Podcasts about Giacinto Scelsi

Il tamburino di sabato 11 gennaio, la rassegna sulla vita culturale di Roma. Al microfono Leonardo Zaccone, poeta, performer e musicologo. Una riflessione sulla visione su Roma dell'assessore Smeriglio pubblicata in un editoriale sul manifesto. Il cinema underground al 30formiche con il Lonely Bones Cinema Festla danza sperimentale con Ci-Korea, amara la danza, sperimentazione pura a Carrozzerie n.o.t.ripartono i poetry slam a montesacro e al pigneto con il collettivo Spokenpoetryil Duo Onirico Sonoro alla casa del Jazz insieme a Simone Alessandrini per una musica senza dimensioneun concerto pianistico per i 120 anni di GIacinto Scelsi alla Fondazione ScelsiSveja è un progetto indipendente sostenuto da Periferiacapitale, il programma per Roma della fondazione Charlemagne.

durée : 00:04:22 - Giacinto Scelsi : briser le mur du son - par : Max Dozolme - Il y a 120 ans, jour pour jour, le 8 janvier 1905, naissait l'un des compositeurs les plus intrigants de toute l'histoire de la musique. Un précurseur qui nous invitait au début des années soixante à passer le son à la loupe...

Hors-série consacré à un concert hors Indre-et-Loire, au Musée d'Art Moderne de l'Abbaye de Fontevraud pour l'exposition Bernard Buffet, médiéval et pop Programme • Michel Magne, "Danse des flammes", musique pour Le Rendez-vous manqué • Interview de Dominique Gagneux, Directrice du Musée d'Art Moderne de l'Abbaye de Fontevraud • Erik Satie, "Sonnerie pour réveiller le Bon Gros Roi des Singes" * • Denis Dufour, "Cinq formes d'appel. N°4 - Invite" * • Arrivée De La Cloche Gabrielle À L'Abbaye De Fontevraud • Giacinto Scelsi, "Quattro Pezzi" pour trompette N°1 * • Giacinto Scelsi, "Preghiera per un' ombra" pour clarinette * • Pierre Henry - Michel Colombier, "Psyché Rock" • Entretien mené par Michel Droit avec les invités Bernard Buffet et Annabel Buffet • Karlheinz Stockhausen, "Der Kleine Harlekin" pour clarinette (extrait) * • Karlheinz Stockhausen, "Tierkreis - Le Lion" * • Pierre Henry, "La Reine Verte - Rock électronique" * enregistré en concert le 26/08/2024, au Musée d'Art Moderne de l'Abbaye de Fontevraud. ensemble PTYX : Antoine Moulin, clarinette, clarinette basse / Christophe Rostang, trompette / Jean-Baptiste Apéré, mélodica Plus de détails et des photos sur ensembleptyx.com ********************************************* Émission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. Présentation : Jean-Baptiste Apéré réalisation, production, sans concession : ptyx fan club vnrpe (c) 2024

Garsioji japonų pianistė Aki Takahashi (g. 1944) drąsiai imasi naujosios stilistikos kompozicijų, interpretacijas paversdama tiesiog etaloninėmis. Laidoje pristatomi jos skambinami du 20 amžiaus novatoriai – italas Giacinto Scelsi (1905-1988) ir graikas Iannis Xenakis (1922-2001). Mąsli ir įtaigi Scelsi fortepijoninė muzika gana netikėtai papildo jo gerokai radikalesnių kamerinių ir orkestrinių kompozicijų pasaulį. Ekstremaliai komplikuota, užburiančios energijos ir išradingumo Xenakio pianistika žymi tolimiausias gyvo atlikimo ribas.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

Enno Poppe ist der Porträtkomponist der diesjährigen Ausgabe des Neue-Musik-Festivals ACHT BRÜCKEN, das vom 4. bis 12. Mai in der Kölner Philharmonie und weiteren Spielstätten stattfindet. In diesem Podcast Spezial ist der Komponist und Dirigent zu Gast bei Patrick Hahn und erzählt von seiner Kindheit im sauerländischen Hemer. Ohne formale Anleitung zog es ihn intuitiv zur Musik, wo er sich zunächst autodidaktisch weiterentwickelte. Die Kölner Philharmonie ist für ihn ein bedeutender Ort, schon als Jugendlicher erlebte er hier Hans Zender und Giacinto Scelsi. Poppe beschreibt die Arbeit mit Ensembles im Vergleich zu Orchestern und spricht über seine Kompositionsprozesse. Unter anderem seine Stücke »Scherben«, »Prozession« und »Speicher« werden beim Festival aufgeführt, und er freut sich darauf, diese und weitere Werke dem Kölner Publikum zu präsentieren. https://www.koelner-philharmonie.de/de/festivals/acht-brucken-portratkomponist-2024/474 https://www.koelner-philharmonie.de/de/festivals/acht-brucken/433 Bild: Enno Poppe ©Jörn Neumann

Vandaag ronden we ons overzicht van Italiaanse strijkkwartetten rond de Tweede wereldoorlog af met de laatste twee kwartetten van Gian Francesco Malipiero, gecombineerd met twee van Giacinto Scelsi. Het verschil tussen de muziek van beide componisten is opvallend: Malipiero zocht nieuwe wegen vanuit de traditie, Scelsi brak liefst met de traditie en zocht in zijn […]

In de jaren veertig en vijftig was de muziek van Scelsi nog nauwelijks bekend, en die van Maderna en Berio werd in de jaren vijftig algemeen tot de voorhoede van de Italiaanse avantgarde gerekend en bereikte dus een zeer klein publiek. Giacinto Scelsi was in alle opzichten wat de Duitsers een ‘Einzelgänger' noemen. Hij schreef […]

Compositor italiano de origen noble, entra por su propia mano en un asilo psiquiátrico en los Alpes donde se entrega a la lectura de tomos de budismo tibetano y a la repetición, al piano, de una única nota. La experiencia determina el grueso de su producción (más de 150 obras) y le otorga la categoría de precursor del espectralismo._____Has escuchadoAlleluja: for violoncello solo (1970). Frances-Marie Uitti, violonchelo. ECM (2006)Anahit: poème lyrique dédié à Vénus (1965). Carmen Fournier, violín; Orchestre de la Radio-Télévision polonaise de Cracovie; Jürg Wyttenbach, director. Accord (1989)Konx-Om-Pax (1969). Orchestre de la Radio-Télévision polonaise de Cracovie; Jürg Wyttenbach, director. Accord (1988)Ygghur: for violoncello solo (1970). Frances-Marie Uitti, violonchelo. ECM (2006)_____Selección bibliográficaANDERSON, Julian, “La Note Juste. Julian Anderson Appraises the Work of the Enigmatic Giacinto Scelsi”. The Musical Times, vol. 136, n.º 1823 (1995), pp. 22-27*ASSAYAG, Irène, Giacinto Scelsi, musicien-poète du XXe siècle. L'Harmattan, 2017*CASTANET, Pierre-Albert, “Opus musicum angelorium: Quand la musique des Invisibles émerge aux confins du sensible. Hommage à Giacinto Scelsi”. Itamar. Revista de Investigación Musical: Territorios del Arte, n.º 5 (2019), pp. 85-107*CASTANET, Pierre-Albert y Nicola Cistermo (eds.), Giacinto Scelsi. Viaggio al centro del suono. Luna Editore, 2001DICKSON, Ian, “Towards a Grammatical Analysis of Scelsi's Late Music”. Music Analysis, vol. 31, n.º 2 (2012), pp. 216-241*DROTT, Eric, “Class, Ideology, and Il Caso Scelsi”. The Musical Quarterly, vol. 89, n.º 1 (2006), pp. 80-120*FREEMAN, Robin, “Tanmatras: The Life and Work of Giacinto Scelsi”. Tempo, n.º 176 (1991), pp. 8-18*PATRICK, Revol, Conception orientale du temps dans la musique occidentale du vingtième siècle. L'Harmattan, 2007*SCELSI, Giacinto, The Aesthetical Writings of Giacinto Scelsi. Editado y traducido por Franco Sciannameo y Alessandra Carlotta Pellegrini. Rowman & Littlefield, 2023SCIANNAMEO, Franco y Alessandra Carlotta Pellegrini, Music as Dream: Essays on Giacinto Scelsi. Scarecrow Press, 2013UITTI, Frances-Marie, “Preserving the Scelsi Improvisations”. Tempo, n.º 194 (1995), pp. 12-14*WANKE, Riccardo D., Sound in the Ecstatic-Materialist Perspective on Experimental Music. 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

