Podcasts about Frederic Rzewski

Episode 176 Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II.   Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings.  Brüsseler Version 1965 recorded at WDR, Cologne. 07:24 01:42 2.     AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques. 13:22 09:06 3.     Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura. 30:45 22:26 4.     David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller. 21:50 53:10 5.     Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 06:19 01:14:56 6.     The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. 03:00 01:21:14 7.     David Tudor, “Rainforest IV” (1973) from Rainforest IV.  Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980. 25:12 01:24:24 8.     Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 01:49:36 9.     Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park. 09:05 01:59:32 10.   Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness.  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 02:08:36 11.   Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. 05:48 02:31:20 12.   Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo. 25:10 02:37:02   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenLink to Jed's Gramophone Collection article: https://www.gramophone.co.uk/classical%20music%20news/article/introducing-gramophone-s-january-2020-issueLink to Between the Keys webcast featuring Peter Serkin's recording - https://www.wwfm.org/webcasts/2018-01-09/between-the-keys-january-9th-beethovens-last-sonatas-part-2Link to Frederic Rzewski's live 1991 recording - https://www.youtube.com/watch?v=tGyX5W9a_IE

Jed's Between the Keys episode about Rzewski's monumental masterpiece, with special guest pianist Ursula Oppens: https://soundcloud.com/jeddistler/episode-0032-the-people-united-at-40-2015-11-03?in=jeddistler/sets/between-the-keys-archive

A cura di Carlo Centemeri. La musica che parla dei lavoratori, tanto per fare caricature dei colleghi quanto per raccontare le grandi lotte degli anni sessanta e settanta. Ma altrettanto i lavoratori della musica, soprattutto quelli invisibili, il cui ruolo è fondamentale per uno spettacolo o un disco ma che spesso non si notano. Con Lisa Capaccioli (librettista e regista), Fabio Framba (producer e sound engineer), Gioia Bertuccini (violoncellista, musicologa e social media manager); oltre a loro, Camilla Di Pilato, fagottista italiana da tempo in forza all'orchestra dell'opera di Tallin per parlare di condizioni di lavoro tra Italia ed estero e cervelli in fuga. Il tutto, ascoltando Frederic Rzewski, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Domenico Cimarosa, Luigi Nono, Georg Philipp Telemann, Billy Joel.

In The Time Falling Bodies Take to Light, the cultural historian William Irwin Thompson predicted the rise of a new form of knowledge building, a direly needed alternative to the Wissenshaft of standard science and scholarship. He called it Wissenskunst, "the play of knowledge in a world of serious data processors." Wissenskunst is pretty much what JF and Phil have been aspiring to do on Weird Studies since 2018, but in this episode they are joined by a master of the craft, the computational sociologist and physicist Jacob G. Foster of UCLA. Jacob is the co-founder of the Diverse Intelligence Summer Institute (DISI (https://disi.org)), a gathering of scholars, scientists, and students that takes place each year at the University of St. Andrews in Scotland. It was there that this conversation was recorded. The topic was the Possible, that dream-blurred vanishing point where art, philosophy, and science converge as imaginative and creative practices. Click here (https://www.lilydaleassembly.org/copy-of-what-s-happening) or here (https://www.shannontaggart.com/events) for more information on Shannon Taggart's Science of Things Spiritual Symposium at Lily Dale NY, July 27-29 2023. Support us on Patreon (https://www.patreon.com/weirdstudies) and gain access to Phil's podcast on Wagner's Ring Cycle. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Download Pierre-Yves Martel's new album, Mer Bleue (https://pierre-yvesmartel.bandcamp.com/album/mer-bleue). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Diverse Intelligences Summer Institute (https://disi.org) "Deconstructing the Barrier of Meaning," (https://www.youtube.com/watch?v=vxZHcjovIrQ) a talk by Jacob G. Foster at the Santa Fe Institute William Irwin Thompson, The Time Falling Bodies Take to Light: Mythology, Sexuality and the Origins of Culture (https://bookshop.org/a/18799/9780312160623) Frederic Rzewski, “Little Bangs: A Nihilist Theory of Improvisation” (https://www.researchgate.net/publication/354991795_Little_Bangs_A_Nihilist_Theory_of_Improvisation) Brian Eno, Oblique Strategies (https://en.wikipedia.org/wiki/Oblique_Strategies) The accident of Bob in Twin Peaks (https://welcometotwinpeaks.com/actors/my-friend-killer-bob-frank-silva/) Carl Jung, “On the Relation of Analytical Psychology to Poetry (http://www.studiocleo.com/librarie/jung/essay.html) August Kekule, (https://en.wikipedia.org/wiki/August_Kekul%C3%A9), German chemist Robert Dijkgraaf, “Contemplating the End of Physics” (https://www.quantamagazine.org/contemplating-the-end-of-physics-20201124/) Richard Baker, (https://en.wikipedia.org/wiki/Richard_Baker_(Zen_teacher)) American zen teacher Gian-Carlo Rota, Indiscrete Thoughts (https://bookshop.org/a/18799/9780817647803) William Shakespeare, Macbeth (https://www.folger.edu/explore/shakespeares-works/macbeth/read/) Shoggoth (https://en.wikipedia.org/wiki/Shoggoth), Lovecraftian entity Special Guest: Jacob G. Foster.

Episode 91 The Silent Episode Playlist Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist's collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn't feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24 John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50 John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04 John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58 Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27 Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41 MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50 Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26 Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53 Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38 Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02 Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35 Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39 Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57 Opening background music: Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.  

Learn more about Allison at her website here.You can hear Allison's music at: allison cameron Pliny (excerpt) Another Timbreallison cameron in-memoriam-robert-ashley by the avensallisoncameron 3rds-4ths-5thstheallisoncameronband mach shornallison cameronmusic In Svalbard 2013 Here are more links: from Allisons early years: Lloyd Burritt  https://www.thecanadianencyclopedia.ca/en/article/lloyd-burritt-emcFrom the Victoria and later Toronto time: Martin Arnold  https://en.wikipedia.org/wiki/Martin_Arnold_%28composer%29John Abram  https://en.wikipedia.org/wiki/John_AbramRudolf Komorous  https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?lang=en-CAHenryk Górecki  https://en.wikipedia.org/wiki/Henryk_G%C3%B3reckiFrom the Amsterdam time: Frederic Rzewski  https://en.wikipedia.org/wiki/Frederic_RzewskiWalter Zimmerman  https://en.wikipedia.org/wiki/Walter_ZimmermannPer Nørgård  https://en.wikipedia.org/wiki/Per_N%C3%B8rg%C3%A5rdLouis Andriessen  https://en.wikipedia.org/wiki/Louis_AndriessenMaarten Altena  https://maartenaltena.nl/The great UK record label that is very sympathetic to Canadian composers: Another Timbre http://www.anothertimbre.com/   

