Podcast appearances and mentions of Brian Ferneyhough

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

Here's a gem from our archive, a recording with Jonathan Impett — Director of Research at the Orpheus Instituut. Impett has had a MAJOR impact on Roberto and Marek, a kind of intellectual godfather to the two of us. His staggering breadth of knowledge continues to blow our minds. You can find more about Impett's work here. A number of references from the discussion include: Impett's chapter in Choreomata is awesome. Buy our book! :) Impett references Alexander Nagel and Chris Wood's Anachronic Renaissance an unbelievably ambitious tome that delves into the situatedness of art both inside and outside of the Renaissance.A few California references -- Jonathan tags in Swarm and references the composer Brian Ferneyhough. We're all Reza Negarestani fans here -- for more about computational interactionism, check out Reza's epsiode of the pod, Anil Bawa-Cavia's episode of the pod, and Reza's absolutely mondo Intelligence and Spirit.At the time of the interview, Matteo Pasquinelli's influential The Eye of the Master had not yet been released and is referenced as an upcoming release.For more information on the "waste product" -- Alain Badiou's Immanence of Truths is actually pretty forthcoming in this respect. Jonathan also references After Sound, a very timely read by G. Douglas Barrett.

La existencia de ejecutantes musicales que no son compositores, o lo son pero prefieren consagrarse a interpretar, resulta crucial en la Historia de la Música. Gracias a esos encargos de los que se beneficia su desempeño, han hecho más grande la obra de los grandes compositores._____Has escuchadoImmer: pour violoncelle seul (1996) / Pascal Dusapin. Sonia Wieder-Atherton, violonchelo. RCA (2001)Plainsound Glissando Modulation: Raga in Just Intonation for Violin and Double Bass, op. 49 (2006-2007) / Wolfgang von Schweinitz. Helge Slaatto, violín; Frank Reinecke, contrabajo. NEOS (2009)Ryoanji: For Contrabass and Tape (1983) / John Cage. Stefano Scodanibbio, contrabajo. WERGO (2009)st/4: for string quartet (1955-1962) / Iannis Xenakis. Arditti String Quartet. Montaigne (2003)Wunderblock (Nebenstück II): pour accordéon et orchestre (2005) / Gérard Pesson. Teodoro Anzellotti, acordeón. Aeon (2009)_____Selección bibliográficaCLARKE, Eric F. y Mark Doffman, Distributed Creativity: Collaboration and Improvisation in Contemporary Music. Oxford University Press, 2017COOK, Nicholas, Beyond the Score: Music as Performance. Oxford University Press, 2013COUROUX, Marc, “Evryali and the Exploding of the Interface: From Virtuosity to Antivirtuosity and Beyond”. Contemporary Music Review, vol. 21, n.º 2-3 (2002), pp. 53-67DUNCAN, Stuart Paul, “Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity'”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 136-172*FLENDER, Reinhard David, Freie Ensembles für Neue Musik in Deutschland eine Studie des Instituts für kulturelle Innovationsforschung an der Hochschule für Musik und Theater Hamburg. Schott, 2007HILL, Peter, “Xenakis and the Performer”. Tempo, n.º 112 (1975), pp. 17-22*HOWARD, Philip, “‘Evryali': Beyond the Surface (What I Learned from ‘Evryali' by Performing It)”. Perspectives of New Music, vol. 42, n.º 2 (2004), pp. 144-157*LAWSON, Colin y Robin Stowell (ed.), The Cambridge History of Musical Performance. Cambridge University Press, 2012*MABRY, Sharon, Exploring Twentieth-Century Vocal Music. Oxford University Press, 2010*MADURELL, François, L'ensemble Ars Nova: Une contribution au pluralisme esthétique dans la musique contemporaine, 1963-1987. L'Harmattan, 2003MCPHERSON, Gary E. (ed.), The Oxford Handbook of Music Performance. Volume 1. Oxford University Press, 2022*—, The Oxford Handbook of Music Performance. Volume 2. Oxford University Press, 2022*PACE, Ian, “Notation, Time and the Performer's Relationship to the Score in Contemporary Music”. En: Unfolding Time: Studies in Temporality in Twentieth Century Music. Editado por Darla Crispin. Leuven University Press, 2009SILVERTHORNE, Diane V. (ed.), Music, Art and Performance from Liszt to Riot Grrrl: The Musicalisation of Art. Bloomsbury Publishing, 2021*WEISBERG, Arthur, Performing Twentieth-Century Music: A Handbook for Conductors and Instrumentalists. Yale University Press, 1993*WRIGHT, David C. H., “The London Sinfonietta 1968-2004: A Perspective. Twentieth-Century Music, vol. 2, n.º 1 (2005), pp. 109-136 *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

