Podcasts about different trains

Composer Steve Reich is one of the most influential musicians of modern times. In the 1960s he helped rewrite the rules of composition, using analogue tape machines to experiment with rhythm, repetition and syncopation. As the godfather of musical minimalism, his influence on Philip Glass, David Bowie, Jonny Greenwood of Radiohead, and many other composers, has been enormous. Countless dance music producers also owe a debt to pieces including It's Gonna Rain, Drumming, Different Trains and Music for 18 Musicians. His music has been performed in concert halls all around the world, and his many awards include three Grammys, a Pulitzer Prize, the Polar Prize for Music and the Premium Imperiale. Steve Reich tells John Wilson how, at the age of 14, three very different recordings awoke his interest in music: Stravinsky's The Rite of Spring, Bach's 5th Brandenburg Concerto, and a piece of bebop jazz featuring saxophonist Charlie Parker, trumpeter Miles Davis and drummer Kenny Clarke. Inspired to start a jazz quintet of his own, Reich began to study percussion before enrolling in a music history course at Cornell University. It was here he discovered the music of Pérotin, the 12th century French composer associated with the Notre Dame school of polyphony in Paris. His beautiful sustained harmonies had a profound influence on Reich's own compositions, including Four Organs (1970) and Music for 18 Musicians (1976).Steve Reich also explains the significance of two books on his music; Studies in African Music by A.M.Jones and Music in Bali by Colin McPhee, both of which led to a greater understanding of music from parts of the world where music is passed down aurally rather than through notation.Producer: Edwina Pitman Additional recording: Laura Pellicer

Steve Reich, the great American contemporary composer, provided this program note about his work Different Trains: “The idea for the piece came from my childhood. When I was one year old my parents separated. My singer, song-writer mother moved to Los Angeles and my attorney father stayed in New York. Since they arranged divided custody, I travelled back and forth by train frequently between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While the trips were exciting and romantic at the time I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation.” Reich went about this piece in a completely innovative way: he recorded voices and then created the musical material for the piece out of the voices themselves, something that had never been done before. Therefore, the text and music material were integrated in a groundbreaking way, and the results are at times unbearably moving. This is a piece that has captured listeners attention in a way that is relatively rare for contemporary music, and it is a piece of immense power and depth. I have always been fascinated by this piece and have wanted to perform an orchestral version of it, but I never have been able to cover it on the show. That is, until AJ contributed enough to my fundraiser last year before the election to sponsor a piece, and he chose Reich's Different Trains. Today we'll talk a bit about Steve Reich generally for those of you unfamiliar with him, and then we'll tackle this remarkable and unique piece in all of its creativity and profound communication. Join us!

For 60 years, New York composer Steve Reich has been one of classical music's most celebrated revolutionaries. Pioneering minimalism in the 1960s, a musical style based on repetition and shifting rhythms, his strange experiments with cassette tape led to orchestral masterpieces – now performed around the world. His career has not only helped define the latest era of classical music, but had an enormous influence on pop, rock and electronica. He has helped shape 20th Century music in a way few can claim to match. To mark 60 years since his first major piece,1965's It's Gonna Rain, he takes Alastair Shuttleworth through the process and stories behind some of his greatest works, including Clapping Music, Different Trains and City Life. He also reflects on his legacy, his plans for the future and what, at the age of 88, still inspires him to compose

Matt and Ryder love The Brutalist! Corbin thinks it's fine. We talk about it! Topics: codings in the text, the question of a broad anti-oppression reading vs. a zionist one, and the life of an artist, which sucks ass.  Corbin reccomends TWO MOVIES currently in theaters. Ryder reccomends "Different Trains" by Steve Reich. Matt reccomends "Blueprinting" by the Aizuri Quartet. Next week's episode will be the beginning of a new series, DIGITAL FRONTIERS, a history of the early days of Digital Cinema. Our subject will be "The Celebration" by Thomas Vintenberg. Watch it here. 