Greetings! Lots of cool things this week with a focus on Ian Power's new release, "Ave Maria: Variations on a Theme by Giacinto Scelsi" which I felt could not be done justice by only playing a portion of it.  It's a fascinating look at how the briefest of melodies can be interpreted and re-interpreted in order to take on the melody from different perspectives.   In addition, we'll check out new releases from William Susman, Homebrewed Universe, The Owl, Joseph Bohgian and the Thin Edge New Music New Music Collective w/ Linda Caitlin Smith together w/ some older goodies. Enjoy! Joel  e-mail: pushingtheenvelopewhus@gmail.com Twitter-like x-thing: https://twitter.com/envpusher1    11-18-23 PTE Playlist   Quiet Rhythms Nos. 3 & 13 - piano/composer: William Susman - Quiet Rhythms Live at Spectrum NYC - Belarca Records (2023) https://susmanmusic.bandcamp.com/album/quiet-rhythms-live-at-spectrum-nyc   Ave Maria: Variations on a Theme by Giacinto Scelsi - piano/voice: Anne Rainwater / composer: Ian Power - Ave Maria: Variations on a Theme by Giacinto Scelsi - Carrier Records (2023) https://ianpoweromg.bandcamp.com/album/ave-maria-variations-on-a-theme-by-giacinto-scelsi-2    Kodomo Tachi - Akiko Yano - To Ki Me Ki - WeWantSounds (1978 / 2023) https://wewantsounds.bandcamp.com/merch/akiko-yano-to-ki-me-ki-1lp-deluxe-black-vinyl-edition-with-4page-insert    Everything Is Temporary - Homebrewed Universe - The Loneliness Economy - digital release (2023) https://homebreweduniverse.bandcamp.com/album/the-loneliness-economy    Etudes 1 & 2 (Live) - Petridisch - Etudes Live -digital release (2022) https://petridisch.bandcamp.com/album/etudes-live    The Solemn Humans - The Owl - Our Mechanical Failure As Drones - Owlripper Records (2020) https://owlripperrecordings.bandcamp.com/album/orr002-our-mechanical-future-as-drones    Wanderer (2009 rev 2022) clarinet, violin, cello, piano, percussion - Thin Edge New Music Collective / composer: Linda Caitlin Smith - Dark Flower - Redshift Records (2023) https://redshiftrecords.org/new-releases/tk543/    Terrace of Memories - Sam Rosenthal & Dirk Serris (Vidna Obmana) - Terrace of Memories (2023 remaster) - Projekt Records (1992/2022) https://projektrecords.bandcamp.com/album/terrace-of-memories    The Water Has Found It's Crack - Catherine Sandstedt, soprano; Heidi Schneider, soprano; Alina Tamborini, soprano; Rob Cosgrove, percussion; Kate Dreyfuss, violin; Sophia Sun, viola; Tsung-Yu Tsai, cello / composer: Joseph Bohgian - The Water Has Found It's Crack - Other Minds Records (2023)  https://www.otherminds.org/recording/the-water-has-found-its-crack/    1950's Voice-O-Graph Recording from my personal collection   Who's Latheing Now? - Walter Campbell - Thunder Perfect Thighs - digital release (2022) https://waltercampbell.bandcamp.com/album/thunder-perfect-thighs    Pi (Part 1) (LP Version) - The Orb - U.F. Off: The Best of The Orb - Island Records (1998) https://www.theorb.com/u-f-off-the-best-of-the-orb/ 

VIDEO: Descrizione in minuscolo ➜ https://www.youtube.com/watch?v=ADZQvN3BitkTESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=5253SANTA MARIA GORETTI FU DEFINITA DA PAPA PIO XII ''LA PICCOLA E DOLCE MARTIRE DELLA PUREZZA'' di Giovanni AlbertiÈ come un'antologia di virtù, ricca di insegnamenti oggi dimenticati dal mondo e perfino derisi, la vita eroica di santa Maria Goretti (1890-1902), «la piccola e dolce martire della purezza», come la chiamò Pio XII nel canonizzarla, che preferì la morte terrena anziché peccare con colui che divenne il suo carnefice. Seconda dei sei figli di Assunta Carlini e Luigi, due umili braccianti, era nata il 16 ottobre nel piccolo comune marchigiano di Corinaldo, ricevendo il Battesimo a 24 ore dalla nascita. I suoi genitori avevano una grande fede e, come dirà la madre, si curarono di dare ai figli un'educazione «perché crescessero buoni cristiani». Marietta, com'era chiamata, ricevette la Cresima a meno di sei anni e nell'ottobre 1897 si trasferì con la famiglia a Paliano, nel Lazio, dove i genitori, accettando la proposta del proprietario terriero e senatore Giacinto Scelsi, lavorarono come mezzadri al fianco di Giovanni Serenelli e del giovane figlio Alessandro, orfano della madre.Nel 1899 lei e i familiari furono costretti a trasferirsi di nuovo e, insieme ai Serenelli, si accasarono nella cascina di un conte alle Ferriere di Conca, nel mezzo delle paludi pontine, ancora non bonificate. Da quelle parti la malaria era micidiale e appena un anno dopo si portò via il padre della santa, segnando un vero dramma familiare per i Goretti. Mamma Assunta, rimasta sola ad allevare i sei figli, dovette sostituire il marito nel lavoro dei campi, mentre Marietta si dedicò alle faccende di casa. Fu proprio lei, pur affranta dal dolore, a fortificare la madre con la sua fiducia nella Provvidenza: «Mamma, non ti preoccupare, Dio non ci abbandonerà». Dio lo cercava e lo trovava nel quotidiano. Si alzava di buon mattino prima degli altri, diceva le orazioni, sistemava il pollaio, preparava la colazione, svegliava i fratellini, li aiutava a prepararsi per la giornata e li faceva pregare.Nutriva un amore filiale per la Madonna e alla sera, dopo una giornata di fatiche, si inginocchiava insieme ai fratellini per recitare il Rosario, «che le era indispensabile come l'aria che respirava», come testimonierà la mamma, alla quale i vicini dicevano spesso: «Che angelo di figlia avete!». Marietta non sapeva leggere ma aveva un grande desiderio di imparare «la dottrina» per poter fare in anticipo la Prima Comunione, che allora si riceveva abitualmente solo dopo il 12° anno di età. Moltiplicò i sacrifici per andare al catechismo, che poi insegnava con entusiasmo in famiglia, e il 16 giugno 1901 ricevette per la prima volta Gesù Eucaristico. Fu allora che maturò il proposito di morire piuttosto che commettere peccati, un fatto comune ad altri giovanissimi santi, come per esempio Domenico Savio. La Messa domenicale era per lei la gioia più grande e nulla le impediva di partecipare, né gli undici chilometri di distanza, percorsi a piedi, né le intemperie.DIO NON VUOLE, SE FAI QUESTO VAI ALL'INFERNO!Approfittando della mancanza del padre, i Serenelli rivelarono il loro lato peggiore. L'anziano Giovanni insidiò, invano, Assunta («osò farmi delle proposte infami») e lasciò spesso affamati i Goretti. Il figlio Alessandro tentò più volte Marietta, che respinse sempre i suoi approcci, desiderando rimanere casta. Il 5 luglio 1902 Alessandro, allora ventenne, trascinò con forza la piccola dentro la cucina, ma si sentì dire: «No, no, Dio non vuole, se fai questo vai all'inferno!». Accecato dall'ira, la colpì ripetutamente con un punteruolo, infliggendole 14 ferite. Durante i disperati tentativi di cura all'ospedale Marietta invocò di continuo la Vergine e rimase lucida e serena, nonostante i dolori atroci. Il 6 luglio le fu messa al collo una medaglia, che sanciva la sua iscrizione alle Figlie di Maria, e i presenti videro il suo volto illuminarsi. Il sacerdote le chiese infine se perdonava Serenelli: «Sì, per amore di Gesù lo perdono, e voglio che venga con me in Paradiso». Alle 15:43 di quello stesso giorno, quando aveva 11 anni e 8 mesi, la vergine e martire Maria Goretti fece il suo ingresso nella gloria eterna.Le grazie della sua santità si manifestarono presto. Serenelli passò 27 anni in carcere, ma già nel 1906 vide in sogno la santa nell'atto di offrirgli dei gigli. Dopo essere uscito di prigione chiese perdono in ginocchio ad Assunta, lavorò come ortolano dai Cappuccini e il 24 giugno 1950 fu presente alla canonizzazione di Maria: la folla di fedeli fu tale che per la prima volta la funzione religiosa si svolse in piazza San Pietro. Assunta, ormai anziana, assistette all'evento da una finestra del Palazzo Apostolico, diventando la prima mamma della storia a sentire proclamata la santità della figlia. Una figlia che la Provvidenza ha posto come lampada per far risplendere la luce di Cristo, prima che le virtù cristiane da lei fedelmente incarnate - dalla castità all'obbedienza ai genitori, dal sacrificio allo sguardo ai beni celesti - fossero sottoposte al disprezzo dei movimenti femministi e sessantottini, noncuranti dell'eternità. A cui invece guardò con gratitudine Serenelli.LA MIA LUCE, LA MIA PROTETTRICEL'omicida convertito così scrisse nel suo testamento spirituale: «Sono vecchio di quasi 80 anni, prossimo a chiudere la mia giornata. Dando uno sguardo al passato, riconosco che nella mia prima giovinezza infilai una strada falsa: la via del male che mi condusse alla rovina. Vedevo attraverso la stampa, gli spettacoli e i cattivi esempi che la maggior parte dei giovani segue quella via, senza darsi pensiero: ed io pure non me ne preoccupai [...]. Maria Goretti, ora santa, fu l'angelo buono che la Provvidenza aveva messo avanti ai miei passi. Ho impresse ancora nel cuore le sue parole di rimprovero e di perdono. Pregò per me, intercedette per me, suo uccisore. [...] Maria fu veramente la mia luce, la mia Protettrice; col suo aiuto mi diportai bene e cercai di vivere onestamente, quando la società mi riaccettò tra i suoi membri. [...] Coloro che leggeranno questa mia lettera vogliano trarre il felice insegnamento di fuggire il male, di seguire il bene, sempre, fin da fanciulli. Pensino che la religione coi suoi precetti non è una cosa di cui si può fare a meno, ma è il vero conforto, la unica via sicura in tutte le circostanze, anche le più dolorose della vita. Pace e bene!».