Samuel Andreyev's music is incredibly varied, from the sparse resonance of the Sonata da Camera, the ‘cartoon music' – as the composer puts it – of Vérifications, characterized by primary colors and strong instrumental timbres; the Sextet in Two Parts which in contrast focuses on minute timbral shadings; and of course the cantata for solo voice and ensemble which is the title track of the album.Performed by ensemble proton bern, conducted by Luigi Gaggero with the magical soprano voice of Peyee Chen on In Glow of Like Seclusion (set to verse by J. H. Prynne), this album was beautifully captured in Zurich in 2022. The CD and digital album is to be followed with a double-LP vinyl version in the New Year.Samuel Andreyev's music has been featured in portrait concerts in Bern, Geneva, Toronto, Paris, Kyiv, Strasbourg, Montréal, Tours, and many other cities. Andreyev is a laureate of the Henri Dutilleux Prize (2012, for ‘Night Division'), and the Grand Prix Lycéen des Compositeurs (2020, for ‘Vérifications'). He is also Vice President of the music council of the Fondation Prince Pierre (Monaco). With his YouTube channel and Podcast, Samuel Andreyev presents lectures on musical topics, as well as long-form interviews with prominent musicians as varied as Brian Ferneyhough, every member of Captain Beefheart's Magic Band, Linda Catlin Smith, Hugues Dufourt, Adam Neely and countless others. He has twice been a featured guest on the Jordan Peterson Podcast, in addition to appearances on Vox, The Symbolic World, Classical Chats and many others.Tracks Sonata de Camera (2020-21) (22:15)Sextet in Two Parts (2019) I. (13:09) II. (7:53) Verifications (2012) I. (3:12) II. (1:53) III. (3:30) IV. (2:15) In Glow of Like Seclusions (2021-22) I. All Such to Life (3:37) II. To Eye Apart (2:22) III. Impromptu I (1:28) IV. Not Far (3:23) V. How Smart We Are (4:50) VI. Impromptu II (2:08) VII. Lark Advent (3:10) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Samuel Andreyev's music is incredibly varied, from the sparse resonance of the Sonata da Camera, the ‘cartoon music' – as the composer puts it – of Vérifications, characterized by primary colors and strong instrumental timbres; the Sextet in Two Parts which in contrast focuses on minute timbral shadings; and of course the cantata for solo voice and ensemble which is the title track of the album.Performed by ensemble proton bern, conducted by Luigi Gaggero with the magical soprano voice of Peyee Chen on In Glow of Like Seclusion (set to verse by J. H. Prynne), this album was beautifully captured in Zurich in 2022. The CD and digital album are to be followed with a double-LP vinyl version in the New Year.Samuel Andreyev's music has been featured in portrait concerts in Bern, Geneva, Toronto, Paris, Kyiv, Strasbourg, Montréal, Tours, and many other cities. Andreyev is a laureate of the Henri Dutilleux Prize (2012, for ‘Night Division'), and the Grand Prix Lycéen des Compositeurs (2020, for ‘Vérifications'). He is also Vice President of the music council of the Fondation Prince Pierre (Monaco). With his YouTube channel and Podcast, Samuel Andreyev presents lectures on musical topics, as well as long-form interviews with prominent musicians as varied as Brian Ferneyhough, every member of Captain Beefheart's Magic Band, Linda Catlin Smith, Hugues Dufourt, Adam Neely, and countless others. He has twice been a featured guest on the Jordan Peterson Podcast, in addition to appearances on Vox, The Symbolic World, Classical Chats, and many others.Tracks Sonata de Camera (2020-21) (22:15)Sextet in Two Parts (2019) I. (13:09) II. (7:53) Verifications (2012) I. (3:12) II. (1:53) III. (3:30) IV. (2:15) In Glow of Like Seclusions (2021-22) I. All Such to Life (3:37) II. To Eye Apart (2:22) III. Impromptu I (1:28) IV. Not Far (3:23) V. How Smart We Are (4:50) VI. Impromptu II (2:08) VII. Lark Advent (3:10) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

durée : 00:26:54 - Kaija Saariaho, compositrice (3/5) : De l'Allemagne à la France - par : Corinne Schneider - Kaija Saariaho quitte la Finlande en 1980 pour travailler en Allemagne où elle suit les cours de Darmstadt tout en continuant de se former auprès de Klaus Huber et Brian Ferneyhough. C'est au contact de la musique de Tristan Murail et de Gérard Grisey qu'elle décide de s'installer en 1982 à Paris. - réalisé par : Gilles Blanchard

Peter Evans is recognized as one of the world's leading voices on the trumpet, a true innovator on the instrument, as well as an important composer. He's worked with experimental luminaries including John Zorn, Brian Ferneyhough, and Kanye West, and his own music has been performed around the globe to great acclaim. We talk about Peter's wild new compositions for MIDI piano, AI anxiety, Bach, Onlyfans, the African clave rhythm, and defending Truth and Beauty. Check out Peter's music here   Last Things: For video streams, music history videos, and rants, check out Last Things on YouTube For exclusive streams, music instruction, Charlie Looker music, become a Patron To stay up to date, subscribe to the Last Things Newsletter  

Komplex, komplexer, am komplextesten: Der britische Komponist Brian Ferneyhough gilt als Begründer des Komplexismus. Nun wird er 80 Jahre alt, aber an seine Kompositionen wagen sich bis heute trotzdem nur Wenige.

Tuut-piep-knor! Dat was lang het scheldwoord voor muziek van eigentijdse componisten. Vanaf de jaren 1950 joegen ze het publiek inderdaad de zaal uit met akoestisch prikkeldraad, maar hoe zit dat tegenwoordig? Naar aanleiding van November Music, hét Nederlandse festival rond hedendaagse muziek, staken Joris en Guido hun licht op rond recent werk van componisten uit eigen land. En wat blijkt: veel makers van nu pamperen het trommelvlies met weldadige melodieën en akkoorden als een snoezelbad. De één schrijft een humoristische horlepiep, de ander maakt furore met 3D-techniek en film. Kom dus uit die schuttersput, nieuwe muziek mag móói zijn! Gedraaide fragmenten: · Brian Ferneyhough, Allgebrah (1996), Ensemble SurPlus · Louis Andriessen, Broken Morning, uit: The only one (2019), Nora Fischer (zang), Los Angeles Philharmonic o.l.v. Esa-Pekka Salonen · Joep Franssens, Journey Under Brilliant Skies (versie 2020), deel 1, Ralph van Raat (piano), Phion o.l.v. Otto Tausk · Michel van der Aa, I Have These Dreams, uit: Sunken Garden (2013), Kate Miller-Heidke (zang), ensemble o.l.v. André De Ridder · Martijn Padding, Horlepiep, uit: First Harmonium Concerto (2008), Dirk Luijmes (harmonium), Orkest de Ereprijs · Celia Swart, Reflections (2020), Remy van Kesteren (harp), Koninklijk Concertgebouworkest o.l.v. Antony Hermus · Willem Jeths, In Paradisum, uit: Requiem (2017), Groot Omroepkoor, Kelly God (sopraan), Andreas Wolf (bas-bariton), Radio Filharmonisch Orkest o.l.v. James Gaffigan · Corrie van Binsbergen, Self Portrait in Pale Blue, Pt. 1

