How does moving to the beat (active inference) reduce prediction errors?46:48: The 3 dynamics in musical synchronisation55:10: How does Peter compose for improvisation in jazz?Podcast linksWebsite: https://geni.us/bjks-podTwitter: https://geni.us/bjks-pod-twtPeter's linksWebsite: https://geni.us/vuust-webGoogle Scholar: https://geni.us/vuust-scholarTwitter: https://geni.us/vuust-twtBen's linksWebsite: https://geni.us/bjks-webGoogle Scholar: https://geni.us/bjks-scholarTwitter:  https://geni.us/bjks-twtReferences and linksHeggli, Konvalinka, ..., & Vuust (2021). Transient brain networks underlying interpersonal strategies during synchronized action. Social cognitive and affective neuroscience.Heggli, Konvalinka, Kringelbach, & Vuust (2019). Musical interaction is influenced by underlying predictive models and musical expertise. Scientific reports.Heggli, Cabral, ..., & Kringelbach. (2019). A Kuramoto model of self-other integration across interpersonal synchronization strategies. PLoS computational biology.Morillon, & Baillet (2017). Motor origin of temporal predictions in auditory attention. Proceedings of the National Academy of Sciences.Rosso, Maes, & Leman (2021). Modality-specific attractor dynamics in dyadic entrainment. Scientific Reports.Vuust, Heggli, Friston, & Kringelbach (2022). Music in the brain. Nature Reviews Neuroscience.See the painting with the 'false' line at 7:30 in this talk: https://www.youtube.com/watch?v=hOfGX6KSiX8&t=458sStravinsky's Rite of Spring: https://www.youtube.com/watch?v=rP42C-4zL3wThe last part with frequent time signature changes starts at 30:07.A survivor from Warsaw by Schoenberg: https://www.youtube.com/watch?v=LBNz76YFmEQ3rd movement of Sinfonia by Berio: https://www.youtube.com/watch?v=9YU-V2C4ryUBeatles Documentary by Peter Jackson (Get Back): https://www.imdb.com/title/tt9735318/Blame it on the Boogie, by The Jacksons: https://www.youtube.com/watch?v=nqxVMLVe62U

TODAY’s GUEST IS Dr. Carlos J Berio! Today's guest is Dr. Carlos Berio, the first BJJ Physio and licensed Physical Therapist. Dr. Carlos J Berio, PT, DPT, MS, CSCS, CMTPT, HKC is the Executive Director, Head Sports Pain Expert, and Founder of SPARK Physiotherapy in Alexandria, VA. He is a licensed Doctor of Physical Therapy,...

Omar Alfonso, editor general del Periódico la Perla del Sur AES pidió a la AEE cabildear contra la prohibición de cenizas https://www.periodicolaperla.com/aes-pidio-a-la-aee-cabildear-contra-la-prohibicion-de-cenizas/ • La información se consiguió tras gestiones en el Tribunal • Privatizar ganancias y socializar costos • ¿Cómo es que el nombramiento de Berio se pasó por alto a nivel público? • ¿Sobre el intento de AES para criminalizar las protestas en contra el deposito de cenizas en el país? • Según detalla un documento que no se había hecho público, en el 2019 la expresidenta de AESPR, María C. Berio, pidió al entonces director ejecutivo de la AEE, José Ortiz Vázquez, que la AEE comprometiera a “los legisladores, los funcionarios del Estado Libre Asociado y los municipios locales para garantizar que AES” pudiera usar y disponer sus cenizas de carbón en Puerto Rico. • Con apoyo estratégico: Como reconoció en el verano de 2019 la exlegisladora María Milagros Charbonier, se trató del entonces excomisionado residente y ahora gobernador del país, Pedro Pierluisi Urrutia, quien para la misma fecha cabildeaba a favor de los intereses de AES como abogado del bufete O’Neill & Borges LLC. El dato fue corroborado y certificado por la entonces subsecretaria del Senado de Puerto Rico, Cristina Córdova Ponce. • “Manifestaciones ilegales”: “Como abogado que estuve entre otros a cargo de la defensa de manifestantes, tanto en el área penal como en asuntos que se dilucidaron en casos civiles, tengo que señalar que fueron muchísimas actividades, tanto de AES como de la Policía de Puerto Rico, las que fueron totalmente contrarias a Derecho y a la ley”, agregó. “En esa carta, Berio pretendió inducir a error a las autoridades a quienes las dirige”, dijo el expresidente del Colegio de Abogados de Puerto Rico, Jaime Ruberté Santiago. • Refutada en Peñuelas: “una de las portavoces del Campamento Contra las Cenizas en Peñuelas recalcó que, a diferencia de lo escrito por Berio, no fue a los ejecutivos de AES, ni a la carbonera a quienes le violaron derechos. “Fue a los residentes de las comunidades cercanas al vertedero”, a quienes “se atacó “con toda la maquinaria del gobierno y la fuerza excesiva de la Policía, mientras solo pedían que se les respetara y validara su salud y sus vidas”,” dijo Yanina Moreno Febre. • Sin su paradero: “La Perla del Sur intentó localizar a la expresidenta Berio para este reportaje, a través de la vicepresidenta de Relaciones Globales e Impacto Social de AES, Madelka McCalla, pero la ejecutiva no respondió al pedido. Entretanto, dos fuentes consultadas por este semanario ubicaron a Berio en funciones activas como directora de Servicio Corporativo de Luma Energy. No obstante, una solicitud escrita al correo electrónico de esta ejecutiva para corroborar si es la misma persona que fungió como presidenta de AESPR tampoco fue contestada.”