For more information on Giorgio and to explore his "labyrinthian" website, head here. Have fun!Giorgio mentions Hildegard Westerkamp in this episode, so maybe you'd like to listen to our conversations with her, in 2 episodes, #1 here and #2 here.Giorgio is the long time Artistic Director of Vancouver New Music.Giorgio mentions David Tudor's Rainforest Project And Italian composer Giacinto Scelsi    

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

Synopsis If the late 18th century is the “Classical Age,” and the 19th “The Romantic,” then perhaps we should dub our time “The Eclectic Age” of music. These days, composers can—and do—pick and choose from a wide variety of styles. The American composer William Bolcom was loath to rule anything out when he approached the task of setting William Blake's Songs of Innocence and of Experience to music. Bolcom calls for a large orchestra, multiple choruses, and more than a dozen vocal soloists versed in classical, pop, folk, country, and operatic styles. There are echoes of jazz, reggae, gospel, ragtime, country and rock idioms as well. As Bolcom put it: "At every point Blake used his whole culture, past and present, high-flown and vernacular, as sources for his many poetic styles. All I did was use the same stylistic point of departure Blake did in my musical settings.” The massive work received its premiere performance in Stuttgart, Germany, on today's date in 1984. Most of the work was completed between 1973 and 1982, after Bolcom joined the faculty of the University of Michigan in Ann Arbor, and it was there that the work received its American premiere a few months following its world premiere in Germany. Music Played in Today's Program William Bolcom (b. 1938) Songs of Innocence and of Experience Soloists; Choirs; University of Michigan School of Music Symphony; Leonard Slatkin, conductor. Naxos 8.559216/18 On This Day Births 1792 - American composer and educator Lowell Mason, in Medford, Massachusetts; 1812 - Swiss composer and pianist Sigismond Thalberg, in Pâquis, near Geneva; 1896 - Czech composer Jaromir Weinberger, in Prague; 1899 - Russian-born American composer Alexander Tcherepnin (Gregorian date: Jan. 21); 1905 - Italian composer Giacinto Scelsi, in La Spezia; 1924 - Russian-American composer Benjamin Lees (née Lysniansky), in Harbin, Manchuria; 1924 - Austrian-born American composer Robert Starer, in Vienna; 1935 - The charismatic rock 'n' roll performer Elvis Presley is born in Tupelo, Miss.; 1937 - American composer Robert Moran, in Denver; Deaths 1713 - Italian composer and violinist Arcangelo Corelli, age 59, in Rome; 1831 - Moravian-born composer and violinist Franz Krommer, age 71, in Vienna; 1998 - British composer Sir Michael Tippett, age 93, in London; Premieres 1705 - Handel: opera "Almira" in Hamburg; This was Handel's first opera (see also Dec. 5 & 30 for related contemporary incidents); 1720 - Handel: opera "Radamisto" (2nd version), in London (Julian date: Dec. 28, 1720); 1735 - Handel: opera "Ariodante" in London at the Covent Garden Theater (Gregorian date: Jan. 19); 1843 - Schumann: Piano Quintet in Eb, Op. 44, at Leipzig Gewandhaus with pianist Clara Schumann; 1895 - Brahms: Clarinet Sonata, Op. 120, no. 1 (first public performance), in Vienna, by clarinetist Richard Mühlfeld, with the composer at the piano, as part of the Rosé Quartet's chamber music series; The first performance ever of this work occurred on September 19, 1894, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, with the same performers; Brahms and Mühlfeld also gave private performances of both sonatas in Frankfurt (for Clara Schumann and others) on November 10-13, 1894; at Castle Altenstein (for the Duke of Meiningen) on Nov. 14, 1894; and on Jan. 7, 1895 (for members of the Vienna Tonkünstler Society); 1911 - Florent Schmitt: "La tragédie de Salomé" for orchestra, in Paris; 1927 - Berg: "Lyric Suite" for string quartet, in Vienna, by the Kolisch Quartet; 1928 - Hindemith: "Kammermusik" No. 7, Op. 46, no. 2, in Frankfurt, with Ludwig Rottenberg conducting and Reinhold Merten the organist; 1940 - Roger Sessions: Violin Concerto, by the Illinois Symphony conducted by Izler Solomon, with Robert Gross as soloist; The work was to have been premiered by Albert Spalding with the Boston Symphony under Koussevitzky in January of 1937, but did not take place); 1963 - Shostakovich: opera "Katerina Izmailova" (2nd version of "Lady Macbeth of the Mtsensk District"), in Moscow at the Stanislavsky-Nemirovich-Dachenko Music Theater; 1971 - Shostakovich: Symphony No. 15, in Moscow, by the All-Union Radio and Television Symphony, with the composer's son, Maxim, conducting; 1987 - Christopher Rouse: "Phaethon" for orchestra, by the Philadelphia Orchestra, Riccardo Muti conducting; 1988 - Schwantner: "From Afar . . . " (A Fantasy for Guitar and Orchestra), by guitarist Sharon Isbin with the St. Louis Symphony, Leonard Slatkin conducting; Others 1923 - First broadcast in England of an opera direct from a concert hall, Mozart's "The Magic Flute" via the BBC from London; Links and Resources More on Wiiliam Bolcom More on William Blake

Un día como hoy, 8 de enero: 1830, nace Hans von Bülow. 1836, nace Lawrence Alma-Tadema. 1905, nace Giacinto Scelsi. 1906, nace Ígor Moiséyev. 1935, nace Elvis Presley. 1942, nace Stephen Hawking. 1947, nace David Bowie. 1324, fallece Marco Polo. 1337, fallece Giotto. 1642, fallece Galileo Galilei. 1713, fallece Arcangelo Corelli. 1896, fallece Paul Verlaine. 1986, fallece Pierre Fournier. 1998, fallece Michael Tippett. Conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023.