Synopsis The first performance of the “Liebeslieder” – or the “Love Song” Waltzes – for piano four-hands by Johannes Brahms took place on today's date in 1869. The performers were two distinguished soloists: Clara Schumann, widow of composer Robert Schumann, and Hermann Levi, a famous conductor of his day. But in fact, the “Liebeslieder Waltzes” were intended for amateur musicians to play. These popular scores provided Brahms with some steady income, certainly more than he earned from performances of his symphonies, which some of his contemporaries considered difficult “new” music. Brahms wrote to his publisher: “I must admit that, for the first time, I grinned at the sight of a work of mine in print. Moreover, I gladly risk being called an ass if our ‘Liebeslieder' don't give more than a few people pleasure.” Some much more recent piano music designed for amateur performers was collected into a volume titled “Carnegie Hall Millennium Piano Book.” This volume was conceived by composer Ellen Taaffe Zwilich and the artistic director of Carnegie Hall, Judith Arron. They were concerned about the lack of contemporary piano works that intermediate-level piano students could perform, so commissioned ten composers to write suitable piano pieces from composers ranging from Milton Babbitt and Elliott Carte to Chen Yi and Tan Dun. Music Played in Today's Program Johannes Brahms (1833-1897): Liebeslieder Waltz No. 18, Op.52a –Silke-Thora Matthies and Christian Köhn, piano (Naxos 553140) Frederic Rzewski (1938-2021): The Days Fly By –Ursula Oppens, piano (Companion CD to Boosey and Hawkes "The Carnegie Hall Millennium Piano Book" ASIN: B003AG8IUK)

durée : 00:19:24 - Disques de légende du jeudi 06 octobre 2022 - "Igor Levit ne ressemble à aucun autre pianiste"

Gil and Erica sit with game developer and new music fan Brenna Noonan to talk about her experiences developing games with her development company Quillsilver Studios, her experiences working on the smash hit Everdell, and the intersection of music and games. SHOW NOTES 2m59s: Everdell, Roll Player: Adventures, Dog Park 6m14s: Erica and Scott chatted with the Laukats about making games as a family in Ludology 251 - All In the Family. 10m17s: Gil and Geoff discussed ludonarrative dissonance in games in Ludology 190 - Diabolus in Ludica. 11m22s: The sequence in question from the documentary Hearts of Darkness: A Filmmaker's Apocalypse. 12m33s: Sorry, spoiler alert! Hitchcock's Psycho had a legendary twist. 18m32s: Brenna mentions the productivity apps Toggl and ClickUp. 35m35s: A good sample Colvini brainburner is Carolus Magnus. Also Samurai, Sharang's episode Ludology 230 - Design Re-Verb, High Society 36m47s: The New Complexity school of music, Brian Ferneyhough, Conlon Nancarrow and his wild player piano music. (We should also mention the more recent phenomenon of Black MIDI music, like this MIDI version of Queen's Bohemian Rhapsody with 2.06 million notes.) 41m06s: Coherence, recommended by Banana Chan in Ludology 228 - The Roles We Play. 44m04s: Brenna's 3 composers she'd have over for dinner: Kaija Saariaho, Giacinto Scelsi, and Frederic Rzewski 45m13s: Gil was close! It was Charles Ives, at a performance of his music. The exact quote: "You goddamn sissy... when you hear strong masculine music like this, get up and use your ears like a man!"

Synopsis In 1952, the West Point Military Band celebrated that famous military academy's Sesquicentennial by asking prominent composers to write celebratory works to mark the occasion. Among those who responded was the American composer Morton Gould, whose “West Point Symphony” received its premiere performance on today's date in 1952, at a gala concert featuring the West Point Academy. There are two movements in Gould's “West Point Symphony.” They are titled “Epitaphs” and “Marches,” and the composer himself provided these descriptive comments: “The first movement is lyrical and dramatic… The general character is elegiac. The second and final movement is lusty… the texture a stylization of marching tunes and parades cast in an array of embellishments and rhythmic variations… At one point,” concludes Gould, “there is a simulation of a Fife and Drum Corp, which, incidentally, was the instrumentation of the original West Point Band.” Of all the pieces written in honor of West Point's Sesquicentennial in 1952, Gould's Symphony is probably the best-known. The score of the West Point Symphony calls for a “marching machine,” but on this classic 1959 recording under the late Frederick Fennell, the required sound was provided by the very real marching feet of 120 Eastman School of Music students. Music Played in Today's Program Morton Gould (1913-1996) — West Point Symphony (Symphony for Band) (Eastman Wind Ensemble; Frederick Fennell, cond.) Mercury 434 320 On This Day Births 1810 - French composer Felicien David, in Cadenet, Vaucluse; 1816 - English composer Sir William Sterndale Bennett, in Sheffield; 1938 - American composer and pianist Frederic Rzewski, in Westfield, Mass.; Deaths 1756 - Burial date of the German composer and keyboard virtuoso Johann Gottlieb Goldberg, age c. 29, in Dresden; 1826 - German composer Franz Danzi, age 62, in Schwetzingen; 1944 - French composer and pianist Cécile Chaminade, age 86, in Monte Carlo; Premieres 1742 - Handel: oratorio, "Messiah,"in Dublin (Gregorian date: April 24); 1789 - Mozart: Divertimento in Eb (K. 563) for string trio, in Dresden, by Anton Teiber (violin), Anton Kraft (cello), and the composer (viola); 1943 - Randall Thompson: "A Testament of Freedom" for men's voices and piano, at the University of Virginia; The orchestral version of this work premiered in Boston on April 6, 1945; 1952 - Morton Gould: Symphony No. 4 ("West Point Symphony") for band, during the West Point Military Academy Sesquicentennial Celebration in West Point, N.Y, by the Academy Band, with the composer conducting; 1961 - Luigi Nono: opera "Intolerance 1960," in Venice at the Teatro La Fenice; 1992 - Schnittke: opera "Life with an Idiot," in Amsterdam at the Dutch Opera; 1997 - Morten Lauridsen: "Lux Aeterna"for chorus and chamber orchestra, at Dorothy Chandler Pavilion in Los Angeles, by the Los Angeles Master Chorale, Paul Salamunovich conducting; 2000 - Danielpour: Piano Trio ("A Child's Reliquary"), at Hancher Auditorium at the University of Iowa, by the Kalichstein-Robinson-Laredo Trio; Others 1823 - Franz Liszt, age 11, performs at the Imperial Redoutensaal in Vienna; Legend has it that Beethoven attended this performance and planted a kiss on the young performer's forehead, but in fact Beethoven did not attend the concert; According to Liszt, the incident occurred a few days before at Beethoven's home, after Liszt had performed one of Beethoven's works; See Dec. 1, 1822, for Liszt's Vienna debut; 1896 - The American Guild of Organists is founded in New York City; 1958 - American pianist Van Cliburn wins the Tchaikovsky Competition in Moscow, the first American to do so. Links and Resources On Morton Gould