Notre 1er invité s'appelle Laurent Bardainne, son groupe Le Tigre d'Eau Douce.   Après Love Is Everywhere, Laurent Bardainne emporte son Tigre d'Eau Douce dans une exploration dédiée à l'astre du jour. Arnaud Roulin (complice de Bardainne dans Thomas de Pourquery Supersonic et feu Poni Hoax) à l'orgue Hammond, Sylvain Daniel (Camélia Jordana et l'ONJ) à la basse, Philippe Gleizes à la batterie, Roger Raspail aux percussions : c'est avec le même quartet de fidèles qu'il a écrit ces nouvelles aventures félines. Le saxophone mat de Bardainne laissant les grands noms du jazz spirituel faire écho dans ses clés, le compas musical ouvert depuis le hip hop jusqu'aux rythmes africains, de Pharoah Sanders jusqu'à Kruhangbin et Sault, Hymne Au Soleil (hommage à la composition du même nom de Lili Boulanger) guide le Tigre dans un voyage onirique et cinématographique. Vers une soul rétro futuriste où synthétiseurs et chœurs féminins s'invitent, eux aussi, à briller dans les rayons solaires. Aux commandes de son biplan, la carlingue personnalisée d'une peinture reproduisant le coup d'une patte à quatre griffes, Laurent Bardainne l'avait enfin retrouvé. Lui dont il avait perdu la trace à la faveur d'une escapade chimérique à travers plaines et forêts. Robe orange rayée de noir. Vif, rapide, bondissant. Dans l'immaculé doré du désert noyé de soleil, sa silhouette gracieuse se dessinait distinctement. Le Tigre d'Eau Douce. Par une mélodie de saxophone ténor captivante, de celles auxquelles il le savait réceptif, Bardainne lui signala sa présence depuis les airs. Même précédé par sa réputation, le super prédateur reste toujours à l'affût. La venue de son maître, il l'avait anticipée depuis quelques mesures déjà, depuis qu'il avait perçu, portés par les vents, les rythmes africains qui secouaient la mécanique de l'engin volant. Sûr de son fait et de la route à emprunter dans cette infinité ocre, l'œil brillant de malice d'avoir repéré l'ombre qui allait accompagner son effort, le Tigre entama sa course. Et toute la physionomie de ce qui jusque-là ressemblait à un désert changea alors.     Déblayée par les grooves organiques et le souffle de l'orgue Hammond, la voie s'ouvrait au Tigre à mesure qu'il progressait. Ses pattes s'enfonçaient dans les profondeurs du jazz pour en ressortir couvertes de soul, l'écume filait depuis ses babines, laissant dans sa traîne sablée des cristallisations hip hop. Dans cette émulation à l'esthétique seventies sophistiquée, où ses crocs saillants ne reflétaient plus que la lumière du saxophone, les touches de synthétiseurs finissaient même par leur faire entrevoir le futur. Arrivés à destination, le moteur du biplan secoué de hoquets et suppliant qu'on le refroidisse, Bardainne et son félin haletant se posèrent. Ensemble, ils contemplèrent l'oasis prospère et onirique, habitée par cette musique qui avait accompagné leur périple. Redoutables pour qui s'égare, les rayons de l'astre solaire étaient devenus ces alliés miraculeux capables de faire naître et renaître la vie. Et ce n'était peut-être pas le Tigre d'Eau Douce qui l'avait attiré là, mais Laurent Bardainne qui l'avait poussé jusqu'ici...     Titres joués - Oh Yeah - La Vie la Vie la Vie voir le clip  - Hymne au Soleil voir le clip Jazz à Vienne 2021  - Jou An Nou Rivé (Feat. Célia Wa) - Oiseau (Feat Bertrand Belin) écouter clip audio.   Puis nous recevons Oan Kim dans la #SessionLive.     OAN KIM est un saxophoniste, chanteur, compositeur, ainsi que réalisateur et photographe franco-coréen. Il sort l'album Oan Kim & the Dirty Jazz (auto-prod) À 5 ans, sa mère le met au violon (c'était ça ou le violoncelle), qu'il pratique pendant 15 ans. À l'adolescence, il se passionne pour le jazz et se met au saxophone alto, puis ténor. Persuadé qu'il doit aussi être un pianiste correct pour devenir compositeur, il étudie le piano jazz à la Bill Evans Piano Academy. Il se passionne pour la musique contemporaine, suit les conférences de Pierre Boulez au Collège de France, étudie les partitions de Berio, Nono, Ferneyhough, Xenakis, Cage, fréquente l'IRCAM comme d'autres les discothèques. Il poursuit en même temps des études d'écriture musicale au CSNM de Paris, étudiant l'harmonie et l'orchestration avec Jean-François Zygel, le contrepoint, la fugue, l'analyse musicale avec Michael Levinas et la musique indienne avec Patrick Moutal. Depuis, il compose des musiques pour l'audiovisuel (documentaire et télé) et pour l'Art contemporain, collaborant notamment régulièrement avec l'artiste Jungwan Bae et les photographes de l'agence MYOP. Enthousiasmé par la scène indé, il décide d'y participer et crée le groupe de rock Film Noir (un album sorti chez le Son du Maquis), puis le duo electro-rock Chinese Army (trois EP sortis notamment sur le label Balades Sonores) qu'il forme avec le guitariste Benoît Perraudeau. Avec ces deux formations, il fait plus de 80 concerts en France et à l'étranger.     Depuis 2019, il renoue avec le saxophone jazz et entame un nouveau projet que la pandémie le pousse à développer en solo, entre jazz et musiques modernes, quelque part entre Pharoah Sanders et Radiohead.. Par ailleurs à ses activités musicales, il est aussi un photographe et réalisateur de documentaire ayant reçu plusieurs prix (Prix Swiss Life à 4 mains, Silver Horn du Krakow Film Festival, Prix des Nuits Photographiques, Tomorrow's Artist Prize Sungkok Museum), membre co-fondateur de l'agence M.Y.O.P de photographes indépendants.   Titres interprétés - Mambo, Live RFI voir le clip  - Agony, extrait de l'album Oan Kim & the Dirty Jazz voir le clip  - Wong Kar Why, Live RFI voir le clip.     Musiciens - Oan Kim, saxophone et voix - Benoît Perraudeau, guitare - Paul Herry-Pasmanian, basse - Brice Tillet, batterie.   Son : Benoît Letirant, Fabien Mugneret, Mathias Taylor.   Bonus, clip de Teenage Riot, une reprise de Sonic Youth.

Synopsis On today's date in 1706, the German composer and organist Johann Pachelbel was buried in Nuremberg, the town where he was born some 53 years earlier. In his day, Pachelbel was regarded as an innovative composer of Protestant church music and works for harpsichord and organ. Pachelbel was acquainted with the Bach family, and was, in fact, the teacher of the teacher of J.S. Bach, and served as godfather to one J.S. Bach's older relations. Johann Pachelbel would be pretty much forgotten by most music lovers until late in the 20th century, when an orchestral arrangement of a little Canon he had written would suddenly become one of the best-known classical themes of our time. In 1979, the American composer George Rochberg, even included variations on Pachelbel's famous Canon as the 3rd movement of his own String Quartet No. 6. Like Bach, some of Johann Pachelbel's children also became composers, and one of them, Karl Teodorus Pachelbel, emigrated from Germany to the British colonies of North America.  As “Charles Theodore Pachelbel,” he became an important figure in the musical life of early 18th century Boston and Charleston, and died there in 1750, the same year as J.S. Bach. Music Played in Today's Program George Rochberg (b. 1918) — Variations on the Pachelbel Canon (Concord String Quartet) RCA/BMG 60712 On This Day Births 1737 - Bohemian composer Josef Mysliveczek, in Ober-Sarka; He was a friend and colleague of Mozart; 1839 - Russian composer Modest Mussorgsky (Gregorian date: Mar. 21); 1910 - American composer Samuel Barber, in West Chester, Pa.; 1930 - American composer and jazz saxophonist Ornette Coleman, in Forth Worth, Texas; Deaths 1706 - Burial date of German composer Johann Pachelbel, age c. 52, in Nuremberg; Premieres 1740 - Handel: oratorio "L'Allegro, il Penseroso, ed il Moderato," and Organ Concerto in Bb, Op. 7, no. 1, in London (Julian date: Feb. 27); 1748 - Handel: oratorio "Joshua," in London at the Covent Garden Theater; The event possibly included the premiere of Handel's "Concerto a due cori" No. 1 as well (Gregorian date March 20); 1842 - Verdi: opera "Nabucco" (Nabucodonosor), in Milan at the Teatro alla Scala; 1844 - Verdi: opera "Ernani," in Venice at the Teatro La Fenice; 1849 - Nicolai: opera "Die lustigen Weiber von Windsor" (after Shakespeare's play "The Merry Wives of Windsor"), in Berlin at the Königliches Opernhaus; 1868 - Thomas: opera "Hamlet," (after Shakespeare's play "Hamlet") at the Paris Opéra; 1877 - Tchaikovsky: symphonic-fantasy "Fancesca da Rimini," in Moscow (Julian date: Feb. 25); 1924 - Prokofiev: Piano Sonata No. 5 (first version), in Paris, by the composer; A revised version of this sonata premiered in Alma-Ata (USSR) on February 5, 1954, by Anatoli Vedernikov; 1930 - Weill: opera "Die Aufsteig und Fall der Stadt Mahagonny" (The Rise and Fall of the City of Mahagonny), in Leipzig at the Neues Theater; 1941 - Cowell: Symphony No. 2 ("Antropos"), in Brooklyn; 1951 - Honegger: Symphony No. 5 ("Di tre re"), by the Boston Symphony, Charles Munch conducting; 1980 - Earle Brown: "Caldar Piece," for percussionists and mobile, in Valencia, Calif.; 1982 - Berio: opera "La vera storia" (The True Story), in Milan at the Teatro alla Scala; Others 1831 - Italian violin virtuoso Nicolo Paganini makes his Parisian debut a the Opéra; Composers in the audience include Meyerbeer, Cherubini, Halvéy; and Franz Liszt (who transcribes Pagnini's showpiece "La Campanella" for piano); Also in attendance are the many famous novelists and poets, including George Sand, Victor Hugo, Alfred de Mussset and Heinrich Heine. Links and Resources On Johann Pachelbel On George Rochberg