Un roc sur un fil d'équilibriste. La musique improvisée de Joëlle Léandre offre une alchimie parfaite entre fragilité et solidité : l'éphémère organisation de quelques éléments seulement, presque rien, combinée au savoir-faire de cette grande dame de l'improvisation, ses intenses années de pratique émaillées de centaines, de milliers de rencontres, avec une infinité d'artistes.Pour en citer quelques-un·e·s : Barre Phillips, Dereck Bailey, Irene Schweitzer, Steve Lacy, Carlos Zingaro, George Lewis, Pauline Oliveros, Giacinto Scelsi et John Cage. Rien que ça ! Conversation à bâtons rompus avec Guillaume Kosmicki. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Moin! Diesmal wird es wieder wild. Wir rasen wieder durch die musikalischen Landschaften. Wir beginnen mit 'Sfera' von Giacinto Scelsi, Stefan Goldmann und Jeremias Schwarzer, machen weiter mit 'Cruel Country' von Wilco und landen schließlich bei '12th of June' von Lyle Lovett. Wein gibt's natürlich auch wieder, diesmal aus Frankreich. Wir probieren den Jean Pull aus dem Jahr 2019 von der Domaine des Soulanes.

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!"

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Jimmy Berman by Allen Ginsberg on The Dial-A-Poem Poets: Disconnected (Giorno Poetry Systems) 5′12″ Prayer for Peace by Ustad Saami on East Pakistan Sky (Glitterbeat Records) 11′28″ Out Beyond by Philip Blackburn on Justinian Intonations (Neuma Records) 16′27″ Suite No.9 "Ttai" by Giacinto Scelsi (performed by Shira Legmann) on Giacinto Scelsi: Suite No.9 / Quattro illustrazioni / Un Adieu (Elsewhere Music) 20′30″ Tryst by Joanna Mattrey on Dirge (Dear Life Records) 26′54″ Halfless by Lake Mary on Once It's All On the Ground (Aural Canyon) 30′47″ Asa by Happy End on Happy End (URC) 33′43″ Parasite by Scott Appel on Nine of Swords (Kicking Mule) 37′34″ Music to Look for Something Lost By by Michael Masley on Cymbalom Solos (Aguirre) 45′15″ Flowers in the Center Lane Sway by Mary Lattimore & Growing on Gainer (self-released) Check out the full archives on the website.

This Friday - August 6th 2021 - Bandcamp has announced that they are waiving their fees for to help support artist impacted by the pandemic.  This means that if you buy music on Friday this week the artist actually gets all the money (minus paypal or credit card processing fees).  Learn more: https://daily.bandcamp.com/features/bandcamp-fridays-2021 We thought this was a good opportunity to share some of our favorite albums, since you might be wanting recommendations to fill up your bandcamp shopping cart on friday.   Here are the links to the albums we talk about: "Colored Sands" by Gorguts: https://gorguts.bandcamp.com/album/colored-sands "Morgan Delt" by Morgan Delt: https://morgandelt.bandcamp.com/album/morgan-delt-2 "Oviri" by Jute Gyte: https://jutegyte.bandcamp.com/album/oviri "Agüita" by Gabriel Garzón-Montano: https://gabrielgarzonmontano.bandcamp.com/album/ag-ita "I Do Not Wake Up" by ddb:  https://dennydennybreakfast.bandcamp.com/album/i-do-not-wake-up "Solipsist" by The Zenith Passage: https://uniqueleaderrecords.bandcamp.com/album/solipsist "Lugal Ki En" by Rings of Saturn: https://uniqueleaderrecords.bandcamp.com/album/lugal-ki-en "Billions of Cicadas" by BlipVert: https://blipvert.bandcamp.com/album/billions-of-cicadas "The Behemoth" by Phronesis: https://phronesistrio.bandcamp.com/album/the-behemoth "Y-OTIS 2" by Otis Sandsjö: https://wejazzrecords.bandcamp.com/album/y-otis-2 "Canticles Of The Holy Scythe" by LÜÜP: https://i-voidhangerrecords.bandcamp.com/album/canticles-of-the-holy-scythe And lastly, Giacinto Scelsi: https://giacintoscelsi.bandcamp.com/

Ramadan #HistoricMuslimah #16: "Rabiah al Basra" | Today, Khateebah & Mu'adthinah Jessika Kenney enlightens us about the true nature of Rabiah al Basra, the famous Muslimah that is most known for re-introducing the concept of Love back into early Sufi Islamic teachings. Jessika shows us how the gendered way that Rabiah is usually mistranslated is very harsh; however, when one goes back to the original text, we see a much warmer depiction of Rabiah, one that is rooted in love and ecstatic joy. Jessika treats us with a beautiful recitation of the original Persian poetry of Farid Din Attar as he describes Rabiah in 'The Conference of the Birds.' D O N A T E The Women's Mosque of America needs your help! Today we are at $3,310 of our $24,000 Ramadan goal to secure our women-led jumma'a services for the coming year. Make a contribution tonight: womensmosque.com/donate M O R E F R O M J E S S I K A K E N N E Y "Singing A Shining Steed: The Mystical Origins of the Buraq" by Jessika Kenney https://youtu.be/6j8fo4CPsB0 "Exploring Wudu, Water, and the Concept of 'Purity' in Islam" Khutbah by Jessika Kenney https://youtu.be/flrQ9md8nsU Adthans by Mu'adthinah Jessika Kenney: https://soundcloud.com/search?q=women... B I O Jessika Kenney is a vocalist, composer/improviser, and teacher. Jessika's singing can be heard on Ideologic Organ, Black Truffle, Weyrd Son, SIGE, Present Sounds, and other labels. She performs regularly with writers/scholars Red Pine (Bill Porter), Fatemeh Keshavarz, and Anne Carson. At international festivals, Jessika has performed her own compositions as well as music of Annea Lockwood, Hossein Omoumi, Morton Feldman, Giacinto Scelsi, and others. In 2015, her LP ""ATRIA"" (based on writings attributed to Sunan Kalijaga, who brought Islam to Java in the 15th century CE) was released alongside a sound, calligraphic score, sculpture, and video installation filling five rooms at the Frye Art Museum in Seattle. Jessika taught from 2007-2015 at her alma mater, Cornish College of the Arts in Seattle. She has studied sindhenan with many great musicians of Javanese gamelan in and outside Indonesia, particularly the late, great pesindhen Nyi Supadmi (d. 2015). She has studied Persian radifs with Ostad Hossein Omoumi (UC Irvine) since 2004. Kenney received the 2014 James Ray Distinguished Artist Award, and for collaborations with her husband Eyvind Kang, the 2015 Stranger Genius Award. She is VoiceArts faculty at California Institute of the Arts and lives in Pasadena, CA. In 1997, Jessika had her first masjid experience in the Kauman neighborhood of Surakarta, Central Java, and she has been involved in Islamic and Sufi culture ever since. S T A Y C O N N E C T E D Do you want to find out about The Women's Mosque of America's upcoming women-led & co-ed events? Sign up for our newsletter here: https://us9.campaign-archive.com/home... A B O U T The Women's Mosque of America is the nation's first women-led Muslim house of worship and a registered 501(c)3 non-profit. The Women's Mosque of America strives to uplift the entire Muslim community by empowering Muslim women and girls through more direct access to Islamic scholarship and leadership. The Women's Mosque of America provides a safe space for women to feel welcome, respected, and actively engaged within the Muslim Ummah. It complements existing mosques, offering opportunities for women to grow, learn, and gain inspiration to spread throughout their respective communities. The Women's Mosque of America provides women-led Friday jumma'a services for women and children (including boys 12 and under) once a month in Southern California. In addition, The Women's Mosque of America provides programming, events, and classes open to both men and women that aim to increase community access to female Muslim scholars and female perspectives on Islamic knowledge and spirituality. F O L L O W U S Instagram: @womensmosque Facebook: https://www.facebook.com/WomensMosque Twitter: @womensmosque

