Podcasts about four instruments

This episode is also available as a blog post: https://sriaurobindostudies.wordpress.com/2022/12/13/four-instruments-for-attaining-the-perfection-of-the-practice-of-yoga/

Mākslas centra "Totaldobže" rīkotā cikla "Laikmetīgās ceturtdienas" ietvaros 15. septembrī pēc laikmetīgās dejas izrādes Femina ar laikmetīgās mūzikas koncertu pulksten 20.30 uzstāsies klavieru kvartets Quadra - vijolnieks Arvīds Zvagulis, altists Pēteris Trasuns, čellists Kārlis Klotiņš un pianists Rihards Plešanovs, kuriem pievēršanās laikmetīgajai mūzikai ir apzināta aizraušanās, ko tie realizē gana atbildīgi, izpelnoties gan klausītāju, gan komponistu atzinumu un uzslavas. 15. septembra koncertam Quadra mūziķi izvēlējušies atskaņot nopietnu un šodienas pasaules kārtībai atbilstošu skaņdarbu programmu, iekļaujot veselus divus pirmatskaņojumus, no kuriem viens – Jāņa Petraškeviča "Kārtības rituāli" jau ticis spēlēts Latviešu mūzikas svētkos Madonā pirms mēneša, bet otrs – Oskara Herliņa Stīgu trio – pasaules pirmatskaņojumu piedzīvos tieši šajā vakarā. Līdzās šiem opusiem skanēs arī Armanda Skuķa skaņdarbs "Izolētais", kas arī ir salīdzinoši svaigs – radīts 2021. gadā, bet Andra Dzenīša 3 in 4 gan tapis 2018. gadā. Arī Mortona Feldmana skaņdarbs Four Instruments tapis nebūt ne mūsdienās, bet tā iekļaušanai laikmetīgās mūzikas programmā noteikti ir savi iemesli, par ko pārliecināties varēsim koncertā. Par šo koncertu un vēl citām kvarteta radošajām aktualitātēm "Klasikai" stāsta Rihards Plešanovs un Arvīds Zvagulis.

Devin speaks about contemporary and historical interactions between music and the art world, featuring two creative entrepreneurs that are paving the way in their respective fields, Contemporary visual artist Will Day, and composer Jonathan Bingham. Jonathan discusses his formative inspirations, including the music of John Williams. Will Day's wife, Aimee, barely survived the 9/11 attacks in tower two and this profoundly affected him as he became an architect and then visual artist.  Their stories will inspire you to find the artist within, discard your fears, follow your passion, and find your life purpose. The podcast episode’s conception revolved around the “Quaternity” project that was created by Devin Patrick Hughes, Boulder Symphony, Jonathan Bingham, and Will Day. The artwork can be viewed on Will’s website: WillDayArt.comThank you to all the incredible performers who made this episode possible including JACK Quartet, New York University Contemporary Ensemble, conductor Jonathan Haas, violinist Charles Wetherbee, Boulder Symphony, tenor Luciano Pavarotti, conductor and composer John Williams, London Symphony Orchestra, conductor Richard Bonynge, and the  English Chamber Orchestra. Also shoutout to the Decca label.Musical excerpts were taken from Jonathan Bingham’s “Music for Four Instruments”, String Quartet No. 1, Third Movement, “Untitled”, Violin Concerto; film scores including I’m Not Special & I Feel Better, and Quaternity.Additional musical passages come from John Williams’ Across the Stars from Star Wars Attack of the Clones and Gaetano Donizetti’s una furtiva Lagrima from l’Elisir D’Amore Thank you for joining us. you can always find more info at OneSymphony.org. For info on composer Jonathan Bingham you can find him online at Jonathan-bingham.com. You can contemporary fine artist Will Day at WillDayArt.com. Please feel free to rate review or share the show! Until next time, thank you for being part of the music!

Milton Babbitt has been a controversial and iconic figure, which has indirectly led to fallacious assumptions about how his music is made, and therefore to fundamental misconceptions about how it might be heard and appreciated. This video (the first of a three-part video essay) reconsiders his music in light of both his personal traits and a more precise examination of the constraints and freedoms entailed by his unusual and often misunderstood compositional practices, which are based inherently on partial ordering (as well as pitch repetition), which enables a surprising amount of freedom to compose the surface details we hear. The opening of Babbitt’s _Composition for Four Instruments_ (1948) and three recompositions (based on re-ordering of pitches) demonstrate the freedoms intrinsic to partial ordering.

