Podcasts about Ensemble InterContemporain

Hijo de un físico teórico y una profesora de literatura, procura con su música respuestas metafísicas a esas preguntas abismales. Especialmente dedicado al género dramático, con óperas y proyectos escénicos en su haber, utiliza conceptos relacionados con la ciencia, la biología molecular, la evolución de la vida y su origen._____Has escuchadoFrec. Resonance No. 2 (2013). Agustí Fernández, piano. Sirulita (2020)Hypermusic Prologue: A Projective Opera in Seven Planes (2009). Charlotte Ellett, soprano; James Bobby, barítono; Ensemble Intercontemporain; IRCAM-Centre Pompidou; Clement Power, director. Kairos (2010)L'Aube assaillie. II (2005). Åsa Akerberg, violonchelo; Eric Daubresse, electrónica. Kairos (2008)_____Selección bibliográficaBESADA, José Luis, Composition et modèles exogènes: application à la musique contemporaine espagnole. La métamodélisation chez Alberto Posadas (1967) et chez Hèctor Parra (1976). Tesis Doctoral, Université Paris 8, Vincennes-Saint-Denis, 2015LUMET, Jean-Pierre, “Gravitational Music. On My Collaboration with Hèctor Parra”. Contemporary Music Review. Spain beyond Spain: Contemporary Spanish Music in a Global Context. [Monográfico de José Luis Besada y Dan Albertson], n.º 38 (2019), pp. 193-205*Página oficial del compositor, consultada el 20 de junio de 2023: [Web]*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

Compositor y director de orquesta francés. Sus maestros, Olivier Messiaen y René Leibowitz, le introducen en la música contemporánea, que él enriquece en su faceta creativa y en la de intérprete. En 1970 funda el IRCAM (Institutde Recherche et Coordination Acoustique/Musique), que dirige hasta 1992._____Has escuchadoNotations IV. Rythmique (1945-1978). Wiener Philharmoniker; Claudio Abbado, director. Deutsche Grammophon (1990)Pli selon pli: portrait de Mallarmé. Don [du poème] (1957-1989). Christine Schäfer, soprano; Ensemble Intercontemporain; Pierre Boulez, director. Deutsche Grammophon (2002)Répons. Introduction (1981-1984). Ensemble Intercontemporain; Pierre Boulez, director. Deutsche Grammophon (1998)Rituel in memoriam Maderna (1975). BBC Symphony Orchestra; Pierre Boulez, director. Sony (1990)_____Selección bibliográficaÁGUILA, Jesús, Le Domaine musical: Pierre Boulez et vingt ans de création contemporaine. Fayard, 1992—,“Entrevista con Pierre Boulez, 1945-2006: ¿Es transmisible la experiencia del serialismo?”. Doce Notas Preliminares, n.º 17 (2006), pp. 10-29*ALBÈRA, Philippe, Pli selon pli de Pierre Boulez: entretien et études. Contrechamps, 2003*BOULEZ, Pierre, Penser la musique aujourd'hui. Gonthier, 1964*—, Hacia una estética musical. Monte Ávila, 1992*—, Puntos de referencia. Gedisa, 2008*—, Escritura del gesto: conversaciones con Cécile Gilly. Gedisa, 2012BOULEZ, Pierre y André Schaeffner, Correspondance: 1954-1970. Fayard, 1998CAMPBELL, Edward, Boulez Music and Philosophy. Cambridge University Press, 2014CAMPBELL, Edward y Peter O'Hagan (eds.), Pierre Boulez Studies. Cambridge University Press, 2016*COULT, Tom, “Pierre Boulez's Sur incises: Refraction, Crystallisation, and the Absent Idea(l)”. Tempo, vol. 67, n.º 264 (2013), pp. 2-21FERNÁNDEZ GUERRA, Jorge, Pierre Boulez. Círculo de Bellas Artes, 1985*GOLDMAN, Jonathan, “Boulez and the Spectralists between Descartes and Rameau: Who Said What about Whom?”. Perspectives of New Music, vol. 48, n.º 2 (2010), pp. 208-232*—, The Musical Language of Pierre Boulez: Writings and Compositions. Cambridge University Press, 2014GRIFFITHS, Paul, Boulez, Oxford Studies of Composers. Oxford University Press, 1978GULDBRANDSEN, Erling E. y Pierre Boulez, “Pierre Boulez in Interview, 1996 (I). Modernism, History, and Tradition”. Tempo, vol. 65, n.º 255 (2011), pp. 9-16*—, “Pierre Boulez in Interview, 1996 (II). Serialism Revisited”. Tempo, vol. 65, n.º 256 (2011), pp. 18-24*—, “Pierre Boulez in Interview, 1996 (III). Mallarmé, Musical Form, and Articulation”. Tempo, vol. 65, n.º 257 (2011), pp. 11-21*—, “Pierre Boulez in Interview, 1996 (IV). Some Broader Topics”. Tempo, vol. 65, n.º 258 (2011), pp. 37-43*JAMEUX, Dominique y Susan Bradshaw, Pierre Boulez. Harvard University Press, 1990KOBLYAKOV, Lev, Pierre Boulez: A World of Harmony. Routledge, 2010LELEU, Jean-Louis y Pascal Decroupet (eds.), Pierre Boulez: techniques d'écriture et enjeux esthétiques. Contrechamps, 2006MEÏMOUN, François, Entretien avec Pierre Boulez. La naissance d'un compositeur. Aedam Musicae, 2010—, La Construction du langage musical de Pierre Boulez: la première sonate pour piano. Aedam Musicae, 2019MERLIN, Christian, Pierre Boulez. Fayard, 2019NATTIEZ, Jean-Jacques, “De las artes plásticas a la música: Pierre Boulez, a la escucha de Paul Klee”. Bajo Palabra: Revista de Filosofía, época 2, n.º 7 (2012), pp. 117-128*O'HAGAN, Peter, “From Sketch to Score: A Facsimile Edition of Boulez's Le Marteau sans Maître”. Music & Letters, vol. 88, n.º 4 (2007), pp. 632-644*—, Pierre Boulez and the Piano: A Study in Style and Technique. Routledge, 2018PEYSER, Joan, To Boulez and Beyond. Scarecrow Press, 2008ROSEN, Charles, “La música para piano de Pierre Boulez”. Quodlibet: Revista de Especialización Musical, n.º 28 (2004), pp. 42-56*SALEM, Joseph Robert, Pierre Boulez: The Formative Years. University Press, 2023SAMUEL, Claude, Pierre Boulez. Éclats 2002. Mémoire du Livre, 2002WALTERS, David, “Artistic Orientations, Aesthetic Concepts, and the Limits of Explanation: An Interview with Pierre Boulez”. En: Contemporary Music: Theoretical and Philosophical Perspectives. Editado por Max Paddison e Irène Deliège. Ashgate, 2010*WILLIAMS, Alastair, “Répons, de Pierre Boulez ¿fantasmagoría o articulación de espacio?”. Quodlibet: Revista de Especialización Musical, n.º 26 (2003), pp. 51-68* *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

Pintscher is a well-known conductor and composer who previously led the renowned Parisian group Ensemble Intercontemporain. He replaces former music director Michael Stern at the helm of the Kansas City Symphony's orchestra.