Uno de los grandes pioneros del minimalismo, escucha a Bach y se forma en el jazz antes del descubrir el gamelán y la música africana. Experto en la exploración del ritmo y la métrica a través de una instrumentación mínima, se sirve de la cinta magnética para convertir el loop en recurso narrativo._____Has escuchadoDifferent Trains. 2. Europe: During the War (1988). Kronos Quartet. Elektra Nonesuch (1989)Drumming. Part I (1971). Steve Reich and Musicians. Elektra Nonesuch (1987)Four Organs (1970). Bang on a Can. Elektra Nonesuch (2000)Music for 18 Musicians (1976). Steve Reich and Musicians. Elektra Nonesuch (1978)Proverb (1995). Theatre of Voices; The Steve Reich Ensemble. Nonesuch (1996)_____Selección bibliográficaBODON-CLAIR, Jérôme, Le langage de Steve Reich. L'exemple de “Music for 18 musicians” (1976). Harmattan, 2008COHN, Richard, “Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music”. Perspectives of New Music, vol. 30, n.º 2 (1992), pp. 146-177*CUMMING, Naomi, “The Horrors of Identification: Reich's Different Trains”. Perspectives of New Music, vol. 35, n.º 1 (1997), pp. 129-152*FOX, Christopher, “Steve Reich's Different Trains”. Tempo, n.º 172 (1990), pp. 2-8*GOPINATH, Sumanth y Pwyll ap Siôn (eds.), Rethinking Reich. Oxford University Press, 2019HARTENBERGER, Russell, Performance Practice in the Music of Steve Reich. Cambridge University Press, 2016*HOEK, D. J., Steve Reich: A Bio-Bibliography. Greenwood, 2001JOHNSON, Timothy A., “Minimalism: Aesthetic, Style, or Technique?”. The Musical Quarterly, vol. 78, n.º 4 (1994), pp. 742-773*NYMAN, Michael, “Steve Reich”. The Musical Times, vol. 112, n.º 1537 (1971), pp. 229-231*PASTRE, Guillaume, Un art de la cohérence: “Different trains”, Steve Reich. L'Harmattan, 2018POTTER, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge University Press, 2002*REICH, Steve, Writings on Music 1965-2000. Editado por Paul Hillier. Oxford University Press, 2002*—, Conversations. Hanover Square Press, 2022ROEDER, John, “Beat-Class Modulation in Steve Reich's Music”. Music Theory Spectrum, vol. 25, n.º 2 (2003), pp. 275-304*SCHWARZ, David, “Listening Subjects: Semiotics, Psychoanalysis, and the Music of John Adams and Steve Reich”. Perspectives of New Music, vol. 31, n.º 2 (1993), pp. 24-56*SCHWARZ, K. Robert, “Steve Reich: Music as a Gradual Process: Part I”. Perspectives of New Music, vol. 19, n.º 1-2 (1980), pp. 373-392*—, “Steve Reich: Music as a Gradual Process Part II”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 225-286*   *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

