Podcast appearances and mentions of George Crumb

durée : 01:28:40 - En pistes ! du mardi 22 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - A la découverte d'une légende bretonne avec le roi d'Ys d'Edouard Lalo et sa ville engloutie par les eaux, un cycle de lieder emblématique de George Crumb, Bach et ses fils au piano, voilà ce qui vous attend dans En Pistes aujourd'hui ! - réalisé par : Antoine Courtin

durée : 01:28:40 - En pistes ! du mardi 22 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - A la découverte d'une légende bretonne avec le roi d'Ys d'Edouard Lalo et sa ville engloutie par les eaux, un cycle de lieder emblématique de George Crumb, Bach et ses fils au piano, voilà ce qui vous attend dans En Pistes aujourd'hui ! - réalisé par : Antoine Courtin

Een piano heeft 88 toetsen + het is vandaag de 88e dag van het jaar = Pianodag! In deze aflevering dus een ode aan de piano; van de ingetogen schoonheid van Lili Boulanger, tot de spetterende energie van Joey Roukens en van de wonderlijke stemming van Charles Ives tot het grootse klankuniversum van George Crumb en de klapspelletjes van Mayke Nas: snaren, hamers, toetsen, vilt, hout en meer!

Host Seth Boustead features a variety of pieces by composers who ask the performers to vocalize in some way while also playing their instrument. Music by Frederick Rzewski, George Crumb, Daniel Bernard Roumain and Tom Johnson.

Se asocia su nombre a timbres heterodoxos, a técnicas instrumentales y vocales extendidas, a formas de notación particulares y a su monumental “Black Angels”. Para él la música es “un sistema de proporciones al servicio del impulso espiritual”._____Has escuchadoBlack Angels. I. Departure (1970). Kronos Quartet. Nonesuch (1990)Madrigals. Book I (1965). Anne-Marie Mühle, mezzosoprano; Musica Varia. BIS (1985)Mecánica celeste (Makrokosmos IV). Danzas cósmicas para piano amplificado a cuatro manos. GrauSchumacher Piano Duo. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 22 de febrero de 2020. Archivo de Conciertos de la Fundación Juan MarchVox Balaenae (Voice of the Whale). Vocalise (… For the Beginning of Time): For Electric Flute, Electric Cello and Amplified Piano (1971). Hans Peter Frehner, flauta; Ensemble für Neue Musik Zürich; Jürg Henneberger, director. hat[now]ART (2006)_____Selección bibliográficaADAMENKO, Victoria, “George Crumb's Channels of Mythification”. American Music, vol. 23, n.º 3 (2005), pp. 324-354*BASS, Richard, “Sets, Scales, and Symmetries: The Pitch-Structural Basis of George Crumb's Makrokosmos I and II”. Music Theory Spectrum, vol. 13, n.º 1 (1991), pp. 1-20*BELLMAN, Jonathan D., “Musical Voyages and Their Baggage: Orientalism in Music and Critical Musicology”. The Musical Quarterly, vol. 94, n.º 3 (2011), pp. 417-438*BRUNS, Steven M., “In stile Mahleriano: Quotation and Allusion in the Music of George Crumb”. American Music Research Center Journal, vol. 3 (1993), pp. 9-39BRUNS, Steven y Ofer Ben-Amots, George Crumb: The Alchemy of Sound. The Colorado College Music Press, 2005CARBON, John, “Astrological Symbolic Order in George Crumb's Makrokosmos”. Sonus, vol. 10 (1990), pp. 65-80CHATMAN, Stephen, “George Crumb's Madrigals Book III: a linear analysis”. In Theory Only, vol. 1 (1976-1977), pp. 55-79COHEN, David, George Crumb: A Bio-Bibliography. Greenwood Publishing Group, 2002DOBAY, Thomas R. de, “The Evolution of Harmonic Style in the Lorca Works of Crumb”. Journal of Music Theory, vol. 28, n.º 1 (1984), pp. 89-111*FRANK, Andrew, “George Crumb: Songs, Drones, and Refrains of Death”. Notes, vol. 33 (1976-1977), pp. 694-696LABUSSIÈRE, Annie, “Ancient Voices of Children”. Traducido por Carles Guinovart. Quodlibet: revista de especialización musical, n.º 12 (1998), pp. 3-36*LAJOINIE, Vincent, “Makrokosmos de George Crumb: 24 pièces en quête d'auteur”. Revue Contrechamps: Musiques nord-américaines, n.º 6 (1986), pp. 88-101: [Web]LEWIS, Robert Hall, “George Crumb. Night Music I”. Perspectives in New Music, n.° 3-2 (1964-1965), pp. 143-151*PARDO, Carmen, “Voices in Nature: Vox Balaenae by George Crumb”. International Review of the Aesthetics and Sociology of Music, vol. 54, n.º 1 (2023), pp. 147-170*REBULLIDA, Víctor, “Ancient Voices of Children” de George Crumb”. Nassarre: Revista Aragonesa de Musicología, vol. 16, n.º 1 (2000), pp. 127-168*SHUFFETT, Robert V., "Interviews with George Crumb". Composer Magazine, vol. 10-11 (1980), pp. 29-42SHUPE, Abigail, War and death in the music of George Crumb: a crisis of collective memory. Routledge, 2022 *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

As both a composer and singer, Kristin Norderval is inspired by hybridity, interactivity and the idea that everything we do is site-specific. In her operas, chamber works, sound installations, and music for dance and theater, she blends acoustic and electronic sound, de-tuned instruments, voices, machines, and the acoustic resonance of space. Having trained in both composition and classical voice, Kristin first earned her living as a soprano soloist with a focus on contemporary music, particularly American composers. She performed and recorded works by, and often alongside, composers such as Philip Glass, John Cage, Pauline Oliveros, George Crumb and many others. Returning to composition after her 40th birthday, she continued to focus on the voice as her primary sonic material. Her solo CD of work for voice and electronics - Aural Histories - was listed by The New Yorker music critic Alex Ross as one of “Ten Notable Classical Music Recordings of 2012”. Her opera The Trials of Patricia Isasa (2016) won Quebec´s OPUS prize for best contemporary music and best production. Kristin holds a PhD in Artistic Research from the Oslo National Academy of Arts, Academy of Opera in Norway. www.kristinnorderval.com

After an airstrike killed 12 children in Israel-controlled territory at the weekend, retaliation in Lebanon seems inevitable. The end result could be a war on multiple fronts. British prisons are in crisis, so what should the new Labour government do (10:07)? And for the past 50 years, the Kronos quartet in America has brought together musical traditions to redefine classical music (22:48).Additional music copyright Nonesuch Records, Black Angels I. Departure & II. Absence by George Crumb, Blood Oath by Philip Glass, Sunrise of the Planetary Dream Collector by Terry Riley, Purple Haze by Jimi Hendrix, Tilliboyo by Foday Musa Suso, Nihavent Sirto, Flugufrelsarinn by Sigur Rós, Branching Patterns by Inti Figgis-Vizueta, Mishima/Closing by Philip GlassListen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

After an airstrike killed 12 children in Israel-controlled territory at the weekend, retaliation in Lebanon seems inevitable. The end result could be a war on multiple fronts. British prisons are in crisis, so what should the new Labour government do (10:07)? And for the past 50 years, the Kronos quartet in America has brought together musical traditions to redefine classical music (22:48).Additional music copyright Nonesuch Records, Black Angels I. Departure & II. Absence by George Crumb, Blood Oath by Philip Glass, Sunrise of the Planetary Dream Collector by Terry Riley, Purple Haze by Jimi Hendrix, Tilliboyo by Foday Musa Suso, Nihavent Sirto, Flugufrelsarinn by Sigur Rós, Branching Patterns by Inti Figgis-Vizueta, Mishima/Closing by Philip GlassListen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.

