Podcasts about Colin Currie

Today we welcome my dad, Colin Currie, back for his second appearance on the podcast and my partner, Yasmine, for her first!

Eddie Scally, Adrian Ronan and Mickey Walsh analyze Freshford's win and we hear from the management and players following their 3-15 to 0-13 victory against Easkey in the AIB All-Ireland Junior Hurling Club semi-final.As well as all that we've got Carlow hurlers Brian Treacy and Kevin McDonald and Na Fianna's Colin Currie on a great win over Loughrea in the All-Ireland semi -final.

Na Fianna have become just the second Dublin club to advance to an All Ireland Club Hurling final courtesy of a late rally that saw them beat Loughrea 0-17 to 0-16. Off The Ball's Jonathan Higgins was there for all of today's action, and afterwards he spoke with Na Fianna (and soon to be Dublin) manager Niall Ó Ceallacháin, their man of the match Colin Currie who scored 0-10 today, and finally the man who scored the winning point - AJ Murphy.

Merriam-Webster's Word of the Day for July 18, 2024 is: tomfoolery • tahm-FOO-luh-ree • noun Tomfoolery is a word with an old-fashioned sound to it that refers to playful or silly behavior. // The antics in the play itself apparently inspired tomfoolery behind the scenes as well, as cast members constantly played practical jokes on one another. See the entry > Examples: “Children aged seven and older are invited to be part of some musical mischief with the BBC Concert Orchestra and star percussionist Colin Currie, not to mention the world premiere of the Beano Concerto for percussion and orchestra. Actors and animation will also play a part and there's plenty of audience participation too. Prepare for charming tomfoolery and the perfect first foray into classical music.” — Martha Alexander, The Evening Standard (London), 30 May 2023 Did you know? The word tomfoolery owes a debt to one Thome Fole, but just who that Mr. Fole was is unclear. A court jester identified as Thome Fole was employed at Durham Abbey in the 14th century, but the record is unclear about whether Thome Fole was the given name of this particular performer, or if the name was applied as a generic moniker to jesters. Regardless, Thome Fole eventually evolved into tomfool, which was in use as a noun referring to any notable fool by the early 17th century, and as an adjective describing such fools by the mid-18th century. Tomfoolery as a term for playful or foolish behavior didn't come into use until the early 19th century, but it's proven to be of far more use to English speakers than tomfool.

MÅNADENS DIKTARE (APRIL) UPPLÄSNING: Ewa Fröling ÖVERSÄTTNING: Kennet Klemets Lyssna på alla avsnitt i Sveriges Radio Play. När Agota Kristof 1956 lämnade Ungern med man och dotter blev hennes dikter kvar. Hon var 21 år gammal och började arbeta på en fabrik i Schweiz utan att kunna någon franska. Så småningom erövrade hon språket och började skriva pjäser. 1986 romandebuterade hon som franskspråkig författare med ”Den stora skrivboken”. Att den poesi hon skrev som ung gått förlorad var något hon alltid skulle sörja. I kapitlet ”Dikter” i självbiografin ”Analfabeten” (övers Marianne Tufvesson, Norstedts 2021) skildras hur hon som fjortonåring sattes på en internatskola, där eleverna måste tillbringa flera timmar varje eftermiddag i en tyst studiesal. Där börjar hon skriva dagbok om sina sorger på kodspråk. När hon på kvällarna gråter sig till sömns ”lösgör sig meningar ur nattens mörker”. Det är dessa som blir till dikter.Ganska tidigt under exilen försökte hon så gott hon kunde återskapa sina ungerska dikter ur minnet. Senare skrev hon också nya dikter på ungerska och några på franska. De maskinskrivna papperna lämnades in till nationalbibliotekets arkiv i Bern. Först några månader före sin död 2011 gav hon dem till sitt förlag och 2016 publicerades hennes dikter till sist på franska. I den nyutkomna svenska utgåvan ”Spikar”, i översättning av Kennet Klemets, konstaterar Kristoffer Leandoer i ett förord att dikterna både utgör författarskapets början och dess slut: ”Det här är vad hon arbetade med när hon dog: det här är vad hon arbetade med när hon föddes (som författare). Början och slutet, alfa och omega. Och mellan dem ett alfabet av spikar –”DIKT: ”Sommaren kommer” av Agota KristofDIKTSAMLING: Spikar (Ellerströms, 2024)MUSIK: Dave Maric: Lucid intervalsEXEKUTÖR: Håkan Hardenberger, trumpet och Colin Currie, slagverk

Last month, before Mr Bates vs The Post Office created a massive public outcry and elevated Fujitsu to nationwide notoriety as the company that allowed its software bugs to destroy the lives and reputations of hundreds of innocent subpostmasters, Andy Burnham and Manchester City Council leader Bev Craig were on a bullet train from Kyoto to Tokyo, on their way to pay Fujitsu a visit. The central achievement of the trip was secured at the global headquarters of Fujitsu in Tokyo, where a landmark deal was signed, a partnership that Burnham described as a “massive boost” for Greater Manchester. Now, Burnham faces questions about whether the partnership should go forward at all.Many thanks to The Hallé for sponsoring this week's episode. Manchester is globally renowned for its bands and its football teams, but we also have — in the words of The Times — “one of the world's best orchestras”. The Hallé have been entertaining Mancunian audiences for 165 years and they have a sensational calendar of concerts ready for this year, including a three-day celebration of the music of Steve Reich, a living legend from the world of contemporary classical music, on 1 Feburary. It will feature world-class artists like “daring percussionist” Colin Currie and Radiohead's Jonny Greenwood. Reich himself says the festival “promises to be a magnetically attractive event.” Book your tickets now. Hosted on Acast. See acast.com/privacy for more information.