Bajo el contexto inicial de las artes plásticas se produce de modo natural la traslación, o mejor la ampliación, al arte de la música. Como en otras artes, también en la creación musical se impone esa idea del ‘menos es más'. Aquí, más que de un estilo hablamos de una filosofía._____Has escuchadoThe Descending Moonshine Dervishes (1975) / Terry Riley. Kuckuck (1992)The Electric Harpsichord (1976) / Catherine Christer Hennix. Die Schachtel (2010)Music for 18 Musicians. Section IIIA (1976) / Steve Reich. Ensemble Links; Rémi Durupt, director. Kairos (2020)Strumming for harpsichord (1977) / Charlemagne Palestine. San Francisco Conservatory of Music. Sub Rosa (2010) Trio for strings (1958-2015) / La Monte Young. The Theatre of Eternal Music (Charles Curtis, violonchelo; Reynard Rott, violonchelo; Erik Carlson, violín y viola; Christopher Otto, violín y viola). Dia Art Foundation (2021)_____Selección bibliográficaBERNARD, Jonathan W., “Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music”. American Music, vol. 21, n.º 1 (2003), pp. 112-133*BOON, Marcus, “Catherine Christer Hennix, the Practice of Music and Modal Ontology”. En: Practical Aesthetics. Editado por Bernd Herzogenrath. Bloomsbury, 2021BOUTWELL, Brett, “Terry Jennings, the Lost Minimalist”. American Music, vol. 32, n.º 1 (2014), pp. 82-107*CARL, Robert, Terry Riley's In C. Oxford University Press, 2009COLE, Ross, “‘Sound Effects (O.K., Music)': Steve Reich and the Visual Arts in New York City, 1966-1968”. Twentieth-Century Music, vol. 11, n.º 2 (2014), pp. 217-244*CURESES, Marta, “Literatura y ciencia en la composición minimalista: hacia una teoría del azar controlado”. Actio nova: revista de teoría de la literatura y literatura comparada, n.º 3 (2019), pp. 424-455*EATON, Rebecca M. Doran, “Marking Minimalism: Minimal Music as a Sign of Machines and Mathematics in Multimedia”. Music and the Moving Image, vol. 7, n.º 1 (2014), pp. 3-23*ÉTIENNE, Yvan (ed.), Phill Niblock: Working Title. Les Presses du Réel Edition, 2012FINK, Robert, “(Post-)minimalism 1979-2000: The Search for a New Mainstream”. En: The Cambridge Companion to Twentieth-Century Music. Editado por Mervyn Cooke. Cambridge University Press, 2008*GANN, Kyle, “Reconstructing November”. American Music, vol. 28, n.º 4 (2010), pp. 481-491*GANN, Kyle y Keith Potter (eds.), The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2013IGES, José, “Grupos minimalistas españoles: música contemporánea”. Ritmo, vol. 53, n.º 532 (1983), pp. 35-37*JEAN-FRANCOIS, Isaac, “Julius Eastman: The Sonority of Blackness Otherwise”. Current Musicology, vol. 106 (2020), pp. 9-35*JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage. Zone, 2008*KOTZ, Liz, Words to Be Looked At: Language in 1960s Art. MIT Press, 2007LEVAUX, Christophe, We Have Always Been Minimalist: The Construction and Triumph of a Musical Style. University of California Press, 2020*LEVINE PACKER, Renée y Mary Jane Leach (eds.), Gay Guerrilla: Julius Eastman and His Music. University of Rochester Press, 2015MAY, Thomas (ed.), The John Adams Reader: Essential Writings on an American Composer. Amadeus, 2006MERTENS, Wim, American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Khan & Averill, 1983MOWERY, Janice, “Meredith Monk: Between the Cracks”. Perspectives of New Music, vol. 51, n.º 2 (2013), pp. 79-100*NACENTA, Lluís, “Minimalismes”. Catalunya música: revista musical catalana, n.º 311 (2010), pp. 12-13NICKELSON, Patrick, “Transcription, Recording, and Authority in ‘Classic' Minimalism”. Twentieth Century Music, vol. 14, n.º 3 (2018), pp. 361-289*POTTER, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge University Press, 2000*SCHWARZ, K. Robert, Minimalists. Phaidon, 1996STRICKLAND, Edward, Minimalism: Origins. Indiana University Press, 1991*TARUSKIN, Richard, “A Harmonious Avant-Garde? - Minimalism: Young, Riley, Reich, Glass; Their European Emulators”. En: Music in the Late Twentieth Century. Oxford University Press, 2009*TOOP, David, Océano de sonido: palabras en el éter, música ambient y mundos imaginarios. Traducción de Tadeo Lima. Caja Negra, 2016*WLODARSKI, Amy Lynn, “The Testimonial Aesthetics of Different Trains”. Journal of the American Musicology Society, vol. 63, n.º 1 (2010), pp. 99-142* *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

"I was intrigued by the snippets of speech and coffee machine noises - there's something very global and universal about them. I wanted to decontextualise them into a Glass / Reich kind of setting. "Koyaanisqatsi" crossed my mind, as did "Different Trains". Ebow was abused. Aside from electric guitar, all the other sounds are sampled or processed from the field recording." Prague workshop conversation reimagined by Alex Vald. Part of the Migration Sounds project, the world's first collection of the sounds of human migration.  For more information and to explore the project, see https://www.citiesandmemory.com/migration

"Different Trains" di Steve Reich - in collaborazione con: Conservatorio di Milano, Ass. Figli della Shoa, Comune di Milano, Memoriale della Shoa. a cura di Ira Rubini.