Dopo il ritorno nel '70 da Parigi, le strade di Leo Smith e Anthony Braxton si erano separate. Nell'ottobre del '74 però Smith è di nuovo in studio di incisione con Braxton, per un brano in trio con Richard Teitelbaum (negli anni sessanta a Roma uno degli animatori di Musica Elettronica Viva) che viene pubblicato nell'album di Braxton Trio and Duet. Nel febbraio del '76 poi Smith è di nuovo con Anthony Braxton per l'incisione dell'album di Braxton Creative Music Orchestra 1976; la formazione è molto ampia, oltre venti musicisti, e qualificatissima, praticamente una all stars (fra i componenti Roscoe Mitchell, Jon Faddis, George Lewis, Muhal Richard Abrams, Frederic Rzewski, Teitelbaum, Karl Berger, Dave Holland, Barry Altschul), le composizioni sono di Braxton, ma Smith ha un ruolo di rilievo in questo album che è un lavoro molto significativo nella produzione di Braxton degli anni settanta: suona in due dei sei brani dell'album, ma dirige l'orchestra in altri tre.

Dopo il ritorno nel '70 da Parigi, le strade di Leo Smith e Anthony Braxton si erano separate. Nell'ottobre del '74 però Smith è di nuovo in studio di incisione con Braxton, per un brano in trio con Richard Teitelbaum (negli anni sessanta a Roma uno degli animatori di Musica Elettronica Viva) che viene pubblicato nell'album di Braxton Trio and Duet. Nel febbraio del '76 poi Smith è di nuovo con Anthony Braxton per l'incisione dell'album di Braxton Creative Music Orchestra 1976; la formazione è molto ampia, oltre venti musicisti, e qualificatissima, praticamente una all stars (fra i componenti Roscoe Mitchell, Jon Faddis, George Lewis, Muhal Richard Abrams, Frederic Rzewski, Teitelbaum, Karl Berger, Dave Holland, Barry Altschul), le composizioni sono di Braxton, ma Smith ha un ruolo di rilievo in questo album che è un lavoro molto significativo nella produzione di Braxton degli anni settanta: suona in due dei sei brani dell'album, ma dirige l'orchestra in altri tre.

William Winant is a percussionist who describes himself as a technician of the sacred. Spin Magazine describes him as "the avant-elite's go-to percussionist for more than 35 years". In 2014, William was nominated for a Grammy.  He has performed with some of the most innovative and creative musicians of our time, including John Cage, Iannis Xenakis, Keith Jarrett, Anthony Braxton, James Tenney, Cecil Taylor, George Lewis, Steve Reich and Musicians, Yo-Yo Ma, Frederic Rzewski, Ursula Oppens, Joan LaBarbara, Annea Lockwood, Joelle Leandre, Oingo Boingo, Mr. Bungle, Sonic Youth, and the Kronos String Quartet.

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Karli Viña, Ben Charles, Ksenija Komljenović, and Caleb Pickering Producer: Karli Viña Guest: Nicholas Tolle https://www.nicholastolle.com/ Watch here  Listen below  0:00 Intro and Hello 1:19 Today in History: Gloria Estefan receives her star on the Walk of Fame 5:56 Welcome, Nick! 6:49 How did you get started playing cimbalom? 10:30 How did you acquire your cimbaloms? What kind of prices do they go for? 13:23 Hammered dulcimer vs. cimbalom, string layout on cimbalom: https://www.nicholastolle.com/compose... 16:28 Hary Janos 19:38 What are some strengths and limitations of the cimbalom? 20:55 Cimbalom mallets 22:34 Reading music on cimbalom, other musical skills 29:07 Cimbalom career highlights 33:16 Moving the cimbalom and other common audience questions 35:47 Percussion repertoire without percussion instruments (including this: https://youtu.be/n1NOAiy2sZ8) 39:45 Nick's path as a musician 44:29 Lost and Found by Frederic Rzewski (http://icking-music-archive.org/score...) 47:02 Nick's performing schedule 50:09 Ludovico Ensemble (https://www.ludovicoensemble.org/) 54:16 Nick's freelancing advice 57:24 Nick's next projects  

Riprende la serie La Q di Podqast, il cui ultimo episodio – l'ottavo, intitolato «Lumi» e con ospite Gad Lerner – risaliva all'estate scorsa.Nel novembre e dicembre scorso, alla facoltà di Lettere e Filosofia dell'Università Roma 2 di Tor Vergata si è svolto, suddiviso in quattro incontri, un seminario sul cospirazionismo.Ideazione e cura dell'iniziativa si devono alla professoressa Simona Foà, docente di Teoria della letteratura e coordinatrice del corso di Laurea Magistrale in Scienze dell'Informazione, della comunicazione e dell'editoria. Il seminario traeva spunto direttamente dalla pubblicazione di La Q di Complotto.In un certo senso, il libro è "tornato a casa". Il suo primo nucleo narrativo e concettuale, infatti, ha preso forma proprio nelle aule di Tor Vergata, nell'anno accademico 2018-2019, quando Wu Ming 1 – per l'occasione docente a contratto – ha tenuto il corso di Giornalismo culturale, dedicandolo proprio alle fantasie di complotto.Il 15 novembre scorso WM1 ha inaugurato il seminario, in dialogo con Simona Foà e con Carmela Morabito, storica della psicologia e delle neuroscienze cognitive, che a Roma 2 insegna Fondamenti della psicologia e Introduzione alle Scienze del comportamento.Durante l'incontro si è parlato del libro, della sua costruzione e dei suoi temi da angolature peculiari, fino a quel momento "improposte". Da qui la scelta di farne la nona puntata del podqast.Si intitola «Forme» perché la domanda a cui si cerca di rispondere è: perché il libro ha quesa forma, queste forme?Trattandosi di un intero incontro seminariale, questa puntata dura più delle precedenti: due ore e un quarto spaccate.Tema musicale della sigla: The Foggy Dew, ballata irlandese scritta da Canon Charles O'Neill, riscrittura per pianoforte di Frederic Rzewski, eseguita da Thomas Kotcheff.In background: cut-up di frammenti da The Foggy Dew, op. cit., tagliati, rovesciati e mescolati con criterio random.