Gil and Erica sit with game developer and new music fan Brenna Noonan to talk about her experiences developing games with her development company Quillsilver Studios, her experiences working on the smash hit Everdell, and the intersection of music and games. SHOW NOTES 2m59s: Everdell, Roll Player: Adventures, Dog Park 6m14s: Erica and Scott chatted with the Laukats about making games as a family in Ludology 251 - All In the Family. 10m17s: Gil and Geoff discussed ludonarrative dissonance in games in Ludology 190 - Diabolus in Ludica. 11m22s: The sequence in question from the documentary Hearts of Darkness: A Filmmaker's Apocalypse. 12m33s: Sorry, spoiler alert! Hitchcock's Psycho had a legendary twist. 18m32s: Brenna mentions the productivity apps Toggl and ClickUp. 35m35s: A good sample Colvini brainburner is Carolus Magnus. Also Samurai, Sharang's episode Ludology 230 - Design Re-Verb, High Society 36m47s: The New Complexity school of music, Brian Ferneyhough, Conlon Nancarrow and his wild player piano music. (We should also mention the more recent phenomenon of Black MIDI music, like this MIDI version of Queen's Bohemian Rhapsody with 2.06 million notes.) 41m06s: Coherence, recommended by Banana Chan in Ludology 228 - The Roles We Play. 44m04s: Brenna's 3 composers she'd have over for dinner: Kaija Saariaho, Giacinto Scelsi, and Frederic Rzewski 45m13s: Gil was close! It was Charles Ives, at a performance of his music. The exact quote: "You goddamn sissy... when you hear strong masculine music like this, get up and use your ears like a man!"

Britas Brianas Ferneyhough (g. 1943) jau daug dešimtmečių laikomas pačios sudėtingiausios iš gyvuojančių stilistikų – naujojo sudėtingumo lyderiu. Nepaisant rekordiškai komplikuotos notacijos, įkertamos tik atkakliausiems atlikėjams, jo muzikoje daug reveransų praeičiai ir akademiniam požiūriui į kūrybą.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

We're rebroadcasting this episode in preparation for the TAK ensemble music video drop of "8 minutes after boiling" by Julien Malaussena. Check it out on Sunday, October 31st at 4pm (or any time thereafter) at the following link: https://youtu.be/OO6qJKWsckY *** Julien Malaussena considers his compositional prism to be sound energy–not timbre nor time; not dynamics, pitch, nor the sound space, but rather this element straddling all of these, one less palpable, less quantifiable. He has been particularly influenced by the teaching of Chaya Czernowin and Pierluigi Billone. He also had master classes with Brian Ferneyhough, Raphaël Cendo, Alberto Posadas, Antoine Beuger, Dmitri Kourliandski, Georges Aperghis, Mark Andre, Beat Furrer, Franck Bedrossian, Rebecca Saunders and Ming Tsao. He has been selected for ‘Voix nouvelles' program at Fondation Royaumont, “Composers Academy in Tchaikovsky city”, Etchings festival, Schloss Solitude SummerAcademy, Tzlil meudcan festival and Sirga Festival. His music has been played by ensembles like Court-Circuit, Xasax, les Cris de Paris, 2E2M, L'imaginaire,Nikel, le Moscow Contemporary Music Ensemble, Ecce ensemble, Les solistes du Balcon, ensemble interface, ensemble Surplus, and Duo XAMP (microtonal accordions), in France, Israel, Switzerland, Belgium,Germany, Russia, Austria, Brazil, USA, Turkey and Spain. On this episode, Laura and Madison interview Julien about his piece '8 minutes after boiling,' composed for TAK in spring of 2020, and set for public release in spring 2021. To purchase Julien's music, go to enmossed.bandcamp.com/album/articula…d-sound-energy To hear the music of Agnes Hvizdalek, who inspired the voice part of '8 minutes after boiling,' go to @agneshvizdalek To listen to more music by TAK Ensemble, visit: takensemble.bandcamp.com Or visit us on the web: takensemble.com @TAKensemble

For the 20th episode of Darmstadt On Air, we will hear an interview with composer Alvin Singleton, conducted by historical musicologist Harald Kisiedu and composer George Lewis on July 19 2021. In 1972, Singleton's work Argoru II for cello was the first ever to be performed by a Black composer at the Darmstadt Summer Course. Two years later, his Be Natural for three string instruments received the Kranichstein Music Prize. In this podcast, Singleton talks about his early listening experiences and music studies during his formative years in Brooklyn, New York, his graduate work in composition at Yale University with Mel Powell and Yehudi Wyner, and his activities as the founder of Yale's Black Music Students Union. Singleton also discusses his fourteen-year sojourn in Italy and Austria, his rich experiences at the Darmstadt Summer Course, where he collaborated with cellist Siegfried Palm and others, and he tells us about the significance of improvisation and cultural intermixture in his life and work. Singleton's Again for chamber orchestra, which won the 1979 Musikprotokoll Composition Prize, will be performed at the Darmstadt Summer Course Opening Concert on July 31 2021 by Ensemble Modern, conducted by Enno Poppe. From the Darmstadt archives, we will hear Singleton discussing Again at the Darmstadt Kompositionsstudio in 1979, chaired by Brian Ferneyhough, as well as excerpts of several other Singleton compositions: Et Nunc for alto flute, bass clarinet, and double bass, Be Natural, and Mestizo II for orchestra, from a rare recording of its 1970 premiere by the Yale Symphony Orchestra.

durée : 00:59:48 - En pistes, contemporains ! du dimanche 30 mai 2021 - par : Emilie Munera - A retrouver cette semaine également : trois pièces pour orchestre à cordes de Pēteris Vasks; deux concertos pour percussions de Ned Rorem et Alexis Alrich interprétés par la musicienne Evelyn Glennie; l'intégrale de la musique pour piano de Brian Ferneyhough par lan Pace... - réalisé par : Claire Lagarde

Le magazine de la musique contemporaine présenté par Christine Gyselings. Actualité, rencontres et festivals (Tactus, Ars Musica, MusMa...) sont au programme de cette émission de fin de semaine qui aborde le répertoire d'aujourd'hui de façon accessible. Production et présentation : Christine Gyselings

Le magazine de la musique contemporaine présenté par Christine Gyselings. Actualité, rencontres et festivals (Tactus, Ars Musica, MusMa...) sont au programme de cette émission de fin de semaine qui aborde le répertoire d'aujourd'hui de façon accessible. Production et présentation : Christine Gyselings