Tune in to hear Curt being incredibly hypocritical about the Giants and Commanders, Dos give an update on his hamstring and Hally run through the fortunes of every Wilson in the league.Oh, and they review every game from Week 2 so far. Cheers.Email podcast@outbackqb.comInsta outbackqb

Een nieuwe CD van het Dudok Quartet: What Remains, met het beroemde Different Trains van Steve Reich, het Vierde Strijkkwartet van Joey Roukens, en bewerkingen van Messiaen en van befaamde Renaissance-stukken. En de Doorgeef-CD... voor de tweede week op rij het debuut-album van het Ruisi Quartet. Maar ook: live-opname van een bijzonder werk van slagwerker Tatiana Koleva, met geluidstkunstenaar Ruben Kieftenbelt: Icicles and rays. Zonlicht door de ijspegels. En de Vioolsonate nr 3 van Grigory Frid door Isabelle van Keulen en Oliver Triendl, van de Hollandse Nieuwe. DGCD CD Big House (Pentatone PTC 5187 040) Joseph Haydn: Strijkkwartet nr 23 in f, opus 20 nr 5 - IV Finale. Fuga a due soggetti Ruisi Quartet 03'00” 23.09 CD Grigory Frid The Complete Works for Violin and Piano (Challenge Classics CC72953) Grigory Frid: Sonate voor viool en piano nr 3 opus 57 isabelle van Keulen; Oliver Triendl 13'41” 23.27 eigen opname (live @ Orgelpark 20230507) Tatiana Koleva: Icicles & Rays for overdubbed vibraphone and live electronics (2023) Tatiana Koleva - vibraphone, Ruben Kieftenbelt - live electronics 5'54” 23.35 CD Olivier Messiaen Fête Des Belles Eaux (ATMA Classique) Olivier Messiaen: Fête Des Belles Eaux - VI L'Eau Ensemble d'Ondes de Montréal 4'00” CD What remains (Rubicon RCD1110) Olivier Messiaen, arr. Dudok Quartet): Oraison Dudok Quartet 8'39” 23.50 CD Big House (Pentatone PTC 5187 040) Oliver Leith: The Big House - III Sunshine Choir Ruisi Quartet 6'02”

Composer Steve Reich on his influences, his reverence for the voices of Holocaust survivors in his piece “Different Trains,” and what music sounds like when you're considering your own mortality. Drag queen Priyanka (34:40) on being the first winner of Canada's Drag Race, her journey to drag and the advice she'd give to her 14-year-old self.

Cellist and composer Peter Gregson joins Jess from LA. They share some of their favourite tracks and new discoveries, including Steve Reich's Different Trains, a special recording of Schubert's String Quintet, Bach's Mass in B minor, and songs by Eva Cassidy and Bon Iver.

Between 1988 and 2010, Steve Reich composed three string quartets – Different Trains, Triple Quartet and WTC 9/11. Deutsche Grammophon now presents this trilogy of works for the first time on one album, in definitive new recordings from the Mivos Quartet. Hailed by The Chicago Reader as “one of America's most daring and ferocious new-music ensembles”, the Mivos players developed their interpretations of the three quartets – inspired by the music of speech, echoes of Bartók and the events of a day transformed by terror – in close collaboration with the composer. Track Listing:1 Reich: WTC 9/11: I. 9/11/01 03:382 WTC 9/11: II. 2010 (Pt. 1) 00:523 WTC 9/11: II. 2010 (Pt. 2) 05:144 WTC 9/11: II. 2010 (Pt. 3) 01:215 WTC 9/11: III. WTC 04:376 Triple Quartet: I. (Pt. 1) 02:417 Triple Quartet: I. (Pt. 2) 02:248 Triple Quartet: I. (Pt. 3) 02:059 Triple Quartet: II. 04:0510 Triple Quartet: III. 03:3211 Different Trains: I. America - Before the War (Pt. 1) 06:2212 Different Trains: I. America - Before the War (Pt. 2) 02:3713 Different Trains: II. Europe - During the War 02:2014 Different Trains: II. Europe - During the War (Pt. 1) 04:0915 Different Trains: II. Europe - During the War (Pt. 3) 01:0116 Different Trains: III. After the War (Pt. 1) 04:4517 Different Trains: III. After the War (Pt. 2) 02:3418 Different Trains: III. After the War (Pt. 3)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Tom explores Steve Reich's 1988 work Different Trains, its use of sampling and speech melodies, and its evocation of the Holocaust. Our witness is the author and journalist Jonathan Freedland. Producer: Ruth Thomson

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Steve Reich is a legendary composer who was one of the pioneers of minimalism. He was awarded the Pulitzer Prize for Music, and the New York Times called him “America's greatest living composer.” I had the incredible honor of getting to speak to Steve Reich about his piece Different Trains, written for string quartet and pre-recorded performance tape. It was first performed in 1988 by the Kronos Quartet, and they released a recording of it in 1989, which won the Grammy for Best Classical Contemporary Composition. Different Trains is a piece about World War II and the Holocaust. It's made up of three movements: America – Before the War, Europe – During the War, and After the War. For this episode, Steve Reich breaks down the first movement, which was inspired by his own childhood experiences. For more, visit songexploder.net/steve-reich