Het westen! De einder is niet het einde - ja, van deze dag misschien, maar de zon haast zich om achter je weer op te duiken, om al snel daar, in het westen, alwéér onder te gaan. Eindeloos. De momenten van de dag maken de kleuren subtiel verschillend, als de tonen in het pianowerk van Crumb (tip van Componist des Vaderlands Anne-Maartje Lemerijs); en compromisloos is die eindeloze gang, als de muziek van Frank Crijns (1960-2024). Is dat verborgen romantiek? Of de goedheid van het hemels blauw? 23.04 CD Lebenswanderung (TRPTK TTK 0111 DL) Franz Schubert; Franz Liszt: Der stürmische Morgen; Der Leiermann; Täuschung Alexandra Kaptein 6'00” 23.13 CD Jacques Arcadelt Missa Noe Noe (Ricercar RIC 456) Josquin Desprez; Jean Guyot de Châtelet: Benedicta es coelorum regina Kamerkoor van Namen; Cappella Mediterranea olv Leonardo García Alarcón 9'59” 23.25 CD Crumb: Metamorphoses, Book 1 & 5 Pieces for Piano (Mode Records MODE 303) George Crumb: 5 Pieces for Piano Margaret Leng Tan 11'40” 23.42 CD [B]One (Vonk 14) Frank Crijns: Prospulsion Combustion Chamber Ensemble 9'43”

First, he composes the piece for electric string quartet. The four performance double on tam-tams, maracas, and crystal goblets tuned to specific pitches. At various moments in the performance, they employ metal thimbles and glass rods. They whisper. They shout. They make clicking sounds with their tongues. They intone music of the past while playing a work composed in an Avant-garde style. George Crumb became one of American music's most distinctive voices in the second half of the 20th Century.Hosted by Eric Garcia. 

WBCQ/The Planet airdate - 4/6/24 Interview conducted on 3/20/24 Welcome to Fluxedo Junction! Each episode we bring you the best music of all genres from throughout the world, and this week we'll be speaking with guitarist, record producer, composer, writer, and filmmaker David Starobin. David Starobin is a highly honored figure in the world of classical guitar. Called "arguably the most influential American classical guitarist of the 20th century by Soundboard magazine), Starobin was inducted into the Guitar Foundation of America's Hall of Fame in 2011, was awarded Lincoln Center's Avery Fisher Career Award (in 1988), and is the dedicatee of more than three hundred new compositions including music by composers Elliott Carter, George Crumb, Poul Ruders and Gunther Schuller. A native of New York City. Starobin performs on both nineteenth century and modern guitars, and has received Grammy nominations as guitarist and as Classical Producer of the Year. In 1981, he founded Bridge Records, a record company which has been honored with 36 Grammy nominations. Starobin is a co-founder of the guitar department at the Curtis Institute of Music, and also teaches at Manhattan School of Music, where he was the holder of MSM's Andres Segovia Chair. Starobin studied guitar with Manuel Gayol, Alberto Valdes Blain and with Aaron Shearer at the Peabody Institute. His musical compositions are published by Editions New Rochelle (New York) and Edition Wilhelm Hansen (Copenhagen). His latest release on Bridge Records, Virtousi, is an homage to seven leading composer/guitarists of the past two centuries. Virtuosi presents eight previously unissued tracks, alongside remastered versions of five Starobin classics. More information is available at bridgerecords.com

durée : 01:00:06 - En pistes, contemporains ! du dimanche 07 janvier 2024 - par : Emilie Munera - Au programme : Laurent Cuniot, Michael Jarrell, George Crumb et Dimitri Terzakis ! - réalisé par : Céline Parfenoff

Voices from Sydney Palestine Rally Nov 12 here II MC Asala Saya Ara, Josh Lees, and Mehreen Faruqui. Recorded by Vivien Langford from the Climate Action Radio Show on 3cr every Monday.Student Strike for Climate II Some voices hosted at the Friday 17th Nov Student Strike for Climate in Melbourne. Pacific voices here & Amelia from the Freedom Socialists hereThe Other Film Festival here II The Artistic Director od The Other Film Festival, Fiona Tuomy, joins us to tell us about the online, accessible film program available for streaming on demand via ACMI's Cinema 3. A festival proudly disability-led, films either made by Deaf and Disabled people either as key creatives, collaborators, and/or performers. All films free.This is the Week here II Kevin Healy strafes the week with satire.George Crumb Festival here II Paavli Jumpannen talks about who George Crumb was and why you should get a ticket to this once in a life-time performance of his groundbreaking work of contemporary music.Refugee Rally: Australia's Shame here II David Glanz, from RAC, talks about today's rally set to highlight the people in Indonesia, still stranded by Australia's refugee policies.

Paavali Jumppanen speaks with 3CR Community Radio about the amazing performances at the end of year ANAM chamber music festival, The Innovative Spirit of George Crumb.

SynopsisToday we honor one of America's greatest patrons of chamber music, Elizabeth Sprague Coolidge, who died on this date in 1953.Born in 1864, Elizabeth was the daughter of a wealthy wholesale grocer. She put her inheritance to good use. In 1924, she proposed to the Library of Congress that an auditorium be constructed in Washington, D.C., that would be dedicated to the performance of chamber music. A year later it was built, and Coolidge Auditorium at the Library of Congress still stands today.Not content with just a superb venue for chamber music, Coolidge diligently commissioned new works to be played there. The list of important chamber pieces her foundation commissioned is impressive, and includes Bartok and Schoenberg string quartets, the original chamber versions of Copland's Appalachian Spring, Stravinsky's Apollo ballets, and modern works by American composers as diverse as Samuel Barber, Milton Babbitt, George Crumb and John Corigliano.Coolidge was an amateur composer and accomplished pianist. Her passion for music and enthusiasm for the creation of new works was all the more remarkable considering that tragically she battled deafness from her mid-30s.Music Played in Today's ProgramIgor Stravinsky (1882 – 1971) Apollo ballet; Stockholm Chamber Orchestra; Esa-Pekka Salonen, cond. Sony Classical 46667

In de jaren zestig kwamen in de Verenigde Staten in de eigentijdse muziek steeds sterker twee of zelfs drie kampen tegenover elkaar te staan. Die van de modernisten en serialisten, tegenover zij die liever de traditie bleven koesteren en zij die nadrukkelijk een eenvoudiger taal nastreefden. Vandaag beluisteren we kwartetten van drie voormannen, George Crumb, […]

The opening orchestral strains of Wagner's opera Lohengrin with its high shimmering strings prompted the French poet Charles Baudelaire to observe that in Wagner's music he found "something rapt and enthralling, something aspiring to mount higher, something excessive and superlative". The ability of music to evoke a sense of the ethereal has a strange and powerful effect on listeners, something that composers have been aware of across the ages. Tom Service examines how this music creates its affect and to what ends. He draws on examples from Hldegard of Bingen, Gregorio Allegri, Wolfgang Mozart, James Horner, Einojuhani Rautavaara and George Crumb - among others - and of course Richard Wagner.