Saturday 18 December: Rita Moreno's big 90th birthday, and remembering Frederic Rzewski, Louis Andriessen, and Mikis Theodorakis

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou· www.creativeprocess.info

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

a cura di Alessandro Achilli. Musiche: Curved Air, Gong, Faust, Rzewski, Recedents, Dolphy, Chris Abrahams - Mike Cooper, Remote Viewers, Jack Bruce, Fickle Friends, Greta Liisa Grünberg - Laur Pihel, Kappeler-Zumthor, Mimsy, Alessia Elli

Bang on a Can and MASS MoCA present LOUD Weekend this weekend which will be a fully loaded eclectic super-mix of minimal, experimental and electronic music. LOUD Weekend features two days of ear-bending music and mind-blowing art exhibitions taking place throughout the museum's vast galleries and its stunning collection of indoor and outdoor performing arts venues. Featured performers include Kronos Quartet, Mazz Swift, and Bang on a Can All-Stars among many others. The opening concert on Friday July 30 at 4pm begins with Julius Eastman's FEMENINE followed by world premiere performances of music by Frederic Rzewski, Terry Riley, and much more. Bang on a Can co-founders and artistic directors David Lang, and Julia Wolfe join us this morning.

a cura di Alessandro Achilli. Musiche: Allman Brothers, Jack Bruce, Stereolab, Thelonious Monk, Eric Dolphy, Frederic Rzewski, Sergio Ortega, Anthony Braxton, Andriessen, Brian Woodbury, René Lussier, Jon Rose, Blast, Massimo Giuntoli, Serena

a cura di Alessandro Achilli. Musiche: Allman Brothers, Jack Bruce, Stereolab, Thelonious Monk, Eric Dolphy, Frederic Rzewski, Sergio Ortega, Anthony Braxton, Andriessen, Brian Woodbury, René Lussier, Jon Rose, Blast, Massimo Giuntoli, Serena

Op 26 juni jongstleden overleed de Amerikaanse componist en pianist Frederic Rzewski (geboren in 1938). Sociaal-historische en politieke thema's zijn kenmerkend voor vrijwel al zijn werk. Bijvoorbeeld voor zijn vermoedelijk bekendste werk, voor piano solo, The People United Will Never Be Defeated!, 36 variaties op het lied 'El pubeblo unido jamás será vencido' van de Chileense componist en activist Sergio Ortega, geschreven als muzikale pendant van Beethovens Diabelli-variaties. Het vlammende Coming Together is gebaseerd op brieven van een gevangene van Attica State Prison ten tijde van de beruchte rellen in die gevangenis (1971). Critici beschouwen Rzewski als een van de belangrijkste pianocomponisten van de laatste tijd, en prijzen de fabuleuze speeltechniek die Rzewski bij leven liet horen. 23:04:20 CD Distant Light (Challenge Classics CC 72830) Peteris Vasks: Vioolconcert ‘Distant Light' - Andante 2 Daniel Rowland [viool]; Stift Festival Orchestra 7'17” 23.13 eigen opname musici Beate Loonstra; Vincent Veneman: Onbesliste Tweestrijd Beate Loonstra [harp]; Vincent Veneman [trombone] 4'04” 23.20 CD The People United Will Never Be Defeated ( Frederic Rzewski: The People United Will Never Be Defeated (I-X) Marc-André Hamelin [piano] 10'18” 23.32 LP Hoketus (Hoketus 01 - 6814090) Frederic Rzewski: Coming Together Hoketus; Roberta Alexander [stem] 19'46”

Image credit: The Japan Art Association As the celebrated violinist Anne-Sophie Mutter prepares for the premiere of John Williams's new violin concerto, she talks to Tom Service about making music in and out of the pandemic. She reflects on how her relationship to music has changed over the past 18 months and the need for urgent change when it comes to supporting music and culture in German and beyond. A New Topography of Love Part II is an animated video-game opera experience currently being developed by writer and director John McIlduff and composer Brian Irvine at Dumbworld productions, in collaboration with artists and game developers. Tom catches up with Brian Irvine and Vicky Potts from Whitepot Studios to find out how they plan to put opera inside arcade cabinets. The Berlin-based Belarusian conductor Vitali Alekseenok travelled back to Belarus last August to join protests against the latest election of Alexander Lukashenko as the country's leader – a result which has not been accepted by the EU or the UK. Vitali took part in daily musical protests on the streets of Minsk and has written a book about his experiences. He knows he can't now go back to Belarus for fear of being arrested - something that's already happened to many of his musician friends there. He talks to Tom about his hopes and fears for Belarus and the musicians and artists who speak out. American musician Jessie Montgomery is one of the most distinctive and communicative voices in the US, as a player and a creator. She writes chamber works and orchestral music, as well as improvising with double bassist Eleonore Oppenheim in her duo Big Dog, Little Dog. As she begins her new role as Chicago Symphony Orchestra's Mead Composer-in-Residence, she talks about her work and a newfound urgency to engage, connect and reflect through her music. And from the Music Matters archives, interviews with two composers whom the world has lost in recent days – Frederic Rzewski and Louis Andriessen.

It's a fast and furious episode as we're joined by Anthony Carboni (@acarboni) for a chat about New Orleans, 4DX, the most wanted and unwanted songs, Brian's little-known advanced degree, composer Frederic Rzewski, serial killers, and scorching hot reality shows. Whew!Follow us on Twitter at @leightonnight and on Instagram at @leighton_night. You can find Brian on Twitter/Instagram at @bwecht, and Leighton at @graylish (Twitter)/@buttchamps (Instagram).

When Jay says “just perfect,” in this episode, he is referring to Marilyn Horne's singing of “At the River.” This is the piece that ends the podcast. It's a little Independence Day nod. Elsewhere, Jay discusses and plays a Debussy song, two famous guitar pieces, and a piano piece by Frederic Rzewski, the American composer […]

When Jay says “just perfect,” in this episode, he is referring to Marilyn Horne's singing of “At the River.” This is the piece that ends the podcast. It's a little Independence Day nod. Elsewhere, Jay discusses and plays a Debussy song, two famous guitar pieces, and a piano piece by Frederic Rzewski, the American composer (also a political radical), recently deceased. A neat, varied, interesting, and enriching program. Debussy, “La mer est plus belle que les cathédrales” Villa-Lobos, Prelude No. 5 Rzewski, “Down by the Riverside” Barrios, “Julia Florida” Lowry, arr. Copland, “At the River”

When Jay says “just perfect,” in this episode, he is referring to Marilyn Horne's singing of “At the River.” This is the piece that ends the podcast. It's a little Independence Day nod. Elsewhere, Jay discusses and plays a Debussy song, two famous guitar pieces, and a piano piece by Frederic Rzewski, the American composer (also a political radical), recently deceased. A neat, varied, interesting, and enriching program. Debussy, “La mer est plus belle que les cathédrales” Villa-Lobos, Prelude No. 5 Rzewski, “Down by the Riverside” Barrios, “Julia Florida” Lowry, arr. Copland, “At the River”

Vielbeschäftigter Avantgarde-Pianist, Komponist mit Hang zur Improvisation, überzeugter Linker: Frederic Rzewski war eine schillernde Erscheinung in der amerikanischen Musik des 20. Jahrhunderts. Am 26. Juni ist der geniale Nonkonformist im Alter von 83 Jahren gestorben.