Steve Reich, ganador de la Medalla de Oro de la Academia Americana de las Artes y Letras, es considerado como uno mejores compositores estadounidenses vivos. Su obra Trenes diferentes para cuarteto de cuerda y cinta que se estreno un día como hoy hace 33 años, es una obra maestra del Siglo XX. El «New York Times» la consideró como «un trabajo de tan asombrosa originalidad que un gran descubrimiento parece la única descripción posible... posee un impacto emocional absolutamente horrendo». La grabación del Kronos Quartet de Different Trains consiguió el Premio Grammy a la «Mejor composición contemporánea clásica» en 1990. Está basada en recuerdos de niñez del compositor cuando viajaba en tren desde Nueva York a California en los años 40 y, en el mismo tiempo, en Europa, los trenes del Holocausto, viajaban hacia la muerte. La obra está compuesta en tres partes: I- América, antes de la guerra, II- Europa, durante la guerra, III- Después de la guerra, donde grabaciones de voces originales de los supervivientes de los campos exterminios están entremezcladas con los silbatos de trenes y de música pre-grabada usando así programas digitalizados, todo un hito en la historia de la música clásica. Hoy escucharemos un fragmento de la 3era parte: Después de la guerra, de manos del Grupo Instrumental Siglo XX.

We are The Weekly What's Up Podcast. Humanoids who criticize all forms of art we find among the filthy Earthlings' collection. Today we'll be tackling "Rain" by Rob Scallon, "Different Trains" by Steve Reich, and "Hair Love" by Matthew A. Cherry. Jayden will be unable to host this week, leaving that horrific task to William and Wesley, who actually end up carrying the day with the most calm and rational discussion The Weekly What's Up has ever seen. Not to worry! We'll be back to your regularly scheduled pandemonium next week. Email us at: contacttwwu@gmail.com Tweet at us at: twitter.com/thewhatsupcast Support us on Patreon to take equal blame for this podcast: patreon.com/theweeklywhatsup . . . Today's hosts: William - twitter.com/wilfricc Wesley - twitter.com/wesleythebuck . . . Theme music produced by SteampunkFireflies Productions: https://m.youtube.com/channel/UCOnAyYXocvFrAOy-kCU3QvA https://clockworkk1.bandcamp.com . . . Copyright © 2020 - Album cover art and podcast content by The Weekly What's Up - All rights reserved by the creator. Please seek permission before using this audio or video. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/twwu/message Support this podcast: https://anchor.fm/twwu/support