El protagonista de este monográfico de Ars Sonora es Dror Feiler, músico, artista y activista nacido en Tel Aviv en 1951. Casado con la artista Gunilla Sköld-Feiler, con quien ha colaborado en diferentes iniciativas, y a quien conoció en Suecia —país en el que ambos residen— cuando llegó desde Israel a mediados de los años setenta, Feiler estudió en diferentes instituciones de la capital escandinava, como Fylkingen, la Facultad de Musicología de la Universidad de Estocolmo y la Academia de Música de Estocolmo (donde tuvo como profesores de composición a Gunnar Bucht, Sven-David Sandström y a Brian Ferneyhough). Además de su labor compositiva, Feiler también es intérprete de saxofón (por ejemplo, en la banda de jazz Lokomotiv Konkret) y fundador de la orquesta Too Much Too Soon. Es presidente de la organización Judíos por la Paz Israelí-Palestina (JIPF), con sede en Suecia, y miembro de la organización europea Judíos Europeos por una Paz Justa (EJJP). También dirige, junto a Gunilla Sköld-Feiler, el espacio artístico TEGEN 2 en Estocolmo. La primera obra que presentamos lleva por título “Epexegesis”, está fechada entre 2018 y 2019, y escrita para dos solistas y orquesta. Presentamos aquí la grabación del estreno, que tuvo lugar el 25 de mayo de 2019 en el festival Tectonics de Stavanger, con la orquesta sinfónica de esa ciudad noruega (dirigida por Ilan Volkov —nacido en 1976 en Tel Aviv—), y teniendo como solistas al propio Dror Feiler (en los instrumentos de viento madera y la electrónica) y a Blixa Bargeld (conocido por su trabajo con los grupos Einstürzende Neubauten y Nick Cave and The Bad Seeds, si bien aquí interviene no como intérprete de guitarra, sino como vocalista). Los textos de esta composición están firmados por el poeta Ghayath Almadhoum, nacido en Damasco en 1979 de madre siria y padre palestino. También escuchamos la composición “Müll” [“Basura”], para orquesta de cámara amplificada, dos cantantes y electrónica en vivo. La obra se inspira en el poema “Los nueve monstruos”, escrito en 1937 por el poeta peruano César Vallejo, y se articula en dos partes —la primera integrada por dos secciones y la segunda por quince fragmentos que se encajan unos dentro de otros—. Feiler se pregunta, respecto de esta pieza: “¿Por qué esas sonoridades hechas con residuos, porqué la música callejera me emociona más que la que se hace en las salas de concierto?”. Al igual que en el caso de la anterior audición, escuchamos el registro del estreno de la obra, que tuvo lugar en el contexto de los Donaueschinger Musiktage del año 2008. El propio compositor fue responsable de la electrónica, y estuvo acompañado por los miembros del Klangforum Wien (dirigido por Rolf Gupta) y las voces de Martin Winkler y Meira Asher. Escuchar audio

Julien Malaussena considers his compositional prism to be sound energy–not timbre nor time; not dynamics, pitch, nor the sound space, but rather this element straddling all of these, one less palpable, less quantifiable. He has been particularly influenced by the teaching of Chaya Czernowin and Pierluigi Billone. He also had master classes with Brian Ferneyhough, Raphaël Cendo, Alberto Posadas, Antoine Beuger, Dmitri Kourliandski, Georges Aperghis, Mark Andre, Beat Furrer, Franck Bedrossian, Rebecca Saunders and Ming Tsao. He has been selected for ‘Voix nouvelles’ program at Fondation Royaumont, “Composers Academy in Tchaikovsky city”, Etchings festival, Schloss Solitude SummerAcademy, Tzlil meudcan festival and Sirga Festival. His music has been played by ensembles like Court-Circuit, Xasax, les Cris de Paris, 2E2M, L'imaginaire,Nikel, le Moscow Contemporary Music Ensemble, Ecce ensemble, Les solistes du Balcon, ensemble interface, ensemble Surplus, and Duo XAMP (microtonal accordions), in France, Israel, Switzerland, Belgium,Germany, Russia, Austria, Brazil, USA, Turkey and Spain. On this episode, Laura and Madison interview Julien about his piece '8 minutes after boiling,' composed for TAK in spring of 2020, and set for public release in spring 2021. To purchase Julien's music, go to https://enmossed.bandcamp.com/album/articulated-sound-energy To hear the music of Agnes Hvizdalek, who inspired the voice part of '8 minutes after boiling,' go to https://soundcloud.com/agneshvizdalek To download TAK's most recent album, Star Maker Fragments, go to http://takensemble.bandcamp.com/album/star-m…er-fragments http://takensemble.com

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

Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham's School of Music, The Queen's College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók.He has played in many countries, recorded over 40 CDs, and given over 300 world premieres. He is Head of the Department of Music at City, University of London, where he has worked since 2010, having previously worked at Southampton University and Dartington College of the Arts.More about Ian PaceExcerpts from Ian Pace's forthcoming CD of the complete piano music of Brian Ferneyhough on Divine Art Records (in order of appearance):• Brian Ferneyhough, Quirl (2011-13)• Brian Ferneyhough, Lemma Icon Epigram (1981)Thanks to Divine Art records for kindly authorizing the use of these excerpts.**SUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSSpoken introduction: Maya RasmussenPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

1977 in Donaueschingen: Der Cellist müht sich mit einer Uraufführung ab: Es wird gesungen, mit dem Fuß getrampelt, und gespielt. Alles gleichzeitig. Die neue Komplexität erreicht Donaueschingen. Aber ist die Musik von Ferneyhough wirklich unspielbar oder wird mit dieser Belastung einfach ein totaler Identifikationszustand erreicht? Michael Rebhahn über diesen Meilenstein der Uraufführungen bei den Musiktagen.

durée : 00:26:54 - Kaija Saariaho, compositrice (3/5) : De l'Allemagne à la France - par : Corinne Schneider - Kaija Saariaho quitte la Finlande en 1980 pour travailler en Allemagne où elle suit les cours de Darmstadt tout en continuant de se former auprès de Klaus Huber et Brian Ferneyhough. C’est au contact de la musique de Tristan Murail et de Gérard Grisey qu’elle décide de s’installer en 1982 à Paris. - réalisé par : Gilles Blanchard