It's nearly the end of 2023! What a year it's been. In our final episode of the year, Joshi, Mollie and Jack round up their favourite stories and take you behind-the-scenes of reporting some of our big investigations and feelgood features. Many thanks to the Hallé for sponsoring this week's episode. Manchester is globally renowned for its bands and its football teams, but we also have — in the words of The Times — “one of the world's best orchestras”. The Hallé have been entertaining Mancunian audiences for 165 years and they have a sensational calendar of concerts ready for 2024, including a three-day celebration of the music of Steve Reich, a living legend from the world of contemporary classical music. It will feature world-class artists like “daring percussionist” Colin Currie and Radiohead's Jonny Greenwood. Reich himself says the festival “promises to be a magnetically attractive event.” Book your tickets now. Hosted on Acast. See acast.com/privacy for more information.

SynopsisOn today's date in 2005, the Philadelphia Orchestra gave the premiere performance of a new Percussion Concerto by American composer Jenifer Higdon. The soloist was Colin Currie, a Scottish virtuoso for whom the work was tailor made.In program notes for her work, Higdon wrote, “When writing a concerto, I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to nonpitched smaller instruments like brake drums, wood blocks or Peking Opera gongs.“Not only does a percussionist have to perfect playing all these instruments, he must make decisions regarding the use of sticks and mallets ... not to mention the choreography. ... Where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized.”Higdon's new concerto proved popular with both audiences and the critics, and in 2010 the work won that year's Grammy for best classical contemporary composition.Music Played in Today's ProgramJennifer Higdon (b. 1962) Percussion Concerto; Colin Currie, percussion; London Philharmonic; Marin Alsop, cond. LPO CD 0035

Löökpillimängija Colin Currie salvestas oma lähimate muusikaliste sõpradega – Colin Currie Group ja Synergie Vocals – plaadile Steve Reichi ühe kuulsaima teose "Music for 18 Musicians".

MÅNADENS DIKTARE (AUGUSTI) UPPLÄSNING: Pontus Plænge Första rad: En ängel ”ett språk att / gripa med, hela / dagen ut”. Så inleds ”Besvärjelse”, den första dikten i Willy Granqvists debut från 1974, ”Kropparna och rummen”. Det språk han försöker besvärja fram här kan ses som en port in till hela det kommande författarskapet: ett sinnligt, sökande, sårbart, längtande, både glasklart och gåtfullt språk som griper tag i allt från vardagens bestyr, kroppens celler, museernas mosslik och stenarnas tidsdjup till kosmologiska och metafysiska perspektiv.Samma år som han debuterade som poet gjorde Granqvist hallåprov för Sveriges Radio och godkändes. De kommande åren skulle han vara verksam i många roller på radion och i en notis i diktsamlingen ”En ängel i vår tid” (1976) konstaterar han: ”För kanske första gången känner jag mig inlemmad i ett egentligt sammanhang, men ändå med friheten i behåll”. 1978 började han arbeta på kulturredaktionen, bland annat som producent för Dagens dikt. I antologin ”Dagens dikt” som han sammanställde 1981 skrev han i förordet: ”Poesin är ett pågående samtal som vi ständigt är inbjudna att ta del i”. Willy Granqvist gav ut sju diktsamlingar och två prosaböcker innan han 1985 själv avslutade sitt liv, endast 36 år gammal. Då fanns manuset till hans sista diktbok färdigt, den framforsande, både mörkt desperata och absurt humoristiska sömnlöshetsmonologen ”Natten”, som två år senare publicerades postumt. I förordet till en nyutgåva av ”Natten” (Nirstedt/litteratur, 2021) kallar Gabriel Itkes-Sznap boken ”en av de mest sällsamma i modern svenskspråkig poesi överhuvudtaget”. Willy Granqvists samlade skrifter utgavs i fyra volymer 2005-2010 på förlaget Lejd (redaktörer Magnus Ringgren och Krister Gustavsson).DIKT: Ur "En ängel i vår tid" av Willy GranqvistDIKTSAMLING: En ängel i vår tid (Wahlström & Widstrand, 1976). Hämtad ur Samlade skrifter I (Bokförlaget Lejd, 2005)MUSIK: Dave Maric: Tredje satsen ur Lucid intervalsEXEKUTÖR: Håkan Hardenberger, trumpet, Colin Currie, slagverk

Percussionist Colin Currie performs live in the Front Row studio. He discusses his new interpretation of one of minimalist composer Steve Reich's best known works, Music for 18 Musicians. 50 years on from the death of playwright Noel Coward, biographer Oliver Soden and theatre director Michael Longhurst look at his legacy and ask what he means to theatre audiences today, as a new production of Coward's Private Lives opens. Author Catherine Lacey on Biography of X, her genre redefining new novel about a mysterious artist, which includes fictionalised footnotes and references. Presenter: Shahidha Bari Producer: Julian May

亚航母公司Capital A在2023年3月8日宣布集团商业总裁科林（Colin Currie）将兼任亚航数码（airasia Digital）总执行长，担任双重职务以发展集团旗下数码业务的蓝图，包括子公司airasia Super App及旗下金融科技公司BigPay。随着 Capital A 强化数码业务，我们是否会很快看到一个更大的区域性超级应用程序 Super App？ 今日分析师：阮挺晋（TED Optimus 运营和财务主管） 主持人：Tommy责玮 & Kelly凯莉