Today's guest is Clément Saunier. After studying with Clément Garrec at the Conservatoire National Supérieur de Musique in Paris, he obtained prizes in several international interpretation competitions: Citta di Porcia (Italy 2002), Prague Spring (2003), Jeju (South Korea 2004), Théo Charlier (Brussels 2005), Tchaikovsky (Moscow 2011). Clément Saunier is also the last French laureate in the last Maurice André trumpet competition (Paris 2006). In 2013 he was named solo trumpet with the Ensemble Intercontemporain in Paris and thus collaborates with influential composers and orchestral conductors of our time such as Peter Eötvös, Matthias Pintscher, Pierre Boulez, Simon Rattle, Pablo Heras-Casado, Unsuk Chin, Martin Matalon, Helmut Lachenmann, Olga Neuwirth… An international concert artist, his repertoire ranges from the Bach's 2nd Brandenburg Concerto to contemporary works (Maresz, Pintscher, Ligeti, Stockhausen, Berio). As such he is invited to perform recitals or to be accompanied by larger orchestral ensembles on stages across the globe. (Germany, Switzerland, Colombia, Japan, Italy, South Korea, Slovenia, Russia…). --- Support this podcast: https://anchor.fm/artssalon/support

Today's episode will be a different one. I will present and talk about one of the milestone works of the modern accordion repertoire - Luciano Berio's "Sequenza XIII: chanson". The episode is made up of three parts. In the first part we get to know Berio as a musician and some of his most important works, including the Sequenza series. In the second part we get to know and make a brief analysis of the Sequenza for accordion and in the third part you will hear a recording of the piece which I did back in 2013, during my studies in Italy. Since this is an experiment, feel free to reach out with comments and suggestions or simply let me know if you liked it or how can I do it better. Looking forward to reading your thoughts! If you liked the episode and would like to support the podcast, you can either click on www.ghenadierotari.com/community and subscribe the "Patrons and Supporters Plan"or become a supporter on Patreon. Click on the link below and it will direct you to my Patreon channel. You can become a Cool, Awesome or VIP level patron or donate whichever amount you would like in exchange for exclusive content, bonus episodes, patron-only polls, behind the scenes moments, music, concerts and much more https://www.patreon.com/ghenadierotariaccordion For more information about me click here: www.ghenadierotari.com --- Send in a voice message: https://anchor.fm/everything-accordion/message

0 (3s): Holy spirit. What'd you just come now and just calm our hearts and minds to help us to just take captive. Every anxious thought this morning, we welcome you to your way. Thank you. You promise to be in our midst when we gather, and when we worship you, as we lift our hearts and our voices, all of our cares and concerns to you, God, would you meet us with your presence? Power change. Set us free. 0 (44s): Want to draw near, see you this morning and experience your holiness and goodness, your grace and your mercy. 0 (1m 4s): might be hard to believe what we're singing. 0 (11m 33s): Do you believe he's good today? Do you believe he's never going to let you down? Maybe some of you do feel like God let you down, you know, and that's okay. I love that. Actually, the Bible gives us that example on the song, this David songs, if you read one song to the next there's one song where like you're a good God and the next one he's like, Lord, I am in the pit. My enemies are surrounding me. Where are you? Right. So I don't think God's afraid of our doubts. I think he encourages us to bring our doubts to him, to be honest with them, about where we're at and the crowd to him from the pit and invite his rescue. 0 (12m 18s): And to believe that he is faithful and he will pull us out. I just want you to know that I have moments even today, where I struggle with a battle is happening in my own mind of do I believe he's good this morning? I believe he's never gonna let me down. I just want you to know you're not alone. And if you're in that space today and there's there's room for that here for you to say, God, I'm hurting this morning, I do feel like I need breakthrough in an area I've been crying out and praying and asking him begging for change. And I haven't seen it yet. He welcomes us to call it what happened to him? Good hearts seasoned near to the broken hearted and the crushed in spirit. 0 (13m 1s): So if you're crushed in spirit this morning, that's why these mirror to you. So lean in to him this morning. I'm leaning in with you even as my own soul, sometimes as doubts and questions. I trust that he is God. I trust that he is faithful. 0 (13m 46s): Try that again. 0 (13m 58s): that you love us. 0 (18m 7s): Lord. 1 (18m 10s): Thank you that you are thinking about us this very moment. Your love is very real, very present. I pray that every person would experience that maybe some for the first time, experiencing your love and a real profound and obvious way. Lord God, for those who are hurting today, we pray God that you would just show yourself faithful. Thank you that you do that, Lord God, we are humbled by your presence. I love it, Lord, that when we feel the least deserving, you show up with your great love. 1 (18m 54s): I think we see that throughout the scripture. This thinking about that woman with the issue of blood, just sick, her whole life and unclean feeling just outside and unwelcome and unloved. But yet if she, she knew that if she just could push through, press through and touch the hem of your garment, that something might happen and something did happen. The power of God that went out from Jesus' body that flooded her life, changed her forever. 1 (19m 36s): She experienced love from Jesus, grace, from Jesus power from Jesus and, and she was no longer an outcast, no longer unclean, no longer sick, but she was brand new in Jesus name. I pray for each of us. Lord that we'd be brand new in Jesus name, be brand new in Jesus name, Lord God, whatever it is that we're up against have been up against, have dealt with, have failed in Lord God. We are in you now. And that's what matters, Lord God. So if you're here today and you, you, you need Jesus. Just call out to him. 1 (20m 18s): He's as near as your next breath, your next word, you call him the name of the Lord. Jesus Christ. You shall be saved, welcomed into his family and loved unconditionally and wonderfully. So let Jesus know that you need him and that you want him and then walk them into your life. Maybe you need to welcome him into your life. A fresh today because circumstantially you've been distant him or even Cheryl Lynn talked about, maybe disappointed, disgruntled, welcome him in welcoming, back into your life. 1 (20m 59s): He promises never to leave you nor forsake you. He loves you. Thank you, Lord. Thank you, Lord. We love you. Thank you for this time. Lord bless the word and we pray, blessed it to our spirits Lord and bless it to our minds and bless it to our lives. We pray in Jesus name. Amen. Amen. You can be seated. You can be seated. Thanks team. Appreciate that. Very much. Very powerful word. We're continuing our study on faith today. So title of the message is faith believes God is sovereign. And so in light of those things, I'm going to talk about a couple of things in light of the fact that we believe as believers, as followers of the Lord, Jesus Christ, that he is sovereign, that God is sovereign. 1 (21m 46s): That simply means he's the Supreme ruler over all things. That means nothing is outside of his control. Nothing is outside of his realm to influence to direct. And so we're asking God to do a couple things today. We're, we'll be talking to you about our new space at one oh two west branch, one minute walk from here. It's the old something different building before that it was the wardrobe building before that it was bank of America back to 1952 when it was built. And so more in the process of kind of navigating some stuff with the city right now. So this is what I want you to pray about specifically. Remember I've said, Hey, can we pray every day? Like every day for this process, because things just come up and we need to pray through the process. 1 (22m 30s): And so the hurdle that we're up against now is a hurdle that I thought we had squared away. It was the parking hurdle because the city needs to make sure there's enough parking for that new space over there. They're saying, Hey, you need to come up with 60 parking spaces. And so we thought we had remedied with parking the parking lot across the street. But now they're saying that shared parking on Sunday morning. So anyway, I have gone back and forth with the city no less than like 20 times. And I'm a bit exasperated at this point. I don't know if you've ever been there. So I wrote an email to the city. 1 (23m 10s): I prayed about it first. I said, Lord, what do I do? Right? Like, what's next? Right? So I praying, I'm saying Lord, so this is me typing an email. So I said, Patrick, he's our planner, good guy, by the way, very good guy. This parking situation is getting ridiculous period. The truth is, I said, I'm still typing my email. I said, the truth is our people who will be attending Sunday morning services will be parking where they have been parking parking for the last 16 years at our spot at one 24 west branch, which is place here and at the village center village center has given us parking on Sunday mornings for free for the last 16 years. 