"La reflexión sobre el tiempo como una categoría fenomenológica, el contenido que se articula en la música a través de la forma temporal, siempre ha sido importante para mí como compositor. Aquí, el pensamiento temporal debe entenderse tanto estructuralmente como en categorías de la historia y el presente, la tradición y el progreso estético. El progreso estético es una necesidad interna para mí, sobre todo la forma en que históricamente se legitima a sí mismo, recurriendo a la tradición a través del filtro de la reflexión, creciendo a partir de ella y consciente o inconscientemente, construyéndola". Son palabras del compositor alemán Ernst Helmuth Flammer, nacido en Heilbronn en 1949, a cuya obra "Interferenza Mente Sovrapposizione" (escrita entre los años 1988 y 1990) dedicamos esta edición de Ars Sonora. Flammer estudió Matemáticas y Física entre 1969 y 1972. Después comenzó sus estudios de teoría musical con Peter Förtig (desde 1973 hasta 1979), así como de Musicología, Historia del Arte y Filosofía con Hans Heinrich Eggebrecht, en la ciudad de Friburgo, de 1972 a 1980. Su tesis doctoral estuvo dedicada a las músicas de Luigi Nono y Hans Werner Henze. Sus maestros en el ámbito específico de la composición fueron Klaus Huber, Brian Ferneyhough y Paul-Heinz Dittrich. La extensa composición "Interferenza Mente Sovrapposizione" fue escrita para violonchelo (Werner F. Selge, en la versión que presentamos), orquesta (la Südwestrundfunk -SWR- Sinfonieorchester, con sedes en Baden-Baden y Friburgo, dirigida aquí por Lothar Zagrosek) y electrónica en vivo (con el propio Ernst Helmuth Flammer como responsable en esta ocasión, asistido por Lee Dong Oung al frente del Experimentalstudio de la SWR). Escuchamos la primera grabación de la obra, que tuvo lugar el 4 de abril de 1990 en el estudio Hans Rosbaud de la SWR en Baden-Baden, y que ha sido editado en cedé por el sello NEOS gracias al apoyo de la Fundación BBVA. En este trabajo la electrónica en vivo desempeña -según el propio autor- un papel solista comparable al del violonchelo, instrumento con el cual continuamente dialoga. Es particularmente destacable la labor realizada por Flammer en el dominio de la espacialización sonora, mediante el uso del Halaphon -una herramienta específicamente desarrollada para este fin por Han-Peter Haller en el Experimentalstudio de la Südwestrundfunk-. Igualmente original es el rol de la orquesta, que en esta ambiciosa composición -que nosotros presentamos en su integridad, de unos cincuenta minutos en total- simplemente opera como un mero acompañamiento de los entrecruzamientos sonoros protagonizados conjuntamente por el violonchelo y la electrónica. Escuchar audio

Bernard Foccroulle is organist, componist, opera- en festivaldirecteur. Dit al verschillende decennia en hij is nog zoveel meer. Zijn indrukwekkende internationale carrière begon in de jaren 70 van de vorige eeuw als organist. Met een repertoire van renaissance tot hedendaags en tal van creaties van componisten als Philippe Boesmans, Brian Ferneyhough, Jonathan Harvey en Pascal Dusapin. Dat doet hij nog steeds.

Nieuwe Complexiteit.   Brian Ferneyhough, (foto) ‘Epicycle’ voor 20 strijkers. New London Opera Orchestra olv. Alberto Erede. Helmut Lachenmann, ‘Notturno’. Andreas Lindenbaum, cello. Ensemble Klangforum Wien olv. Hans Zender. Carola Bauckholt, ‘Doina’ voor stem en strijkorkest. David Cordier, countertenor; Ensemble Resonanz olv. Roland Kluttig. Brian Ferneyhough, ‘Adagissimo’ voor strijkkwartet. Ardittikwartet. Id., ‘In nomine à 3‘. […]

What do we mean by ‘twentieth-century music’? And how are we to square this with the musics of a twenty-first century that is now nearing the end of its second decade? Roger Redgate graduated at the Royal College of Music, where he won prizes for composition, violin performance, harmony and counterpoint, studying composition with Edwin Roxburgh and electronic music with Lawrence Casserley. A DAAD scholarship enabled him to study with Brian Ferneyhough and Klaus Huber in Freiburg. From 1989 to 1992 he was Northern Arts Composer Fellow, he has lectured at Durham and Newcastle Universities. He was invited as guest composer and conductor at the Darmstädter Ferienkurse für Neue Musik in 1984, 1986, 1988, 1990, 1992 and 1994 where he received the Kranichsteiner Musikpreis for composition. He is conductor and artistic director of Ensemble Exposé, with whom he has performed at many European festivals and on BBC Radio 3 and recently released a CD of music by Brian Ferneyhough.He has worked in the fields of jazz, improvised music, film and television (including programmes for the BBC and Channel 4), and performance art. His compositions have been performed extensively throughout Europe, Australia and the USA and he has received commissions from the BBC, the French Ministry of Culture, the Darmstädter Ferienkurse für Neue Musik, the Venice Biennale and Ensemble 21 New York. He has published articles on music and culture, the music of Brian Ferneyhough and Michael Finnissy, including a chapter in the book Uncommon Ground: The Music of Michael Finnissy.