This week on the podcast is part two of our interview with percussionist, Colin Currie, who composer Steve Reich describes as “one of the greatest musicians in the world today.” He has performed as a soloist with the world's leading orchestras including the London Philharmonic, New York Philharmonic and the Cleveland Orchestra. In addition to being a soloist, he's the founder of the Colin Currie group, the Colin Currie Quartet and Colin Currie Records. If you're interested in becoming a performing artist, you'll want to hear Colin's interview! We'll link to his site in the show notes so you can read more about him.Show Notes:

This week on the podcast is part one of our interview with percussionist, Colin Currie, who composer Steve Reich describes as “one of the greatest musicians in the world today.” He has performed as a soloist with the world's leading orchestras including the London Philharmonic, New York Philharmonic and the Cleveland Orchestra. In addition to being a soloist, he's the founder of the Colin Currie group, the Colin Currie Quartet and Colin Currie Records. If you're interested in becoming a performing artist, you'll want to hear Colin's interview! We'll link to his site in the show notes so you can read more about him.Show Notes: https://www.artsentrepreneurshippodcast.com/episodes/208-colin-currie-percussionist-pt-1-of-2

Colin, otherwise known as my old man was born on the Isle of Arran, has lived in the same house at Bridge Farm his whole life and has over the course of the last 60 years added to the farm on various occasions with his wife Laura. The farm is beef and sheep with about 630 ewes and 15 cattle. For his birthday Colin and Laura (maw and paw) have decided to visit every livestock market in mainland Scotland.

Synopsis The American composer Elliott Carter lived to be 103 and remained amazingly productive, publishing more than 40 works between ages 90 and 100, and over 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title received its first performance at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France. An earlier version of part of the new work, titled just “Conversations,” had been premiered in the UK the previous year. The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also all the time playing a kind of game with each other. I tried to put all that into my music … After the premiere of ‘Conversations' at the Aldeburgh Festival in June of 2011, [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) –“Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

It was an honor to host Dr. Jennifer Higdon earlier this year. Since her episode, she's continued composing, and presenting. In this show she discusses life as a composer, music she finds inspiration from, and what it was like to win one of the biggest awards for musicians.Jennifer Higdon, a Pulitzer Prize and three-time Grammy winner, is one of the most performed living American composers working today. She is the recent recipient of Northwestern University's Nemmers Prize and the UT Austin EM King Award. Previous honors include the Guggenheim, Koussevitzky, and Pew Fellowships, as well as two awards from the American Academy of Arts & Letters. Commissions have come from a wide range of performers: from the Philadelphia Orchestra and the Chicago Symphony, to The President's Own Marine Band; from the Tokyo String Quartet to Eighth Blackbird, as well as individual artists such as singer Thomas Hampson, violinist Hilary Hahn and pianist, Yuja Wang.  Her first opera on Charles Frazier's book, “Cold Mountain”, was commissioned by Santa Fe Opera, Opera Philadelphia, NC Opera, and Minnesota Opera, selling out all of its runs and winning the International Opera Award. She makes her living from commissions. Her works are recorded on over 70 CDs. The recording of her “Percussion Concerto” with Colin Currie and the London Philharmonic was recently inducted into The Library of Congress' National Recording Registry. Jennifer holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia.For more information about Dr. Jennifer Higdon, visit her official website here.Visit Creative Peacemeal Podcast on social media, browse podcast swag, and continue the creative conversations via the blog!Website https://tstakaishi.wixsite.com/musicInstagram @creative_peacemeal_podcastFacebook https://www.facebook.com/creativepeacemealpod/***To make a donation to Dachshund Rescue of Houston click here!As always, THANK YOU for listening and if you have a moment, share an episode with a friend, or leave a review on Apple by clicking here and scrolling to "Ratings and Reviews" Support the show (https://www.patreon.com/creativepeacemeal)

Carlos Rafael Rivera is a world-class award-winning film composer and guitarist, who just recently scored and was EMMY-nominated for the incredible Netflix Series, The Queen's Gambit! His music has been acclaimed by the Miami Herald, the San Francisco Examiner, and the LA Times, helping establish him as a composer with the unique ability of incorporating a large diversity of musical influences into his captivating compositions, which reflect his multi-cultural upbringing in Central America and the United States. He has recorded studio sessions for Island/Def Jam, and Universal Records; and had songs featured on NETFLIX' FIREFLY LANE, ABC's SCRUBS, MTV, and VH-1. His work for the performing arts has been featured by some of the most prominent ensembles and soloists, including Arturo Sandoval, Colin Currie, Chanticleer, Cavatina Duo, the Chicago Sinfonietta, the American Composers Orchestra, and the Los Angeles Guitar Quartet; commissioned by the Simon Bolivar Youth Symphony and the American Wind Symphony; recorded by Varêse-Sarabande, BMG, Warner, Sony, Naxos, and Cedille labels; and awarded by the Herb Alpert Foundation, the Guitar Foundation of America, BMI, and twice by ASCAP. He has served as Composer-in-Residence with the Miami Symphony Orchestra, and was a musical consultant for “Invitation to World Literature,” an educational series funded by the Annenberg Foundation and produced by WGBH. He is a voting member of the Television Academy (EMMY's), the Recording Academy (GRAMMY's), the Society of Composers and Lyricists (SCL), and is a sought out guest composer and lecturer throughout the globe.https://carlosrafaelrivera.com/https://www.imdb.com/name/nm2292589/https://www.instagram.com/composer313/?hl=en@thecareermusician@nomadsplace