What can one say about John David Mann? He has mastered, well he wouldn't say that, but I would, writing non-fiction, parable and fiction writing. He has also shown us how a marriage can be lived fully and be written about, how to start your own school, and how to run a business with over 100,000 people. And those are just a few of his achievements to date. My favorite is that he has launched almost every book he has written or co-authored on my show since 2015. Yup, that one is special to me because his words lift my spirits, awaken my brain and bring me joy. Well not just to me but to over 3 million people in 38 languages. Blind Fear is John's latest novel with Brandon Webb and it does not disappoint. Today we talked about what his latest novel means, how he manages to take a more 'Hitchcockian" approach to writing than many others (my choice of words as you will hear), and how crime writing taught him to fall in love with the world.  These aren't the usual questions John gets asked, and his answers may surprise you.  Take a listen as we dive deep with John David Mann on life, fiction, writing mastery mentoring and a few other things. John David Mann has been creating careers since he was a teenager. Before turning to business and journalism, he forged a successful career as a concert cellist and prize-winning composer. At fifteen he won the prestigious BMI Awards to Student Composers and received the award at the Waldorf Astoria in New York City, where he met such twentieth-century-music luminaries as William Schumann and Leopold Stokowski. He apprenticed as a choral conductor under his father, Dr. Alfred Mann, which gave him the chance to meet more legendary figures of classical music, including Randall Thompson, Leonard Bernstein, Boris Goldovsky, Robert Shaw, and George Crumb. His musical compositions were performed throughout the U.S. and his musical score for Aeschylus' Prometheus Bound (written at age thirteen) was performed as part of a theatrical production of the play at the stone amphitheater in Epidaurus, Greece—the very one, in fact, where the play was originally premiered a few thousand years earlier. At age seventeen, he and a few friends started their own high school in New Jersey (called Changes, Inc.). “Alternative” though they were, his school successfully placed its students in such universities as Harvard and Yale. After graduating, he joined the school's faculty. In the years since he has taught children in affluent Boston suburbs, Indiana farms, and the poorest neighborhoods on the outskirts of Philadelphia. John never planned to go into business; it just seemed to keep working out that way. He has founded one school, one food distribution business, one graphic design business, and two publishing companies. John's diverse career has made him a thought leader in several different industries. In 1986 he founded and wrote for Solstice, a journal on health, nutrition, and environmental issues. His series on the climate crisis, “Whither the Trees?” (yes, he was writing about this back in the eighties), was selected for national reprint in 1989 in Utne Reader for a readership of over one hundred thousand. In 1992 John helped write and produce the underground bestseller The Greatest Networker in the World, by John Milton Fogg, which became the defining book in its industry. During the 1990s, John built a multimillion-dollar sales/distribution organization of over a hundred thousand people. He was cofounder and senior editor of the legendary Upline journal and editor in chief of Networking Times. As a public speaker he has addressed audiences of thousands. John is an award-winning author whose writings have earned the Axiom Business Book Award (Gold Medal, for The Go-Giver), the Nautilus Award (for A Deadly Misunderstanding), and Taiwan's Golden Book Award for Innovation (for You Call the Shots). The Go-Giver was also honored with the Living Now Book Awards “Evergreen Medal” in 2017 for its “contributions to positive global change,” and cited on Inc.'s “Most Motivational Books Ever Written” and HubSpot's “20 Most Highly Rated Sales Books of All Time”; The Go-Giver Leader was listed on Entrepreneur magazine's “10 Books Every Leader Should Read” and Forbes magazine's “8 Books Every Young Leaders Should Read.” His 2012 Take the Lead (with Betsy Myers) was named Best Leadership Book of 2011 by Tom Peters and the Washington Post. His first novel, Steel Fear (2021, with former Navy SEAL Brandon Webb), was hailed by Lee Child as “an instant classic, maybe an instant legend” and nominated for a Barry Award. Jeffery Deaver called the sequel, Cold Fear (2022), “one of the best crime novels of the year.” You can read his thoughts on entering the world of crime fiction at JohnDavidMann.com His books are published in 38 languages and have sold more than 3 million copies. John coauthored the international bestselling classic The Go-Giver (with Bob Burg), the New York Times bestsellers The Latte Factor (with David Bach), The Red Circle (with Brandon Webb), and Flash Foresight (with Daniel Burrus), and The Answer (ghost-written for John Assaraf and Murray Smith) and the national bestsellers The Slight Edge (with Jeff Olson), Among Heroes (with Brandon Webb), Out of the Maze (with Spencer Johnson) and Real Leadership (with John Addison). He has written for American Executive, CNBC, CrimeReads, Financial Times, Forbes.com, Huffington Post, Ivey Business Journal, Leader to Leader, Leadership Excellence, Master Salesmanship, Strategy & Leadership, and Wired. You can find his writings on Huffington Post here. He is married to Ana Gabriel Mann (check out their wedding photos and vows), his coauthor on The Go-Giver Marriage, and considers himself the luckiest mann in the world.

Season Six wraps with a high-energy conversation with Grammy Award-winning baritone Kenneth Overton. Known for his rich and booming voice, Overton is booked and busy across the U.S. and around the world, yet still finds time to intentionally dedicate part of his career to the mentorship of the next generation of young Black vocalists in classical music.Featured Music:"Sometimes I Feel Like a Motherless Child," arranged by George Crumb"There's A Man Goin' Round Taking Names""Look to the Rainbow," from the album A Bright TomorrowSupport the show

Synopsis Today we offer a special “Gong Show” edition of the Composer's Datebook. On today's date in 1791, at the height of the French Revolution, the Panthéon in Paris was converted into a mausoleum for national heroes, and the first to be interred there, with great pomp and ceremony, was Honoré Gabriel Riqueti, Comte de Mirabeau, a tremendously popular personage of the day. For dramatic effect during the Count's funeral procession through the streets of Paris, French composer François Joseph Gossec added an unusual percussion instrument to his funereal wind band: an exotic instrument someone had brought to Paris from the Far East, and known as—you guessed it—the gong. It was reported that whenever the gong was struck during Mirabeau's funeral procession, cries of terror and fright were heard from the crowd that lined the Parisian streets as the cortège passed. Now terror and fright are bread and butter in the world of grand opera, and so the gong soon was adopted by 19th century composers like Spontini, Meyerbeer, and Wagner, and, in the 20th century, composers like Puccini, Stravinsky, Stockhausen, and George Crumb have also used gongs to—pardon the pun—striking effect! Music Played in Today's Program François-Joseph Gossec (1734 – 1829) Marche lugubre The Wallace Collection; John Wallace, cond. Nimbus 5175