Marco Fusi is a violinist/violist, and a passionate advocate for the music of our time.Among many collaborations with emerging and established composers, he has premiered works by Billone, Sciarrino, Eötvös, Cendo and Ferneyhough. Marco has performed with Pierre Boulez, Lorin Maazel, Alan Gilbert, Beat Furrer, David Robertson, and frequently plays with leading contemporary ensembles including Klangforum Wien, MusikFabrik, Meitar Ensemble, Mivos Quartet, Ensemble Linea, Interface (Frankfurt), Phoenix (Basel) and Handwerk (Köln); Marco has recorded several solo albums, published by Kairos, Stradivarius, Col Legno, Da Vinci, Geiger Grammofon.Marco also plays viola d'amore, commissioning new pieces and collaborating with composers to promote and expand existing repertoire for the instrument.A strong advocate and educator of contemporary music, he lectures and workshops at Columbia University, University of California – Berkeley, Basel Musikhochschule, New York University, Boston University, Royal Danish Academy of Music – Copenhagen, Cité de la Musique et de la Danse – Strasbourg, University of Chicago.Marco teaches Contemporary Chamber Music at the Milano conservatory “G. Verdi” and is Researcher in Performance at the Royal Conservatoire of Antwerp.More about Marco FusiOrder Marco Fusi's new recital CD of Scelsi's music (Kairos Records)MUSICAL EXCERPTS IN ORDERGiacinto Scelsi, Divertimento n° 2 (1954)Giacinto Scelsi, Divertimento n° 4 (1955)SUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Un día como hoy, 8 de enero: 1830, nace Hans von Bülow. 1836, nace Lawrence Alma-Tadema. 1905, nace Giacinto Scelsi. 1906, nace Ígor Moiséyev. 1935, nace Elvis Presley. 1942, nace Stephen Hawking. 1947, nace David Bowie. 1324, fallece Marco Polo. 1337, fallece Giotto. 1642, fallece Galileo Galilei. 1713, fallece Arcangelo Corelli. 1896, fallece Paul Verlaine. 1986, fallece Pierre Fournier. 1998, fallece Michael Tippett. Una producción de Sala Prisma Podcast. 2021

Die Schönen Künste – was verbirgt sich dahinter? Ist das Schöne, was gefällt oder wird doch etwas anderes damit gemeint. In dieser Folge geht es darum als Künstler auch mal anecken zu müssen, damit man seinen eigenen Ausdruck finden kann. Dazu stelle ich Musik von Luciano Berio, Giacinto Scelsi und Aaron Cassidy vor. Mehr gibt es auf meinem YouTube Channel ArtiFACTion https://www.youtube.com/watch?v=I1MjO8ReZNg&feature=emb_title Neugierig? Fehlt was? Ein loser Gedanke? Schreibt mir gern: www.endialogue.julianeharberg.com www.julianeharberg.com www.sogehtsächsisch.de Foto credit: @Michael Bader Fotografie

Patricia Kopatchinskaja présente son nouveau disque Vivaldi "Giovanni Antonini et son ensemble Il Giardino Armonico célèbrent un compositeur qui a fait sa renommée : Antonio Vivaldi. Leurs enregistrements des Quatre Saisons ou du fameux premier récital de Cecilia Bartoli ont marqué la discographie du prêtre roux à jamais ! Le feu d'artifice continue avec un programme de concertos qui ne laissera personne indifférent, puisqu'il est le fruit d'une rencontre avec une musicienne qui fait elle aussi bouger les frontières, la violoniste Patricia Kopatchinskaja. Ensemble, ils ont imaginé un programme intitulé WHAT'S NEXT VIVALDI?, qui entremêle des concertos ultra virtuoses de Vivaldi (RV 208 Il Grosso Mogul, 253 La Tempesta di Mare (pour violon !), 157, 191, 550...) et, entre chaque concerto, des pièces courtes écrites par des compositeurs beaucoup plus récents, Luca Francesconi, Simone Movio, Giacinto Scelsi, Aureliano Cattaneo, Giovanni Sollima, pour la plupart commandées par Patricia Kopatchinskaja spécialement pour ce programme." --- Sir Mark Elder présente son nouveau disque Vaughan Williams avec le Hallé Orchestra

„Wir freuen uns riesig, endlich wieder vor Publikum spielen zu können“, sagt Johannes Bultmann, der Künstlerische Gesamtleiter der SWR-Klangkörper und -Festivals. Anfang März hatte das Orchester in Madrid seinen letzten Auftritt vor großem Auditorium, es folgten Wochen und Monate mit zahlreichen Video- und kleinbesetzten Mini-Konzerten. Am Wochenende 18. bis 20. September 2020 beginnt die Saison mit Live-Konzerten in Stuttgart und Freiburg vor Publikum! Werke unter anderem von Giacinto Scelsi und Helmut Lachenmann treffen auf Musik von Heinrich Ignaz Biber. Für Johannes Bultmann ist der deutsche Barockkomponist aufgrund seiner experimentellen, geräuschhaften Schlachten-Musiken „der Lachenmann seiner Zeit“, erzählt er im Gespräch.

Hilary Ann Mostert"L'inconveniente"Mondadori Editorehttps://www.librimondadori.it/Solo in aereo Hilary si accorge che lascerà per sempre l'Africa e Uouo.Arriverà a Torino dallo Zimbabwe, ex Rhodesia, con la madre, nella casa della nonna e delle zie.La famiglia che la accoglie metterà in atto una vera e propria macumba nei suoi confronti.Fossilizzata in posizione fetale attorno a una scaletta a chiocciola dove passa le sue notti, Hilary deve solo attendere di diventare grande.Nel buio della lunga attesa, il sole tuonante dell'Africa la travolgerà, la libererà in un viaggio ai confini dell'universo, rigenerandola e mantenendola in vita.Una tempesta di ricordi le farà rivivere il sogno della sua vita. Lei, a passeggio nei parchi nazionali dell'Africa, per mano con il suo papà guardiano delle riserve, veterinario degli animali feroci. Il mondo nel quale Hilary vive è un vero paradiso terrestre e lui l'accompagna a vederne le meraviglie.Giovanna, la sua madre torinese, era la figlia di Domenico Buratti e la cognata di Giorgio De Maria, l'autore del romanzo “maledetto” Le venti giornate di Torino. Aveva attraversato il pianeta per sposare Uouo. Lui l'aveva liberata dai nazisti, e lei aveva capito che era l'uomo che aveva sognato, e lo aveva seguito in Africa, dove era nata Hilary. Ma un giorno questo Eden si spezza, Giovanna ricorda all'improvviso l'amato padre torinese, la madre, le sorelle. Rievoca una vita che credeva sepolta. La nostalgia di quel periodo è più forte di tutto.Vuole tornare in Italia, strappando la figlia alla sua terra, a Uouo e alle “otto mamme nere” mogli del cuoco, sue governanti. La porterà via, dimenticandosi di avvertirla. Una volta in Italia – nel tentativo di recuperare il tempo perduto in Africa – Giovanna comincerà a scrivere il suo libro: Non sono stata una brava madre… Tornata a essere figlia e sorella, ruberà a Hilary il posto di bambina.L'inconveniente è un romanzo autobiografico di straordinaria originalità, dove il ricordo onirico dell'Africa della piccola Hilary si alterna al presente di una Torino plumbea e claustrofobica ai limiti del surreale, che anticipa per certi versi le atmosfere de Le venti giornate di Torino.Hilary Ann Mostert nasce a Melsetter, nello Zimbabwe. Danzatrice e appassionata di esoterismo, è stata incoraggiata a intraprendere un cammino attraverso la magia delle parole e la poesia dal suo mentore, il compositore Giacinto Scelsi. È vissuta tra il Sud Africa, l'India, Roma, Torino e New York. Negli anni Ottanta ha pubblicato una raccolta di poesie, Le giraffe di Mutambara, per le edizioni Le parole gelate.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Vincent Royer ist Bratscher im Gürzenich-Orchester. Vor dem Homeschooling hat er mit seinen Söhnen noch einen großen Sandstein erbeutet und arbeitet in diesen Tagen neben der Bratsche auch an seinem ersten Instrument - dem Körper: auf der Suche nach einer neuen Verbindung mit den Ursprüngen des Musikmachens.