“There is a history of psychoanalysis and its relationship with political thought and even political action. There is clearly quite a strong historical tradition of a sort of rebelliousness on the part of psychoanalysis or at least a challenge to social mores, which I see as beginning right from the start and certainly as early as Freud’s 1908 paper on ‘Civilized’ Sexual Morality. He has the words ‘civilized’ in inverted commas because what he’s using psychoanalysis for there is to say something deeply hypocritical about the sexual mores of his day and that this is causing trouble.”   Description: Dr. Harvey Schwartz welcomes Professor Stephen Frosh. Stephen Frosh is a Professor in the Department of Psychosocial Studies (which he founded) at Birkbeck, University of London. He was Pro-Vice-Master of Birkbeck from 2003 to 2017, a senior management position in which he was responsible at various times for teaching and learning, research and internationalisation in the university. Stephen’s background is in academic and clinical psychology, and he was a consultant clinical psychologist at the Tavistock Clinic. He is a Fellow of the Academy of Social Sciences, Academic Associate at the British Psychoanalytical Society, a founding member of the Association of Psycho-social studies, and an Honorary Member of the Institute of Group Analysis.   As you will hear in today’s conversation Stephen is remarkably well versed in the psychoanalytic literature. We discuss Stephen´s contention that the “unconscious is barbaric,” that Freud’s famous fort-da observation may be meaningfully applied to the place of psychoanalysis in our culture and that Steven Reich’s musical piece “Different Trains” serves as a profound commentary on the witnessing of trauma.   Key takeaways: [9:15] Stephen explains the meaning of his quote “The unconscious of psychoanalysis is barbaric.” [12:30] Stephen shares his view on Freud as a democrat. [15:34] Stephen talks about the political tension that psychoanalysts went through in South America. [16:45] Stephen comments on the alliance between Blacks and Jews, who were both characterized by the colonials as barbaric. [19:16] The relationship between psychoanalysis and social movements. [20:05] Stephen talks about the structure of traditional Freudian psychoanalysis and how powerful it was for its time. [22:54] Freud’s aspiration was to bring into reason that which was unreasonable and could cause damage, not to destroy it but, on the contrary, to put it to good use. [24:22] Stephen talks about  fort-da as an example of how psychoanalysis works in relation to culture. [28:02] Stephen discusses how Freud talked about and experienced the human tendency of repeating disturbing and even traumatic events. [32:37] The repetition compulsion : Even when you think a piece of work is done it finds some way to come back. [34:20] Stephen talks about the question of witnessing. [36:05] The history of trauma. [38:15] Stephen shares the impact of being listened to but not heard on a victim of trauma. [42:12] Stephen shares his reflections on a particular piece of music as they relate to the meaning of witnessing and trauma that is included in his most recent book: Those who come after. [48:06] Stephen talks about himself and what brought him to the point where he is today. [53:55] Where we are today in regards to COVID according to Stephen.   Mentioned in this episode: IPA Off the Couch www.ipaoffthecouch.org    Recommended Readings: Frosh, S. (2019) Those who come after. London: Palgrave.   Frosh, S. (2020) Psychoanalysis as Decolonial Judaism. Psychoanalysis, Culture, and Society, 25(2), 174-193.   Frosh, S. (2018) Psychoanalysis, Politics, and Society: What Remains Radical in Psychoanalysis? In R. Gipps and M. Lacewing (eds) The Oxford Handbook of Philosophy and Psychoanalysis. Oxford: Oxford University Press.   Butler, J. (2020) The Force of Nonviolence. London: Verso.   Khanna, R. (2004) Dark Continents: Psychoanalysis and Colonialism. Durham: Duke University Press.   Zaretsky, E. (2015) Political Freud. New York: Columbia University Press.

This week we're delving into our archive looking back to October 2017, and 'Different Trains 1947'. This was a fascinating project which featured composer Jack Barnett from These New Puritans and producer Sandunes amongst other key performers and filmmakers.From the Archive sees us dig into our extensive contemporary and classical music and cinema podcast archive as we rediscover interviews and discussions with artists, with our long-standing producer and presenter, Ben Eshmade. Subscribe to Nothing Concrete on Acast, Spotify, iTunes or wherever you find your podcast.Show your support for the Barbican by making a donation and help inspire more people to discover and love the arts. https://www.barbican.org.uk/donate See acast.com/privacy for privacy and opt-out information.

Reading the introduction to the very fine book HHhH by Laurent Binet. I have a go of reading just two pages, after which I do speak about those two pages and what it leaves me thinking. I've started adding sounds and music to these Podcasts, in this episode I use a very small part of Steve Reich's amazing and brilliant Different Trains, Yidish WWII folk song and the sound of wartime trams from the BBC sounds library. ...and as always the very brief section of Living Too Late by The Fall is used.

Big things happened last week. Good stuff, bad stuff, really cool stuff. Jake updates you on his former recording engineer, Dalton. Also, space is pretty tight, too...or is it?Music recommendations are “Ambient 1: Music for Airports” by Brian Eno, and “Different Trains” & “Electric Counterpoint” by Steve Reich.Brian Enohttps://itunes.apple.com/us/artist/brian-eno/38124https://open.spotify.com/artist/7MSUfLeTdDEoZiJPDSBXgiSteve Reichhttps://itunes.apple.com/us/artist/steve-reich/1129568https://open.spotify.com/artist/1aVONoJ0EM97BB26etc1voWake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid

Big things happened last week. Good stuff, bad stuff, really cool stuff. Jake updates you on his former recording engineer, Dalton. Also, space is pretty tight, too...or is it?Music recommendations are “Ambient 1: Music for Airports” by Brian Eno, and “Different Trains” & “Electric Counterpoint” by Steve Reich.Brian Enohttps://itunes.apple.com/us/artist/brian-eno/38124https://open.spotify.com/artist/7MSUfLeTdDEoZiJPDSBXgiSteve Reichhttps://itunes.apple.com/us/artist/steve-reich/1129568https://open.spotify.com/artist/1aVONoJ0EM97BB26etc1voWake & Jake:https://artfinixstudios.com/artfinix-podcasts/https://artfinixstudios.com/education/https://www.facebook.com/ArtfinixPOD/https://www.instagram.com/artfinixpodcasts/https://www.instagram.com/wakeandjakepod/https://www.instagram.com/kennyg.g.allin/Music Composed by Jake FisherLogo by Baitul Javid