1 (23m 52s): So I said, the truth is that's where our people will be parking. So there's not actually a real need for additional parking. So I'm asking that you guys would reconsider and think through your position because with a simple decision from the city, we can move past this and get moving with our project. So I said, sincerely, Steve. And so a few hours go by and I don't, I don't hear from Patrick. And then so like maybe I overstepped, but I prayed. So I'm thinking I'm okay. So, and I was gracious. I wasn't angry in the email. I wasn't, I was gracious. 1 (24m 32s): I was gracious. So he responds back, Steve, I totally understand you're there. You're frustrated with this situation. He said, I'm going to call a meeting with the city managers on Monday that's tomorrow, so that we can try to navigate this with you, for you so that you can, so we can move past this. And so with that, I want us to pray together today that God would open the door for that. One of our partner ministries ministry that we partner is coastal Christian school. They're also up against a situation with their facility and they're asking that people sign a petition. So this petition is actually available out there at the welcome center. It's a petition to approve an expansion of their conditional use permit, which allows them to put an, a gym on their property and multipurpose buildings and that sort of thing. 1 (25m 22s): So we're gonna pray for them. And I'm going to ask you to go out and sign there. They're looking for a thousand signatures from churches across the central coast, which I don't think it'll be a problem at all, but if you can sign the petition and then pray for them as well, that would be great. So with that, let's go ahead and stand up is what I'm going to ask of you. I'm going to ask that you would pray for CCS and pray for the parking meeting tomorrow for harvest shirt and, and ask that you would come up here and do it. So come up to Vox one 21. This is box one, by the way, box ones. 1 (26m 3s): There it is. So if you're in the campus somewhere else, like at the loft or in the, on the patio and you'd like to come pray, I'd like people to come and pray into the microphone, into the screen so that people at the rest of the campus can see what we're doing and see online and know what we're feeling know what's going on. Otherwise 2 (26m 22s): It's just kind of a dead noise and people can't hear what's going on. So I'm going to pray. And then I'm going to invite you guys to come up and fray into the microphone on the platform and nothing to be worried about 1 (26m 34s): The world wide 2 (26m 36s): Web, we'll be recording everything that you say, 1 (26m 39s): And everybody who's watching online 2 (26m 41s): Will be ridiculing and criticized or your prayers. Now I'm just kidding. 1 (26m 45s): They will be praying with you in agreement 2 (26m 48s): With your prayer. So as I pray, I want to invite you guys to come up forward, come forward and do the same thing. We're just going to take a few minutes to pray and just trust the Lord here. So Lord, we pray right now in Jesus name for his coastal Christian school, we pray that they would get their thousands of signatures on their petition and beyond that, that they would get their approval for their conditional use permit to add to their campus so that they can have the space that they need and be able to expand as their, their capacity. The number of students that they have, I think has doubled in the last year. And so they're in desperate need of more space. And so we pray that you'd bless 1 (27m 23s): Them with more space, with resources 2 (27m 26s): To build on their current property and blessings from the city and the county, Lord God. So take care of them. We pray Lord. And we pray for this meeting tomorrow with the city managers, whoever they may be. I, I don't know who is all going to be involved in the meeting, but for this me, this parking meeting tomorrow, we pray the God that you would remedy that for us in Jesus name, we pray that you would give us favor that you would go before us God, that you would open the doors and, and just, just pave the way for us to move forward with our project. Lord God. And as we have a new architect on the, on the project, Lord, we pray that you would bless him, that his company would be able to turn the plans around quickly. 2 (28m 6s): Lord, that would be able to get, get those into the city and that the city would give us our building permits. And we built be able to move forward with the plan, with the idea, the hope to be opened by Christmas Eve, Lord. So we just pray for your wisdom. We thank you for it, Lord. Thank you. Who else be bold? Come on up here. Don't make me wait. Just get up here. There we go. Gary Tucker. So here you got to stand right here up on the platform. Father. We just thank you, Lord, that your word tells us there is nothing too hard for you and you will do exceeding, abundantly above all that we could ask or imagine Lord, you are God almighty. As we sung this morning and we pray, you'd move the hearts of everybody involved Lord in this decision. 2 (28m 52s): And we trust God, you're going to allow us to move forward. Or parking is nothing for you. You own the whole world Lord. So we just pray father that you would work it out and have them agree that we're going to be able to still park where we haven't been parking more. And we're trusting you for the rest in Jesus name. 1 (29m 13s): Thanks Gary. Who else? Who else? Who else get up here? Don't make Berio come on up. You got a word for us too, David. All right. Speaking to that. 2 (29m 26s): Awesome. Cool. So Lord, we just cleaned to your word right now. God, because we know that your promises are true. And so in John 14, 11 through 14, God, you say, believe me, when I say I am in the father and the father's in me or at themselves, truly, I tell you, whoever believes in me will do the works I've been doing. And they will do even greater works than these because I'm going to the father and I will do whatever you ask in my name so that the father may be glorified in the son. You may ask me for anything in my name and I will do it. Father. We know that you say ask and you shall receive God seeking. You will find knock and the door will be open. God. We know that if we ask for a stone, you won't give us a serpent. God. So father right now is your children. 2 (30m 6s): God, we just petition have him saying, Lord, we know that you want to partner with us. God, we know you want to partner with us in the expansion of what you're doing here. God, because you know, this is kingdom business. God. So father, we just commit this project to you. We already know it's in your hands Lord that you are the God of the impossible Jesus father. We know that we've seen time and time again, where things seemed impossible that you came through, like after the destruction of Solomon's temple, Godwin was unable to be built again, Lord, with the few workers and the few materials you were the one who rebuilt it. God. So Jesus, we trust this with you. God, we say this is nothing like the last guy. This is nothing for you, father. We don't even break a sweat because we trust our father. 2 (30m 48s): So God we thank you for the grace and the meeting tomorrow. God, we thank you that you would just move their hearts with your holy spirit Jesus in Jesus name. Amen. 1 (30m 58s): Hey man. Thanks brother. Appreciate it. Who's next? Who's next? Come on. Up here. Right, Diego. Right there. There we go, 2 (31m 13s): Father. I just want to thank you for harvest campus. I want to thank you for coastal Christian and the work that you've already done at each campus. Lord and father, father expansion is coming. It's your expansion, Lord father. I thank you again for the work that you've done and father, I thank you ahead of time that this expansion will come. I think you ahead of time that your kingdom is coming, that your kingdom is expanding father. 2 (31m 56s): Thank you. Thank you, Lord. Amen. Come on up. Stand up here. 3 (32m 12s): Thank you father. Thank you. Thank you. Thank you. My heart is bubbling and full of joy because the city knows we're going to grow and they're worried about where are they going to put us? Praise you, father praise you, father, that you are letting this town know that you are on the move or God, I just praise you. I praise you. I praise you. I can't wait to see. I can't wait to see all the hundreds and hundreds and hundreds of people. You're going to bring both here and to coastal Christian academy, praise your name, father 1 (32m 45s): More. Anybody else? Linda, come on. What'd you stand right up here. Here we go, 3 (33m 3s): Father, God, I am just so excited because maybe the world sees us as a problem. But this is an answer to prayer because we have been praying that the work of harvest would go forth through the city and it airs and it has, and we keep growing and growing because of your grace, Lord God. And so we're not looking at this as a trial, even Lord, because this is part of the joy that we are experiencing because of your growth. And we know that you have answered our prayer and desires to continue to let us grow Lord. And so we know that you're going to provide a way for us to expand. And so far this event, Lord. So we just stand in agreement together, everyone right now, who is praying, we stand in agreement against anything the enemy would try to do to prevent this from happening. 