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

Pierre Bleuse hat seine Mutter bereits vor seiner Geburt singen gehört Der Vater ist Komponist, der Bruder Cellist, die Schwester Pianistin - ein Musikhaushalt, wie er klingender nicht sein könnte. Pierre Bleuse wird zuerst Geiger und dann zieht es ihn zum Dirigieren.  Zur Dirigentenlegende Jorma Panula. Heute leitet Bleuse das auf neue Musik spezailisierte Ensemble Intercontemporain und das Sinfonieorchester im dänischen Odense. Mit lebenden KomponistInnen zu sprechen: das hilft. Aber auch mit den verstorbenen. Mit manchen von ihnen ist Bleuse sogar per Du. Ausserdem im Musikmagazin: (1'03) Ein zaghafter Vorausblick auf das zukünftige Menuhin Festival Gstaad mit dessen designiertem Leiter Daniel Hope  (11'57) Mit dem Geiger Augustin Hadelich quer durch die USA und mit dem Buchautor Björn Gottstein quer durch 80 Jahre Musikgeschichte, neueste Musikgeschichte  (32'46) Der Dirigent Pierre Bleuse im Kaffeegespräch  (49'50) Barbara Schirmer und die Bäume, ein neues Projekt der innovativen Hackbrettspielerin: "Baumsy" 

durée : 00:11:58 - Le Disque classique du jour du lundi 24 juin 2024 - Dans ce nouvel enregistrement, l'Ensemble intercontemporain et son nouveau directeur musical Pierre Bleuse rendent hommage à György Ligeti, dont on a célébré le centenaire de la naissance en 2023

French pianist Pierre-Laurent Aimard is widely known as an authority figure in contemporary music, and also for shedding new light on music of the past. His international concert career has already spanned several decades, with an enormous discography to boot, all of which he has carried out alongside a dedicated commitment to teaching. In 1973, at the age of 16, he won first prize in the Messiaen Competition, and three years later was invited by Pierre Boulez to be the first solo pianist of the Ensemble Intercontemporain. In addition to Boulez, he has collaborated very closely with leading composers like Kurtag, Birtwhistle, Ligeti, and Messiaen, having given countless world premieres over the course of his career.In this episode, Pierre-Laurent talks about his new recording of Schubert Ländler, what he learned from Ligeti and Messiaen, what we expect from performers as members of an audience, and why he's not actually *that* taken with the piano world.-------------------Buy Pierre-Laurent's new release, 'Schubert: Ländler' here-------------------Pierre-Laurent's links:WebsiteInstagramX (formerly Twitter)Facebook-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------This podcast is also available to listen to via The Violin Channel--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

Estilo musical surgido en Francia, en los 60, en torno a Gérard Grisey, Tristan Murail y Hugles Dufourt, adscritos al Ensemble l'Itinéraire. Se debe al descubrimiento de la naturaleza del timbre musical y la descomposición espectral del sonido musical en el origen de la percepción del timbre._____Has escuchadoL'esprit des dunes: pour ensemble et électronique (1994) / Tristan Murail. Ensemble Intercontemporain; David Robertson, director. Disques Adès (1996)Mémoire / Erosion: pour cor et ensemble instrumental (1976) / Tristan Murail. Alain Noël, trompa; Ensemble L'Itinéraire; Charles Bruck, dirección. Accord (2000)Partiels: pour 18 musiciens (1975) / Gérard Grisey. Ensemble Court-Circuit; Pierre-André Valade, dirección. Accord (1999)_____Selección bibliográficaANDERSON, Julian, “The Spectral Sounds of Magnus Lindberg. Julian Anderson Introduces One of Scandinavia's Leading Composers”. The Musical Times, vol. 133, n.º 1797 (1992), pp. 565-567*—, “In Harmony. Julian Anderson Introduces the Music and Ideas of Tristan Murail”. The Musical Times, vol. 134, n.º 1804 (1993), pp. 321-323*BERANGER, Sébastien, “Les Déterminations du timbre... des perméabilités de la musique spectrale au syncrétisme compositionnel”. Musurgia, vol. 18, n.º 3 (2011), pp. 29-37*BESADA, José Luis y Pedro Ordóñez Eslava, “¿Una historia de la música espectral española? Transferencias culturales transnacionales en el último cambio de siglo”. Acta Musicológica, vol. 91, n.º 2 (2019), pp. 168-189*CÉLESTIN, Deliège, Cinquante ans de modernité musicale: de Darmstadt à l'IRCAM: contribution historiographique à une musicologie critique. Mardaga, 2003*FÉRON, François-Xavier, “Sur les traces de la musique spectrale: analyse génétique des modèles compositionnels dans Périodes (1974) de Gérard Grisey”. Revue de Musicologie, vol. 96, n.º 2 (2010), pp. 411-443*GILMORE, Bob, “Spectral Techniques in Horatiu Radulescu's Second Piano Sonata”. Tempo, vol. 64, n.º 252 (2010), pp. 66-78*GOLDMAN, Jonathan, “Boulez and the Spectralists between Descartes and Rameau: Who Said What about Whom?”. Perspectives of New Music, vol. 48, n.º 2 (2010), pp. 208-232*HASEGAWA, Robert, “Gérard Grisey and The ‘Nature' of Harmony”. Music Analysis, vol. 28, n.º 2-3 (2009), pp. 349-371*HASELBÖCK, Lukas, “French Spectral Music in the Context of Contemporary Philosophy”. En: Perspectives de l'esthétique musicale: entre théorie et histoire. Editado por Alessandro Arbo. L'Harmattan, 2007*LAINSA DE TOMÁS, Eva, “Música espectral: la representación de la naturaleza del sonido y las técnicas de escritura contemporáneas”. En: La construcción de la ciencia: abstracción y visualización. Universidad del País Vasco, 1998PUGIN, Tristan, “Through the Spectrum: The New Intimacy in French Music (I)”. Tempo, n.º 212 (2000), pp. 12-20*—, “Through the Spectrum: The New Intimacy in French Music (II)”. Tempo, n.º 217 (2001), pp. 38-44*ROSE, François, “Introduction to the Pitch Organization of French Spectral Music”. Perspectives of New Music, vol. 34, n.º 2 (1996), pp. 6-39*SEDES, Anne, “Generaciones espectrales… porvenires…”. Docenotas Notas Preliminares: Música Contemporánea. Posiciones Actuales en España y Francia, n. º 1 (1997)*VILLAR, Carlos, “El tiempo en las músicas del siglo XX”. En: El tiempo en las músicas del siglo XX. Editado por Margarita Vega Rodríguez y Carlos Villar. Universidad de Valladolid, 2001VIVIANA, Moscovich, “French Spectral Music: An Introduction”. Tempo, n.º 200 (1997), pp. 21-27* *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

Formado por maestros como Boulez, Messiaen o Vaggione y establecido en Francia desde los 80, aborda desde su música la relación entre ciencia y arte. Su catálogo comprende obras para solistas, obras de cámara, mixtas, electrónicas o para formatos multimedia._____Has escuchadoAfrican Winds II: For Percussion Sextet (2005). Drumming; Miquel Bernat, percusión sola. Neu Records (2017)Concierto para piano y orquesta (2006). Alberto Rosado, piano; Deutsches Symphonie Orchester Berlin; Johannes Kalitzke, director. Kairos (2010)Lituus: per quartetto di ottoni e live electronics (1991). Cuarteto de metales del Ensemble InterContemporain. BMG-Ricordi, 1999Simog-Civitella: cuarteto de saxofones (2011). Sigma Project. Verso (2013)_____ Selección bibliográficaASENJO-MARRODÁN, María del Carmen, “La importancia del paradigma granular en la evolución de la música de José Manuel López López”. En: El análisis musical actual: marco teórico e interdisciplinariedad. Editado por Julia Esther García Manzano et al. Libargo editorial, 2021*BESADA, José Luis, “La prise de l'IRCAM? Spanish Composers Facing New Technologies”. Contemporary Music Review, vol. 38, n.º 1-2 (2019), pp. 206-224—, “José Manuel López López's Chart for Managing Tempi”. Journal of Mathematics & Music, vol. 16, n.º 2 (2022), pp. 236-238*CABRAL, Ismael G., “José Manuel López López”. Scherzo: Revista de Música, año 35, n.º 359 (2020), pp. 8-9*GASPAR GRANDAL, Jacobo, El compositor José Manuel López López. Planteamientos estéticos y estrategias compositivas de su obra. Tesis doctoral, Universidad de Oviedo, 2015—, José Manuel López López: de la música de notas a la música de partículas. Dos acordes, 2020*RONDELEUX, Luc, “José Manuel López López, Il tempo ritrovato”. Musica-Realtà, vol. 58 (1999), pp. 18-26 *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

A cool and funky wedding anniversary present - a 15 minute classic from the most famous composer alive, Stravinsky's Dumbarton Oaks is stylish, sophisticated and hugely enjoyable!  Listening time 23 mins (podcast 8', music 15')   Music here, played by the Ensemble InterContemporain conducted by Pierre Boulez, on Youtube, Spotify, and (links to the 1st movement) on Amazon and Apple Music. If you like to watch people playing, this video is also good. You can buy a hi quality download at Presto Music for a few quid.   What do you think? Tell me with a comment at www.cacophonyonline.com! I'd love to hear from you!     If you'd like to support Cacophony there are easy, great, ways:   – help with the costs of running it (and me) with a one-off contribution  or with a regular payment at ko-fi.com. https://ko-fi.com/cacophonyonline – share this episode with someone you know – share the 100 second trailer: http://cacophonyonline.com/trailer – subscribe/ review and keep listening!   More episodes at: www.cacophonyonline.com/     Thanks for listening!