Attribution: Roberto Fabbriciani and Roberto Paci Dalò, in “Usmaradio” for the radio program “Voci” by Roberto Paci Dalò, recorded at Usmaradio, Summer 2019, cc by-sa al Una conversazione appassionante e rivelatrice con uno dei più grandi musicisti della scena internazionale. Roberto Fabbriciani ci trasporta dal mondo della musica a quello del suono sottolineando l'importanza della cultura elettronica anche per un mondo acustico e strumentale. Tanti racconti "backstage" nella sua collaborazione con Gigi Nono e Aldo Clementi disegnando percorsi e ricerche di cruciale importanza per il nostro presente. ° Roberto Fabbriciani è internazionalmente riconosciuto tra i migliori interpreti. Originale ed artista versatile, Roberto Fabbriciani ha innovato la tecnica flautistica moltiplicando con la ricerca personale le possibilità sonore dello strumento. Ha collaborato con alcuni tra i maggiori compositori del nostro tempo: Luciano Berio, Pierre Boulez, Sylvano Bussotti, John Cage, Elliot Carter, Niccolò Castiglioni, Aldo Clementi, Luigi Dallapiccola, Luis De Pablo, Franco Donatoni, Jindřich Feld, Brian Ferneyhough, Jean Françaix, Giorgio Gaslini, Harald Genzmer, Adriano Guarnieri, Toshio Hosokawa, Klaus Huber, Ernest Krenek, György Kurtág, György Ligeti, Luca Lombardi, Giacomo Manzoni, Bruno Maderna, Olivier Messiaen, Ennio Morricone, Luigi Nono, Goffredo Petrassi, Henri Pousseur, Wolfgang Rihm, Jean-Claude Risset, Nino Rota, Nicola Sani, Giacinto Scelsi, Dieter Schnebel, Salvatore Sciarrino, Mauricio Sotelo, Karlheinz Stockhausen, Toru Takemitsu, Isang Yun, molti dei quali gli hanno dedicato numerose ed importanti opere. Con Luigi Nono ha lavorato a lungo, presso lo studio sperimentale della SWF a Freiburg, aprendo e percorrendo vie nuove ed inusitate per la musica. Ha suonato come solista con i direttori Claudio Abbado, Roberto Abbado, Bruno Bartoletti, Luciano Berio, Ernest Bour, Bruno Campanella, Aldo Ceccato, Riccardo Chailly, Sergiu Comissiona, José Ramón Encinar, Peter Eötvös, Vladimir Fedoseyev, Gabriele Ferro, Daniele Gatti, Gianandrea Gavazzeni, Gianluigi Gelmetti, Michael Gielen, Cristóbal Halffter, Djansug Kachidse, Bernhard Klee, Vladimir Jurowsky, Peter Maag, Bruno Maderna, Diego Masson, Ingo Metzmacher, Riccardo Muti, Marcello Panni, Zoltán Peskó, Josep Pons, Giuseppe Sinopoli, Arturo Tamayo, Lothar Zagrosek, e con orchestre quali l’Orchestra della Scala di Milano, l’Orchestra dell’Accademia Nazionale di Santa Cecilia, le Orchestre della Rai, London Sinfonietta, LSO, RTL Luxembourg, BRTN Brussel, Orchestre Symphonique de la Monnaie, WDR di Colonia, SWF Baden-Baden, Deutsches Symphonie-Orchester Berlin, Bayerischer Rundfunks, Münchener Philharmoniker. Ha effettuato concerti presso prestigiosi teatri ed istituzioni musicali: Scala di Milano, Filarmonica di Berlino, Royal Festival Hall di Londra, Suntory Hall di Tokyo, Sala Cajkowskij di Mosca, Carnegie Hall di New York e Teatro Colon di Buenos Aires ed ha partecipato a festivals quali Biennale di Venezia, Maggio Musicale Fiorentino, Ravenna, Londra, Edimburgo, Parigi, Bruxelles, Granada, Luzern, Warsaw, Salisburgo, Wien, Lockenhaus, Donaueschingen, Köln, München, Berlin, St. Petersburg, Tokyo, Cervantino. Ha inciso numerosi dischi molti dei quali premiati dalla critica ed è stato docente di flauto presso il Conservatorio “L. Cherubini” di Firenze e dei corsi di alto perfezionamento presso l’Università Mozarteum di Salisburgo. E’ autore di opere musicali e testi didattici adottati nei percorsi della didattica musicale internazionale, editi da Ricordi e Suvini Zerboni. Tra le sue recenti composizioni: Glacier in Extinction; Alchemies; Cantus; Suoni per Gigi; Quando sorge il sole; Zeus joueur de flûtes; Figaro il Barbiere (liberamente da Rossini); Grande, grande amore; Alluvione; Conversazione su Tiresia (di Andrea Camilleri).

Panelen debatterar buskistolkningar av Mozart och Beethoven, hänförs av Brian Ferneyhoughs krångel och prisar Marais opera "Sémélé". Möt också tonsättaren och maskinmästaren Olga Neuwirth. Veckans skivor: MOZART/BEETHOVEN QUINTET FOR PIANO AND WINDS Kvintetter för piano och blåsare av Mozart (K452) och Beethoven (op. 16) Ensemble Dialoghi Harmonia Mundi HMM 905296 Betyg: 4  LA TERRE EST UN HOMME Musik av Brian Ferneyhough BBC Symfoniorkester Exaudi, vokalensemble Ensemble Recherche Martyn Brabbins, dirigent James Weeks, dirigent NMC D231 Betyg: 4  GRANADOS: GOYESCAS, ETC WANG Musik av Enrique Granados Xiayin Wang, piano Chandos CHAN 10995 Betyg: 3 SÉMÉLÉ Opera av Marin Marais Le Concert Spirituel Hervé Niquet, dirigent Glossa GCD 921631 Betyg: 5 Veckans toppnotering och en totalfemma! Musikrevyn möter Olga Neuwirth: "Musik är komprimerad tid" Möt den österriska konstmusikens enfant terrible - tonsättaren Olga Neuwirth, aktuell med en skrivmaskinsknattrande flöjtkonsert. Nästa år blir Olga Neuwirths "Orlando" den första nyskrivna operan av en kvinnlig tonsättare som får premiär på statsoperan i Wien. För Sofia Nyblom berättar hon om sin samling mekaniska leksaker och varför hon gråter av döende robotar.   Referensen: Goyescas då och nu  Den som hör "Flickan och näktergalen" i Granados pianosvit "Goyescas" från 1911 förstår varifrån inspirationen till det gamla mexikanska örhänget "Besame Mucho" hämtats. Men hur står sig pianisten Xian Wangs aktuella version av "Goyescas" i jämförelse med Alicia de Larrochas klassiska inspelning från 1976? Vi jämför. Magnus bästa: Gottfried von Einem Magnus Lindman påminner om den orättvist bortglömde österrikiske tonsättaren Gottfried von Einem. Nu kommer en skiva med tre verk av von Einem med Wienerfilharmonikerna under ledning av Franz Welser-Möst, bland annat den stora kantaten Stundenlied från 1958.