Day 344- One Track, Two Takes, Three Limbs, Four Instruments by

Today – that is April 18th 2016 – much of our fair city of Houston is underwater. There was a big scary flood, the power’s out, the roads are lakes, and we, the Classical Classroom team, literally can’t get to the station to access the files we need to post our new episode. We tried to cobble together an ark, but it turns out that’s a whole thing. However! Through sheer grit, determination and the power of the human spirit to use computers, we have unearthed this episode with Todd Reynolds, which we think – nay! – we know you will enjoy. Also, on a serious note, our city is in bad shape and a lot of folks are going to need some help after the floodwaters subside. If you can help, visit the Texas Red Cross Gulf Coast Region website and make a donation. That’s also a good place to go if you are in need of help.   What do we mean when we say “classical music”? Sure, sure: it refers to a period of music, like “Baroque” or “Romantic”. But we largely use the word as a sort of generic brand-name for a specific variety of sound. In this episode of Classical Classroom, genre-ignoring violinist Todd Reynolds attempts to define classical music. Does he succeed? Does he give up and just start talking about Prince instead? Maybe and maybe! Listen to this episode to find out. Audio production by Todd “Timbalander” Hulslander with at least 3 really good suggestions from Dacia Clay. Music in this episode: Third Construction by John Cage Composition for Four Instruments by Milton Babbitt “Pulses” from Music for 18 Musicians by Steve Reich Symphony No. 41 (the “Jupiter Symphony”), Molto Allegro by Wolfgang Amadeus Mozart “Happy” from G I R L by Pharrell Williams “Let’s Go Crazy” from Purple Rain by Prince and the Revolution “Crossroads” and “Taskforce: Farmlab” from Outerborough by Todd Reynolds Fantasia in G Major, BWV 571 by Johann Sebastian Bach Todd Reynolds was a special guest of the Cynthia Woods Mitchell Center for the Arts. ABOUT THE MITCHELL CENTER The Cynthia Woods Mitchell Center for the Arts is dedicated to interdisciplinary collaboration across the performing, visual, and literary arts. Based at the University of Houston, the Mitchell Center commissions and produces new works, presents public performances and exhibitions, offers curriculum and scholarships, and hosts residencies with renowned visiting artists from throughout the world. The Center is home to the Mitchell Artist Lecture, an annual event featuring a pioneer in contemporary art-making, as well as CounterCurrent, an annual spring festival of new performance. The Mitchell Center forms an alliance among five departments at UH: the School of Art, Moores School of Music, School of Theatre & Dance, Creative Writing Program, and Blaffer Art Museum. For more information visit www.mitchellcenterforarts.org. For more about Todd Reynolds check out his blog: www.toddreynolds.wordpress.com

What do we mean when we say “classical music”? Sure, sure: it refers to a period of music, like “Baroque” or “Romantic”. But we largely use the word as a sort of generic brand-name for a specific variety of sound. In this episode of Classical Classroom, genre-ignoring violinist Todd Reynolds attempts to define classical music. Does he succeed? Does he give up and just start talking about Prince instead? Maybe and maybe! Listen to this episode to find out. Audio production by Todd “Timbalander” Hulslander with at least 3 really good suggestions from Dacia Clay. Music in this episode: – Third Construction by John Cage – Composition for Four Instruments by Milton Babbitt – “Pulses” from Music for 18 Musicians by Steve Reich – Symphony No. 41 (the “Jupiter Symphony”), Molto Allegro by Wolfgang Amadeus Mozart – “Happy” from G I R L by Pharrell Williams – “Let’s Go Crazy” from Purple Rain by Prince and the Revolution – “Crossroads” and “Taskforce: Farmlab” from Outerborough by Todd Reynolds – Fantasia in G Major, BWV 571 by Johann Sebastian Bach Todd Reynolds was a special guest of the Cynthia Woods Mitchell Center for the Arts. ABOUT THE MITCHELL CENTER The Cynthia Woods Mitchell Center for the Arts is dedicated to interdisciplinary collaboration across the performing, visual, and literary arts. Based at the University of Houston, the Mitchell Center commissions and produces new works, presents public performances and exhibitions, offers curriculum and scholarships, and hosts residencies with renowned visiting artists from throughout the world. The Center is home to the Mitchell Artist Lecture, an annual event featuring a pioneer in contemporary art-making, as well as CounterCurrent, an annual spring festival of new performance. The Mitchell Center forms an alliance among five departments at UH: the School of Art, Moores School of Music, School of Theatre & Dance, Creative Writing Program, and Blaffer Art Museum. For more information visit www.mitchellcenterforarts.org. For more about Todd Reynolds check out his blog: www.toddreynolds.wordpress.com