SynopsisOn today's date in 1973, the Chamber Music Society of Lincoln Center premiered a new work by Pierre Boulez for solo flute and seven instruments, plus interaction with an electronic computer program, which generated sounds that reacted to (and interacted with) the solo flute. The piece was titled explosante-fixe, which translates as “exploding-fixed.”At the time, however, Boulez was frustrated by the still primitive computer technology. “You still had connections with wires and so on,” he recalled. “It was clumsy and unreliable.”Twenty years later, Boulez presented a new version of explosante-fixe, employing updated computer technology and midi-flute, controlled by a computer. This version was recorded, in effect “fixing the explosion.”Boulez once quoted with approval French dramatist Antonin Artaud, who described music as “collective hysteria and spells.” Yet Boulez carefully plotted out his compositions in obsessively meticulous detail.And, speaking of explosions, Boulez once suggested that as a radical break with the past, all opera houses should be blown up. Yet, as a conductor, Boulez was a devoted interpreter of some past composers, such as Debussy and Stravinsky — and, if you listen closely, echoes of their music can be heard in his own.Music Played in Today's ProgramPierre Boulez (1925-2016) explosante-fixe; Sophie Cherrier, solo midi flute; Ensemble Intercontemporain; Pierre Boulez, cond. DG 445 833

Es ist der Hunger auf das Neue, der ihn antreibt, grundiert von einer philanthropisch-heiteren Grundstimmung: Seit seinen ersten Erfahrungen als Schlagzeuger und Pauker im Orchester erweitert Peter Eötvös ständig seinen Horizont. Lange Jahre spielte Peter Eötvös in Stockhausens Ensemble, arbeitete im Studio für Elektronische Musik des WDR, wurde der musikalische Leiter des Ensemble InterContemporain, entwickelte sich zum international erfolgreichen Komponisten und zum ebenso erfolgreichen Dirigenten (ähnlich wie Pierre Boulez, der mit Aufführungen seiner eigenen Musik unzufrieden war und das lieber selbst besorgte). Jetzt ist Peter Eötvös 80. Als Geburtstagsgeschenk bekommt er ein Eötvös-Mosaik

SynopsisOn today's date in 1992, one of the strangest — and some would say most strikingly original — violin concertos of the late 20th century had its premiere performance in Cologne, Germany. It was written by Transylvanian-born Hungarian composer György Ligeti.Ligeti became famous in the West when some of his music appeared in the 1968 Stanley Kubrick film 2001: A Space Odyssey. Kubrick used Ligeti's music to evoke the eerie and empty vastness of outer space. And, in fact, Ligeti was fascinated by the sounds traditional orchestral instruments make when pressed to the extreme limits of their range — their own sonic “outer limits.” There's some of that in Ligeti's 1992 Violin Concerto, plus a dash of the traditionally melancholic Hungarian strain familiar from the music of Ligeti's famous compatriot Béla Bartók. Finally, tossed in for good measure, is Ligeti's puckish fondness for thumbing his nose at life, the universe and traditional concert hall decorum.As if to counterbalance his melancholic strain, or perhaps just express it in a more surprising way, there's a good deal of the clown in Ligeti, who includes a chorus of ocarinas in the score of his Violin Concerto.Music Played in Today's ProgramGyörgy Ligeti (1923-2006) Violin Concerto - Saschko Gavrilov, violin; Ensemble InterContemporain; Pierre Boulez, cond. DG 439 808

Australian conductor Paul Fitzsimon has been Chorus Master at Opera Australia since 2019, and has worked as repetituer and conductor with the company since 2012, most recently conducting performances of La Boheme and Don Giovanni at the Sydney Opera House. He was Assistant Conductor of the Melbourne Symphony Orchestra in 2008/09 and has conducted most of the symphony orchestras in Australia, and in Europe has conducted the Frankfurt Radio Symphony, Ensemble Intercontemporain in Paris, and the Hamburg Ballet at the Baden Baden Festival. Highlights in recent years include conducting the national tours of The Marriage of Figaro, The Magic Flute, and Madama Butterfly for Opera Australia, Dvorak's Symphony no. 7 with the Adelaide Symphony Orchestra, as well as a new production of Brian Howard's Metamorphosis for Opera Australia in 2018. Paul majored in piano performance at The University of Melbourne and later completed his orchestral conducting studies at the Universität der Künste in Berlin and through the Symphony Australia Conductor Development Program. He was the recipient of the Brian Stacey Award for Emerging Conductors in 2008.  The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Edgard Varèse is one of the most influential musicians of the twentieth century and was called  "The stratospheric Colossus of Sound."  He lived life with intensity and composed the same way.  Varèse lived most of his composing life in New York City and  made music out of the  compelling cacophony of NYC street noises: sirens,  firetrucks, river sounds, foghorns, and even skyscraper construction.Density 21.5 was composed in 1936 (and revised in 194) at the request of Georges Barrère to inaugurate his new platinum flute.  (21.5 is the density of platinum.) Density 21.5 breaks the stereotype of typical French music. This 4 minute-long  ground-breaking piece offers free tonality, an immense dynamic range,  surgically precise rhythms, steely and wispy colors, and it showcases Varèse's love for percussion. Varèse was more interested in the nature of sound rather than the aspect of melody.  Listen with curiosity to the sounds and enjoy the emotional ride.Music:Georg Philip Telemann, Fantaisie No. 12 for solo flute by Karen KevraEdgard Varèse -Poème électronique Kees Tazelaar, Edgard Varèse & Institute for Computer MusicJacques Offenbach - Barcarolle from Tale of Hoffman, Sir Neville MarinerFrédéric Chopin - Ballade #4, Opus 52, Alfred CortotErik Satie - Gymnopédie No. 1,  Philippe EntremontEdgard Varèse - Amériques, The Philadelphia OrchestraEdgard Varèse, Ionisation, The New York Philharmonic Orchestra, Pierre BoulezEdgard Varèse - Déserts, Choeurs de Radio France, Ensemble Intercontemporain, Pierre BoulezClaude Debussy - Syrinx, Karen KevraCécile Chaminade - Concertino, Karen KevraEdgard Varèse - Density 21.5, Karen KevraSupport the show