Growing up in upstate New York, it wasn't a surprise that Claron McFadden wanted to be a singer - she was immersed in gospel music at church, soul and pop at home. That she aspired to be a classical soprano was, as she describes it, no choice at all. Her voice led her there. Having lived in Amsterdam for over thirty years - a place she instantly recognised as home - she now inhabits a space somewhere between America and Europe, just as her voice is at home in music across stylistic boundaries and eras. With hard-edged modern music by Brian Ferneyhough, an elegant aria by Rameau, Gershwin's Summertime, a jazz arrangement of Bach and even a visceral performance of Erwin Schulhoff's Sonata Erotica, Claron talks with Alan Hall about the life she's shared with her voice. Produced by Alan Hall A Falling Tree production for BBC Radio 4.

It was composer pitted against composer: uptown vs. downtown, tonal vs. atonal, left brain vs right brain, and these musicians were NOT pulling any punches. Composers were antagonizing each other, questioning each other's validity, and bad-mouthing one another; it was like the second half of the 20th century was when Western Music went through middle school, and it was brutal! “If you weren't being a constructivist composer, if the music wasn't indeed about its own structure, and its own structure wasn't complicated, then you were a pariah, you were rejected. You didn’t get tenure. You didn’t get a job.” That’s Robert Sirota - Nadia’s Dad - one of many composers who came of age in the midst of this feud and struggled - for years - to find a voice. On this episode of Meet the Composer, we unravel one of the most contentious periods in classical music’s history. How did this fight begin? How did it play out? Who were the contenders?  We hear from composers on both sides of this battle, and discover how, on all ends of the aesthetic spectrum, we can find value in differences.   Heard a piece of music you loved? Discover it here! 0:00—The Yorks: Love Without Reason, written by Barry Flicker2:14—Robert Sirota: Pange Lingua Sonata | Buy 3:30—Robert Sirota: Pange Lingua Sonata | Buy 5:23—Philip Glass: Music in Twelve Parts | Listen 6:31—Ruth Crawford Seeger: Study in Mixed Accents | Listen 7:08—David Lang: orpheus over and under | Listen 8:53—Richard Wagner: Overture from Tristan und Isolde | Listen 9:36—Julia Ward Howe: Battle Hymn of the Republic | Watch 11:27—Arnold Schoenberg: Klavierstüke, Op. 33 | Listen12:04—Pierre Boulez: Piano Sonata No. 2 | Listen  13:05—Pierre Boulez: Sur Incises | Listen 13:47—Lewis Nielsen: Oerknal! "...the crisis of conscience..." | Listen 14:50—Charles Wuorinen: Two Part Symphony | Listen 15:57—David Lang: the so-called laws of nature: part III | Listen 17:59—Jr. Walker and the All-Stars: Shotgun | Listen 18:47—Bob Dylan: Maggie's Farm | Buy 19:09—Elliott Carter: String Quartet No. 2 | Listen 19:45—Steve Reich: Violin Phase | Listen 21:05—Elliott Carter: String Quartet No. 2 | Listen 21:16—Charles Wuorinen: Second Piano Quintet | Listen 22:10—John Adams: Phrygian Gates | Listen 23:31—John Adams: Death of Klinghoffer | Listen 24:08—David Lang: child, II. sweet air | Listen 25:21—David Lang: almost all the time | Listen 28:53—Brian Ferneyhough: La chute d'Icare | Listen 30:58—Brian Ferneyhough: no time (at all) | Listen 32:09—Brian Ferneyhough: Superscriptio | Listen 33:36—J.S. Bach: Invention No. 15 in B minor | Listen 34:26—J.S. Bach: Mass in B minor, "Crucifixus" | Listen 38:49—David Lang: breathless | Listen 

Werke von Wolfgang Rihm, Hans Abrahamsen, Toshio Hosokawa, Brian Ferneyhough, Brice Pauset, Mark Andre, Marco Stroppa, Liza Lim, Harrison Birtwistle, Hilda Paredes, James Clarke, Georg Friedrich Haas, Uri Caine und Johannes Maria Staud

March 11, 2016. An interview with composer Brian Ferneyhough and conductor James Baker about the composer's Library of Congress commission, "Contraccolpi," which was premiered by the Talea Ensemble in the Coolidge Auditorium on March 11, 2016. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7397

In this episode Lucy and Jono discuss Alvin Lucier’s I am sitting in a room. They also cover Lucy’s musical origin story, otter hostage situations and Brian Ferneyhough’s tweets.

This week, we bring you an interview with Indiana University double bass professor Kurt Muroki. Kurt is an outstanding performer, teacher, and artist, and we had a great conversation about teaching, learning, and performing. Enjoy! About Kurt Muroki: Former Artist Member with the Chamber Music Society of Lincoln Center, Professor Kurt Muroki began his musical studies on the violin at the age of six and subsequently performed concerti with the Honolulu Symphony and the Maui Symphony. Mr. Muroki went on to study the Double bass at the age of 13 and entered the Juilliard School of Music at 17 studying with his teacher / mentor Homer R. Mensch.   At the age of 21 Kurt began performing with the internationally renowned Sejong Soloists under ICM Management. Kurt has performed with the The Jupiter Chamber Players, Speculum Musicae, “Great Performers” series at Lincoln Center, Ensemble Sospeso, Sequitur, The Metropolitan Opera Orchestra, Brooklyn Philharmonic, American Composers Orchestra, Tokyo Opera Nomori, New York City Ballet, 92nd St. Y, and Bargemusic. Festivals include Marlboro Music Festival, Festival L’Autonne at IRCAM, and Aspen Music Festival to name a few. Kurt is also active playing movies, commercials, popular, and classical recordings with titles including the Oscar winning film “The Departed”, “Extremely Loud and Incredibly Close”, “Hitch”, “Julie and Julia”, “The Manchurian Candidate”, “Roger Daltrey Sings Pete Townshend” – The Who, Sting, Peter Gabriel, and Itzhak Perlman.   Mr. Muroki has won numerous competitions including 1st prize in the Aspen Music Festival double bass competition, the first bassist to win the New World Symphony concerto competition, and the Honolulu Symphony Young Artists competition. He has collaborated with members of the Guarneri, Juilliard, Tokyo, Orion quartets, Ensemble Wein-Berlin, Jaime Laredo, Lynn Harrell, Maurice Bourgue, Toru Takemitsu, Peter Schickele, John Zorn, and Brian Ferneyhough among others, and has performed concerto tours throughout Asia and the United States. Professor Muroki is currently tenured faculty at the Jacobs School of Music at Indiana University, Artist/Lecturer at Stony Brook University, Distinguished Artist at the McDuffie Center for Strings at Mercer University, faculty/Director of the Kaplan Fellowship program at the Bowdoin International Music Festival, teaches at New York String Orchestra Seminar, and has been a judge at the Yale Gordon Competition at Peabody Conservatory, ASTA, and others. Mr Muroki is a past Board Member of the International Society of Bassists and is a D’Addario Strings Artist.