Gerpe's album is a beautiful tribute to the legendary work of George Crumb, and it showcases his exceptional skill and talent as a pianist. The album features Gerpe's performance of Makrokosmos, Volume 1, and twelve newly composed pieces by an immensely talented and diverse group of composers. Vera Ivanova, Fernanda Aoki Navarro, Gernot Wolfgang, Eric Guinivan, Alexander Elliott Miller, Viet Cuong, Julie Herndon, Gilda Lyons, Timothy Peterson, Juhi Bansal, Thomas Osborne, and Gerpe himself have each written a new piece in response to one movement of Makrokosmos, Volume 1, each inspired by themes and motifs drawn from Crumb. This new celestial cycle is a celebration and commemoration of Crumb's original masterpiece. Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Synopsis On today's date in 1972, a most unusual chamber work by the American composer George Crumb had its premiere at the Library of Congress in Washington, D.C. Ideally, and "impractically" according to Crumb, it should have been heard, not in a concert hall in March… but in the open air… heard at a distance across a body of water, on a moonlit evening in August. The work was entitled Vox Balaenae, which is Latin for The Voice of the Whale, and it's scored for three masked musicians, performing on electric flute, electric cello, and amplified piano. Crumb writes, "The work was inspired by the singing of the humpback whale, a tape recording of which I had heard two or three years previously. Each of the three performers is required to wear a black half-mask or visor-mask. The masks, by effacing the sense of human projection, are intended to represent, symbolically, the powerful impersonal forces of nature. I have also suggested that the work be performed under deep-blue stage lighting." In the opening of his piece, marked "Vocalise... from the beginning of time," Crumb quotes, with tongue firmly planted in masked cheek, the famous sunrise theme from Richard Strauss' "Also sprach Zarathustra," used to great effect in the opening of the Kubrick film "2001." Music Played in Today's Program George Crumb (b. 1929) Vox Balaenae (Voice of the Whale) Zizi Mueller, flute; Fred Sherry, cello; James Gemmell, piano New World 357

I'm pleased to share this podcast with Daniel Pailthorpe, Co-Principal Flautist with the BBC Symphony Orchestra. We had a fascinating discussion about his musical journey growing up, parallels between flute playing and singing, solo performances, what it's like playing for one of the top symphony orchestras in the country, performing at the BBC Proms and Royal Albert Hall (including a memorable concert involving the then five members of Monty Python!), tone production and vibrato. Podcast interview recorded 26 September 2022 at Daniel's home in Richmond, London; Daniel's additional commentary about tone production and throat tuning recorded 12 November 2022; podcast released 16 November 2022. Due to some digital noise when I started recording, here's also what he said when I asked him about his musical journey growing up: "I actually don't come from a particularly musical family. My father loved music but was not a trained musician at all. Bach was his passion and he transferred that to me. It was just a very pure love of music without having an instrument but they very much encouraged me in my music, took me to concerts. It so happened that both of my godparents who they chose when I was born were both very keen musicians and so they helped to introduce me to the world of music." Crumb - Voice of the Whale: https://www.youtube.com/watch?v=bd76Q-yA5M4. Daniel's arrangement of Prokofiev's Scenes from Romeo and Juliet - https://www.youtube.com/watch?v=Wmca0PTyy-c. Daniel's arrangement of Scenes from Romeo and Juliet for oboe - https://youtu.be/lB07FNY84DQ. End music: Margaret Hubicki (2005). From the Isles of the Sea [performed by Daniel Pailthorpe and James Kirby]. On Dedication in Time: Chamber Music by Margaret Hubicki. Chandos. (Premiere recording). Podcast intro and outro music by Helena and Annabelle Lee. Podcast edited by Joe Eftihiou, additional edits from Daniel Pailthorpe and Annabelle Lee. One of the few orchestral principals of international standing who plays on a modern wood flute, Daniel Pailthorpe has gained a world-wide following for the uniqueness and breadth of his sound as well as the warmth of his musicianship. As co-principal flautist of the BBC Symphony Orchestra, Daniel is regularly heard on BBC Radio 3 and at the Proms. He features prominently on the BBCTV 'Symphony' series and is a familiar face on the Last Night of the Proms. Together with his wife Emily Pailthorpe and the pianist Julian Milford, he founded the London Conchord Ensemble. The group has rapidly gained an international reputation, performing in some of the world's most prestigious concert series. His recordings, ranging from Poulenc to Bach and George Crumb, have enjoyed many accolades, among them Sunday Telegraph's CD of the week and Classic FM's CD of the month. Singing featured prominently in Daniel's musical training: he began as a choirboy aged six, was a finalist in the UK Chorister of the Year competition, and went on to become a Choral scholar at Clare College, Cambridge. After a year of postgraduate study at the Royal Academy of Music, Daniel was the recipient of the Leonard Bernstein Fellowship at the Tanglewood Music Centre, USA. His flute studies took him to Paris and America and his teachers include William Bennett, Derek Honner, Gaston Crunelle, Thomas Nyfenger and Geoffrey Gilbert. He has gone on to be much in demand as a guest principal with many orchestras, including the London Symphony Orchestra and the Chamber Orchestra of Europe. He is one of London's most sought-after session musicians, featuring on the soundtracks for many films. As a teacher Daniel has been a coach for the National Youth Orchestra and is a Professor of flute at the Royal College of Music. --- Send in a voice message: https://anchor.fm/talking-classical-podcast/message

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Synopsis In the year 1929, October 24th fell on a Thursday, and that particular day has the dubious honor of being dubbed “Black Thursday” — for it was on that fateful day that the New York Stock Exchange crashed. A full-blown financial panic ensued, leading to the Great Depression of the 1930s. For many who saw their fortunes wiped out overnight, it must have seemed like the end of the world. Meanwhile, in Charleston, West Virginia, a baby boy was born on “Black Thursday” who would grow up to become one of America's most original composers. By the 1970s, George Crumb was acknowledged as a masterful creator of impressionistic and mysterious soundscapes, with evocative titles like “Dream Sequence,” “Night of the Four Moons,” and “Eleven Echoes of Autumn.” Most of Crumbs' pieces are for small ensemble, but in 1977 he composed a large-scale work entitled “Star Child,” scored for antiphonal choirs, bell ringers, and a large symphony orchestra positioned for surround-sound effect in the concert hall. Crumb says it traces a “progression from darkness and despair to light or joy and spiritual realization.” A recording of “Star Child” was issued to celebrate Crumb's 70th birthday in 1999 — a year, curiously enough, in which the stock market enjoyed an all-time high, just before taking yet another downward plunge! Music Played in Today's Program George Crumb (b. 1929) Musica Apocalyptica, fr Star-Child Warsaw Philharmonic Choir and Orchestra; Thomas Conlin, conductor. Bridge 9095