Greetings! Simple format this week.  One set of new things followed by a sampling of music procured during my seasonal winter 2023 visit to the Princeton Record Exchange in lovely Princeton, NJ.  A little over an hour and forty bucks later, Joel was a happy boy with 23 CDs in hand. Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1      3-18-23 PTE Playlist   Historic Western Ghost Town Engulfed in Fire (ft. Walter Thompson) - Astroturf Noise - Blazing/Freezing - 577 Records (2023) https://577records.bandcamp.com/album/blazing-freezing   Bedford Stop - Angelica Olsted - American - Sonder House (2023) https://angelicaolstad.bandcamp.com/album/american     Sonata in E Minor, Hob.XVI34 , Adagio - pianoforte: Boyd McDonald / composer: Joseph Haydn - Works by Joseph Haydn – Heretic Threads - Astrila Records (2023)   Sonata in E Minor, Hob.XVI34, Adagio - accordion: Joseph Petric / composer: Joseph Haydn - Works by Joseph Haydn – Heretic Threads - Astrila Records (2023)   Sintering - electronics/soundmanipulation: Peter Lutek / composer: Joseph Haydn - Works by Joseph Haydn – Heretic Threads - Astrila Records (2023)   Inhalant Survival Series pt​.​1: Drowning in the Bigot's Rivulet - c.soûle - A Certain Amount of Spillage (EP) - digital album (2023) https://wileysoule.bandcamp.com/album/a-certain-amount-of-spillage-ep-2    Study No. 10 - Conlon Nancarrow - Studies for Player Piano (Complete) - Other Minds (2008) https://othermindsrecords.bandcamp.com/album/studies-for-player-piano    In nomine lucis - organ: Christoph Maria Moosmann / composer: Giacinto Scelsi - annum per annum - New Albion (1995) http://www.newalbion.com/blog/-christoph-maria-moosmann-annum-per-annum    Le Cirque-Oh! / Ghost Dance / Portrait III - Fred Frith - middle of the moment - RecRec Music (1995) https://rermegacorp2022.bandcamp.com/album/middle-of-the-moment    Pinch - piano: Nathanael May / composer: Brian Hulse - Pseudosynthesis - Albany Records (2009) https://www.albanyrecords.com/mm5/merchant.mvc?Screen=PROD&Product_Code=TROY1094&Store_Code=AR&search=brian+hulse&offset=&filter_cat=&PowerSearch_Begin_Only=&sort=&range_low=&range_high=    Improvisation sur Mallarme II - soprano: Christine Schäfer / Ensemble Intercontemporain / composer: Pierre Boulez - Portait de Mallarmé- Deutsche Grammophon (2002) https://www.deutschegrammophon.com/en/catalogue/products/boulez-pli-selon-pli-schaefer-8981    Stratifications - solo soprano/alto saxophone / composer: Peter Epstein - Solus - MA Recordings (1998) https://www.unr.edu/music/people/peter-epstein   

"Reich/Richter" - der Titel ist Programm. Denn die neue CD mit dem Ensemble Intercontemporain bringt zwei prominente Künstler zusammen: Gerhard Richter, einen der profiliertesten und gefragtesten Maler der Gegenwart. Und Steve Reich, den Altmeister der Minimal Music. Die Kombination fuktioniert!

Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. On a number of occasions Zappa appeared in radio show slots, airing and generally discussing his favored music, or occasionally guesting on a 'club turntable', describing himself as a 'Fraudulent DJ'. In this episode, part one of a series of two, all the tracks in chronological order as selected by Zappa (with exception of most of his own tracks) for all his DJ appearances that have been documented, and that took place between 1968 and 1984. Lineup: Frank Zappa, The Mothers Of Invention, Ewan MacColl, The Hollywood Persuaders, Pierre Boulez, Hilary Summers, Ensemble Intercontemporain, The Dreamlovers, The Penguins, Charles Mingus, Frankie Lee Sims, Vernon Green & The Medallions, Richard Berry & The Dreamers, The Paragons, Big Moose, The Turbans, Johnny Guitar Watson, The Spaniels, J.B. Lenoir, Vernon Green, The Medallions, Bill Haley & His Comets, The Chips, The Velvets, Richard Berry & The Pharaohs, Johnny 'Guitar' Watson, The Feathers, Don & Dewey, The Jewels, The Cufflinks, Johnny Ace, Wilbur Whitfield & The Pleasers, Hank Ballard & The Midnighters, Jackie & The Starlites, The Cellos, The Rolling Crew, Screamin' Jay Hawkins, Paul Robeson, Huey 'Piano' Smith, Clarence 'Gatemouth' Brown, The Six Teens, The Laurie Sisters, Lloyd Terrell, Ruben And The Jets, The Hawks, The Olympics, Andre Williams, The Gaylarks, Little Sunny Day and the Clouds, The Clovers, The Harptones, Baby Ray And The Ferns, Muddy Waters, The Shaggs, Richard Berry, The Robins, Bob Landers, Willie Joe, Tony Allen, Peppermint Harris, The El Dorados, The 5 Campbells, Elmore James, The Moonlighters, Don Julian, The Larks, Lloyd Price, The Solitaires, Black Oak Arkansas, Edgard Varèse, Frederic Waldman, NY Wind Ensemble, Olivier Messiaen, BBC Symphony OrchestraAntal Dorati, Antal Doráti, BBC Symphony Orchestra, Anton Webern, Nürnberg Symphony Orchestra, Othmar Maga

durée : 00:13:12 - Reich/Richter - Ensemble Intercontemporain - Reich/richter est la rencontre de deux grands artistes. Les œuvres de ces deux géants de la création contemporaine s'entrecroisent pour mieux explorer la manière dont chaque art affecte l'expérience que nous faisons de l'autre.

Fechando a terceira temporada do Marimba Podcast, hoje recebemos novamente o Leo Labrada para conversar sobre um compositor francês que foi muito icônico para o século XX, não só compondo e regendo, mas também como pensador, crítico, escritor, e fundador de duas instituições emblemáticas da música contemporânea: o Ensemble Intercontemporain e o IRCAM. Estamos falando do mestre do serialismo, Pierre Boulez!

Punkens gudfader Iggy Pop och konstmusikensemblen Ensemble intercontemporain är årets vinnare av Polarpriset. Hör rockartisten Ebbot Lundberg; dirigent Matthias Pintscher och våra musikkritiker Anna Tullberg och Sara Norling.   HÅRD KONKURRENS BLAND UNGA DIRIGENTERUnga dirigenter får kämpa hårt för att hitta jobb i Sverige. Därför var det kanske inte konstigt att ett nytt tvåårigt traineeprogram som Göteborgsoperan utlyst lockade över 250 sökande. Reportage om ett yrke med stenhård konkurrens.HEMMA HOS KONSTNÄR MOA ISRAELSSONGigantiska puppor i jordiga färger; knotiga bestick som ser ut som arkeologiska fynd och madrasser vars ytor har förvandlats till reptilskinn och kartor. Det är organiskt och stämningsfullt när konstnären Moa Israelsson nu ställer ut på konst och designmuseet Vandalorum i Värnamo under rubriken "Ett annat nu". P1 Kultur har gjort ett besök i hennes ateljé.Programledare: Saman Bakhtiari Producent: Eskil Krogh Larsson

Sejam bem-vindos à Música da Casa, que começa com um concerto de Valéria Carvalho, onde serão interpretados temas de Rui Veloso e Carlos Tê, em ritmo bossa nova. No sábado, o Serviço Educativo apresenta a formação Cantar na Sala de Aula e ainda no sábado a Orquestra Sinfónica interpreta a grandiosa Sinfonia Turangalîla, de Olivier Messiaen. Domingo, o Serviço Educativo apresenta "1Bigo" e o Remix Ensemble junta-se ao prestigiado Ensemble Intercontemporain em "Amor Correspondido".  locução: Sónia Borges · produção e sonoplastia: Miguel Sousa   

durée : 00:59:46 - Actualité du disque : Joseph Phibbs, Eric Whitacre, Matthias Pintscher, Yann Robin, Johan Duijck. - par : Emilie Munera - L'Ensemble Intercontemporain, dirigé par Matthias Pintscher, revient avec un nouvel enregistrement. Ce dernier est paru en novembre sur le label Alpha Classics. On vous en parle ! - réalisé par : Claire Lagarde

durée : 00:59:46 - Actualité du disque : Joseph Phibbs, Eric Whitacre, Matthias Pintscher, Yann Robin, Johan Duijck. - par : Emilie Munera - L'Ensemble Intercontemporain, dirigé par Matthias Pintscher, revient avec un nouvel enregistrement. Ce dernier est paru en novembre sur le label Alpha Classics. On vous en parle ! - réalisé par : Claire Lagarde

durée : 00:12:33 - Le disque contemporain de la semaine du dimanche 19 décembre 2021 - L'Ensemble Intercontemporain, dirigé par Matthias Pintscher, revient avec un nouvel enregistrement. Ce dernier est paru en novembre sur le label Alpha Classics. On vous en parle !