Institute of Musical Research Brian Ferneyhough in conversation with Christopher Redgate [COMPOSER] Brian Ferneyhough The distinguished composer Brian Ferneyhough talks with the oboist Christopher Redgate about the composition of Schatten aud ...

Institute of Musical Research Neil Heyde and Paul Archbold perform Brian Ferneyhough’s seminal work of 1973-6 for cello and live electronics [COMPOSER] Brian Ferneyhough [PERFORMERS] Neil Heyde (cello), Paul Archbold (electronics) With tha...

Institute of Musical Research A documentary by Neil Heyde, Paul Archbold and Colin Still investigating Brian Ferneyhough’s seminal work of 1973-6 'Time and Motion Study II' for cello and live electronics [COMPOSER] Brian Ferneyhough [PERFORME...

Institute of Musical Research Brian Ferneyhough talks with Robert Worby at the Huddersfield Contemporary Music Festival, November 2013 Supported by Institute of Musical Research, Huddersfield Contemporary Music Festival Executive Producer: Pau...

Institute of Musical Research Prof. Brian Ferneyhough is S T Lee Visiting Professorial Fellow at the School of Advanced Study, University of London in November 2013 & Christopher Redgate Brian Ferneyhough discusses the title of his new work Schat...

Institute of Musical Research Prof. Brian Ferneyhough is S T Lee Visiting Professorial Fellow at the School of Advanced Study, University of London in November 2013 & Christopher Redgate Brian Ferneyhough discusses the use of microtones in his ne...

Institute of Musical Research Prof. Brian Ferneyhough is S T Lee Visiting Professorial Fellow at the School of Advanced Study, University of London in November 2013 & Christopher Redgate Brian Ferneyhough discusses the use of multiphonics in his ...

Percussionist Steven Schick recalls how a chance meeting with Brian Ferneyhough led to the commission of Bone Alphabet, the composer's only piece for non-pitched instruments; and writer Paul Griffiths describes the work's physicality and rhythmic complexity.

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

A documentary following the Arditti Quartet in rehearsal with Brian Ferneyhough

Brian Ferneyhough discusses the 6th string quartet.

Irvine Arditti discusses the string quartets of Brian Ferneyhough

Greetings! Funny how the "real world" (i.e. dazzling the world as a census taker) has a way of getting in the way of important stuff, like posting the next installment of "Pushing The Envelope"  Well...here it is, with more catch up episodes to come.  Enjoy! Note:  Due to a minor technical glitch, all the music is in place, but mysteriously, I do not reappear after the second set to back announce the set, so please refer to the playlist for info on all the music played. Pushing The Envelope Playlist 4-29-2010 Nightwatching - cello & voice: Theresa Wong - Earthmusic: 10 Years of Meridian Music: Composers In Performance - Innova (2010) http://www.theresawong.org/ or http://www.innovarecordings.com/artist1.asp?skuID=384 Music for Alpha Waves, Assorted Percussion, & Automated Coded Relays - Alvin Lucier - Imaginary Landscapes: New Electronic Music (compilation) - elektra/nonesuch (1989) http://alucier.web.wesleyan.edu/index.html Terrain - composer: Brian Ferneyhough / violin: Irvine Arditti w/ ASKO Ensemble - Fourth String Quartet; Kurze Schatten II; Trittico per g.s.; Terrain - Disques Montaigne (2003) http://en.wikipedia.org/wiki/Brian_Ferneyhough Stumpside - Rasputina - Thanks For The Ether - Columbia (1996) http://www.myspace.com/rasputina The Well Oiled Mobius Strip - Random Touch - Through The Lens of the Other Dimension - Token-Boy Records (2010) http://www.randomtouch.com/releases_open.php?rid=12 End Credits (Long Version) - Michael Boddicker - The Adventures Of Buckaroo Banzai Across The 8th Dimension (1984) http://en.wikipedia.org/wiki/The_Adventures_of_Buckaroo_Banzai_Across_the_8th_Dimension#Soundtrack Good Intentions Paving Co. - Joanna Newsom - Have One On Me - Drag City (2010) http://pitchfork.com/reviews/albums/13960-have-one-on-me/ Bridges Burned - Paranoid Motives - Disruptive Potential - Paranoid Foundation (2010) http://paranoidfoundation.blogspot.com/2010/03/next-release-paranoid-motives-17th-may.html Head Count - ROVA & Nels Cline Singers - The Celestial Septet - New World Records (2010) http://www.newworldrecords.org/album.cgi?rm=view&album_id=83684 Interlude from "Orphee" (Act II, Scene 5) - Philip Glass - Symphony No. 2 - Nonesuch (1998) http://www.youtube.com/watch?v=UAmANnGkLzM Al Gharaniq II:}{:Fracture IV - Anti-Social Music - Fracture: The Music of Pat Muchmore - Innova (2010) http://www.antisocialmusic.org/default.html Trance - Steve Kuhn - Trance - ECM (1974) http://www.allaboutjazz.com/php/article.php?id=18807