Una selecci

In the third episode of Ghost Echoes, the secret rules direct us towards a reluctant radical in Robert Wyatt. The eclectic English musician is in good company, though, and you'll find out why as we twist and turn through a number of historical similarities and coincidences. Along the way, we'll also learn that a revolution is not a dinner party. Music and Sound Notes: - The music in the first section about Robert Wyatt includes “Marchides” by Matching Mole, and “Alifib” by Robert Wyatt. - The following section about Cornelius Cardew includes the first movement from Haydn's String Quartet Op. 54, No. 1 performed by Marlburo Music. - “Brandy As In Benj” by Matching Mole starts the next section about Wyatt. Three more songs from Little Red Record close out the section: “Righteous Rhumba,” “Gloria Gloom,” and “Starting in the Middle of the Day We Can Drink Our Politics Away.” - The next Cardew section contains "Paragraph 7" of The Great Learning performed by the Scratch Orchestra, a repeat engagement by AMMMusic, and Karlheinz Stockhausen's Kontakte. The recordings of Cardew's propaganda songs appear on the CD Consciously: “Song for the British Working Class,” “Founding of the Party” and “The Workers of Ontario.” - The following sections contain “Foxy Lady” from a Jimi Hendrix bootleg from a 1967 show in Stockholm. And a recording of Cardew's Thälmann Variations by Frederic Rzewski. (This recording is all the more poignant considering that Rzewski was a friend of Cardew's, and a colleague in radical politics, though he did not escape censure by Cardew in Stockhausen Serves Imperialism). - Finally, the ending is set to two Robert Wyatt songs: “Sea Song” and “Shipbuilding.” Further reading, listening: - My two main sources for biographical information were Cornelius Cardew: A Life Unfinished by John Tilbury and Different Every Time: The Authorized Biography of Robert Wyatt by Marcus O'Dair. This piece by Edward Fox was useful for some details surrounding Cardew's death. -Clips of Wyatt speaking come from the BBC's The Voices Of… and the short clip of John Tilbury comes from this video.

This week, I have the incredible honor of welcoming renowned pianist Ursula Oppens to the show. A legend among American pianists, Ursula is widely admired for both her original and perceptive readings of new music, and for her knowing interpretations of the standard repertoire. As you'll hear in the episode, she's an incredibly passionate and wise musician!  Her and I covered several topics, from the reality of a career in music today, to how she approaches learning repertoire, and how she's stays focused in the practice room! In this episode, Ursula expands on: Her love of new music and how it developed early on in her life How she approaches bringing new music to life Why she doesn't think musicians should have a niche but should, instead, be interested in learning Her view of the musical landscape of today What improvisation can bring to our playing How she loves practicing (and I love that she said that so much!) How mental and muscle memory develop together Why she thinks it's important to memorize music in order to learn it better Her strategies to find energy, motivation, and focus to practice Why flexibility is a crucial skill to develop How a well-rounded education is also very helpful Her very wise piece of advice for young musicians Ursula is a force of nature and very generous with her insight. I know you'll love this discussion!     The Mind Over Finger Podcast on YouTube: https://www.youtube.com/channel/UCtQSB1IVNJ4a2afT1iUtSfA/videos   Sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT URSULA: Website: https://colbertartists.com/artists/ursula-oppens/ YouTube channel: https://www.youtube.com/channel/UCqj7e-6dIIBw2OkKmHxYItw   Ursula Oppens, a legend among American pianists, is widely admired particularly for her original and perceptive readings of new music, but also for her knowing interpretations of the standard repertoire. No other artist alive today has commissioned and premiered more new works for the piano. A prolific and critically acclaimed recording artist with five Grammy nominations, Ms. Oppens most recently released a new recording of Frederic Rzewski's The People United Will Never Be Defeated, nominated for a Grammy in 2016, and Piano Songs, a collaboration with Meredith Monk. Earlier Grammy nominations were for Winging It: Piano Music of John Corigliano; Oppens Plays Carter; a recording of the complete piano works of Elliott Carter for Cedille Records (also was named a “Best of the Year” selection by The New York Times long-time music critic Allan Kozinn); Piano Music of Our Time featuring compositions by John Adams, Elliott Carter, Julius Hemphill, and Conlon Nancarrow for the Music and Arts label, and her cult classic The People United Will Never Be Defeated by Frederic Rzewski on Vanguard. Ms. Oppens recently added to her extensive discography by releasing a two-piano CD for Cedille Records devoted to Visions de l'Amenof Oliver Messiaen and Debussy's En blanc et noir performed with pianist Jerome Lowenthal. Over the years, Ms. Oppens has premiered works by such leading composers as John Adams, Luciano Berio, William Bolcom, Anthony Braxton, Elliott Carter, John Corigliano, Anthony Davis, John Harbison, Julius Hemphill, Laura Kaminsky, Tania Leon, György Ligeti, Witold Lutoslawski, Harold Meltzer, Meredith Monk, Conlon Nancarrow, Tobias Picker, Bernard Rands, Frederic Rzewski, Allen Shawn, Alvin Singleton, Joan Tower, Lois V Vierk, Amy Williams, Christian Wolff, Amnon Wolman, and Charles Wuorinen. As an orchestral guest soloist, Ms. Oppens has performed with virtually all of the world's major orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Los Angeles Philharmonic, the American Composers Orchestra, the Boston Modern Orchestra Project (BMOP), and the orchestras of Chicago, Cleveland, San Francisco, and Milwaukee. Abroad, she has appeared with such ensembles as the Berlin Symphony, Orchestre de la Suisse Romande, the Deutsche Symphonie, the Scottish BBC, and the London Philharmonic Orchestras.  Ms. Oppens is also an avid chamber musician and has performed with the Arditti, Cassatt, JACK, Juilliard, and Pacifica quartets, among other chamber ensembles. Ursula Oppens joined the faculty of the Mannes College of Music in the fall of 2017, and is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007-08 academic year she served as John Evans Distinguished Professor of Music at Northwestern University in Evanston, IL. In addition, Ms. Oppens has served as a juror for many international competitions, such as the Concert Artists Guild, Young Concert Artists, Young Pianists Foundation (Amsterdam), and Cincinnati Piano World Competition.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Composers Recordings, Inc (also known as CRI) was founded in 1954 by Otto Luening, Douglas Moore and Oliver Daniel. The label's mission was the discovery, distribution and preservation of the finest in contemporary American music. Hundreds of American composers had their first recording released on CRI, making the label a mainstay of career development for several generations of composers — over 600 full-length recordings were released by CRI on LP, cassette and CD. CRI was also particularly successful in recording important talents early in their careers: of the thirty-seven Pulitzer Prize-winning composers on the label, twenty-seven were recorded by CRI before they won the prestigious award. The episode features: Charles Dodge, The Serpent, Space Guitars, James Tenney, Alice Shields, Priscilla Mclean, Earle Brown, Christian Wolff and Frederic Rzewski.