I'm a singer/songwriter living in the beautiful state of Maine. After all these years, I finally found my home — and her transcendent beauty and power never fails to inspire and nurture me. Music has always been a central part of my life — my mother said I sang before I spoke. Most of what I write is pure improvisation, and I write the music and lyrics on the fly, in a holistic manner. As such, my music is a diary, a means of therapy, and a window into my deepest thoughts and other worlds, and encompasses everything from pure folk to multitrack experimental or atmospheric music. At 15, my parents took me on a vacation that would change my life. We went to Michigan and "while we were there," we visited the Interlochen Academy for the Arts. I was transfixed by the immense talent around me and I never forgot that place. One day, I mentioned the school to my mother and she had me apply. I was accepted and never looked back. I went on to study music composition at Peabody Conservatory of Music (Now The Peabody Institute of Music of the Johns Hopkins University) and the Yale School of Music and studied under composers Jacob Druckman, Martin Bresnick, Poul Ruders, and Morris Moshe Cotel. I've written string quartets and orchestra pieces. But eventually, I realized that I was my own instrument and pursued my authentic musical voice. I will never forget the day I discovered the true power in and freedom I could experience when I connected deep into my soul and let it all out — the beautiful, the dark, the ecstatic, the bloody, the traumatic, the angry. It is one of the most wonderful experiences a human being can have. Influences include Arvo Part, Ani DiFranco, George Crumb, John Cage, Bjork, Sinead O'Connor, Loreena McKennitt, and a host of others. I hope to reach out to others through the Internet during this crisis and make connections to other musicians and listeners. https://oeinc.bandcamp.com/album/gate https://nicolelepera.com

POM 9/22 Nicole LePera returns I'm a singer/songwriter living in the beautiful state of Maine. After all these years, I finally found my home — and her transcendent beauty and power never fails to inspire and nurture me.  Music has always been a central part of my life — my mother said I sang before I spoke. Most of what I write is pure improvisation, and I write the music and lyrics on the fly, in a holistic manner. As such, my music is a diary, a means of therapy, and a window into my deepest thoughts and other worlds, and encompasses everything from pure folk to multitrack experimental or atmospheric music. At 15, my parents took me on a vacation that would change my life. We went to Michigan and "while we were there," we visited the Interlochen Academy for the Arts. I was transfixed by the immense talent around me and I never forgot that place. One day, I mentioned the school to my mother and she had me apply. I was accepted and never looked back. I went on to study music composition at Peabody Conservatory of Music (Now The Peabody Institute of Music of the Johns Hopkins University) and the Yale School of Music and studied under composers Jacob Druckman, Martin Bresnick, Poul Ruders, and Morris Moshe Cotel. I've written string quartets and orchestra pieces. But eventually, I realized that I was my own instrument and pursued my authentic musical voice.  I will never forget the day I discovered the true power in and freedom I could experience when I connected deep into my soul and let it all out — the beautiful, the dark, the ecstatic, the bloody, the traumatic, the angry. It is one of the most wonderful experiences a human being can have.  Influences include Arvo Part, Ani DiFranco, George Crumb, John Cage, Bjork, Sinead O'Connor, Loreena McKennitt, and a host of others. I hope to reach out to others through the Internet during this crisis and make connections to other musicians and listeners.  https://oeinc.bandcamp.com/album/gate https://nicolelepera.com

durée : 00:59:46 - En pistes, contemporains ! du dimanche 27 mars 2022 - par : Emilie Munera - Ce dimanche, chez les contemporains, nous écoutons la musique de George Crumb enregistrée par le Quatuor Hanson et d'autres musiciens de renom, au festival de Deauville 2021. Nous entendrons également les oeuvres de Rachel Portman, Bernard Cavanna et Anders Eliasson. - réalisé par : Taïssia Froidure

durée : 00:13:15 - George Crumb : Black Angels, Music For A Summer Evening - L'œuvre du compositeur George Crumb est une expérience qui reste gravée dans la mémoire de ses interprètes et des auditeurs. Le label, spécialiste du live, fait paraitre un album consacré au compositeur et enregistré au Festival de Deauville 2021.

In this episode, Dave and Andrew explore an early work by a composer who transformed American music with his singular vision. But how did a composer who concocted a personal aesthetic reflecting a fascination with "life, death, love, the smell of the earth, the sounds of the wind and the sea" impact artists like David Bowie and directors like William Friedkin (who used Crumb's music in The Exorcist)? If you'd like more information about George Crumb, we recommend: George Crumb's New York Times obituary Thomas Riis's "A Conversation with George Crumb" in The American Music Research Center Journal, Vol. 3 (Jan 1, 1993) Crumb's article "Music: Does It Have a Future?" in The Kenyon Review Vol. 2, No. 3 (Summer, 1980), pp. 115-122 Crumb's website: http://www.georgecrumb.net

★ 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: Ben Charles, Karli Viña, Caleb Pickering, and Ksenija Komljenović Producer: Ksenija Komljenović Guest: Pathos Trio https://www.pathostrio.com/ Watch here  Listen below  00:00 Intro 03:29 Music History for February 24: Dance Marathons 10:00 Guest Introduction: Pathos Trio  11:20 Trio and the idea behind this album 13:43 The goal of releasing an album today 16:41 Album cost and financial support 19:02 Learning about securing funding 25:55 Translating the visual element to stage in live performance 29:08 Album launch concert 30:58 Album marketing 40:10 Expectations from the album 42:50 Role a label has in an album release 47:23 How does one get a label? 49:21 The most challenging part of this journey 52:28 Something you wished you knew before you started this journey 54:47 IG Question from Jade Hails: Can you talk about blending piano and percussion?  58:24 Alan's composing for Amazon, commercials 59:52 William Craft and George Crumb passed away 1:03:50 Where to buy the album & get tickets for the album release  

Saturday 12 February: A versatile singer on switching characters and musical styles, an unheard interview with American composer George Crumb who died this week, and Simon Rickard brings a musette (baroque bagpipe) into the studio.

Celebrated American composer of modern classical and avant-garde music, George Crumb, has died at the age of 92. Today we’re talking to Jennie Oh Brown, a Chicago-based professional flutist, chamber musician, and entrepreneur, about Crumb’s life, music, and legacy. To listen to Jennie Oh Brown's album, Vox, visit: https://www.jenniebrownflute.com/recordings/vox/

Der Komponist und Pulitzer-Preisträger George Crumb ist tot. Er starb am 6. Februar im Alter von 92 Jahren in seinem Haus im US-Bundesstaat Pennsylvania. Crumb galt als einer der innovativsten Komponisten seiner Generation.