3 (33m 53s): Lord, we stand together and you have told us where two or more are gathered. There you are in our midst Lord and where we got a lot more than two or morally here, Lord. So we stand together. We praise you. We honor you. And we say, Lord, bring the blessings. We receive it in your name. 1 (34m 10s): Amen. Joy. Come on up. Thanks Sheila or Linda. Sheila's the other one. 3 (34m 20s): God, you're awesome. You're a mighty God. Your control. We praise your name and we thank you. We thank you for this opportunity. It's who cut to worship you and to grow our faith. God would you, would you deepen our faith and brute us in your love that our church would grow and be on fire for you? God that this, this is so this is so little as it, as it's been mentioned before it God, this is so nothing is just a drop in the bucket, but God, this is a way to grow our faith. And I pray that you would, you would grow us as a church. You would encourage us through this, that you would strengthen our pastors and our elders and deacons through this there, this trial, God that you you're in control God, you are unstoppable. 3 (35m 11s): This whole nuts top here where your word. So we praise your name now. 1 (35m 16s): Amen. Hallelujah. Thank you, Lord. Let's give the Lord anybody, anybody. All right. So my, my, my belief is that I'll come back next Sunday with a good report. So be seriously being praying all week long, but especially today and tomorrow, I'm not sure what time the meeting is, but be praying and the Lord do what he's going to do. Amen. And then yeah, you can be seated. There we go. You can be seated. God bless you guys. So as I mentioned in the prayer, we've got a new architect. The original architect was great. Christian loves Jesus, but so busy. So she said, Hey, I'm a couple of months out before I can even get to it. 1 (35m 57s): So then I met another architect last Saturday, just by accident, kind of happenstance, if there's any such thing. And he said, Hey, I can turn this project around quickly. And so he had a meeting with him and talked with the other architect and she said, yeah, if he can do it quicker, let him let him do it. And so he took it over and it's in the works now. So now we're hoping to get some plans here in the next couple of weeks versus a couple of months. And then those plans go to the city for plan approval and for permit issuing. And so we're hoping that doesn't take three months, like they're saying it could possibly take three months, but ultimately our plan is to be in the new kind of thought. 1 (36m 37s): It would be like Christmas Eve would be a great opportunity entity to have Christmas Eve service in there. So that's like six months away. It's already six months into this year. So time goes so incredibly fast. So in, in the beginning I was a little frustrated, but six months is quick. It's going to get there before we know it. So be praying for God's timing, but then also God's provision. So all along, we've just said, if you feel like you want to be a part of it, then here, here from the Lord and just be obedient. The price actually is, has gone up significantly. I don't know about you guys, but every time we do a remodel, the price goes from one number to another number we Jolene and I, we remodeled our house a couple of years ago, price doubled in the time of the remodel. 1 (37m 22s): When we remodeled this sanctuary 16 years ago, the price started out at like 35,000 and went up to like $85,000. So we're looking probably closer to $225,000 for that remodel. Originally it was like 125. Now it's probably closer to two 25 cost of materials. Everything is high right now. If you've done any kind of building right now, you know, everything is very, very expensive. Yeah. So, so, but we believe that God is faithful. Just like he was when we did this project, 16 years ago, we had 60 people on the jury 16 years ago and we did the project. Debt-free now we've got more than 10 times that, and we're believing for God to do the same thing. So if you'd like to join us and be a part of that, just, you know, be a part of what God is doing. 1 (38m 8s): God has been so faithful. I don't know if you guys realize God's faithfulness through your obedience. The church, when we planted the church, our budget, literally our budget every month was $1,500. Cause we rented a little school and I was working full time and we had a worship leader that we gave a stipend to, but it was really like 1500 bucks a whole month. Like it took him and we were like some months wondering if that was going happen, right? This, this year, we're watching God as he's been doing it every year for the last 16 years just increase what he provides for us this year. On average, we brought in $95,000 a month. 1 (38m 51s): So was like, you know, our old budget or original budget was 1500 for the month. Now it's bringing more than $3,000 every single day of the month. And so it's kind of interesting to see God's faithfulness. This last month was our, I think our biggest month ever, we brought in like $128,000. So, so God has response. I share that to say that God is responding to the need and there's a big need. So if you'd like to be a part of that, that then jump in, be a part of what, what God will do and watch what, how he blesses it. And anyway, with that, let's jump into Hebrews and continue to talk about faith. They amen. This'll be, we'll be wrapping up our faith study of Hebrews, be weaving it into the messages going forward. 1 (39m 31s): But Hebrews chapter 11 verses 35 through 40, as part of the examples of faith that we've been studying. We see one more story of God's faithfulness to his people of faith. So we pick it up in verse 35 and then we go into 36, 37, 38, 39 40 in those closing verses of chapter 11 are pretty difficult. In fact, I didn't want to preach this message today because like I said, Lord, I want to encourage the people with faith. And I don't want you to discourage them with the last part of Hebrews 11, but there's, there's a purpose in us communicating the whole counsel of God's word. 1 (40m 12s): And so we communicate the whole counsel of God's word because God uses the whole counsel of his word to instruct us and to grow us up in our most holy faith. And so as we get to the end of Hebrews 11, we're going to see examples of God's faithfulness to his people of faith that looks different than we might imagine. Like we so far we've been studying about God's profound impact in the world because people of faith have stepped up. We're going to actually see the people of God go under severe persecution for their faith. Many of them giving their lives for their faith. And in the midst of that, we see the faithfulness of God because we don't carry just a temporal earthly perspective. 1 (40m 56s): We carry this eternal perspective where we believe that this life in the earth is important, but also what we do for eternity matters. And so we're living not just for this life, but for the life eternal as well. And so when we have that kind of perspective, it changes things. So the long game is that we don't live for this life alone, but for the one to come also even more so, but we'll get there in a few minutes. Let's look at Hebrews 1135 as we wrap up this study of faith and God's faithfulness. So, so far we've talked about all kinds of people, right? We've talked about Abel Enoch, Noah, Abraham, Isaac, Jacob, Joseph, Moses parents. 1 (41m 37s): We've talked about Moses. We've talked about the people of Israel, Ray Hab, Daniel Shadrach, Meshach, and Abednego. We've talked about Gideon and we've talked about all of these people of faith. And now we'll spend some time on the story of this nameless widow in verse 35. Oh and Elijah. We'll talk about Elijah. In fact, we're going to talk a lot about Elijah as we get into this text. So Hebrews 1135 says, and again, this is after all of those other stories of faith, he says women received their loved ones back again from death. So let's take, take a look at one of those stories relating to this, this verse first Kings chapter 17. It says this now Elijah, who is from Tisha and Gilly ad told king Ahab. 1 (42m 23s): As surely as the Lord, the God of Israel lives, the God I serve, listen to his competence, right? This was a man of faith. He understood that he heard from God and he was committed to obeying God. So he said, listen. As surely as the Lord, the God of Israel lives, the God I serve, there will be no Dew or rain the next few years until I give the word, no, do no rain for the next few years until I give the word. So we declares this to the king and stands firm. Why? Because he's heard, I heard from the Lord, number one, God directs the elements. 1 (43m 10s): We, we have to believe that God is sovereignly in charge of everything, or he's not sovereignly in charge of anything, right? We believe that God directs the elements he told. He told the prophet, it's not going to do. There's not going to be any Dew or rain for the next few years until you the word we, we, we have to expand our capacity to believe God for things that maybe we wouldn't have believed God for in the past, God directs the element. Remember Jesus calmed the storm, right? Because he directs the album. Remember when Jesus walked on the water because he controls the elements. 