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou· www.creativeprocess.info

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

Cortinilla de entrada a la Colección 21 Festival Internacional de Piano En Blanco & Negro

10.12.17 Art and Incarceration: Poetry, Theatre and Music in and about Captivity Concert, Ensemble Pi For this interdisciplinary performance, Ensemble Pi presented music, text, and theater works that focus on the rise of mass incarceration, the racial disparities it reveals, and the emotional toll it takes on inmates and their families. The evening started with the world premiere of Rikers Island by New York composer Eleanor Cory, inspired by the anthology These Are Hard Times for Dreamers. Followed by Rzewski’s minimalist masterpiece, Coming Together, composed in the wake of the 1971 prison riots in upstate New York and powerfully expressing the frustration of life behind bars and anger about injustice. Joseph Assadourian, the narrator for Coming Together, will also perform an excerpt from his tragi-comic play, The Bullpen, based on his own incarceration. The performance closed with the sublime Olivier Messiaen’s Quartet for the End of Time (1941), composed and performed in the prisoner-of-war camp in Gorlitz, Germany, capturing the hardship and sadness of being in prison, while still conveying optimism. About the presenters: Ensemble Pi is a new music collective that uniquely connects pressing social and political issues and the idioms of classical contemporary music. They began a Peace Concerts series 10 years ago in response to the invasion of Iraq, and have since presented annual chamber music concerts giving voice to the struggle for peace. Every concert includes at least one commission, as well as contemporary classical masterpieces to address the historical tradition of “socially conscious” compositions. In the past, the group has collaborated with visual artists, writers, journalists and actors – including South African artist William Kentridge and American journalists Naomi Wolf and Jeremy Scahill – and have featured the music of John Harbison, Frederic Rzewski, Shostakovich and Penderecki. The Peace Concerts series has also protested the censorship of media, fracking, the Apartheid, and more. Performers include: Alexis Gerlach, cello; Moran Katz, clarinet; Idith Meshulam Korman, piano; Airi Yoshioka, violin; and Joseph Assadourian, actor and narrator. The group is joined by local Houston musicians Craig Hauschildt, percussion and Daniel Egan, trumpet.

Pianist R. Andrew Lee joins us to discuss the minimal, and often very long, works of music he performs and records. (Sorry about the audio quality; there were some problems recording this episode.) This week’s guest: R. Andrew Lee Show notes: Irritable Hedgehog Records Episode #18 – New Yorker Music Critic Alex Ross Discusses Listening to Classical Music Tom Johnson: An Hour for Piano, performed by Frederic Rzewski Dennis Johnson: November The Four Pillars Appearing from The Equal D under Resonating Apparitions of The Eternal Process in The Midwinter Starfield 16 VIII 10 (Kansas City) Our next tracks: Kirk: The Complete Music of Carl Ruggles Doug: David Bromberg: Reckless Abandon/Bandit in a Bathing Suit If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast. Special Guest: R. Andrew Lee.

Lisa Moore talks about the realities of the independent classical musician's life, and plays music by Frederic Rzewski and Australian composers Brett Dean and Kate Moore.

Lisa Moore talks about the realities of the independent classical musician's life, and plays music by Frederic Rzewski and Australian composers Brett Dean and Kate Moore.

Improvising double-bassist, and co-founder of the NOW now festival and of the Splinter Orchestra, Clayton Thomas, in concert and conversation at the Peggy Glanville-Hicks Composers' House.

Improvising double-bassist, and co-founder of the NOW now festival and of the Splinter Orchestra, Clayton Thomas, in concert and conversation at the Peggy Glanville-Hicks Composers' House.

Music from a collaboration of indigenous singer-songwriters and musicians from the Kimberley with contemporary classical and improvising musicians from around the country.

Music from a collaboration of indigenous singer-songwriters and musicians from the Kimberley with contemporary classical and improvising musicians from around the country.

April 30, 2016. David Plylar interviews composer Frederic Rzewski and violist Charlton Lee of the Del Sol String Quartet about their collaboration at the Library of Congress. Rzewski received a Library of Congress McKim Fund commission for "Satires," a work for violin and piano. The world premiere was given at the Library of Congress with Rzewski on piano and violinist Jennifer Koh on April 30, 2016. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7572

Tiziana Ricci su “Cantierememoria”, rassegna inaugurata alla Casa della Memoria di Milano.- Barbara Sorrentini intervista Maria Mauti, regista di “L'amatore”, film di chiusura di FilmMaker 16, con la partecipazione straordinaria di Giulia Lazzarini.- Il maestro Enrico Intra parla della tre giorni MIT JazzFestival – Orchestra senza Confini , al Piccolo Teatro Strehler di Milano, che apre la 19° edizione di Jazz al Piccolo con il meglio dei jazzisti italiani.- Ospite in diretta il maestro Frederic Rzewski che ad Aperitivo in Concerto 16 propone le sue celebri 36 variazioni su “El pueblo unido jamàs sera vencido” di Sergio Ortega.- La rubrica di fumetti del venerdì a cura di Antonio Serra.

Tiziana Ricci su “Cantierememoria”, rassegna inaugurata alla Casa della Memoria di Milano.- Barbara Sorrentini intervista Maria Mauti, regista di “L’amatore”, film di chiusura di FilmMaker 16, con la partecipazione straordinaria di Giulia Lazzarini.- Il maestro Enrico Intra parla della tre giorni MIT JazzFestival – Orchestra senza Confini , al Piccolo Teatro Strehler di Milano, che apre la 19° edizione di Jazz al Piccolo con il meglio dei jazzisti italiani.- Ospite in diretta il maestro Frederic Rzewski che ad Aperitivo in Concerto 16 propone le sue celebri 36 variazioni su “El pueblo unido jamàs sera vencido” di Sergio Ortega.- La rubrica di fumetti del venerdì a cura di Antonio Serra.