Í Listasafni Árnesinga í Hveragerði var opnuð stór sýning um liðna helgi, þar sem fjórir listamenn sýna í fjórum sölum hússins, þau Ingunn Fjóla Ingþórsdóttir, Magnús Helgason, Þórdís Helga Zoega og Lóa Hjálmtýsdóttir. Sýningar þessa fjögurra listamanna eru ólíkar, en eiga það þó sameiginlegt að fjalla á einhvern hátt um yfirborðið, sem er ekki alltaf það sem það sýnist. Sýningarnar eiga það líka sameiginlegt að vera litríkar og fullar af leikgleði. Við ræðum við listamenninga og Erin Honeycutt sýningarstjóra í þætti dagsins. Við fjöllum líka um bandaríska tónskáldið George Crumb sem var eitt þekktasta tónskáld Bandaríkjanna á síðari hluta 20. aldar. Crumb var frumkvöðull í því að stækka notkunarmöguleika hefðbundinna hljóðfæra og leit svo á að að lokum myndi öll tónlist veraldar renna saman í einn straum. George Crumb lést í hárri elli í gær, við segjum frá honum í þætti dagsins. Gréta Sigríður Einarsdóttir fjallar um Bærinn brennur, eftir Þórunni Jörlu Valdimarsdóttur og Eva Halldóra Guðmundsdóttir fjallar um leiksýninguna Ein komst undan, sem frumsýnd var í Borgarleikhúsinu um liðna helgi. Umsjón: Guðni Tómasson og Halla Harðardóttir

Í Listasafni Árnesinga í Hveragerði var opnuð stór sýning um liðna helgi, þar sem fjórir listamenn sýna í fjórum sölum hússins, þau Ingunn Fjóla Ingþórsdóttir, Magnús Helgason, Þórdís Helga Zoega og Lóa Hjálmtýsdóttir. Sýningar þessa fjögurra listamanna eru ólíkar, en eiga það þó sameiginlegt að fjalla á einhvern hátt um yfirborðið, sem er ekki alltaf það sem það sýnist. Sýningarnar eiga það líka sameiginlegt að vera litríkar og fullar af leikgleði. Við ræðum við listamenninga og Erin Honeycutt sýningarstjóra í þætti dagsins. Við fjöllum líka um bandaríska tónskáldið George Crumb sem var eitt þekktasta tónskáld Bandaríkjanna á síðari hluta 20. aldar. Crumb var frumkvöðull í því að stækka notkunarmöguleika hefðbundinna hljóðfæra og leit svo á að að lokum myndi öll tónlist veraldar renna saman í einn straum. George Crumb lést í hárri elli í gær, við segjum frá honum í þætti dagsins. Gréta Sigríður Einarsdóttir fjallar um Bærinn brennur, eftir Þórunni Jörlu Valdimarsdóttur og Eva Halldóra Guðmundsdóttir fjallar um leiksýninguna Ein komst undan, sem frumsýnd var í Borgarleikhúsinu um liðna helgi. Umsjón: Guðni Tómasson og Halla Harðardóttir

Í Listasafni Árnesinga í Hveragerði var opnuð stór sýning um liðna helgi, þar sem fjórir listamenn sýna í fjórum sölum hússins, þau Ingunn Fjóla Ingþórsdóttir, Magnús Helgason, Þórdís Helga Zoega og Lóa Hjálmtýsdóttir. Sýningar þessa fjögurra listamanna eru ólíkar, en eiga það þó sameiginlegt að fjalla á einhvern hátt um yfirborðið, sem er ekki alltaf það sem það sýnist. Sýningarnar eiga það líka sameiginlegt að vera litríkar og fullar af leikgleði. Við ræðum við listamenninga og Erin Honeycutt sýningarstjóra í þætti dagsins. Við fjöllum líka um bandaríska tónskáldið George Crumb sem var eitt þekktasta tónskáld Bandaríkjanna á síðari hluta 20. aldar. Crumb var frumkvöðull í því að stækka notkunarmöguleika hefðbundinna hljóðfæra og leit svo á að að lokum myndi öll tónlist veraldar renna saman í einn straum. George Crumb lést í hárri elli í gær, við segjum frá honum í þætti dagsins. Gréta Sigríður Einarsdóttir fjallar um Bærinn brennur, eftir Þórunni Jörlu Valdimarsdóttur og Eva Halldóra Guðmundsdóttir fjallar um leiksýninguna Ein komst undan, sem frumsýnd var í Borgarleikhúsinu um liðna helgi. Umsjón: Guðni Tómasson og Halla Harðardóttir

Mörchen, Raoulwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

This episode's guest is David Harrington, founder of Kronos Quartet, the legendary string quartet at the vanguard of contemporary music for nearly 50 years. In this episode the subject is "Black Angels", the startling George Crumb composition which sparked the formation of Kronos in 1973, and the quartet's recording of the piece nearly 15 years later. George Crumb (b. 1929) is an American modern classical and avant-garde composer who formed his distinct style, featuring unusual timbres and innovative sonorities, in the early 1960s. By the time he finished “Black Angels” on March 13, 1970, Crumb had already won a Pulitzer Prize (1968) and established himself as the creator of a highly spiritual and poetic sound world.

Miro Tóth is a Prague-based Slovak composer, improvisor, and saxophonist who effortlessly moves between genres. He recently premiered his composition Black Angels Songs, Book 1, commissioned by the Kronos Quartet, inspired by the famous George Crumb piece. He created (among other music theater works) a series of operas called Trilogy of the Rod in which a rod – an actual stick - becomes a kind of monolith vested with the absurd power of public officials. He's also known as a film composer. On the other hand, he stood at the founding of an improvisation scene in Slovakia some fifteen years ago and has performed as a saxophone and vocal improvisor, in genres from jazz to free improvisation, across Central Europe. He is a tireless ensemble-founder – from our conversation I counted about five different ensembles he founded, focused on a range of different genres. Miro was nice enough to speak English for most of the interview but we switch to Czech and Slovak in the last third of the interview, which is also when the most interesting conversation happens. I try dub over this to convey our conversation - for anglophone people it's a kind of peek into a foreign culture and language. Miro and I talk about how you must think of yourself as “nobody” in order to do your best work, the absurd power of public officials, the Czech new music scene, the Ostrava New Music Days festival without which the Czech New Music Scene wouldn't be what it is, the cultural differences between Czechs and Slovaks, and the permeability of music genres, among other things. Miro's website: https://miro2toth.wixsite.com/home/bio Music in this episode: Black Angels Songs, Book 1 (Dystopic Requiem Quartet): https://www.youtube.com/watch?v=_01mC57j0sA "Uprostred tmy," Drť band: https://www.youtube.com/watch?v=NJf265-LzUk Improv w/ Toth/Mazur/Dymny, a Polish-Slovakian trio which forms part of the NewEast project establishing an improv scene in the former Soviet Block : https://www.youtube.com/watch?v=Mf26CnMbLfw

David Robert Jones (8 January 1947 – 10 January 2016), known professionally as David Bowie, was an English singer-songwriter and actor. A leading figure in the music industry, Bowie is regarded as one of the most influential musicians of the 20th century. He was acclaimed by critics and musicians, particularly for his innovative work during the 1970s. His career was marked by reinvention and visual presentation, and his music and stagecraft had a significant impact on popular music. In this episode we selected two tracks from each of the 25 records Bowie revealed were his favorite to Vanity Fair, for their November 2003 issue. Lineup: The Last Poets, Robert Wyatt, Little Richard, Steve Reich, The Velvet Underground, Nico, John Lee Hooker, Ray Koerner & Glover, James Brown, Linton Kwesi Johnson, The Red Flower Of Tachai Blossoms Everywhere, Daevid Allen, Scott Walker, Tom Dissevelt, Kid Baltan, The Incredible String Band, Tucker Zimmerman, Richard Strauss, Gundula Janowitz, Berliner Philharmoniker, Herbert von Karajan, Glenn Branca, Syd Barrett, George Crumb, Kronos Quartet, Toots & The Maytals, Harry Partch, John Stannard, Victoria Bond, Paul Bergen, Ensemble of Unique Instruments, Danlee Mitchell, Charles Mingus, Igor Stravinsky, Columbia Symphony Orchestra, The Fugs, Anatoly Lyadov, Florence Foster Jenkins, Cosme McMoon