Carlos Rafael Rivera is a world-class award-winning film composer and guitarist, who just recently scored and was EMMY-nominated for the incredible Netflix Series, The Queen's Gambit! His music has been acclaimed by the Miami Herald, the San Francisco Examiner, and the LA Times, helping establish him as a composer with the unique ability of incorporating a large diversity of musical influences into his captivating compositions, which reflect his multi-cultural upbringing in Central America and the United States. He has recorded studio sessions for Island/Def Jam, and Universal Records; and had songs featured on NETFLIX' FIREFLY LANE, ABC's SCRUBS, MTV, and VH-1. His work for the performing arts has been featured by some of the most prominent ensembles and soloists, including Arturo Sandoval, Colin Currie, Chanticleer, Cavatina Duo, the Chicago Sinfonietta, the American Composers Orchestra, and the Los Angeles Guitar Quartet; commissioned by the Simon Bolivar Youth Symphony and the American Wind Symphony; recorded by Varêse-Sarabande, BMG, Warner, Sony, Naxos, and Cedille labels; and awarded by the Herb Alpert Foundation, the Guitar Foundation of America, BMI, and twice by ASCAP. He has served as Composer-in-Residence with the Miami Symphony Orchestra, and was a musical consultant for “Invitation to World Literature,” an educational series funded by the Annenberg Foundation and produced by WGBH. He is a voting member of the Television Academy (EMMY's), the Recording Academy (GRAMMY's), the Society of Composers and Lyricists (SCL), and is a sought out guest composer and lecturer throughout the globe. https://carlosrafaelrivera.com/ https://www.imdb.com/name/nm2292589/ https://www.instagram.com/composer313/?hl=en @thecareermusician @nomadsplace

«NOTEN & SCHLÜSSEL»  Konzerteinführungen aus Grafenegg, die Ohren öffnenTom Service über das Programm des Konzerts in Grafenegg am 18. Juli. InterpretenGrafenegg Academy OrchestraColin Currie, Schlagwerk ProgrammIGOR STRAWINSKIKonzert für Kammerorchester in Es «Dumbarton Oaks»HELEN GRIMEKonzert für Schlagwerk und OrchesterIGOR STRAWINSKI«Symphonies of Wind Instruments»BÉLA BARTÓKMusik für Saiteninstrumente, Schlagwerk und Celesta grafenegg.com/podcast

Synopsis The American composer Elliott Carter lived to be 103, completing more than 40 works between ages 90 and 100, and some 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title was premiered at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France.  An earlier version of part of the work, titled “Conversations,” had been premiered in the UK the previous year.  The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also playing a kind of game with each other. I tried to put all that into my music … After the [Aldeburgh] premiere of ‘Conversations,' [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) “Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

Synopsis The American composer Elliott Carter lived to be 103, completing more than 40 works between ages 90 and 100, and some 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title was premiered at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France.  An earlier version of part of the work, titled “Conversations,” had been premiered in the UK the previous year.  The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also playing a kind of game with each other. I tried to put all that into my music … After the [Aldeburgh] premiere of ‘Conversations,' [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) “Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

Honored to have Dr. Jennifer Higdon, a Pulitzer Prize and three-time Grammy winning composer on the show today! Tune in to hear the story of her musical beginnings, what it's like to win the Pulitzer, and what she was up to in 2020 (hint A TON OF COMPOSING), inspirations behind one of her most popular pieces, and more.Jennifer Higdon, a Pulizer Prize and three-time Grammy winner, is one of the most performed living American composers working today. She is the recent recipient of Northwestern University’s Nemmers Prize and the UT Austin EM King Award. Previous honors include the Guggenheim, Koussevitzky, and Pew Fellowships, as well as two awards from the American Academy of Arts & Letters. Commissions have come from a wide range of performers: from the Philadelphia Orchestra and the Chicago Symphony, to The President’s Own Marine Band; from the Tokyo String Quartet to Eighth Blackbird, as well as individual artists such as singer Thomas Hampson, violinist Hilary Hahn and pianist, Yuja Wang.  Her first opera on Charles Frazier’s book, “Cold Mountain”, was commissioned by Santa Fe Opera, Opera Philadelphia, NC Opera, and Minnesota Opera, selling out all of its runs and winning the International Opera Award. She makes her living from commissions. Her works are recorded on over 70 CDs. The recording of her “Percussion Concerto” with Colin Currie and the London Philharmonic was recently inducted into The Library of Congress’ National Recording Registry. Jennifer holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia.For more information about Dr. Jennifer Higdon, visit her official website here.To learn more about Dachshund Rescue of Houston, a nonprofit organization close to my heart, click here.Interested in ordering from Instacart but don't know where to start? Click the link below to get a special offer, and to support the show!As always, THANK YOU for listening and if you have a moment, share an episode with a friend, or leave a review on Apple by clicking here and scrolling to "Ratings and Reviews"Instacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

On today’s date in 2005, the Philadelphia Orchestra gave the premiere performance of a brand-new Percussion Concerto by the American composer Jenifer Higdon. The soloist was Colin Currie, a Scottish virtuoso for whom the work was tailor made. In program notes for her work, Higdon wrote, “When writing a concerto I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to non-pitched smaller instruments like brake drums, wood blocks, or Peking Opera gongs. “Not only does a percussionist have to perfect playing all these instruments, he must make decisions regarding the use of sticks and mallets ... not to mention the choreography ... where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized.” Higdon’s new concerto proved popular with both audiences and the critics, and in 2010 the work won that year’s Grammy Award for Best Classical Contemporary Composition.