Tiziana Ricci su “Cantierememoria”, rassegna inaugurata alla Casa della Memoria di Milano.- Barbara Sorrentini intervista Maria Mauti, regista di “L’amatore”, film di chiusura di FilmMaker 16, con la partecipazione straordinaria di Giulia Lazzarini.- Il maestro Enrico Intra parla della tre giorni MIT JazzFestival – Orchestra senza Confini , al Piccolo Teatro Strehler di Milano, che apre la 19° edizione di Jazz al Piccolo con il meglio dei jazzisti italiani.- Ospite in diretta il maestro Frederic Rzewski che ad Aperitivo in Concerto 16 propone le sue celebri 36 variazioni su “El pueblo unido jamàs sera vencido” di Sergio Ortega.- La rubrica di fumetti del venerdì a cura di Antonio Serra.

This episode features part two of my conversation with percussionist Jan Williams, who has had a brilliant and multifaceted career. In addition to being one of the world's finest percussionists, Jan has been an arts administrator, educator, conductor, and composer. Deeply invested in contemporary music, he has worked closely with luminary composers including Morton Feldman, John Cage, Lukas Foss, Frederic Rzewski, and many more. As a performer, he has appeared worldwide and has been an important proponent for the development of literature for percussion instruments. Jan spent much of his career at the University of Buffalo, where he was one of the first class of Creative Associates in the 1960's. He went on to serve as a faculty member and chair of the music department. While in Buffalo, he also co-directed the North American New Music Festival and served as artistic director for the Center for Creative and Performing Arts.

This episode features part one of my conversation with percussionist Jan Williams, who has had a brilliant and multifaceted career. In addition to being one of the world's finest percussionists, Jan has been an arts administrator, educator, conductor, and composer. Deeply invested in contemporary music, he has worked closely with luminary composers including Morton Feldman, John Cage, Lukas Foss, Frederic Rzewski, and many more. As a performer, he has appeared worldwide and has been an important proponent for the development of literature for percussion instruments.

Our second modern classical episode focuses on the dynamic between words, other mouth-made sounds and music. Talking, spoken word, speech as composition, speech in composition, lyrics sung as if meant to be spoken, poetry: It's all here. Tracklist: Bang on a Can All-Stars, John Cage - An Open Cage, Philip Glass - Knee 5, Gavin Bryars - A Man in a Room, Gambling: #3, Christopher Tignor, John Ashberry - A Boy, David Lang, Anonymous 4 - Love Fail: Forbidden Subjects, David Byrne - Social Studies, John Cage - The City Wears a Slouch Hat: Pt. 8, Roberto Cacciapaglia - Sei Note in Logica: Part II, John Cale - Legs Larry at Television Centre, Max Richter - The Blue Notebooks, Laurie Anderson - World Without End, Robert Ashley - Perfect Lives: The Park (Privacy Rules), Dean Blunt - 8, Bang on a Can All-Stars - A Wonderful Day, Mutamassik - Not Having To Choose Between Killing And Being Killed (P.S.A.), Scott Johnson - John Somebody: Involuntary Song #3, Julia Wolfe - Flowers, Steve Reich - Different Trains: 3. After the War, Michael Gordon, David Lang, Julia Wolfe - Shelter: I. Before I Enter, Frederic Rzewski, Group 180 - Attica, Meredith Monk - Last Song, Moondog - Two Quotations in Dialogue

Many pianists would be happy to record either Bach's Goldberg Variations or Beethoven's Diabelli Variations. But Igor Levit has plunged in and recorded both, along with Frederic Rzewski's vast variation work from the 1970s, The People United Will Never Be Defeated. Levit's three-disc set the BBC Music Magazine Recording of the Month for the January 2016 issue and you can hear clips from it in this podcast. See acast.com/privacy for privacy and opt-out information.

Christian Wolff is widely acknowledged as one of the most important American composers of the 20th century. He was born in 1934 in Nice, France, and has lived in the U.S. since 1941. He studied piano with Grete Sultan and, briefly, composition with John Cage. His association and friendship with Cage and with Morton Feldman, Earle Brown, and David Tudor helped set the direction of his work, as did later association with Frederic Rzewski and Cornelius Cardew. Since 1952 he has been musically connected to Merce Cunningham and his dance company. In addition to his composing (over 200 works to date) he has been a sometime performer and improviser with, among others, AMM, Larry Polansky, Kui Dong, Keith Rowe, Christian Marclay, Takehisa Kosugi, and Steve Lacy. His music is published by C.F. Peters and much of it as been recorded. Academically trained as a classicist, he taught at Harvard from 1963 to 1970, and at Dartmouth College from 1971 to 1999, in the music and classics departments. He is currently a full-time independent musician.

Klavierwerke von Louis Moreau Gottschalk, George Gershwin, Philip Glass, Frederic Rzewski und Samuel Barber | Ulrich Roman Murtfeld (Klavier)

Radio CPR is broadcasting beyond its own backyard for the first time in the life of Experiencing a Significant Gravitas Shortfall, and the Grouse, as you might expect, crumbles under the pressure. Late start because of a DJ training session before the show. Download | Podcast Bold text indicates relatively new releases (including reissues and comps). Stalling tape Jeffrey Stolet - "Lariat Rituals" (from YouTube) Daniel Bachman - "Sita Ram (Who is God)" (from Oh Be Joyful) The Fear that is knowing potentially thousands of people could be listening; the disappointment in knowing it won't stop Grouse from rambling on anyway. The Meters - "Darling Darling Darling" (from Funkify Your LIfe: The Meters Anthology) Stereolab - "Three Women" (from Chemical Chords) Frederic Rzewski performed by Marc-André Hamelin - "NORTH AMERICAN BALLADS (exc) (3) Down by the Riverside" (from The People United Will Never Be Defeated! - 36 Variations On ¡El Pueblo Unido Jamás Será Vencido!) Bent Leg Fatima - "Greetings and Farewells / Cup and Saucer" (from Bent Leg Fatima) Grouse played some Rush because he thought they were Thrush. Noble Watts - "Teen-Scene" (from Cats Got These Cats' Tongues - 26 Rarities From Mr. Fine Wine's Vaults) Silo Halo - "Wonderful Gift" (from Night and the City) Unrest - "June" (from BPM 1991-1994) Cotton Candy - "Strudel Zum Toast It / Compulsory & Auditory / Water Country" (from America Hearts / Cotton Candy split EP) Teething Veils - "You Write on My Face" (Live on Radio CPR) Six Organs of Admittance - "Blues for Jack Parsons" (from Parson' Blues) America Hearts - "White Socks" (from America Hearts / Cotton Candy split EP) Grouse gave up on this episode a while ago. Onward and upward! The Mar-Keys - "Sack-O-Woe" (from The Complete Stax/Volt Singles: 1959-1968) Talibam! - "Squeeze My Nuts In the Barnyard" (from Discover AtlantASS) The Pyramids - "Absolution" (from Otherworldly) Funkadelic - "Groovallegiance" (from One Nation Under a Groove) The Congos - "Congoman" (from Heart of the Congos)