13th-20th CenturiesThis week we hear anonymous and traditional works and works by Orlande de Lassus, Heinrich Schütz, Christoph Graupner, Michael Haydn, Frank Martin, Gerald Finzi, and George Crumb.136 Minutes – Week of November 22, 2021

Synopsis For the ideal performance of “Makrokosmos II: Twelve fantasy pieces after the Zodiac,” by the American composer George Crumb, one should perhaps be outdoors in a remote clearing under a crystalline canopy of stars. For the record, the premiere performance of Crumb's suite for amplified piano took place indoors at Alice Tully Hall in New York City on today's date in 1974, at a recital of new American works given by pianist Robert Miller. In his program notes, Miller offered these words about Crumb's Makrokosmos II: “Each of the 12 pieces is associated with a different sign of the Zodiac, and is written out in a very precise notation, but the music will at times sound… almost improvisatory. The piano has become an orchestra unto itself. There is an enormously wide range of sound, timbre, touch, dynamics, etc. “One use of quotation by Crumb is beautifully subtle. In the eleventh piece, entitled "Litany of the Galactic Bells,” the opening music – a shimmering bell effect which recalls the Coronation Scene from Mussorgsky's Boris Godunov – gradually subsides and moves almost imperceptibly into a short excerpt from Beethoven's Hammerklavier Sonata. The effect is somewhat like the changing colors of a prism.” Music Played in Today's Program George Crumb (b. 1929) — Makrokosmos No. 2 (Laurie Hudicek, piano) Furious Artisans 6805

In this Halloween themed episode, we discuss the music of Krzysztof Penderecki, John Williams and George Crumb to try and explore the qualities that makes their music sound spooky! Timestamps: Penderecki's "The Awakening of Jacob" from The Shining: 3:25 The theme from Jaws by John Williams: 9:17 "Ancient Voices of Children" by George Crumb: 17:33 Get in touch with us at: thetheoryclubpodcast@gmail.com

John David Mann has been creating careers since he was a teenager.Before turning to business and journalism, he forged a successful career as a concert cellist and prize-winning composer. At fifteen he won the prestigious BMI Awards to Student Composers and received the award at the Waldorf Astoria in New York City, where he met such twentieth-century-music luminaries as William Schumann and Leopold Stokowski. He apprenticed as a choral conductor under his father, Dr. Alfred Mann, which gave him the chance to meet more legendary figures of classical music, including Randall Thompson, Leonard Bernstein, Boris Goldovsky, Robert Shaw, and George Crumb. His musical compositions were performed throughout the U.S. and his musical score for Aeschylus' Prometheus Bound (written at age thirteen) was performed as part of a theatrical production of the play at the stone amphitheater in Epidaurus, Greece—the very one, in fact, where the play was originally premiered a few thousand years earlier.John's diverse career has made him a thought leader in several different industries. In 1986 he founded and wrote for Solstice, a journal on health, nutrition, and environmental issues. His series on the climate crisis, “Whither the Trees?” (yes, he was writing about this back in the eighties), was selected for national reprint in 1989 in Utne Reader for a readership of over one hundred thousand. In 1992 John helped write and produce the underground bestseller The Greatest Networker in the World, by John Milton Fogg, which became the defining book in its industry. During the 1990s, John built a multimillion-dollar sales/distribution organization of over a hundred thousand people. He was cofounder and senior editor of the legendary Upline journal and editor in chief of Networking Times.As a public speaker he has addressed audiences of thousands.John is an award-winning author whose writings have earned the Axiom Business Book Award (Gold Medal, for The Go-Giver), the Nautilus Award (for A Deadly Misunderstanding), and Taiwan's Golden Book Award for Innovation (for You Call the Shots). The Go-Giver was also honored with the Living Now Book Awards “Evergreen Medal” in 2017 for its “contributions to positive global change,” and cited on Inc.'s “Most Motivational Books Ever Written” and HubSpot's “20 Most Highly Rated Sales Books of All Time”; The Go-Giver Leader was listed on Entrepreneur magazine's “10 Books Every Leader Should Read” and Forbes magazine's “8 Books Every Young Leaders Should Read.” His 2012 Take the Lead (with Betsy Myers) was named Best Leadership Book of 2011 by Tom Peters and the Washington Post. His first full-length novel Steel Fear (with former Navy SEAL Brandon Webb) is coming out in July 2021.His books are published in 35 languages and have sold more than 3 million copies. John coauthored the international bestselling classic The Go-Giver (with Bob Burg), the New York Times bestsellers The Latte Factor (with David Bach), The Red Circle (with Brandon Webb), and Flash Foresight (with Daniel Burrus), and the national bestsellers The Slight Edge (with Jeff Olson), Among Heroes (with Brandon Webb), Out of the Maze (with Spencer Johnson) and Real Leadership (with John Addison). He also ghost-wrote the New York Times bestseller The Answer, by John Assaraf and Murray Smith. He has written for American Executive, CNBC, Financial Times, Forbes.com, Huffington Post, Ivey Business Journal, Leader to Leader, Leadership Excellence, Master Salesmanship, Strategy & Leadership, and Wired. You can find his writings on Huffington Post here.He is married to Ana Gabriel Mann and considers himself the luckiest mann in the world.https://johndavidmann.com/ With Bob Burg https://youtu.be/rJsuJr7uYycSupport the show (https://www.patreon.com/labanditchburn?fan_landing=true)

Synopsis On today's date in 2006, at the open-air Tanglewood Festival in the Berkshire Hills of western Massachusetts, the Boston Symphony and cellist Yo-Yo Ma premiered a new cello concerto, entitled “Azul”–“blue” in Spanish–written by Osvaldo Golijov.Golijov was born and grew up in Argentina, but his background–like his music–is very cosmopolitan: his parents were Romanian Jews who immigrated to Argentina, and when he was 23, Golijov himself immigrated to Israel. Three years later, he came to the U.S. to study with the American composer George Crumb at the University of Pennsylvania, and then settled in Massachusetts.At first, Golijov imagined “Azul” as evoking his own experiences of hearing bucolic summertime Tanglewood concerts under a canopy of blue sky. But after its premiere, Golijov had second thoughts, and by the time Yo-Yo Ma finally recorded the work some 10 years later, Golijov had revised his concerto.  Golijov said wanted to “earn” its blissful opening mood through a journey backwards through musical time and space, and the revised score backs up the cello with a neo-Baroque continuo comprised of a hyper-accordion (souped up with digital processing) and a battery of exotic percussion instruments like a wind whistle and goat hoof rattle. Music Played in Today's Program Osvaldo Golijov (b. 1960): Azul (Yo-Yo Ma, cello; The Knights, Eric Jacobsen, cond.) Warner Classics 9029587521