1 (43m 51s): So he's in charge of everything. He controls everything. Then the Lord said to Elijah, go to the east and hide by Karath Brook near where it enters the Jordan river, drink from the Brook and eat Raven, eat what you want the Ravens bring you for. I have commanded them to bring you food. That verse tells me that God directs the wildlife. He doesn't just direct the elements, but he directs the wildlife. So he's Elijah. Here's some, the Lord and God tells me to go by this body of water, this Brook and eat what the Ravens give you, because God's gonna provide for you through the Ravens and through this water. 1 (44m 35s): And so God directs the wildlife. How do we know this is true. Look at Noah's Ark. You ever wonder how all those animals got into the arc? I mean, how much work would it have had been if Noah had to go around and gather up all of the animals, right? But this is what it says in Genesis six 20 God told Noah pairs of every kind of bird and every kind of animal and every kind of small animal that scurries along the ground, we'll come to you. We'll come to you to be kept alive. God directs the elements and he directs wildlife. He can direct every aspect and element of your life. If you just let him, if you just trust him, he can direct and provide and take care of all of your needs. 1 (45m 16s): Back to first Kings verse five, five says, so we lied. Yah did, as the Lord told him it can't beside Kira Brook, Easton. Jordan. What happened you suppose is brought him bread and meat each morning and evening. So I think about the people of Israel wandering through the wilderness for how long, 40 years and every day they wake up and there's fresh manna on the ground. Why? Because God is faithful to do what he says. He's going to do. He's he's providing for this prophet through the Raven to bring bread and meat every day. And he drank from the Brook. But after a while, the Brook dried up, why did the Brook dry up? 1 (45m 59s): Because there was no more do and no more rain because God stopped the do. And he stopped the rain and it wasn't going to come back until Eliza spoke the word. And so everything that God says in his word is unfolding before our very eyes. And this is true. Whether we see it in our own personal lives or not, we can see the faithfulness of God unfold as we trust him and believe him doing what he asks us to do. But after a while, the Brook dried up for there was no rainfall call anywhere in the land. Number three, we're seeing how God is speaking to Elijah. Number three, in your notes, God directs people he's speaks to people. 1 (46m 43s): Then the Lord said to Elijah, verse eight, then the Lord said to Elijah, what has God been saying to you lately? What has he been speaking to you lately? What has he been communicating for your soul lately? I think God wants to speak to us. I think he wants to speak to you. Then the Lord said to Elijah, go and live in the village of Zerephath near the city of side-on. I have instructed a widow there to feed you. So now no longer is the bird of the Raven going to feed him. But this widow is going to feed him and it, and it doesn't even make sense that this widow would meet him because the winter doesn't have a resource to feed him. But this is what happened. So he went to zero path and see arrived at the gates of the village. 1 (47m 25s): He saw a widow because God was speaking to him. And so it wasn't coincidence that he saw a widow, God spoken, directed that widow to do what she was doing so that when the prophet showed up, Elijah sees the widow. See, he arrived at the gates of the, of the village. He saw a widow gathering sticks, and he asked her, would you please bring me a little water in a cup? And she was going to, as she was going to get it, he called to her, bring me a bite of bread. But she said first, well, I swear by the Lord, your God that I don't have a single piece of bread in the house. 1 (48m 9s): Okay. Why would God direct Elijah to this widow who didn't have any bread? If she was the one responsible to feed him while he was there, he's unfolding his plan. He's unfolding his plan. It's like the, the, the offerings of the, of the widow. She, she gave all that. She had, she, she provided the Lord everything that she had as an act of worship. And now this widow, woman's going to have the opportunity. We need to do the same thing. I swear by the Lord, your God, that I don't have a single piece of bread in the house. And I have only a handful of flour left in the jar and a little cooking wheel in the bottom of the jug. 1 (48m 53s): I was just gathering if you six to cook the last meal and then my son and I will die. But Elijah said to her, don't be afraid. You're you're out your external circumstances, your outward circumstances. Don't have to dictate how you deal with life. We need to who in those desperate moments, reach it, cry out to the Lord and say, okay, God, I'm in this desperate place, much like Carolyn was talking about I'm in this desperate place. What are you going to do now? And then just watch what the Lord will do and obey, listen and obey. Don't be afraid. Go ahead and do just what you said, but make a little bread for me first. 1 (49m 35s): How selfish is Elijah? Right? I know you're going to die. I know you only got a little bit, but make me a little bread, right? Do you think that was a lie, led you to being selfish? This was Alijah being used by the Lord to test her faith all throughout scripture in the old and the new Testament, we're called to give God our very best. The very first fruit of our offering. We're called to do what he's asked us to do with obedience and faith. Believing that he's going to come through in a supernatural way. He said, then use, what's left to prepare a meal for yourself and your son for this is what the Lord, the God of Israel says. 1 (50m 17s): There will always be flour and olive oil left in your containers until the time when the Lord sends rain and the crops grow again, there will always be all of oil and flour for how long, as long as the Lord wills. It said it wasn't gonna rain for a few years. And so God was going to take this meager bit of loyal and flour and multiply it because this is what he always does. And we always see that he's in charge of number four. God has power over in animate objects, lifeless objects. 1 (50m 59s): God has power. Even over those things. We see it. When he feeds the multitudes, he feeds the multitudes twice. One time, he feeds 5,000 plus women and children. The next time he feeds 4,000 plus women and children. Each time they gathered up baskets of leftovers. Yeah. Beers that they actually gathered up more at the end than they had in the beginning, because God has power over in adamant. Yes, we need to believe that he will provide supernaturally. When he asks us to do something, our tendency is like, Lord, I'm I'm down to the end of it. 1 (51m 39s): Like, this is all I've got. Whether it be money or time or whatever it is, Lord, I don't have the ability to give. And it's probably in that moment that he asks you to give. In fact, I love it. I'll just say, Lord, I don't want to be tested in this, but I do love when sometimes I say stuff and I get tested on it, like immediately. And so I'm putting a disclaimer, Lord, I don't want to be tested in this area, but I love it. Like when we're at the end of our resource, either as a church search or in our family and the Lord says, give what you have leftover, give it away and watch what I will do. 1 (52m 19s): So, number of years ago, we were trying to buy this property and we tried to raise money and we couldn't raise any money. I've shared this story before, but I'll share it again because it's fun. So we had worked hard. We tried to raise money. This is like two, $2 million property or whatever. And we're trying to raise money. We need at least 15 or 20% down or whatever. So that all of our money, we raised $15,000. Boy, they all of our money. That's all we get raised, right? Hardly anything. It doesn't put a dent in things, but CCS is also raising money for their facility. So we said, let's take our $15,000 and give it to CCS. Clearly we don't have enough money to do anything, but maybe it will help them. 1 (53m 3s): So we go down the road a little bit longer and, and this place, we were raising money for this place when it did come available, but it still wasn't available to us. But the house next door became available and we needed to raise, I don't know, a hundred thousand dollars or something like that to, to buy that house next door. Cause it was like $470,000 or whatever. So we needed to raise like, I dunno like 8,000, whatever the number was. It does. It doesn't matter. God provided that money. Like immediately. It's like there was no effort needed at all. We, we had, after we gave that money to CCS, we just started raising money again. And all of a sudden we had a hundred thousand dollars. We're like 98,000 bucks or something like that. So when we needed money, my coffee, when we needed money for that place, God provided it for us because we, we took our measly $15,000 that we had, which wasn't a much DAS, but it blessed them. 1 (53m 56s): And we gave it away and God provided and, and took care of the need for that. And then when a couple of years later, when this place became available, we needed it. We had remodeled that place and the value went up like, I don't know, 150 or $200,000. And so the value of increase, they're putting these properties together. We hardly had to raise any money at all. We raised a little bit of money that we did need to raise so that we could put the down payment on this property. So God love it, leverage that property. So we get out, buy this property. Now we owe, we own like $3 million in property in the beginning. Remember our budget was $1,500 every month, right? 