On today’s date in 2005, the Philadelphia Orchestra gave the premiere performance of a brand-new Percussion Concerto by the American composer Jenifer Higdon. The soloist was Colin Currie, a Scottish virtuoso for whom the work was tailor made. In program notes for her work, Higdon wrote, “When writing a concerto I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to non-pitched smaller instruments like brake drums, wood blocks, or Peking Opera gongs. “Not only does a percussionist have to perfect playing all these instruments, he must make decisions regarding the use of sticks and mallets ... not to mention the choreography ... where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized.” Higdon’s new concerto proved popular with both audiences and the critics, and in 2010 the work won that year’s Grammy Award for Best Classical Contemporary Composition.

Percussionist Colin Currie talks to Alex about classical music by living composers. Colin and Alex discuss concertos by Simon Holt, Andrew Norman and Helen Grime – all written for and premiered by Colin himself. Subscribe to New Notes on Apple Podcasts, Spotify, or wherever you get your podcasts and you'll be the first to hear new episodes each week.

Katie Derham with Stefan Jackiw, Sam Lee, Curtis Stigers, Golda Schultz and Colin Currie

On 7 November 2014 the Dutch Radio Philharmonic Orchestra played the world premiere of Percussion Concerto No.2 that the Scottish composer James MacMillan had written at the request of percussionist Colin Currie. The first performance took place in AVROTROSVrijdagconcert on the occasion of the reopening of TivoliVredenburg Utrecht, and was broadcast live on the classical music station Radio 4. I shortly spoke with Currie and MacMillan; I had earlier interviewed the composer for a written article that you can read here. --- Send in a voice message: https://anchor.fm/thea-derks/message

Dikt: "Rymd" Diktsamling: Samlade dikter (Norstedts, 1995) Översättning: Göran Malmqvist Uppläsning: Harald Leander, Bei Dao inleder på kinesiska Kinesiska skolbarn lär sig sedvanemässigt inte bara rim och ramsor och visor, som också svenska barn gör. De lär sig också att citera utantill en uppsättning klassiska dikter, utvalda bland dem vars språk trots den poetiska tidsavgrunden är fullt möjliga att meningsfullt memorera. Från fjärran Tang och Song. Som Li Bai, som Du Fu. Av samtida poeter vet jag bara Bei Dao vars dikter emellanåt citeras med samma självklarhet, och då framförallt av människor ur den generation av unga utbildade| som under Kulturrevolutionen skickades ut för att "återutbildas" av bönderna på den kinesiska landsbygden. Vad Bei Daos dikter erbjöd sina samtida var möjligheten att för första gången hitta en gestaltning av individuell frihet och ovillkorad gemenskap som så länge hade silats bort genom de kulturideologiska direktiven. Och det var i lika hög grad den poetiska formen som det existentiella innehållet vilket gjorde det möjligt att skapa det poetiska uttryck som kunde omfatta en hel generation. Utan att vara förenklat regimkritiska rymde dikterna visionen av de politiska reformer som återstår att infria: den humanistiska realismen - Göran Sommardal MUSIK Dave Maric: Lucid intervals, del tre EXEKUTÖR Håkan Hardenberger, trumpet, Colin Currie, slagverk

'Colin Currie and Steve Reich. Live at Fondation Louis Vuitton' is the third album to be released on Colin Currie's own label and captures five performances, taken live, at a Steve Reich presentation in Paris. The music ranges from Clapping Music of 1972 to Pulse of 2015. James Jolly met up with Colin to talk about his long association with Reich's music, the approach needed to perform music of mathematical precision yet at the same surprising emotional weight, and performing Clapping Music with Reich himself.

This week we sat down with London-based percussionist Colin Currie!! Colin is a solo and chamber artist at the peak of his powers. Championing new music at the highest level, Colin is the soloist of choice for many of today’s foremost composers and he performs regularly with the world’s leading orchestras and conductors.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and Hello2:26 Commissions, premiers, and some great composers  9:02 Is there a literature need in percussion?  What is the next contribution composers should make? 11:33 Helen Grime Concerto?13:45 Ben: Jennifer Higdon  25:00 Any starting advice on the business side?  29:34 Milhaud Percussion Concerto33:53 How can a percussionist get past any reservations about being a soloist?  35:47 What are doing practice-wise to keep your chops up? 37:58 Diet on the road and staying healthy? 40:45 Your chamber ensemble projects?  46:30 Creating your own record label?  Colin Currie Records. 50:04 Your teaching?

Percussion master Colin Currie joins the team with tips for being your best self on stage.

You Were Never Really Here stars Joaquin Pheonix as a contract killer who uncovers a conspiracy while trying to save a kidnapped teen from a prostitution ring. The film is directed by Lynne Ramsay who made We Need to Talk About Kevin. Larushka Ivan-Zadeh reviews.What's the key to delivering a perfect performance as an award ceremony host? TV critic Emma Bullimore and Larushka Ivan-Zadeh review Jimmy Kimmel's efforts in last night's Oscars ceremony, as well as Joanna Lumley at the BAFTAs and Jack Whitehall at the Brits, and consider what makes the perfect host.Steve Reich says the pioneering percussion Colin Currie is 'one of the greatest musicians in the world'. Today Currie returns the compliment, launching his own record label with his recording of Reich's piece 'Drumming'. He talks to John Wilson about this and the recent developments in music for percussion.Artist Charlotte Salomon died aged 26 in Auschwitz, leaving behind an impressive collection of over 700 paintings called Life? or Theatre? Ahead of events on Salomon at Jewish Book Week, Griselda Pollock and Waldemar Januszczak discuss her life and work. Presenter: John Wilson Producer: Kate Bullivant.