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

Soprano Tony Arnold joins us to chat about hopping careers from orchestral conductor to international superstar vocalist, her varied interests in how sound is made and how to harness sound to make it into something else, and the way her interests have helped in collaborations with all sorts of instrumentalists and in teaching composers how to help performers lift music off the page . We speak about how she developed the working knowledge necessary to decipher contemporary scores, the close connection between chamber music and contemporary music, and learning how to fit into the deeply intimate and idiomatic language of a string quartet with a long history that no longer required verbal communication. She shares about how her connection to George Crumb deepened on a trip to Charleston, WV and how community- and network-building play in forming long-lasting professional connections. We discuss how the COVID-19 pandemic has exacerbated the impact of digitization on the shaping of the musical world and the importance of separating music-making from money-making as best as one can. Celebrated as a “luminary in the world of chamber music and art song” (Huffington Post), Tony Arnold is internationally acclaimed as a leading proponent of contemporary music in concert and recording, a “convincing, mesmerizing soprano” (Los Angeles Times) who “has a broader gift for conveying the poetry and nuance behind outwardly daunting contemporary scores” (Boston Globe). Her unique blend of vocal virtuosity and communicative warmth, combined with wide-ranging skills in education and leadership were recognized with the 2015 Brandeis Creative Arts Award, given in appreciation of “excellence in the arts and the lives and works of distinguished, active American artists.” Ms. Arnold's extensive chamber music repertory includes major works written for her voice by Georges Aperghis, George Crumb, Brett Dean, Jason Eckardt, Gabriela Lena Frank, Josh Levine, George Lewis, Philippe Manoury, Carlos Sanchez-Gutierrez, Christopher Theofanidis, Ricardo Zohn-Muldoon, and numerous others. She is a member of the intrepid International Contemporary Ensemble, and enjoys regular guest appearances with leading ensembles, presenters and festivals worldwide. With more than thirty discs to her credit, Ms. Arnold has recorded a broad segment of the modern vocal repertory with esteemed chamber music colleagues. Her recording of George Crumb's iconic Ancient Voices of Children (Bridge) received a 2006 Grammy nomination. She is a first-prize laureate of both the Gaudeamus International and the Louise D. McMahon competitions. A graduate of Oberlin College and Northwestern University, Ms. Arnold was twice a fellow of the Aspen Music Festival as both a conductor and singer. She was the 2015-16 Kunkemueller Artist-In-Residence at the Boston Conservatory, and currently serves on the faculty of the Peabody Conservatory and the Tanglewood Music Center. The transcript for this episode can be found here. Resources discussed in this episode: Tony Arnold sings George Crumb's Ancient Voices of Children For more information about Tony Arnold, please visit her website, www.screecher.com.

Music in this podcast: Intro: Excerpt from Katyusha, Homage to D.Shostakivich - From the album Distant Voices by Frederich Chiu Interlude: Excerpt from Reflets dans l'eau (Reflections in the Water) - from the CD Distant Voices by Frederich Chiu Featured Piece: Sayyid Chant & Dance - Andante E Molto Cantabile Ed Espressivo - from the CD Hymns & Dervishes by Frederich Chiu Frederic Chiu's intriguing piano-playing and teaching springs from a diverse set of experiences and interests: his Asian/American/European background, his musical training, and an early and ongoing exploration of artificial intelligence and human psychology, especially the body-mind-heart connection. With over 20 CDs on the market, his repertoire includes the complete work of Prokofiev as well as popular classics of Chopin, Liszt and others, and lesser known masterpieces of Mendelssohn and Rossini, with a special place for the piano transcription. Many have been singled out, such as "Record of the Year" by Stereo Review, "Top 10 recordings" by the New Yorker, with raves from the Wall Street Journal and the New York Times. His most recent recordings demonstrate his wide range: Beethoven/Liszt Symphony V, Carnival of the Animals with David Gonzalez, and Hymns and Dervishes, music by Gurdjieff/de Hartmann. (hymnsanddervishescd.com) A new recording on the Yamaha Entertainment Group label, released in 2015, is a long-awaited recording of the music of Debussy, along with world premieres of work by Chinese composer Gao Ping. This recording breaks new ground, introducing the first Classical recording to the YEG catalogue. The performance will be released in Audio CD, DVD and DisklavierTV formats. Frederic Chiu has toured in Europe and the US with the Orchestre de Bretagne and Stefan Sanderling. He has played with the Hartford Symphony, Dayton Philharmonic, Kansas City Symphony, Indianapolis Symphony, BBC Scottish Symphony, BBC Concert Orchestra, Estonia National Symphony, China National Symphony, the FOSJE Orquesta in Ecuador, among others. In recital he performs in the world's most prestigious halls including the Berlin Philharmonic, Kioi and Suntory Halls in Tokyo, Lincoln Center in New York and Kennedy Center in Washington DC. Mr. Chiu's musical partners include Joshua Bell, Pierre Amoyal, Elmar Oliveira, Gary Hoffman, David Krakauer, Matt Haimovitz and the St. Lawrence, Shanghai and Daedalus string quartets. Frederic Chiu recently premiered Edgar Meyer's Concert Piece with Joshua Bell. He has worked with many composers, including George Crumb, Frederick Rzewsky, Bright Sheng, Gao Ping and David Benoit. He was the recipient of the Avery Fisher Career Grant, the Petscheck Award of the Juilliard School, and was a fellow of the American Pianist Association. He was also the "non-winner" of the 1993 Van Cliburn Competition, where his elimination from the finals caused an uproar in the press. Frederic Chiu is also committed to expanding the place of classical music. He has created unusual collaborations with personalities outside the world of Classical music, such as the Shakespearean actor Brian Bedford and psychologist/writer/clown Howard Buten. He worked with the hip-hop artist Socalled in the Messiaen Remix project. He does extensive work with children through concert/lectures for schools, and has brought classical music to places where it is rarely heard. Currently, he is performing with David Gonzalez in the classics Peter and the Wolf and Carnival of the Animals, transcribed for solo piano and narrator. He is also running a multi-year project called Classical Smackdown, in which audiences vote for their favorite composers (ClassicalSmackdown.com) Deeper Piano Studies, Frederic Chiu's innovative workshop program, brings together pianists from around the world to study aspects of piano playing usually left uncovered. Articles in Piano Today and the New York Times have featured his original approach to learning and performing that draws on ancient traditions of philosophy and meditation combined with the most recent discoveries in psychology and acoustic sciences, using non-traditional techniques such as cooking and learning without using the instrument. Frederic Chiu has been invited to many prestigious music schools and conservatories to present his DPS program, including the Juilliard School, New England Conservatory, Mannes College, The Banff Centre, Cornell University, Indiana University's Jacob Music School, and major conservatories in China: Beijing, Shanghai, Sichuan, Shenyand and Wuhan. He has been guest artist at many state and national Teachers' Conferences. After 12 years spent in France, Frederic Chiu returned to the United States, where any free time he can find is divided between writing, painting and cooking. He also co-directs artistic activities at Beechwood Arts, an arts immersion non-profit in Connecticut.