1 (54m 37s): And, and then I'm going to camp out on this for a bit here. We, we wanted to rent this facility. It wasn't for sale. Yet. We wanted to rent this space and it was $3,000 a month, 3000 that's twice what our budget was 3000 bucks. And we were still renting the school because we needed a place to meet while we were renovating this place. So now we're at 4,500 bucks. About the same time we started renting other space. And at the same time that board said, Hey, we need you on full time to, to run the projects we're remodeling and building and painting and doing all that kind of stuff. So I came on full-time when the church has 60 people in it and the church was able to pay me plus pay this plus pay for everything else that we were doing. 1 (55m 24s): And we've never looked back. That was 16 years ago that we made the decisions to move here. And we've been able to renovate space and build space and all kinds of stuff. So God's been faithful because this is what God had done as period is faithful period. And he will call us to do unreasonable things so that he might do supernatural things. Let's go back to first Kings. I'm totally out of time here. It says a matter. And we're going to keep going. Let's order some pizza in, and then I'll just keep preaching until like three years, verse 15. 1 (56m 5s): So she did, as Elijah said, she, this is where it starts. Like, what is the Lord saying? This widow who was on her last meal, preparing to die. She did, as Elijah said, and she and Elijah and her family continued to eat for many days. There was always enough flour and all of oil left in the containers. Just as the Lord had promised through Elijah, sometime later, the woman's son became sick. He grew worse and worse. And finally he died. Then she said to Elijah, oh man of God, what have you done to me? Have you come here to point out my sins and kill my son. But Elijah replied, give me your son. 1 (56m 45s): Then he took the child's body from her arms, carried him up the stairs to the room where he was staying and laid the body on his bed. Then Elijah cried out to the Lord, oh Lord, my God. Why have you brought tragedy to this widow who has opened her home to me causing her son to die. And he stretched himself out over the child three times and cried out to the Lord, oh Lord my God. Please let this child's life return to him. What happened? The Lord heard Elijah's prayer, right? The Lord heard Elijah's prayer and the life of the child returned. And he revived. Then Elijah brought him down from the upper room and gave him to his mother. 1 (57m 24s): Look. He said, your son is alive. Have you ever been in the room when somebody died? And when somebody has expired, it's not awesome. The person is dead lifeless. The warmth of their body is leaving them. And they're becoming this cold lifeless shell. It's not fun. This is what happened to this woman, her son, she's a widow. She's already lost her home. He's dead. And then God shows up and got it. 1 (58m 5s): The stores him saying, man, it brings the back to him. And he said, look, your son is alive. I share that because God has the power over life and death. And I want to say physically, but also spiritually. And some of us need to hear that spiritually. He's got power over life and desk because some of you are feeling dead spiritually, and God wants to resurrect your, your spiritual life. God wants to resurrect your spiritual life so that you're feeling alive again. But this is how it's going to happen. It's going to happen as you step out in faith, in obedience to do whatever it is that God has asked you to do. So what I'm, I'm not even talking about the building. I don't care about the building. 1 (58m 45s): I know that God's going to take care of the building. What I'm saying is whatever God has asked you to do. The last thing he's asked you to do to go back to that thing and then watch as you will be gently do what he's asked you to do. Watch the spiritual life in you. Refresh. I talked with a guy yesterday, Friday, talked to the guy Friday and heard from a guy Friday. He was sharing kind of a story. And he had gone through a terrible divorce. His wife left him, took his sons, moved out of state. He had no custody. He had no ability to see his kids. And, and it went on like this for, for a decade. I think it was a decade. He was driving in his truck one day and he felt like the Lord said, you need to call your wife's husband and apologize to him for the way that you have treated him during this, this time. 1 (59m 33s): And oh, by the way, you need to apologize to your wife as well. And he's like, you have got to be kidding me. And he decided to do it. So he calls the son to get a stepdad's his son stepdad's phone number. And he said, Hey, God's done a work in my life. And I just want to call and apologize to you for the way that I've acted and the way that I've lived before you. And if it's all right with you, I'd like to call your wife, my ex-wife and apologize to her as well. And he did. And the Lord completely reconciled that family. You didn't get remarried to his wife, none of that. But they, they had a relationship. 1 (1h 0m 15s): He was able to be at his son's high school graduation, sitting at the family table. There was his son was able to forgive him. His son had been angry with him for a decade, I think is what he said for a decade, for the way that his father had been acting in God, through that obedience reconciled the whole family. What is God asking you to do? That seems impossible. That doesn't seem like it's going to bear any fruit. And it seems like something that you're not even interested in doing. If God is asking you to do it, go back to that. You might be feeling spiritually separated from God. Spiel is spiritually dry because you're just flat refusing to be obedience. God cannot bless disobedience. He will not bless disobedience. 1 (1h 0m 56s): God can resurrect your spiritual life. He's got power over life and death physically, spiritually Jesus raised gyrus daughter from the dead mark five raised a widow's son from the dead in Luke chapter seven, Jesus raised Lazarus from the dead and John chapter 11, Jesus himself was raised from the dead. And we see Elijah raising this widow woman's son from the dead. Then the woman told Elijah, I know for sure that you are a man of God and that the Lord surely speaks through you. So we've heard a lot of amazing stories of God's faithfulness, but the reality is number six, in your notes God's plan. Doesn't always unfold. As we expect God's plan. 1 (1h 1m 37s): Doesn't always unfold as we expect. So let's take a look at how, how his plan, and I'll say his plan unfolded in the, in the lives of these people. So now I'm not saying that God had caused what happened with he allowed it and he's been glorified through it. Others who didn't experience the victory, like we've been talking about others, tortured refusing to turn from God in order to be set free. They place their hope and a better life. After the resurrection, somewhere jeered at and their backs were cut open with whips. Others were chained in prisons, some died by stonings and were sawed in half and others were killed with the somewhat about wearing skins of sheep and goats, destitute, and oppressed and mistreated. 1 (1h 2m 25s): They were too good for this world, wandering over deserts and mountains, hiding in caves and holes in the ground around just as a for instance, this is how the 12 apostles died. And I'm going to give you kind of the rundown here real quickly though. I hear so often I want a first century Christ experience like people like I want to do you really want a first century Christ experience because what you will get is what they got. Some of our hardest decisions as Christians is, do I go to the nine o'clock service or do I go to the 11 o'clock service? Right? Do I go to, you know, out to her Mexican food after order? 1 (1h 3m 7s): Or do I get pizza afterward? You know, what, what sporting event do I watch on the television afterward? You know, where, where do I, my wife and I go out to dinner. I mean, those are, these are the things that we wrestle with. This is not first century Christianity. This is first century Christianity. This is how the 12 apostles died. Ad. This is from the, the voice of the martyrs or excuse me, Fox's book of martyrs to book. Andrew was crucified, but he wasn't just, he was crucified in an X shaped cross and he wasn't nailed to the X shape cross. He was actually tied to the cross to, to extend the time that it would take for him to actually die because you're, you're hanging and it's causing you to suffocate and you have to push up to get a breath. 