Podcast appearances and mentions of dai fujikura

The latest in our recurring feature On the Radar features new music currently top of mind for hosts Austin Williams, Neve Jahn, Stephen Rawson and Matthew Dosland. Featuring music by Dakn, Kinan Abou-Afach, Laurie Anderson, Dai Fujikura and Peni Candra Rini.

Cello playing is at the center of Matthew Barley's career, while his musical world has virtually no geographical, social or stylistic boundaries. His passions include improvisation, education, multi-genre music-making, electronics, and pioneering community programs.Matthew is a world-renowned cellist who has performed in over 50 countries.Matthew's new music group, Between The Notes undertook over 60 creative community projects with young people and orchestra players around the world.Matthew has given premieres by Pascal Dusapin, Dai Fujikura, Detlev Glanert, Thomas Larcher, James MacMillan, Roxana Panufnik, and recently a concerto by Misha Mullov-Abbado with a cello part that is more than half improvised, at the London Jazz Festival for the BBC.His current project, Light Stories, is a new program for cello, electronics and visuals from Yeast Culture with much of the music written by him. He is also launching a new charity to run workshops using creative music and theatre to help university students with their mental health.

National Haiku Poetry Day is April 17 and we celebrate it early with a selection of music by composers inspired by this transcendent poetic tradition. Hosted and curated by Stephen Anthony Rawson and Seth Boustead. Music by Paul Chihara, Libby Larsen, Ursula Mamlok, Lisa Neher, James Falzone, Stephen Melillo, Dai Fujikura, John Cage, Toru Takemitsu

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

Der noch amtierende Wiener Festwochen-Intendant Christophe Slagmuylder ist live zu Gast bei Musikchefin Ursula Magnes, die sich in diesem Festwochen-Rubato ganz auf die Musikproduktionen der Festwochen fokussiert. Alban Bergs Oper Lulu in der ersten Opernregie von Marlene Monteiro Freitas, die Zusammenarbeit der beiden japanischen Künstler Dai Fujikura und Toshiko Okada, der Biennale Hit aus 2019, die Beach Opera Sun & Sea erstmals in Wien, Luigi Dallapiccolas Canti di Prigionia. Song of Shank über den Black-Mozart Thomas Wiggins sowie das Gastspiel Sibyl von William Kentridge.

Composers Hanna Tuulikki, Colin Riley and Dai Fujikura share their music and thoughts exploring the importance of place in music. How does the more-than-human manifest itself in the composers' music, and what does it mean to be composing music in times of the climate crisis?   From imitating birds to Japanese onomatopoeia, we listen to a song written for a stream in the Cairngorms, music that imitates the freedom and order of birds flying, and how can one make sense of climate grief through sound and movement. Join our CEO Susanna Eastburn MBE and festival director Fiona Robertson (Sound Scotland) for a unique insight into composing.    Our recommendation at the end is for In Place, a collection of songs by Colin Riley which you can explore fully at InPlaceProject.co.uk    In this episode, you listened to the following music and sounds:    Hanna Tuulikki  cloud-cuckoo-island (2016), a solo camera performance by Hanna Tuulikki  Metsänpeiton Alla (Under Forest Cover) (2021), an installation presented at the Helsinki Biennial 2021 exploring climate grief  Deer Dancer (2019), part of an installation presented at Edinburgh Art Festival 2019, the audio is now available on Bandcamp   Colin Riley  Litanies for the Furness Fells (2018), featuring words by Richard Skelton and Autumn Richardson; part of In Place, released by Squeaky Kate Music   Water over Stone (2018), featuring words by Nan Shepherd; part of In Place released by Squeaky Kate Music   Earth Voices: I. Luften (2021), commissioned by and premiered by Helsingborg Symphony Orchestra at Helsingborg Konserthus, Sweden conducted by Alfonso Scarano  Dai Fujikura  Secret Forest (2008), performed by Okeanos Ensemble and released on NMC recordings  Gliding Wings (2019), performed by Ensemble Nomad with Makoto Yoshida, Hideo Kikuchi (clarinets) and conducted by Norio Sato; released on Minabel records  This podcast was produced by Michael Umney (Resonance FM) and mixed by Chris Bartholomew, with the theme tune composed by Rob Bentall.   Our heartfelt thanks to the record labels, performers, composers and organisations who allowed us to include excerpts of these recordings on the podcast. 

Inspired by the forthcoming Soundstate festival, Harriet Fitch Little is joined by Southbank Centre's Music Director, Gillian Moore; Susanna Eastburn, CEO of Sound & Music; and Dai Fujikura, composer of contemporary classical music. They discuss the trouble with genres, how writing music will never be the same and why they don't use the word 'classical'.

Cremona Kvartetten fra Italien, der spiller på nogle af verdens fineste instrumenter, er på besøg i Diamanten i København. Puccini: Crisantemi. Debussy: Strygekvartet. Beethoven: Strygekvartet, opus 132. Cremona Kvartetten. (Sendt første gang direkte fra Diamanten 13. marts). Vært: Rie Koch. Ca. 21.30 Saxofonisten Anja Nedremo, der er debuteret fra Det Jyske Musikkonservatorium, spiller Dai Fujikura og William Albright. www.dr.dk/p2koncerten

Violinist/violist Miranda Cuckson describes her path to experimentation through the music of Bach, Xenakis, Elliott Carter, and Dai Fujikura and the visceral sounds of microtonality before exploring the intricate and driving music of jazz pianist Vijay Iyer.

Sara Mohr-Pietsch talks to composer Dai Fujikura in his studio, which he shares with the visual artist Tomoya Yamaguchi in a converted East London fire station. Dai tells Sara what makes it an uniquely creative space, how he draws inspiration from Yamaguchi's paintings, and about music as multi-sensory experience.

Mahler's legacy, vision and philosophy, and his influence on subsequent composers.Concert: Mahler arr. Klaus Simon, Symphony No.4 - Bedächtig, nicht eilen and Ruhevoll; Mark Anthony Turnage, Grazioso! for Piccolo, Bass Clarinet, Piano, Viola and Cello; Henryk Górecki, Valentines Piece for Solo Flute and Bell; Dai Fujikura, Eternal Escape for Solo Cello.