I'm really happy to introduce my guest today, Professor Johannes Menke. In 2004, he received his doctorate with a thesis on Giacinto Scelsi at the TU Berlin. From 1999-2009 he taught music theory and ear training at the Musikhochschule Freiburg and was also active as a radio author, organist and choirmaster. Since 2007 he has been Professor of Historical Theory at the Schola Cantorum Basiliensis. From 2008 to 2012 he was President of the Society for Music Theory (GMTH). He is co-editor of the book series Sinefonia (Wolke-Verlag) and the journal Musik & Ästhetik (Klett-Cotta). His numerous publications deal mainly with questions of music theory and analysis, especially with regard to history and didactics. His focus is on the music of the 16th and 17th centuries. These are the book publications counterpoint I: The music of the Renaissance and counterpoint II: The music of the Baroque. His work at the Schola Cantorum Basiliensis includes subjects in the fields of Renaissance to Romantic music, Early Music, the History of Music Theory as well as supervising doctoral projects. He is also co-founder of the project series Klangwelt Renaissance and the Basel Forum for Music Aesthetics. ----- 1:02 When did the State of Germany come about? 2:03 Was it originally divided by religion or culture? 2:39 Siefried Dehn 3:52 How was Dehn trained? 4:17 Had generalbass existed in Germany at that time? 4:58 On parallels with Italian partimento and their differences 5:21 Adolf Bernhard Marx 6:36 How did Marx learn music? 7:00 Was his training similar to Dehn's training? 8:05 What artist would represent the ancient regime? 8:29 Why would Marx say these things when many of old German masters studied generalbass? 9:16 What kind of music theory was Marx trying to promote to replace generalbass? 10:08 Does that include Roman Numerals? 10:31 Who came up with Roman Numerals? 10:50 Marx's nationalist sentiments 11:37 Ferdinand Hiller 12:33 The reception of partimenti and Fenaroli in Germany 13:42 The perception that partimento was deficient because it appeared to lack chordal theory 14:28 Did Marx win the music theory wars? 14:59 Did Marx have successful students of note? 15:33 Was Dehn nationalistic as well? 16:05 Richard Wagner before Weinlig 17:09 Who was Christian Theodor Weinlig? 17:37 Weinlig called himself a Maestro, an Italian term 18:05 Wagner's recollections in his autobiography about his lessons 19:41 Wagner being a grandchild of the Bologna tradition 20:07 Would Wagner have composed thinking more along the lines of generalbass? 21:27 How do we know that Wagner liked Bellini? 22:07 Did the love for Bellini stay with Wagner for his whole life? 23:14 What was the reception of Italian music, such as Opera, in Germany? 24:15 Is the word partimento mentioned in Germany in the 19th century? 25:08 Did the lack of figures in partimento influence generalbass or was it more like bologna, which had figures? 25:38 Is there an equivalent for the Rule of the Octave in Germany? 26:53 Was Partimento hard to be accepted because it was an oral tradition and lacked detailed treatises 27:54 What were the famous harmony books in Germany? 28:44 Gottfried Weber 30:03 How did Mendelssohn learn music? 30:49 Was Johann Georg Albrechtsberger familiar with the italian methods or was he more of a generalbass-ist? 31:46 On generalbass being thought of as just accompaniment rather than a complete method of composition and counterpoint. 33:03 If I was a student in the 19th century, how would I learn to be a composer? 33:31 Do different cities in Germany have different music theory traditions? 34:30 Did Germany have an equivalent to Italian Solfeggio and the study of melody? 35:46 How do you learn music in the generalbass way? 36:55 Franz Liszt being part of the generalbass tradition through Czerny 37:25 Where did the newer, progressive methods of music theory come from? 38:24 So do these ideas come from the new ideas of chordal thinking? 39:22 How do the traditional ideas of generalbass influence modern music education? 40:35 With so many music theory methods, what should the modern music student learn? 41:56 Would you use roman numerals to explain romantic music? 43:07 What music would be good to analyze with chord inversions and roman numerals? 44:26 Would you expect a student to learn all the tools? 45:22 Upcoming articles and projects for 2020 45:50 Where to find Professor Menke's work 46:12 How would you reform music education? 46:52 Should everyone learn generalbass? 47:10 Wrapping Up

El protagonista de esta edición de Ars Sonora es el compositor francés Tristan Mural, nacido en Le Havre en 1947. Conocido especialmente por su vinculación con la llamada "escuela espectral" (formada también por autores como Gérard Grisey, Hughes Dufourt o Philippe Hurel, entre otros), la formación de Murail se complementó con estudios universitarios en ciencias económicas, así como en árabe clásico y magrebí. En 1967 accedió al Conservatorio Nacional de París y cursó allí estudios -contando con Olivier Messiaen entre sus profesores- hasta 1972. En 1971 fue seleccionado para el "Prix de Rome" y pensionado en la Villa Médicis de Roma, donde conoció a Giacinto Scelsi. En 1973 también colaboró en la fundación del Ensemble l'Itinéraire. Más tarde ha sido responsable de los estudios de informática musical en el Conservatorio Nacional de París y en el IRCAM, donde cooperó para el desarrollo del software musical "Patchwork". Su actividad docente le ja conducido, en los últimos años, a la Universidad de Columbia, en Estados Unidos, al Mozarteum de Salzburgo, así como a otras instituciones educativas en Asia. Las obras de Murail que presentamos en esta edición de Ars Sonora revelan algunas de las hipótesis estéticas en las cuales se basa el espectralismo, que propone una aproximación al sonido a partir del análisis (mediante aplicaciones informáticas) de su espectro armónico. Éste se compone de diferentes parciales que, dependiendo de su relación físico-acústica con la frecuencia fundamental de cada sonido, pueden ser armónicos o inarmónicos. Las técnicas de composición espectrales a menudo trasladan a una escala macro-temporal (propia de obras musicales enteras, o de pasajes de éstas) ciertos fenómenos físicos que ordinariamente acontecen en décimas o centésimas de segundo (el despliegue de los parciales que se produce cuando nace un sonido, la modulación entre los timbres de dos instrumentos que suenan simultáneamente, etc.). Sus modelos estéticos, pues, proceden de la naturaleza —comprendida a través de la física acústica— y recrean los procesos graduales mediante los que ésta opera, lo que se opone radicalmente a los planteamientos matemáticamente abstractos del serialismo integral practicado por los compositores de la generación anterior. Tras un breve fragmento de la obra orquestal "Gondwana" (1980), cuyo inicio nos presenta olas de sonidos que nos sirven para introducirnos en la música de Murail, escuchamos íntegramente "Serendib" (1992), una obra para un gran ensemble de veintidós músicos (incluyendo dos sintetizadores), que retoma ese característico recursos de las olas sonoras -así como sonoridades acampanadas, también frecuentes en el contexto espectral- en una exploración poética del concepto de "serendipia", es decir, el hallazgo valioso que se produce de manera accidental o casual (un término adaptado del inglés "serendipity", que a su vez procede de "Serendip" -actualmente Sri Lanka-, por alusión a la fábula oriental "Los tres príncipes de Serendip"). El Ensemble Intercontemporain, bajo la dirección de David Robertson, interpreta la versión de la obra que presentamos. Murail también es autor del ciclo "Random Access Memory", una serie de obras para instrumentos solistas. La sexta pieza de este conjunto, "Vampyr!", destaca por haber sido compuesta para guitarra eléctrica. "Vampyr!" es una de las pocas obras del catálogo del compositor que no usa -al menos directamente- las técnicas espectrales. En la partitura, Murail recomienda al intérprete tocar al modo de los guitarristas de la tradición rock, como Carlos Santana o Eric Clapton. Nosotros escuchamos la versión del guitarrista Wiek Hijmans. Concluimos con "Désintégrations", una ambiciosa composición resultante de un encargo del IRCAM (Institut de Recherche et Coordination Acoustique/Musique) en 1982, para conjunto instrumental y sonidos de síntesis. Murail analizó, a través de los dispositivos electrónicos disponibles en el centro de investigación parisino, los sonidos acústicos que se deforman -se desintegran, como apunta el título- y se entremezclan con los timbres recogidos en el soporte magnético. La interpretación del Ensemble l'Itinéraire, dirigido por Yves Prin, nos sirve para finalizar esta exploración de la poética espectralista en la obra de Tristan Murail. Escuchar audio