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

durée : 01:58:10 - Les ensembles spécialisés - par : Christian Merlin - Ils s'appellent Ensemble Intercontemporain, Ensemble Modern, Ictus ou 2e2m, ils ont décidé de revisiter le modèle orchestral classique et ont fait le choix aventureux de répertoires négligés par les grandes phalanges. - réalisé par : Marie Grout

Synopsis On today’s date in 1825, the Italian composer Antonio Salieri breathed his last in Vienna. Gossip circulated that in his final dementia, Salieri blabbed something about poisoning Mozart. Whether he meant it figuratively or literally, or even said anything of the sort, didn’t seem to matter and the gossip became a Romantic legend. Modern food detectives suggested that if Mozart WAS poisoned, an undercooked pork chop might be to blame… In one of his last letters to his wife, Mozart mentions his anticipation of feasting on a fat chop his cook had secured for his dinner! Twenty-five years after Salieri’s death, on today’s date in 1850, the Austro-Hungarian conductor Anton Seidl was born in Budapest. Seidl became a famous conductor of both the Metropolitan Opera and New York Philharmonic. It was Seidl who conducted the premiere of Dvorak’s “New World” Symphony. In 1898, at the age of just 47, Seidl died suddenly, apparently from ptomaine poisoning. Perhaps it was the shad roe he ate at home, or that sausage from Fleischmann’s restaurant? An autopsy revealed serious gallstone and liver ailments, so maybe Seidl’s last meal, whatever it might have been, was as innocent of blame as poor old Salieri. Music Played in Today's Program Wolfgang Mozart (1756 – 1791) Symphony No. 25 St. Martin's Academy; Sir Neville Marriner, cond. Fantasy 104/105 Antonin Dvořák (1841 – 1904) Symphony No. 9 (From the New World) Vienna Philharmonic; Rafael Kubelik, cond. Decca 466 994 Antonio Salieri (1750 – 1825) "La Folia" Variations London Mozart Players; Matthias Bamert, cond. Chandos 9877 On This Day Births 1833 - German composer Johannes Brahms, in Hamburg; 1840 - Russian composer Pyotr Ilyitch Tchaikovsky, in Votkinsk, district of Viatka (Julian date: April 25); 1850 - Hungarian conductor Anton Seidl, in Budapest; He was Wagner assistant at the first Bayreuth Festival performances of the "Ring" operas in 1876-79, was engaged to conduct the German repertory at the Metropolitan Opera in 1885, and in 1891 as the permanent conductor of the New York Philharmonic; He conducted the American premieres of Wagner's "Tristan und Isolde" in 1886 and the world premiere of Dvorák's "New World" Symphony in 1893; He died of ptomaine poisoning in 1898; Deaths 1793 - Italian composer and violinist Pietro Nardini, age 71, in Florence; 1818 - Bohemian composer Leopold (Jan Antonín, Ioannes Antonius)Kozeluch (Kotzeluch, Koželuh), age 70, in Vienna; 1825 - Italian composer Antonio Salieri, age 74, in Vienna; Premieres 1824 - Beethoven: Symphony No. 9 ("Choral") at the Kärntnertor Theater in Vienna, with the deaf composer on stage beating time, but with the performers instructed to follow the cues of Beethoven's assistant conductor, Michael Umlauf; 1888 - Lalo: "Le Roi d'Ys" (The King of Ys) at the Opéra Comique, in Paris; 1926 - Milhaud: opera "Les malheurs d'Orphée" (The Sorrows of Orpheus), in Brussels at the Théatre de la Monnaie; 1944 - Copland: "Our Town" Film Music Suite (revised version), by the Boston Pops conducted by Leonard Bernstein; An earlier version of this suite aired on CBS Radio on June 9, 1940, with the Columbia Broadcasting Symphony conducted by Howard Barlow; 1947 - Virgil Thomson: opera "The Mother of Us All," at Columbia University in New York City; 1985 - David Ward-Steinman: "Chroma" Concerto for multiple keyboards, percussion, and chamber orchestra, in Scottsdale, Ariz., by the Noveau West Chamber Orchestra conducted by Terry Williams, with the composer and Amy-Smith-Davie as keyboard soloists; 1988 - Stockhausen: opera "Montag von Licht" (Monday from Light), in Milan at the Teatro alla Scala; 1988 - Michael Torke: ballet "Black and White," at the New York State Theater, with the NY City Ballet Orchestra, David Alan Miller conducting; 1993 - Harrison Birtwistle: "Five Distances for Five Instruments," in London at the Purcell Room, by the Ensemble InterContemporain; 1998 - Joan Tower: "Tambor," by the Pittsburgh Symphony, Mariss Jansons conducting; 1999 - Robert X. Rodriguez: "Bachanale: Concertino for Orchestra," by the San Antonio Symphony, Wilkins conducting; Others 1747 - J.S. Bach (age 62) visits King Frederick II of Prussia at his court in Potsdam on May 7-8; Bach improvises on a theme submitted by the King, performing on the King's forte-piano; In September of 1747 Bach publishes a chamber work based on the royal theme entitled "Musical Offering." 1937 - The RKO film "Shall We Dance?" is released, with a filmscore by George Gershwin; This film includes the classic Gershwin songs "Beginner's Luck," "Let's Call the Whole Thing Off," "They Can't Take That Away from Me" and an instrumental interlude "Walking the Dog" (released as a solo piano piece under the title "Promenade"). Links and Resources A BBC story on "Rehabilitating Salieri" On Anton Seidl On the Seidl papers at Columbia University

Synopsis On today’s date in 1825, the Italian composer Antonio Salieri breathed his last in Vienna. Gossip circulated that in his final dementia, Salieri blabbed something about poisoning Mozart. Whether he meant it figuratively or literally, or even said anything of the sort, didn’t seem to matter and the gossip became a Romantic legend. Modern food detectives suggested that if Mozart WAS poisoned, an undercooked pork chop might be to blame… In one of his last letters to his wife, Mozart mentions his anticipation of feasting on a fat chop his cook had secured for his dinner! Twenty-five years after Salieri’s death, on today’s date in 1850, the Austro-Hungarian conductor Anton Seidl was born in Budapest. Seidl became a famous conductor of both the Metropolitan Opera and New York Philharmonic. It was Seidl who conducted the premiere of Dvorak’s “New World” Symphony. In 1898, at the age of just 47, Seidl died suddenly, apparently from ptomaine poisoning. Perhaps it was the shad roe he ate at home, or that sausage from Fleischmann’s restaurant? An autopsy revealed serious gallstone and liver ailments, so maybe Seidl’s last meal, whatever it might have been, was as innocent of blame as poor old Salieri. Music Played in Today's Program Wolfgang Mozart (1756 – 1791) Symphony No. 25 St. Martin's Academy; Sir Neville Marriner, cond. Fantasy 104/105 Antonin Dvořák (1841 – 1904) Symphony No. 9 (From the New World) Vienna Philharmonic; Rafael Kubelik, cond. Decca 466 994 Antonio Salieri (1750 – 1825) "La Folia" Variations London Mozart Players; Matthias Bamert, cond. Chandos 9877 On This Day Births 1833 - German composer Johannes Brahms, in Hamburg; 1840 - Russian composer Pyotr Ilyitch Tchaikovsky, in Votkinsk, district of Viatka (Julian date: April 25); 1850 - Hungarian conductor Anton Seidl, in Budapest; He was Wagner assistant at the first Bayreuth Festival performances of the "Ring" operas in 1876-79, was engaged to conduct the German repertory at the Metropolitan Opera in 1885, and in 1891 as the permanent conductor of the New York Philharmonic; He conducted the American premieres of Wagner's "Tristan und Isolde" in 1886 and the world premiere of Dvorák's "New World" Symphony in 1893; He died of ptomaine poisoning in 1898; Deaths 1793 - Italian composer and violinist Pietro Nardini, age 71, in Florence; 1818 - Bohemian composer Leopold (Jan Antonín, Ioannes Antonius)Kozeluch (Kotzeluch, Koželuh), age 70, in Vienna; 1825 - Italian composer Antonio Salieri, age 74, in Vienna; Premieres 1824 - Beethoven: Symphony No. 9 ("Choral") at the Kärntnertor Theater in Vienna, with the deaf composer on stage beating time, but with the performers instructed to follow the cues of Beethoven's assistant conductor, Michael Umlauf; 1888 - Lalo: "Le Roi d'Ys" (The King of Ys) at the Opéra Comique, in Paris; 1926 - Milhaud: opera "Les malheurs d'Orphée" (The Sorrows of Orpheus), in Brussels at the Théatre de la Monnaie; 1944 - Copland: "Our Town" Film Music Suite (revised version), by the Boston Pops conducted by Leonard Bernstein; An earlier version of this suite aired on CBS Radio on June 9, 1940, with the Columbia Broadcasting Symphony conducted by Howard Barlow; 1947 - Virgil Thomson: opera "The Mother of Us All," at Columbia University in New York City; 1985 - David Ward-Steinman: "Chroma" Concerto for multiple keyboards, percussion, and chamber orchestra, in Scottsdale, Ariz., by the Noveau West Chamber Orchestra conducted by Terry Williams, with the composer and Amy-Smith-Davie as keyboard soloists; 1988 - Stockhausen: opera "Montag von Licht" (Monday from Light), in Milan at the Teatro alla Scala; 1988 - Michael Torke: ballet "Black and White," at the New York State Theater, with the NY City Ballet Orchestra, David Alan Miller conducting; 1993 - Harrison Birtwistle: "Five Distances for Five Instruments," in London at the Purcell Room, by the Ensemble InterContemporain; 1998 - Joan Tower: "Tambor," by the Pittsburgh Symphony, Mariss Jansons conducting; 1999 - Robert X. Rodriguez: "Bachanale: Concertino for Orchestra," by the San Antonio Symphony, Wilkins conducting; Others 1747 - J.S. Bach (age 62) visits King Frederick II of Prussia at his court in Potsdam on May 7-8; Bach improvises on a theme submitted by the King, performing on the King's forte-piano; In September of 1747 Bach publishes a chamber work based on the royal theme entitled "Musical Offering." 1937 - The RKO film "Shall We Dance?" is released, with a filmscore by George Gershwin; This film includes the classic Gershwin songs "Beginner's Luck," "Let's Call the Whole Thing Off," "They Can't Take That Away from Me" and an instrumental interlude "Walking the Dog" (released as a solo piano piece under the title "Promenade"). Links and Resources A BBC story on "Rehabilitating Salieri" On Anton Seidl On the Seidl papers at Columbia University