1 (1h 3m 58s): And then you're useless. He just suffocate. So while he was dying and it took days for him to die, what was he doing? He was preaching to passers by people who would go by watch and mock him. He was preaching the gospel. Andrew was crucified, Bartholomew beaten, then crucified, James son of Alphaeus was stoned to death. Others think that James son of Alphaeus was actually crucified in lower Egypt and then sod in pieces. So it wasn't good enough that they crucified him. They cut him in pieces. You really want to first century Christianity, this is what you're going to get here. 1 (1h 4m 42s): James son of Zebedee was beheaded, just like the apostle. Paul says Paul John exile for his faith died of an old age, but they did try to kill him. They put them in a VAT of oil, boiling oil, trying to kill him, but like Shadrach, Meshach, and Abednego in the fiery furnace, nothing happened to him. Shadrach, Meshach and Abednego came out of the fiery furnaces. They didn't even smell like a barbecue, but they'd been in the furnace, right? John, the apostle John Kent comes out of the boiling oil. He's got no, no injuries. He will not die while he's in the Calder. And his historian said that while he was there, he was actually preaching the gospel. 1 (1h 5m 22s): They're like, get him out of there. Exile him to the island of Patmos, where he can't have anybody preach to you. So while he's there though, God's got a purpose for them. Jesus reveals that revelation to him. He writes revelation, the book of revelation and the rest is history out of an old age. But after living his whole life for Jesus Judas, not a scary. He was stoned to death. Matthew was speared to death. Peter crucified upside down, Phillip was crucified. Simon crucified, Thomas, a spirits of death and Matthias was stoned to death. So that's kind of, that's what happens. All these people earned a good reputation. 1 (1h 6m 2s): The scripture says verse 30 and all these people are in a good reputation because of their faith. Yet none of them received all that God had promised forgot. It's something better in mind for us so that they would not reach perfection without us remember back in Hebrews chapter 11, verses 13 through 16. I think we covered this week too, in our studies in Hebrew and Hebrews, it says, all these people died. Still believing what God is. I promised them they did not receive what was promised, but they saw it all from a distance and welcomed it. They agreed that they were foreigners and nomads here on the earth. And that that's the perspective of the first century church and needs to be our perspective of the 21st century church that we are. 1 (1h 6m 44s): This is not our home. We are foreigners and nomads were passing through with the sole purpose of glorifying God in our lives waves for the life to come for all eternity. They were foreigners and nomads here on the earth. Obviously, people who say such things are looking forward to a country. They called their own. If they had long for the country, they came from, they could have gone back, but they were looking for a better place, a heavenly Homeland. That is why God is not ashamed to be called their God for. He has repaired a city for them. So number six, God's planned. Isn't always what we expect it to be. Let me get there again. God's plan is not always, does not always unfold as we expect, but number seven in your notes, as we wrap this thing up, God's plan can always be trusted. 1 (1h 7m 34s): God's plan can always be trusted. So if you're at a crossroads in your life and you're just perplexed by God and what he has done or what he has allowed, go back to your big picture, long game plan and perspective and say, okay, God, clearly things are unfolding for me the way I think that they should unfold. What is your long game? I've been praying for the Methodist camp for 16 years. You guys have been praying with me for the Methodist camp that God would give us that Methodist. It's 29 acres back there for 16 years. And God hasn't seen fit to give it to us yet. Right? Things don't always unfold. The way that we hope that they would unfold difficult, have hit our family, things that we didn't expect or wouldn't welcome in, in a million years, but things have happened. 1 (1h 8m 22s): And we got to believe that God is in control. He is unfolding things. So don't lose heart before you see the answer. Don't lose heart. Before you see the answer. Did I read Hebrews 11, 13 through 16? Did I finish that? I didn't. Okay. They were looking for a better place at heavenly Homeland. That is why God is not ashamed to be called their God for. He has prepared a city for them. God is what has got up to in your life. I know what he's up to you. I think in the church and I'm trying to figure out what he's up to in my life as well. What does he have to in your life two weeks ago? 1 (1h 9m 4s): I said by faith, we will, by faith, I will. We asked you and challenge you to fill in the blank. And then we had people come up and talk about my faith. They will. What is it that by faith, God is taking you through and you will do, will you choose to be obedient? We choose to love him. We, she used to be faithful to him. Will you choose to do what he's asked you to do? Whatever that ask may be. I promise you this. If you do that, your spirit, your spirit spiritually, you will come alive again, where you've been struggling spiritually. You will, you will begin to come alive. Like you've never been alive before. Just simply confess your sin and say, Lord, I I've not done. What you asked me to do. 1 (1h 9m 45s): I'm going back to what you asked me to do. And I'm going to do that thing. And then moving forward, I'm going to do what you asked me to do was with that. Let's go and stand up because really that's what Christianity is all about. We follow Jesus. He says something. We obey it. That's Christianity. There's if it's, if your Christianity is something other than that, it's not Christianity. It's just not Christianity. So what is it that God is asking you to do? Speak it out? Anybody? What is it that God is asking you to do? Serve him. Good. Yeah. Specifically? What does that look like? Anything specifically? 1 (1h 10m 28s): Yeah. All right. Good. How about perfect. Perfect. Who else? There you go. All right. What else? Serving children. Good. Who else? Serving marriages. How long are you going to do that? Until I die? He says, what else? Healing. The sick. Awesome. What else? Preach the gospel. So real quick. David's the one that prayed for my knee. I'm running. I've been running ever since. So it's a win brother. Good for you. Good for God. 1 (1h 11m 8s): What else? Teaching Bible says, is there anything new that you like Lord's put on your heart? Anything new? Okay. All right. All right. Giving, giving more each week to what God is doing in the church. I repeat so that people online can hear and see people at other places. What else? All right. Awesome. Awesome. Just make yourself available for media skills, mediation. 1 (1h 11m 49s): Okay. Now. Okay. Good mediation. Well, thank you very much. What's your name? Donna. Welcome. Welcome. Welcome. What else? Anybody else? It's gotta be something burning in you right now that you're afraid to say. You're afraid to say it, that's it? Yeah. Okay. Yeah. A cattle helping people helping to be a catalyst that people might share the gospel downtown. Very good. Something else is burning in your soul that, you know, if you don't say it, you're not going to be obedient to it, helping with the coffee. 1 (1h 12m 32s): So that's wonderful. We need more of that by the way more, more coffee. Elbers anybody else on the platform? Anybody come on, there's gotta be one more like big thing that the Lord has said. One more, one more. Who is it? Great. Good, wonderful, good stuff, Laura. Thank you for what you're speaking to us. We want to say by faith, we're going to do that for eating those things that lie behind straining forward. The things that lie I had, Lord God. So we just pray Jesus, that you would help us by faith to step into those supernatural plans. 1 (1h 13m 15s): Lord use us mightily. We pray, help us smiley. We pray. Thank you for your grace in Jesus name amen. Hey man, let's worship. 1 (1h 13m 22s): 0 (1h 14m 25s): . 0 (1h 17m 45s): helping you this morning to lead us this week. 0 (1h 22m 10s): Take those steps towards those things are challenging us to be brave, to be bold, to make a difference, to be salt and light in the earth, to extend your love to those around us. We thank you for this time to reset her off hurts on you to be ready to ground it in your word. Spend time in your presence and with one another to each other's burdens and reminding each other the truth. So would you seal these things upon our heart? We love you. Thank you for this time when your precious.

On today's podcast, we talk to Relocation Educator Leily Berio about FREE Spanish classes offered at Fort Bliss Army Community Service! We also discuss what an advantage it is to be stationed at Fort Bliss if you are looking to become bilingual given that so many in the El Paso community are ready, willing and able to help you with practical Spanish! Visit Relocation Readiness to sign up for classes here — https://bliss.armymwr.com/programs/relocation-readiness

El Liceu al

El Liceu al

Cathy Berberian.