Carlos Rafael Rivera is a commissioned and award winning composer whose career has spanned several genres of the music industry, including his original score for Universal Pictures' A WALK AMONG THE TOMBSTONES, starring Liam Neeson. A protégé of Randy Newman, Rivera is also a guitarist and has performed onstage as opening act for The Who at the Hollywood Bowl. His work for the performing arts has been featured by some of the most prominent ensembles and soloists, including: Arturo Sandoval, Colin Currie, the Chicago Sinfonietta, and the Los Angeles Guitar Quartet. He has also served as Composer-in-Residence with the Miami Symphony Orchestra. One of his most recent projects is for FOR the NETFLIX original series, GODLESS, directed by Scott Frank, produced by Steve Soderbergh, and starring Jeff Daniels and Michelle Dockery. This serie tells the story of a ruthless outlaw terrorizes the West in search of a former member of his gang, who's found a new life in a quiet town populated only by women.In this episode, Carlos Rivera talks about his 18 month journey in writing the score - writing some 4.5 hours of music for the series. He also shares about the evolution of some of the key musical moments, and just how he worked closely with the show's creative team and instrumentalists throughout which opened new doors for creativity to the composer.ANNOTATED TRACKS01:42 - Track - Godless SuiteOTHER TRACKS00:14 - Track - "Godless Theme"08:06 - Track - "Finale"SOUNDTRACKNo release information is available.MORE ABOUT THE COMPOSERYou can hear more music from Carlos Rafael Rivera at his official site. Or follow him on Twitter @composer313ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesStitcher RadioGoogle Play PodcastsRSS Feed

Highlights from the week, with A4 Brass, Colin Currie, James O'Donnell and Julie Fowlis.

This week my inspiration is Gratitude. I hope you all have a lovely holiday week and spend it doing what makes you happy.1. Crosby, Stils & Nash - Dark Star 2. R. Stevie More - I'm Only Sleeping 3. Holger Czukay - Persian Love 4. Andy Bey - Celestial Blues 5. Flo Morrisey and Matthew E. White - Look At What The Light Did Now 6. Gun Outfit - The 101 7. Fleetwood Mac - Earl Gray 8. Colin Currie & Sam Walton - Nagoya Marimbas (for two marimbas) 9. Michael White - The Blessing Song 10. Phil Ochs - When I'm Gone 11. Bert Jansch - Running From Home  

I programmet diskuterades Haydn-symfonier med Il Giardino Armonico, Alice Coote sjunger sångcykler av Mahler, Krystian Zimerman spelar Schubert samt sena verk av Elliott Carter. Johan möter Schwabe. I panelen Alexander Freudenthal, Evert van Berkel och Johanna Paulsson som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  GUSTAV MAHLER Sångcykler Alice Coote, mezzosopran Nederländska filharmonikerna Marc Albrecht, dirigent Pentatone PTC 5186 576 FRANZ SCHUBERT Pianosonater D 959 och D 960 Krystian Zimerman DG 479 7588 JOSEPH HAYDN DOMENICO CIMAROSA Il Distratto Symfonier nr 60, 70, 12 Il Maestro di Cappella Riccardo Novaro, baryton Il Giardino Armonico Giovanni Antonini, dirigent Alpha Classics ALPHA 674 ELLIOTT CARTER Late Works Pierre-Laurent Aimard, Colin Currie, Isabelle Faust, Jean-Guihen Queyras Birmingham Contemporary Music Group BBC symfoniorkester Oliver Knussen, dirigent Ondine ODE 1296-2 Johan möter Gabriel Schwabe Johan Korssell träffade den 29-årige cellisten på Stockholms-visit, ett samtal om sin alldeles färska CD där han är solist i Saint-Saëns cellokonserter. Schwabe spelar tillsammans med Malmö symfoniorkester under ledning av Marc Soustrot. Inspelningen är gjord på Naxos.  Referensen Schuberts Sonat D 960 Johan jämför med och refererar till Schuberts pianosonat nr 21 D 960 B-dur, med pianisten Wilhelm Kempff. Inspelad 1967 på DG. Andra i programmet nämnda eller rekommenderade inspelningar: Haydns symfonier i komplett utgivning (box med 32 CD) med The Academy Of Ancient Music, London, ledd av Christopher Hogwood på skivmärket Oiseau Lyre. Il Giardino Armonico ledd av Giovanni Antonini i Mozarts violinkonserter med Isabelle Faust som solist, inspelad på Harmonia Mundi. Mahlers sångcykler med mezzosopranen Christa Ludwig tillsammans med Philharmonia Orchestra i inspelningar ledda av Otto Klemperer och Adrian Boult på märket EMI samt med Berlins filharmoniker ledda av Herbert von Karajan på DG. Vidare rekommenderades Christa Ludwig ackompanjerad på piano av Leonard Bernstein på Sony; Janet Baker tillsammans Halléorkestern under John Barbirolli på EMI; Brigitte Fassbaender med Deutsche Sinfonieorchester ledda av Riccardo Chailly på Decca samt med barytonen Thomas Hampson ackompanjerad av Wiens filharmoniker dirigerade av Leonard Bernstein på DG. Schuberts pianosonater med Wilhelm Kempff på skivmärke DG (Referensen); Andreas Staier, hammarklaver, på Teldec; Alfred Brendel på Philips; Svjatoslav Richter på Music & Arts; Clara Haskil på Archipel; Artur Rubinstein på Philips samt med András Schiff på Decca. Nelson Freire spelar Bach på Decca. Arkadij Volodos spelar Brahms på Sony Classical. Elliott Carters klarinettkonsert med solisten Michael Collins och Londons Sinfonietta ledda av Oliver Knussen på DG. Elliott Carters orkestermusik med Londons Sinfonietta ledd av Oliver Knussen på Virgin Classics. Inget Svep denna vecka