Der Pianist und Dirigent Michael Wendeberg erzählt, wie man fester Gastdirigent der Staatsoper Jerewan wird, warum neue Malerei einfacher zu „verstehen“ ist als neue Musik, was ihn an den Klavierwerken von Pierre Boulez fasziniert, die er gerade komplett eingespielt hat, und in welchen Momenten er sich im Konzert sehr einsam fühlt. Dazu spielt er drei Notations von Pierre Boulez.

Bára Gisladóttirs musik kallas hipp musik för nördar och remake av "Exorcisten". Louise Alenius gör musik om covidsjuka kroppar, död, incest och Elefantmannen. Tonsättaren Louise Alenius bodde under tio år i Frankrike, men är sedan några år tillbaka i Köpenhamn. I Paris komponerade Louise Alenius kommersiell musik, bl a till reklam för Coca-Cola och olika bilmärken. -Ämnen jag numera väljer till mina kompositioner speglar min nyfikenhet på det jag inte förstår. Jag försöker sätta mig in i andra människors verklighet istället för att berätta hur jag själv har det, förklarar Louise Alenius, som skrev både libretto och musik till kammaroperan Silent Zone om incest. Dottern blir utsatt för incest. Hon är stum och sjunger inte. Detta för att illustrera att de drabbade sällan berättar om vad de har varit med om. Istället får dottern ut sin vrede och sorg genom att spela slagverk. Dottern spelas av slagverkaren Ying-Hsueh Chen och hennes bror gestaltas av kontratenoren Morten Grove Frandsen. Brodern löser upp problematiken med tystnadskulturen i den här familjen. Han ställer obekväma frågor om det förfärliga som hänt. -Jag tycker det var spännande att använda mildheten i en kontratenors stämma på det här sättet, förklarar Louise Alenius. Louise Alenius skrev också musik till en balett om den s k Elefantmannen, Joseph Merrick som levde på 1800-talet i London och hade en kraftigt deformerade kropp. Hennes körsvit Rite of Nothing / En tom ritual uruppfördes i den gamla underjordiska vattencisternen i parken Søndermarken i Köpenhamn. Ett av hennes senaste stycken, Ilt / Syre, komponerade Louise Alenius till den 80 meter långa skulpturen The Wave. Under coronapandemins första månader 2020 var den placerad vid Ofelia Plads vid Köpenhamns hamn. Konstnärskollektivet Vertigo anpassade The wave till pandemin. Den illustrerar ett gigantiskt luftrör och lungor som kämpar för att få luft. Den femstämmiga kören gestaltar kroppsorgan som skriker efter syre. 2019 fick Louise Alenius Danmarks störste kulturpris, hederspriset Carl Nielsen och Anne Marie Carl-Nielsens Legat på 750 000 danska kronor. Jag intervjuade isländska tonsättaren Bára Gisladóttir första gången 2013. Nu möts vi digitalt genom Skype. Hon befinner sig i det svårt coronadrabbade Reykjavik. Hon utbildade sig i komposition vid Musikkonservatoriet i Köpenhamn. Kontrabasen blev hennes instrument efter studier på Nya Zeeland. Hon älskar den. Om hennes spel på kontrabasen sägs det: "Hon behandlar kontrabasen såsom Jimi Hendrix gjorde med sin gitarr. Hon använder instrumentet för att locka fram spännande och konstiga ljud.  - Kontrabasen är alltid är tillgänglig. Speciellt i tider som dessa, när man inte kan musicera med andra, då är det ju mycket praktiskt att ha sitt eget instrument som man kan skriva för! Jag är intresserad av övertoner och där är kontrabasen överlägsen tack vare strängarnas längd och instrumentets storlek, säger Bára Gisladóttir. Hon är synestetiker och hör toner, när hon ser färger och ser färger, när hon hör toner. Därför målade hon tidigare i starka färger för att därefter komponera stycket hon hade i sitt huvud. Det blev inte mindre än 19 nonfigurativa målningar i rött och grönt innan hon kompositionnerade stycket Rooftops of Prague! Musiken på Brimslód, hennes debutplatta från 2015, handlar om havet. Dýpi betyder djupet och här är vi på havets botten. Det är Bára Gisladóttirs favoritstycke på plattan eftersom hon gillar allt som är kallt, vått och mörkt. Hennes nya platta gavs ut 2020. Titeln är HBER, vilket betyder vinter eller ide. Bára Gisladóttirs musik har framförts av Danmarks Radios Symfoniorkester, och vokalensemble, Islands Symfoniorkester och Helsingborgs Symfoniorkester, Frankfurts Radiosymfoniker, Ensemble InterContemporain och Athelas Sinfo-nietta. Hon har dessutom fått Carl Nielsen och Anne Marie Carl-Nielsens Talangpris, Léonie Sonnings Talangpris och Reykjavíks Grapevine's Music Award.