Parts: 1 - America - Before the War: 8:59 2 - Europe - During the War: 7:31 3 - After the War: 10:20

HYC 036 welcomes a guest mix from Mumbai native Sandunes. One of the leading figures in Indias electronic music scene and a key figure amongst the creative community Sandunes has been actively playing a pivotal role in helping to develop the music scene and help bring the artists to a wider audience. She is a talented pianist and keyboard player and was recently asked to open up for Bonobo as part of the acclaimed Manchester International Festival earlier this year. She is also working alongside Warp Records, Boileroom & Actress to bring to life the Different Trains 1947 project that takes place later this year to honour 70 years of Indian independence. For her mix she shines a light on a number of Indian electronic producers and it shows the diversity and talent coming out of the region, with tracks taking in soul, electronica, hip hop, beats and bass music. leading into this Jonny dub brings 20 minutes featuring a number of Indian artists and a couple of new UK flavours

The American composer Steve Reich will be celebrating his 80th birthday next week. As he prepares to attend a series of events around the UK to mark his eight decades, the influential pioneer of minimal music looks back over his career, including his compositions It's Gonna Rain, Drumming, Clapping Music, and Different Trains.Presenter John Wilson Producer Jerome Weatherald.

LPR Live, a new podcast showcasing music recorded live at Greenwich Village's Le Poisson Rouge, launches with a throwback to Steve Reich's seminal 1988 Different Trains for string quartet and tape, performed by the American Contemporary Music Ensemble (ACME). Steve Reich undoubtedly stands as one of America’s most influential composers. He also admits to being one of the most influenced musicians of his generation, combining the disparate sounds of jazz, African drumming, American experimentalism, and more. In Different Trains, written in 1988 and scored for string quartet and pre-recorded tape, Reich adds a deeply personal narrative to this melange of musical influence and creates one of his most affecting musical statements. This episode features performances by Caroline Shaw and Ben Russell, violinists; Nadia Sirota, violist; and Clarice Jensen, cellist, and interviews with Jensen, Shaw and Reich himself. The music was recorded on September 11, 2012; hear the complete show. Steve Reich’s Different Trains was featured on LPR Live by permission from Boosey & Hawkes. Visit Boosey on the web at www.boosey.com.

As part of the British music season on Radio 3, poets from across the UK reveal their favourite music. Sean O'Brien is a perfect choice for Private Passions because his poems capture the musical soundscapes of the north-east of England where he lives: the cries of gulls, the wash of the sea, the rumble of trains. In fact he's obsessed by trains, and for O'Brien, like many other poets, journeys by train are an inspiration and a form of meditation. So one of his choices is Steve Reich's hypnotic work Different Trains, in which the composer mixes fragments of train whistles and announcements. Sean O'Brien's other choices include Little Feat, Schubert, Vaughan Williams, Debussy's La Mer, and Prokofiev's film music for Eisenstein's Alexander Nevsky, a film he first saw when skiving off games as a 16-year-old. He used to be a drummer in a rock band and likes to listen to everything very loud, so Miles Davies is the perfect soundtrack to Sunday mornings ... Michael Berkeley's guest Sean O'Brien reveals his Private Passions.

Matthew Herbert, songwriter and electronic music producer, reflects on the continuing relevance of Steve Reich's seminal 1988 piece for string quartet and tape, where recorded speech leads the melodic lines to create a remarkable and evocative atmosphere. The feature includes commentary from the South Bank's Head of Contemporary Culture Gillian Moore, and we also hear the voice of the composer himself.

"Different Trains" tells the story of Steve Reich's childhood - his train trips between separated parents - and also the trains Jews were forced to take during the Holocaust.

"Different Trains" tells the story of Steve Reich's childhood - his train trips between separated parents - and also the trains Jews were forced to take during the Holocaust. The post The Borromeo String Quartet Meets Steve Reich! appeared first on ThoughtCast®.