Picks from across the week on In Tune. Sean Rafferty's guests include dancer Edward Watson, percussionist Colin Currie, violinist Alexandra Soumm, horn player Ben Goldscheider, and Kathleen Ferrier Award Winner Julien van Mellaerts. Plus music from the London Adventist Chorale as part of Radio 3's Breaking Free: Martin Luther's Revolution season.

We talk with percussionist Colin Currie, who discusses performing and recording Steve Reich’s seminal minimalist work Drumming. This week’s guest: Colin Currie Show notes: Steve Reich: Drumming (the original 1974 recording) Steve Reich’s Clapping Music app The score of Steve Reich’s Drumming Colin Currie Group Record Steve Reich’s Drumming Colin Currie Group at the Southbank Centre, London, May 5, 2017 Steve Reich: Tehillim & The Desert Music Steve Reich’s notes about Drumming: For one year, between the fall of 1970 and the fall of 1971, I worked on what turned out to be the longest piece I have ever composed. Drumming lasts from 55 to 75 minutes (depending on the number of repeats played) and is divided into four parts that are performed without pause. The first part is for four parts that are performed without pause. The first part is for four pairs of tuned bongo drums, stand-mounted and played with sticks; the second, for three marimbas played by nine players together with two women's voices; the third, or three glockenspiels played by four players together with whistling and piccolo; and the fourth section is for all these instruments and voices combined. While first player the drums during the process of composition, I found myself sometimes singing with them, using my voice to imitate the sounds they made. I began to understand that this might also be possible with the marimbas and glockenspiels as well. Thus the basic assumption about the voices in Drumming was that they would not sing words, but would precisely imitate the sound of the instruments. The women's voices sing patterns resulting from the combination of two or more marimbas playing the identical repeating pattern one of more quarter notes out of phase with each other. By exactly imitating the sound of the instruments, and by gradually fading the patterns in and out, the singers cause them to slowly rise to the surface of the music and then fade back into it, allowing the listener to hear these patterns, along with many others, actually sounding in the instruments. For the marimbas, the female voice was needed, using consonants like “b” and “d” with a more or less “u” (as in “you”) vowel sound. In the case of the glockenspiels, the extremely high range of the instrument precluded any use of the voice and necessitated whistling. Even this form of vocal production proved impossible when the instrument was played in its higher ranges, and this created the need for a more sophisticated form of whistle: the piccolo. In the last section of the piece these techniques are combined simultaneously with each imitating its particular instrument. The sections are joined together by the new instruments doubling the exact pattern of the instruments already playing. At the end of the drum section three drummers play the same pattern two quarter notes out of phase with each other. Three marimba players enter softly with the same pattern also played two quarter notes out of phase. The drummers gradually fade out so that the same rhythm and pitches are maintained with a gradual change of timbre. At the end of the marimba section, three marimbas played in their highest range are doubled by three glockenspiels in their lowest range so that the process of maintaining rhythm and pitch while gradually changing timbre is repeated. The sections are not set off from each other by changes in key, the traditional means of gaining extended length in Western music. Drumming shows that it is possible to keep going in the same key for quite a while if there are instead considerable rhythmic developments together with occasional, but complete, changes of timbre to supply variety. I am often asked what influence my visit of Africa in summer of 1970 had on Drumming. The answer is confirmation. It confirmed my intuition that acoustic instruments could be used to produce music that was genuinely richer in sound than that produced with electronic instruments, as well as confirming my natural inclination towards percussion (I became a drummer at the age of 14). The transition from glockenspiels to the last section of the piece, for all instruments and voices combined, is made by a new musical process I call build-up and reduction. Drumming begins with two drummers building up the basic rhythmic pattern of the entire piece from a single drum beat, played in a cycle of twelve beats with rests on all the other beats. Gradually additional drumbeats are substituted for the rests, one at a time, until the pattern is completed. The reduction process is simply the reverse where rests are gradually substituted for the beats, one at a time, until only a section leads to a build-up for the drums, marimbas, and glockenspiels simultaneously. There is, then, only one basic rhythmic pattern for all of Drumming. This pattern undergoes changes of phase position, pitch, and timbre, but all the performers play this pattern, or some part of it, throughout the entire piece. Our next tracks: Kirk: Terry Riley: In C Doug: Boston: Boston If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast. Special Guest: Colin Currie.

The dynamic percussionist Colin Currie is back onstage this weekend with the Oregon Symphony. Midway through his artist's residency, he's performed with the Symphony as well as in non-traditional spots around the region. Currie visited our studio to talk about the composers and works that shaped him, and what he hopes new commissions can bring to life.