Speelbal. De levensloop tot en met het najaar van 1989; waarin nog maar valt te zien of het wel zo slim was Bilthoven voorgoed te verlaten... en de voortslepende recessie vreselijk dichtbij gaat komen. Met: Michael Torke: Vanada (Icebreaker) David Bedford: Sun Paints Rainbows on the Vast Waves (Royal Northern College Of Music Wind Orchestra olv Clark Rundell) Paul Termos: Concerto for alto saxophone and chamber orchestra (Arno Bornkamp (sax.) & Netherlands Ballet Orchestra olv Lucas Vis) Danis Smalley: Vortex (Denis Smaley, elektronica) Hans Abrahamsen: Marchenbilder: III. Scherzo prestissimo (London Sinfonietta olv Elgar Howarth) Iannis Xenakis: Thalleïn (Ensemble InterContemporain olv Michel Tabachnik) Jan Rokus van Roosendael :Tala (Fellows of the Tanglewood Music Center & Netherlands Ballet Orchestra & Netherlands Radio Philharmonic Orchestra) Igor Stravinsky: Le Sacre du Printemps: II. Le sacrifice (Amsterdam Piano Quartet)

This episode is mostly a conversation tracing the differences and similarities between the Piano and Trumpet competition worlds, their repertoire, and some of the complicated realities of the field. We're talking about the REAL trumpet competitions hosted in Europe, where participants have to learn an average of 6–8 major trumpet works, not those rather simplistic events hosted in America like the National Trumpet Competition and the one hosted by the International Trumpet Guild. Lucas and Mickael are both active members of the competition community, and so I offer my voice when needed to speak the truth of the harsh and often unacceptable realities of this treacherous world, as I have no interest in joining in it. Perhaps if we can all speak more openly in public about what we all talk about in private, we too will reveal the tiny men and women behind the curtain of these events, which too often leave us speechless…and not often for the right reasons. Follow the Ensemble Intercontemporain: https://www.ensembleintercontemporain.com/en/soliste/lucas-lipari-mayer/ Follow Mickael Lipari-Mayer: https://mickaelliparimayer.com/en/home/?fbclid=IwAR0jnpuG_ofoGBIu54jAPGRPDyOPnlkgrACI5x1JZJ38buxK4IFyQnkY6lQ --- Support this podcast: https://anchor.fm/artssalon/support

Ep. 108: George Jackson, conductor. Let's Talk Off The Podium with Tigran Arakelyan. Armed with insatiable artistic curiosity, a true performer’s instincts and the advantages of a rigorous central European training, George Jackson has earned critical acclaim for the authority and eloquence of his music-making. The British conductor’s career continues to gather momentum, propelled by landmark debuts with leading orchestras and opera companies and fuelled by his power to communicate compelling musical ideas. Jackson’s interpretation of Hänsel und Gretel for Grange Park Opera, given with the Orchestra of English National Opera in summer 2019, was showered with five-star reviews and hailed as ‘magnificent’ by the Telegraph. His 2019-20 season includes returns to work with Ensemble Intercontemporain at the Philharmonie Luxembourg and Cité de la musique in Paris, and the orchestras of Opera North and Opéra de Rouen. He is also set to conduct a retrospective of music by Irish composers, comprising works by Brian Boydell, Ina Boyle and Stanford, with the RTÉ National Symphony Orchestra in Dublin and the world premiere of Tscho Theissing’s Genia at Theater an der Wien, a major contribution to Beethoven Year 2020. In this podcast George talks about conducting a recording session during Covid-19, cooking, the world of music post the pandemic and much more! For more information about George Jackson please visit: http://www.georgejackson.net/ © Let's Talk Off The Podium, 2020

Das Ensemble Modern Frankfurt feiert sein 40-jähriges Bestehen. Anfänglich seien sie sich wie Paradiesvögel vorgekommen, sagt der Flötist und Mitbegründer Dietmar Wiesner. Tatsächlich ist das Ensemble Modern eines der ersten Ensembles, das sich auf zeitgenössische Musik konzentriert hat und ist nur vier Jahre jünger als das legendäre Ensemble Intercontemporain von Pierre Boulez. Das Repertoire der zurzeit 19 Musiker*innen starken Frankfurter Gruppe reicht zurück bis zur Musik eines Arnold Schönberg, Anton Webern oder Alban Berg. «Alte Musik», wenn man so will. Das Ziel des Ensemble Modern Frankfurt ist es auch keineswegs, sich einzuschränken. Daher umfasst der Katalog der gespielten Werke auch Musik eines Frank Zappa oder elektronische Musik, sowie Auftragskompositionen an ganz junge Komponist*innen. So gesehen verstehe sich sein Ensemble als musikalisches Trüffelschwein, sagt Wiesner. Denn: das Publikum soll selbst wählen können, was ihm gefällt und was nicht.

durée : 00:01:30 - Les blind tests de l'ensemble Intercontemporain - par : Suzanne Gervais - Sur Instagram, l’ensemble intercontemporain propose des blind tests à ses abonnés !

Suurepärase uue muusika kollektiivi Ensemble intercontemporain'i kontsert festivalil Musica nova. Dirigeerib Enno Poppe.

Suurepärase uue muusika kollektiivi Ensemble intercontemporain'i kontsert festivalil Musica nova. Dirigeerib Enno Poppe.

  The 302nd of a series of weekly radio programmes created by :zoviet*france:   First broadcast 21 April 2018 by Resonance 104.4 FM   Thanks to the artists included here for their fine work.     track list 00 Yavor Grancharov - Intro 01 meanwhile.in.texas & Rooms Delayed - Faith 02 meanwhile.in.texas - The Worlds We Left Behind – 5 03 Masayuki Imanishi - Maze – A [extract] 04 Blind the Thin King - Slain Conscripts, Threshold Bound 05 Visions & Phurpa - Fohat 06 Alain Damiens, Ensemble Intercontemporain conducted by Pierre Boulez - Pierre Boulez: 'Dialogue de l'ombre double – Sigle initial' 07 Andrew Sharpley - Microscope 08  Andrew Sharpley - Gaslighting 09 John Grzinich - If Memory Should Serve Us Again… 10 Niccolo Castiglioni - Divertimento 11 Swamps Up Nostrils - Birds Annoyed by the Phonographer ++ :zoviet*france: - Outro    

Episode 58 features composer Joël-François Durand. Durand also designs and manufactures high-end tonearms for record players. His music has been commissioned and performed by many leading ensembles and orchestras in Europe, the US, Brazil, and South Korea, including Ensemble Intercontemporain, London Sinfonietta, Contrechamps, Arditti Quartet, ASKO, Nieuw Ensemble among many others.   In this podcast we talk about his studies with renowned masters, path to music composition, designing tonearms, personal stories and much more!   To learn more about Joël-François Durand please visit: http://www.joelfdurand.com/ http://durand-tonearms.com/   https://www.facebook.com/OffThePodium... © Off The Podium, 2017

  The 267th of a series of weekly radio programmes created by :zoviet*france:   First broadcast 19 August 2017 by CJMP 90.1 FM   Thanks to the artists included here for their fine work.     track list 01 Roi Alekpehanhou - Awo! Méwito! 02 Bryen Telko - Non-rekovere 03 Sabrina Peña Young - Enigma 04 Hydra - Atrezzo 05 Gintas K - kokie9 Zwemu Ir Norm Ir Max 06 Gescom - Cut Begin 07 Alain Damiens, Ensemble Intercontemporain conducted by Pierre Boulez - Pierre Boulez: 'Dialogue de l'ombre double – Transition I à II' 08 Jez Riley French - (Star Farm) Parallel 09 Yair Elazar Glotman - Low Tide 10 Brian Routh - Purple Dawn    