Nearly every Thursday that I do this show, I bring a copy of something by Daniel Bachman to the studio in my bag of records, tapes, CDs and other tricks. Yet somehow, I've only played him once in the 29 previous shows (Sacred Harp, way back in Program 4). And it wasn't even an official broadcast; it was something I tacked on after the fact. Well I'm making up for that in this program by plugging the hell out of DB's show in DC this Friday night. See the previous posts or listen to this podcast to find out the whens and wherefores. Download | Podcast Bold text indicates relatively new releases (including reissues and comps). Frederic Rzewski performed by Marc-André Hamelin - "THE PEOPLE UNITED WILL NEVER BE DEFEATED - Thema- With determination" (from The People United Will Never Be Defeated! - 36 Variations On ¡El Pueblo Unido Jamás Será Vencido!) Roxy Music - "Pyjamarama" (from The Thrill of It All) Plastic Bertrand - "Ca Plane Pour Moi" (from An 1) Illaiyaraaja - "Naanthaan Ungappanda feat. S.P. Balasubrahmanyam" (from Solla Solla: Maestro Ilaiyaraaja And The Electronic Pop Sound Of Kollywood 1977-1983 Vol. 2) The wonders of an on-time Grouse Professor Longhair - "Big Chief" (from New Orleans Funk) Brighter Side of Darkness - "Love Jones" (from Love Jones) Hypnotic Brass Ensemble - "Black Boy" (from Bulletproof Brass EP) White/Light - "Can You Get to That / Hit it and Quit It" (from White/Light plays Maggot Brain) Günter Schickert - "Puls" (from Überfällig) Ryley Walker and Daniel Bachman - "Devil In The Old Dominion" (from Of Deathly Premonitions) The Grouse has a love jones for you. Brighter Side of Darkness - "Love Jones (instrumental)" (from Love Jones) Daniel Bachman - "Sun Over Old Rag" (from Seven Pines) Daniel Bachman - "Grey (Take Two)" (from Grey-Black-Green) Daniel Bachman - "Rove Ryley Rove/ Wild Bill Jones/ Darling Cory" (from Oh Be Joyful) Mark Fosson - "Gorilla Mountain" (from Digging in the Dust : Home Recordings 1976) Angel Olsen/Marissa Nadler - "My Dreams Have Withered and Died" (Soundcloud) Charalambides - "My Little Bessie (cassette only)" (from Historic 6th Ward CS) Sacred Harp - "Brother Green" (from Apparitions at the Kenmore Plantation) Allison's Sacred Harp Singers - "The Old Ship of Zion" (from Heaven's My Home, 1927-1928) The Watersons - "Autumn - Souling Song" (from Frost and Fire: A Calendar of Ritual and Magical Songs) Donald Swann - "Namárië" (from The Road Goes Ever On) Synanthesia - "Just As The Curtain Finally Falls" (from Synanthesia) Daniel Bachman & Ian McColm - "WRGOA / MLIAOI / BABD" (from Taman Shud)

Election day is almost here, much of the East coast is under water, and Halloween has come and gone without the Mighty Grouse making you listen to 15 versions of the Monster Mash. You come to us for satisfaction, and instead we give you these sadistic candles: a hurricane set, an atheist DJ acknowledging a Christian holiday, and a new track from Lello Boscoverde called "93 Years of Disappointment" (an invective to the Great Communicator). But what's really important is that we all Come Together, no matter what happens this Tuesday. And I think we can all unite over the majesty of Frederic Rzewski's tribute to the rioters of Attica (last track! show highlight!). Download | Podcast Bold text indicates relatively new releases (including reissues and comps). Satisfaction - "You Upset the Grace of Living When You Lie" (from Satisfaction) Sadistic Candle - "Live Improvisation, SF 6/10" (from Sadistic Candle [CS-SA011]) A visit from Lord Apologizer The Mar-Keys - "Sack-O-Woe" (from The Complete Stax/Volt Singles: 1959-1968) Caribou - "Sandy" (from Andorra) The Lil' Hospital - "The Floods" (from Heavy Metal) Reverend Johnny L. "Hurricane" Jones - "Secret Storm" (excerpt) (from Can I Get A Witness? Sinner's Crossroads 2011 WFMU Marathon Premium) The Ivytree - "Flood" (from Winged Leaves) Chuck Brown & the Soul Searchers - "Stormy Monday" (from Go Go Swing Live) Eastern Standard Time - "Eye of the Storm" (from Jump Up! Records: "Caribbean Shakedown") Lacking gravitas, the Grouse plays a LOCAL ska band and doesn't even realize it. The Left Banke - "There's Gonna Be a Storm" (from There's Gonna Be A Storm: The Complete Recordings) Lord Beginner - "Jamaica Hurricane" (from London Is The Place For Me: Trinidadian Calypso in London, 1950-1956) The Mighty Grouse's Kitch impression is offensive Trini-face. The Mar-Keys - "Bush Bash" (from The Complete Stax/Volt Singles: 1959-1968) The Saints - "Orstralia" (from Eternally Yours) The Minutemen - "Political Song for Michael Jackson" (from Double Nickels on the Dime) The Move - "Vote For Me" (from The Move) Lello Boscoverde - "93 Years of Disappointment" (excerpt) (unreleased) Grouse gets out the vote. Stereolab - "Les Yper-Sound" (from Emperor Tomato Ketchup) Frederic Rzewski - "Coming Together" (from Coming Together) Correction: text by Sam MELVILLE, not Neville. John Fahey - "I Sing a Song of the Saints of God" (from Your Past Comes Back to Haunt You : The Fonotone Years [1958-1965])

Playliste de William Winant pour webSYNradio Avec des extraits de Kathy Acker, Kenneth Anger, Robert Ashley, David Behrman, Alvin Curran, Richard Foreman, Anthony Braxton, Mauricio Kagel, Kipper Kids, Anna Lockwood, Alvin Lucier, Richard Maxfield, Gordon Mumma, Zeena Parkins & Chris Cutler, John Zorn, Xenakis , Varèse, Frederic Rzewski, James Tenney.