Star Percussionist Colin Currie Plays Our Studio —The Oregon Symphony welcomes Colin Currie back to the stage Oct. 22–24. We talk with Curry about how he’s pushing the boundaries of contemporary classical music, as a soloist and through commissioning new works for percussion and orchestra. Then we give him an assortment of office goods (think recycling bin, bucket, vase, Dragon Boat oar) and ask him to play a tune.Bravo Youth Orchestra —Oregon Art Beat brings us this profile of the first Oregon program based on a world-famous Venezuelan method of music instruction. El Sistema is the program that has brought high-quality musical education to hundreds of thousands of kids in Venezuela. Bravo is replicating El Sistema in metro Portland’s underserved communities.Tin House Fiction Contest Plot Prompt #1 —Ready to grind out 500 words of flash fiction in Tin House’s Plotto: The Master Contest of All Plots? Without further ado, here is the first prompt:“Character A, proceeding about his business and caught in a crowd, is confronted suddenly by a strange person, character B, who thrusts a mysterious object, X, into his hand and, without a word, disappears.”How to Succeed on Broadway With Lake Oswego–Native Brisa Trinchero —What do the hit Broadway shows "Hamilton," "Matilda," "Hedwig and the Angry Itch," and "Pippin" have in common? Lake Oswego native Brisa Trinchero. After working her way up to running the Broadway Rose theater in Tigard by her mid-20s, she made the big jump to Broadway itself. Now she splits her time between Portland and New York, where she produces plays, runs a boutique publishing company, and is working on a ticketing start-up.State of Wonder’s Aaron Scott caught up with her during a recent trip to the Big Apple to talk the business they call show, including the hottest ticket on Broadway (#YayHamilton) and her involvement in the touring production of "Beautiful: The Carole King Musical."Beirut Wedding As A Model for Change —Local theater veterans Bobby Bermea and Jamie Rea talk about the company they founded to tell stories of women and people of color. Beirut Wedding World Theatre Project produces its first production Oct. 28–Nov. 10: Zayd Dorhn’s "Reborning” — a spooky-yet-sexy tale of a young doll maker who’s latest commission is pushing her over the edge.Between The World And Me: Artists Respond —A lot of northwest towns have community reading projects, but the University of Oregon is taking it one step further this year. Incoming undergrads were encouraged to read Ta-Nehisi Coates’ best-seller “Between The World And Me” — a meditation about being black in America. In tandem, the University’s Jordan Schnitzer Museum of Art is showing contemporary art that works in conversation with the book. Some real A-listers are represented: Kehinde Wiley, Theaster Gates, Kara Walker, and many others.Eastmoreland Controversy: Who Says It’s Historic? —Our columnist-in-residence Randy Gragg turns us on to an oddity of Oregon law that allows people to lobby for historic protections for whole areas, whether the people who live there want them or not. Catch is, once your house is designated historic, your abilities to change it become tightly restricted. The southeast Portland community of Eastmoreland has become the latest flashpoint for how this plays out. Woody Guthrie's Voyage through Oregon —In the spring of 1941, Woody Guthrie came to Portland to work on one of the most iconic public art projects of the West. The Bonneville Power Administration hired him to write songs for a movie about the virtues of dams, irrigated land and hydropower. Author Greg Vandy tells the story in his book, “26 Songs in 30 Days.”

Percussionist Colin Currie chats about working with Steve Reich and Mark-Anthony Turnage.

Denzel Washington talks about being an avenging angel in his new film, The Equalizer; we get a new perspective on John Constable thanks to a new exhibition at the Victoria & Albert Museum and there's existential angst courtesy of actor Mikel Murfi and playwright Edna Walsh, who's new play Ballyturk is at the National Theatre. We get a preview of the British Museum's new exhibition - Ming: 50 years that changed China; folk legend Joan Baez shares her worries about her voice after five decades of singing; top percussionist, Colin Currie, demonstrates how to use his own body as an instrument and best-selling author Kate Mosse tells her about her latest novel, The Taxidermist's Daughter.

The Riot Club, whose cast includes Max Irons and Jessica Brown Findlay, is a film based on Laura Wade's play Posh, about a fictional elite Oxford University male members club. Rachel Cooke reviews. John Wilson tours the 15th Century Ming treasures at the British Museum's new exhibition - Ming: 50 years that changed China. With curator Jessica Harrison-Hall. One of the world's top percussionists, Colin Currie, talks about becoming a human drum kit for the first night of Metal, Wood, Skin: his four month long festival at the Royal Festival Hall. And Viv Groskop on the return of ITV's Downton Abbey. Presenter John Wilson Producer Claire Bartleet.

The evolution of the solo percussionist has advanced dramatically over the last couple of decades and among the superstars of the hardware that can be struck and pounded or caressed and stroked is the flying Scotsman Colin Currie whose profile has steadily grown since becoming the first percussionist ever to reach the finals of the … [Read More]

As the Cabrillo Festival of Contemporary Music begins its 2010 season, we speak to two of this year's featured artists about their upcoming performances. Kevin Puts, best known for his composing, talks about the challenges of performing his own piano concerto "Night" for the first time. In part 2, percussion virtuoso Colin Currie describes his rendition of Jennifer Higdon's "Percussion Concerto." We listened to Colin's Grammy-winning performance of the concerto with the London Philharmonic as we discussed the piece.

To open our spring series of concerts, the Scottish Ensemble is re-united with the virtuosic percussionist Colin Currie

Meeting Colin Currie.