Hur påverkar själva livet musikens uttryck? Hur påverkar musiken det liv som utövaren lever? Och hur påverkas sångdiktare och musiker av sina medmänniskors liv? I detta tredje program medverkar orkesterdirigenten Susanna Mälkki som är en av de främsta kvinnorna på podiet. Hon föddes i Helsingfors men har hela världen som arbetsfält. Tidigare bodde Susanna Mälkki i Paris där hon var konstnärlig ledare för Ensemble InterContemporain. 2011 dirigerade Susanna Mälkki operaorkestern vid La Scala i Milano, en ynnest förunnad ytterst få kvinnor.... Susanna Mälkki var tidigare förstacellist i Göteborgs Symfoniker, en orkester hon nu ofta dirigerar. Hon valde dirigentyrket framför cellokarriären eftersom hon har ett polyfoniskt sinne och ett öra för ett flerstämmigt sätt att tänka musik. Konstmusik är hennes passion. Jag vill gärna att alla får uppleva musiken som jag upplever, för jag älskar den så, säger Susanna Mälkki. Musik måste vara på riktigt, ge näring till själen, där sorg och lycka ofta är närvarande samtidigt. Om Susanna Mälkki har det sagts att hon är en kvinna med händer som en man. Kärleksfullt och utan dirigentpinne tolkar Susanna Mälkki tonsättarnas intentioner, och njuter av styrkan och energin i samarbetet mellan människorna i orkestern. Hon gör musik för oss, inte för sin egen skull. Att samlas för att lyssna på musik tillsammans är en otroligt fin tanke. Det är nästan som att andas tillsammans, säger Susanna Mälkki, som vill förändra de ofta alltför långtråkiga orkesterkonserterna så att unga lyssnare hittar dit. Unga människor är öppna! Susanna Mälkki är numera chefdirigent för Helsingfors stadsorkester och första gästdirigent vid Los Angeles-filharmonikerna. 2017 debuterade Susanna Mälkki vid Metropolitanoperan genom att dirigera orkestern i Kaija Saariahos opera L'Amour de Loin.   Spellista:   Yemandja Angelique Kidjo, sång, m fl Aye Island Records               Mango         74321 16646 2     Vocuna I, Inferno lirico för violoncell Kjell Perder Susanna Mälkki, cello     Symfoni nr 3 Witold Lutoslawski SUSANNA MÄLKKI (DIR). SR's symfoniorkester     Trois Strophes sur le nom de Sacher Henri Dutilleux Susanna Mälkki, cello     Alma 3, Soma TIENSUU, JUKKA (C) MÄLKKI, SUSANNA (DIR) TAMMERFORS STADSORKESTER Inspelad: FINLAND 2005     YemandjaTid: 040 Angelique Kidjo, sång, m fl Aye Island Records               Mango         74321 16646 2     Messagesquisse för sju violonceller Boulez, Pierre Palm, Siegfried (vlc) /1:a violoncell/ - Vaernes, Bjørg (vlc) - Pitkäpasi, Mikko (vlc) - Nyström, Per (vlc) - Johanson, Niklas (vlc) - Agnani, Louise (vlc) - Mälkki, Susanna (vlc)     Konsert för piano & orkester fiss-moll Rachmaninov SUSANNA MÄLKKI (DIR). SR's symfoniorkester     Before the mountains were born Borisova-Ollas, Victoria Mälkki, Susanna (dir), Sveriges Radios Symfoniorkester     Symfoni nr 4, B-dur op 60 Ludwig van Beethoven Susanna Mälkki, dir. BBC Symphony Orchestra (London)     Skogens Sovn (op 9) Arvid Kleven Susanna Mälkki, dir. STAVANGERS SYMFONIORKESTER LOTUSLAND BIS CD 1542                        Tiroirs David Sawer Susanna Mälkki. Birmingham Contemporary Music Group     Himmelsmekanik Anders Hillborg SUSANNA MÄLKKI (DIR). Strings of the BBC Scottish Symphony Orchestra SR: Prod.nr 2068-01/7021

For today’s Bonus Track, we’re thrilled to bring you the world-premiere recording of Bryce Dessner’s Wires, performed by Ensemble Intercontemporain! Last week, we dug into a particularly contentious moment in classical music’s history. This week, however, we’re looking at where we are NOW, a place of, well… niceness.   “I think right now is a really good time to be a composer,” says composer John Adams. “And I tell young composers that. They don't believe me, but they don't know how difficult it was back when I was in my 20s and 30s.” We'll hear how David Lang’s group Bang on a Can helped to shape a newfound culture of support and generosity, and how the next generation of composers - including Bryce Dessner - can find creative freedom in this new landscape. Finally, we hear from Bryce what it’s like to write for “the Rolls Royce … of New Music,” with his new piece, Wires, for Ensemble Intercontemporian, led by Matthias Pintscher.   Bryce Dessner's Wires is provided courtesy of Chester Music, part of the Music Sales Group, Ensemble Intercontemportain and SPEDIDAM (Société de Perception et de Répartition des Droits des Artistes-Interprètes.)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Philippe Manoury Création artistique (2016-2017) Collège de France Musiques, sons et signes Extraits musicaux Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Berlioz : Symphonie Fantastique Chicago Symphony Orchestra, direction : Claudio Abbado (CD du commerce) Ligeti : Lontano Berliner Phliharmoniker, direction : Jonathan Nott (CD du commerce) Ravel : La valse Orchestre Phliharmonique de Radio-France direction : Myung Whun Chung (CD du commerce) Debussy : Fêtes, extrait des 3 nocturnes pour orchestre Orchestre du Concertgebouw d'Amsterdam, direction : Bernard Haitink (CD du commerce) Manoury : Passacaille pour Tokyo Hideki Nagano, piano Ensemble Intercontemporain, direction PIerre Boulez (Enregistrement privé) Boulez : Répons Ensemble InterContemporain, direction : Pierre Boulez (CD du commerce) Stockhausen : Kontakte (CD du commerce) Boulez : Dialogue de l'ombre double Alain Damien, clarinette (CD du commerce) Manoury : In situ Orchestre de la SWR, direction Pablo Rus Boseta (Enregistrement Radio-France) Manoury : Ring Gürzenich Orchester, direction Pablo Rus Boseta (Enregistrement Philharmonie de Cologne)

Mémoriale voor fluit en acht andere instrumenten wordt uitgevoerd door Ensemble InterContemporain.

Yoshi a Japanese American composer and conductor who is currently a Teaching Fellow at Columbia University. His principal teachers at Columbia have been Fabien Lévy, Fred Lerdahl, and Tristan Murail. His music has been performed worldwide by such ensembles as JACK Quartet, Next Mushroom Promotion, and the Nieuw Ensemble. He was awarded the Gaudeamus Prize 2011. Other recent honors include an artistic residency fellowship from Civitella Ranieri Foundation in Umbertide, Italy, as well as a commission from Ensemble Intercontemporain. You can listen to more of his music at www.yoshionishi.com.In our conversation we talk about how and why he came to the U.S., how he gets his initial impulse when beginning a piece, and his relationship to social media.The first piece played in this podcast is Tramespace, performed by the Asko|Schönberg Ensemble conducted by Clark Rundell and recorded live by Richard de Gruyl for Concertzender/VPRO during Gaudeamus Muziekweek 2013. The second piece is Tr (épilogue) performed by Patrick McGuire.

Wei-Chieh Lin is a New York based composer who was born in Taichung, Taiwan, his music has been performed at venues in the U.S. and abroad, including the Gaudeamus Muziekweek, Centre Pompidou, Lincoln Center, Weill Recital Hall and the National Concert Halls in Taiwan. Among the ensembles that have performed or commissioned his works are Ensemble InterContemporain, Orchestre Philharmonique de Radio France, National Taiwan Symphony Orchestra, Le Nouvel Ensemble Moderne, Makrokomos Ensemble, as well as members of eighth blackbird and Klangforum Wien. You can listen to more of his music at www.soundcloud.com/wei-chieh-lin.In our conversation we talk about how he ended living in New York, his time studying with Milton Babbitt, and his approach to structural thinking.

Mark is an American composer who is currently based in Berlin. He works in the areas of concert music and concert installation. Recent commissions include new works for the Donaueschingen, Witten, and Darmstadt festivals as well as for ensemble recherche, KNM Berlin, and Ensemble Intercontemporain. You can listen to more of his music at www.mark-barden.com.In our conversation we talk about his former life as a pianist and why he chose to become a composer, his frustation and solution for writing in a concert hall setting, and combining Arabic poetry with Western art music. The piece played in this interview is Alam and was performed by KNM Berlin.

Evan is a composer from the U.S. who is currently based in Berlin. He has also spent an extended amount of time in Norway where he studied at the Norwegian State Academy of Music. His music has been played by such groups as, Ensemble Intercontemporain, the Jack Quartet, and the Norwegian Radio Orchestra. You can find more of his music at www.evangardner.com.In our conversation we talk about when a composer should or should not write safe music, the difference of expectations between European and American audiences, and risk assessment in both poker and composing.