Andarilhas, uma viagem ao planeta sem fronteiras da música vol. 4, por Rodrigo Gobbet. Edição mais do que espacial transmitida direto das terras altas da Mantiqueira, aos pés dos maciços do Itatiaia e Papagaio, acima dos 1400m de altitude. Programa de hoje dedicado ao músico e compositor italiano Giacinto Scelsi… Source

Attribution: Roberto Fabbriciani and Roberto Paci Dalò, in “Usmaradio” for the radio program “Voci” by Roberto Paci Dalò, recorded at Usmaradio, Summer 2019, cc by-sa al Una conversazione appassionante e rivelatrice con uno dei più grandi musicisti della scena internazionale. Roberto Fabbriciani ci trasporta dal mondo della musica a quello del suono sottolineando l'importanza della cultura elettronica anche per un mondo acustico e strumentale. Tanti racconti "backstage" nella sua collaborazione con Gigi Nono e Aldo Clementi disegnando percorsi e ricerche di cruciale importanza per il nostro presente. ° Roberto Fabbriciani è internazionalmente riconosciuto tra i migliori interpreti. Originale ed artista versatile, Roberto Fabbriciani ha innovato la tecnica flautistica moltiplicando con la ricerca personale le possibilità sonore dello strumento. Ha collaborato con alcuni tra i maggiori compositori del nostro tempo: Luciano Berio, Pierre Boulez, Sylvano Bussotti, John Cage, Elliot Carter, Niccolò Castiglioni, Aldo Clementi, Luigi Dallapiccola, Luis De Pablo, Franco Donatoni, Jindřich Feld, Brian Ferneyhough, Jean Françaix, Giorgio Gaslini, Harald Genzmer, Adriano Guarnieri, Toshio Hosokawa, Klaus Huber, Ernest Krenek, György Kurtág, György Ligeti, Luca Lombardi, Giacomo Manzoni, Bruno Maderna, Olivier Messiaen, Ennio Morricone, Luigi Nono, Goffredo Petrassi, Henri Pousseur, Wolfgang Rihm, Jean-Claude Risset, Nino Rota, Nicola Sani, Giacinto Scelsi, Dieter Schnebel, Salvatore Sciarrino, Mauricio Sotelo, Karlheinz Stockhausen, Toru Takemitsu, Isang Yun, molti dei quali gli hanno dedicato numerose ed importanti opere. Con Luigi Nono ha lavorato a lungo, presso lo studio sperimentale della SWF a Freiburg, aprendo e percorrendo vie nuove ed inusitate per la musica. Ha suonato come solista con i direttori Claudio Abbado, Roberto Abbado, Bruno Bartoletti, Luciano Berio, Ernest Bour, Bruno Campanella, Aldo Ceccato, Riccardo Chailly, Sergiu Comissiona, José Ramón Encinar, Peter Eötvös, Vladimir Fedoseyev, Gabriele Ferro, Daniele Gatti, Gianandrea Gavazzeni, Gianluigi Gelmetti, Michael Gielen, Cristóbal Halffter, Djansug Kachidse, Bernhard Klee, Vladimir Jurowsky, Peter Maag, Bruno Maderna, Diego Masson, Ingo Metzmacher, Riccardo Muti, Marcello Panni, Zoltán Peskó, Josep Pons, Giuseppe Sinopoli, Arturo Tamayo, Lothar Zagrosek, e con orchestre quali l’Orchestra della Scala di Milano, l’Orchestra dell’Accademia Nazionale di Santa Cecilia, le Orchestre della Rai, London Sinfonietta, LSO, RTL Luxembourg, BRTN Brussel, Orchestre Symphonique de la Monnaie, WDR di Colonia, SWF Baden-Baden, Deutsches Symphonie-Orchester Berlin, Bayerischer Rundfunks, Münchener Philharmoniker. Ha effettuato concerti presso prestigiosi teatri ed istituzioni musicali: Scala di Milano, Filarmonica di Berlino, Royal Festival Hall di Londra, Suntory Hall di Tokyo, Sala Cajkowskij di Mosca, Carnegie Hall di New York e Teatro Colon di Buenos Aires ed ha partecipato a festivals quali Biennale di Venezia, Maggio Musicale Fiorentino, Ravenna, Londra, Edimburgo, Parigi, Bruxelles, Granada, Luzern, Warsaw, Salisburgo, Wien, Lockenhaus, Donaueschingen, Köln, München, Berlin, St. Petersburg, Tokyo, Cervantino. Ha inciso numerosi dischi molti dei quali premiati dalla critica ed è stato docente di flauto presso il Conservatorio “L. Cherubini” di Firenze e dei corsi di alto perfezionamento presso l’Università Mozarteum di Salisburgo. E’ autore di opere musicali e testi didattici adottati nei percorsi della didattica musicale internazionale, editi da Ricordi e Suvini Zerboni. Tra le sue recenti composizioni: Glacier in Extinction; Alchemies; Cantus; Suoni per Gigi; Quando sorge il sole; Zeus joueur de flûtes; Figaro il Barbiere (liberamente da Rossini); Grande, grande amore; Alluvione; Conversazione su Tiresia (di Andrea Camilleri).

Jake is joined by his Perennial bandmates, Josh and Luke Younggren, for a session of music and a LONG conversation. The topics are all over the place: Lutefisk, Yiddish accents, Freud, Jim Carrey, etc. Tons of music recommendations, and temporary audio engineer Chester the cat makes an appearance as well.Music suggestions are “Lonely Child” by Claude Vivier, The Stockhausen Ensemble, Giacinto Scelsi, “26 Mixes for Cash” by Aphex Twin, “Dutch Tvashar Plumes” & “Diversions 1994-1996” & “Mnestic Pressure” by Lee Gamble, “Deceit” by This Heat, “Season of Changes” & “Landmarks & Body” & “Shadow” by Brian Blade & the Fellowship Band.Claude Vivierhttps://itunes.apple.com/us/artist/claude-vivier/161212833https://open.spotify.com/artist/40lnPEElT844RiQV8duFgSGiacinto Scelsihttps://itunes.apple.com/us/artist/giacinto-scelsi/56452757https://open.spotify.com/artist/1jn3OKI59KA2OJEwkUfaI6Aphex Twinhttps://itunes.apple.com/us/artist/aphex-twin/39883194https://open.spotify.com/artist/6kBDZFXuLrZgHnvmPu9NsGLee Gamblehttps://itunes.apple.com/us/artist/lee-gamble/572503098https://open.spotify.com/artist/7rAD9Ws0ihREeDmgPS2ZL8This Heathttps://itunes.apple.com/us/artist/this-heat/155822290https://open.spotify.com/artist/2wXUKlYvdBHn2MNeRKgG6WBrian Blade & the Fellowship Bandhttps://itunes.apple.com/us/artist/brian-blade-the-fellowship-band/278643307https://open.spotify.com/artist/4gjFkHMQ2r46oQ7gsIQaCFWake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid

In this unique speech, Khateebah & Mu'adthinah Jessika Kenney delves into the many different understandings of the buraq, or shining steed, that the Prophet Muhammad (peace be upon him) rode on his Night Journey. She explores the more mystical and folklorish renditions of the buraq as a winged animal with a woman's head, to the more metaphysical and scientific theories of the buraq as electricity or light. At the end of her speech, Jessika treats us with an interactive singing performance in which she invites the audience to participate in chanting beautiful poetry in the background as she sings the main verses. // On the evening of May 10, 2019, The Women's Mosque of America held its fifth annual co-ed iftar & qiyam during the holy month of Ramadan, featuring all women speakers and a chance for the greater public to benefit from the spiritual insights of its Muslim women leaders. Bio: Jessika Kenney is a vocalist, composer/improviser, and teacher. Jessika's singing can be heard on Ideologic Organ, Black Truffle, Weyrd Son, SIGE, Present Sounds, and other labels. She performs regularly with writers/scholars Red Pine (Bill Porter), Fatemeh Keshavarz, and Anne Carson. At international festivals, Jessika has performed her own compositions as well as music of Annea Lockwood, Hossein Omoumi, Morton Feldman, Giacinto Scelsi, and others. In 2015, her LP “ATRIA” (based on writings attributed to Sunan Kalijaga, who brought Islam to Java in the 15th century CE) was released alongside a sound, calligraphic score, sculpture, and video installation filling five rooms at the Frye Art Museum in Seattle. Jessika taught from 2007-2015 at her alma mater, Cornish College of the Arts in Seattle. She has studied sindhenan with many great musicians of Javanese gamelan in and outside Indonesia, particularly the late, great pesindhen Nyi Supadmi (d. 2015). She has studied Persian radifs with Ostad Hossein Omoumi (UC Irvine) since 2004. Kenney received the 2014 James Ray Distinguished Artist Award, and for collaborations with her husband Eyvind Kang, the 2015 Stranger Genius Award. She is VoiceArts faculty at California Institute of the Arts and lives in Pasadena, CA. In 1997, Jessika had her first masjid experience in the Kauman neighborhood of Surakarta, Central Java, and she has been involved in Islamic and Sufi culture ever since.

Jake is joined by his Perennial bandmates, Josh and Luke Younggren, for a session of music and a LONG conversation. The topics are all over the place: Lutefisk, Yiddish accents, Freud, Jim Carrey, etc. Tons of music recommendations, and temporary audio engineer Chester the cat makes an appearance as well.Music suggestions are “Lonely Child” by Claude Vivier, The Stockhausen Ensemble, Giacinto Scelsi, “26 Mixes for Cash” by Aphex Twin, “Dutch Tvashar Plumes” & “Diversions 1994-1996” & “Mnestic Pressure” by Lee Gamble, “Deceit” by This Heat, “Season of Changes” & “Landmarks & Body” & “Shadow” by Brian Blade & the Fellowship Band.Claude Vivierhttps://itunes.apple.com/us/artist/claude-vivier/161212833https://open.spotify.com/artist/40lnPEElT844RiQV8duFgSGiacinto Scelsihttps://itunes.apple.com/us/artist/giacinto-scelsi/56452757https://open.spotify.com/artist/1jn3OKI59KA2OJEwkUfaI6Aphex Twinhttps://itunes.apple.com/us/artist/aphex-twin/39883194https://open.spotify.com/artist/6kBDZFXuLrZgHnvmPu9NsGLee Gamblehttps://itunes.apple.com/us/artist/lee-gamble/572503098https://open.spotify.com/artist/7rAD9Ws0ihREeDmgPS2ZL8This Heathttps://itunes.apple.com/us/artist/this-heat/155822290https://open.spotify.com/artist/2wXUKlYvdBHn2MNeRKgG6WBrian Blade & the Fellowship Bandhttps://itunes.apple.com/us/artist/brian-blade-the-fellowship-band/278643307https://open.spotify.com/artist/4gjFkHMQ2r46oQ7gsIQaCFWake & Jakehttps://artfinixstudios.com/artfinix-podcasts/https://artfinixstudios.com/education/https://www.facebook.com/ArtfinixPOD/https://www.instagram.com/artfinixpodcasts/https://www.instagram.com/wakeandjakepod/https://www.instagram.com/kennyg.g.allin/Music Composed by Jake FisherLogo by Baitul Javid

«La musica non può esistere senza il suono. Il suono esiste di per sé senza la musica. È il suono ciò che conta» Un compositore simbolo del XX secolo: l'italiano Giacinto Scelsi si è accostato alla musica con una concezione e una composizione del tutto innovativa, un approccio il suo, che lo condurrà a vivere un vero e proprio percorso spirituale, quasi mistico. L'autore del suono sospeso tra cielo e terra. La sua musica viene dal futuro, e assieme a Michele Selva, autore di questa serie di monografie intitolata "La Musica come Pratica dell'Impossibile, riscopriamo le tappe della sua carriera artistica attraverso aneddoti e sessioni di ascolto. Image courtesy of Nicholas Roerich

Khateebah Jessika Kenney delivers the 43rd khutbah for The Women's Mosque of America on July 27, 2018. In this beautiful khutbah, Jessika looks at the symbolism of water in Islam and the deeper meanings of "ritual purity", performing Javanese and Persian poetry related to the topic. Bio: Jessika Kenney is a vocalist, composer/improviser, and teacher. Jessika's singing can be heard on Ideologic Organ, Black Truffle, Weyrd Son, SIGE, Present Sounds, and other labels. She performs regularly with writers/scholars Red Pine (Bill Porter), Fatemeh Keshavarz, and Anne Carson. At international festivals, Jessika has performed her own compositions as well as music of Annea Lockwood, Hossein Omoumi, Morton Feldman, Giacinto Scelsi, and others. In 2015, her LP "ATRIA" (based on writings attributed to Sunan Kalijaga, who brought Islam to Java in the 15th century CE) was released alongside a sound, calligraphic score, sculpture, and video installation filling five rooms at the Frye Art Museum in Seattle. Jessika taught from 2007-2015 at her alma mater, Cornish College of the Arts in Seattle. She has studied sindhenan with many great musicians of Javanese gamelan in and outside Indonesia, particularly the late, great pesindhen Nyi Supadmi (d. 2015). She has studied Persian radifs with Ostad Hossein Omoumi (UC Irvine) since 2004. Kenney received the 2014 James Ray Distinguished Artist Award, and for collaborations with her husband Eyvind Kang, the 2015 Stranger Genius Award. She is VoiceArts faculty at California Institute of the Arts and lives in Pasadena, CA. In 1997, Jessika had her first masjid experience in the Kauman neighborhood of Surakarta, Central Java, and she has been involved in Islamic and Sufi culture ever since.

Michiko Hirayma (1923-2018) dainuoja Giacinto Scelsi (1905-1988) kūrinius.Laidos vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

Michiko Hirayma (1923-2018) dainuoja Giacinto Scelsi (1905-1988) kūrinius.Laidos vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

a cura di Alessandro Achilli. Musiche di Family Fodder, Soccer96, Michela Rossato + Andrea Mazzacavallo, Le Forbici di Manitù, Canzone da parati, Michiko Hirayama, Nikola Kodjabashia, Marco Ferrazza, Giorgios Varoutas, Ralph Vaughan Williams (seconda parte)

a cura di Alessandro Achilli. Musiche di Family Fodder, Soccer96, Michela Rossato + Andrea Mazzacavallo, Le Forbici di Manitù, Canzone da parati, Michiko Hirayama, Nikola Kodjabashia, Marco Ferrazza, Giorgios Varoutas, Ralph Vaughan Williams (seconda parte)

Mezzo soprano Kayleigh Butcher is an adventurous vocalist who is exploring a new direction in her performance: the connection between singing and movement. Her Resonant Bodies set features three world premieres, two choreographers, singing into pvc pipes, and an unusual late work by Giacinto Scelsi. In this episode we talk about all of these exciting pieces, as well as Quince, her vocal quartet that has commissioned and recorded dozens of new works.

In a program from 2007, Andrew Patner presents music by the pioneering and independent 20th century Italian composer Giacinto Scelsi, 1905- [...]

Un nuovo lunedì sera in compagnia della musica classica del panorama milanese. Iniziamo raccontandovi di Giacinto Scelsi, compositore a cui verranno dedicati una serie di approfondimenti al Museo del ‘900 in collaborazione con gli allievi del Conservatorio. Arriva un nuovo appuntamento con la nostra Orchestra UniMi, che stavolta si esibisce con la soprano Lenneke Ruitien […]

In a program that first aired July 23, 2007, Andrew Patner presents a program of music by the pioneering and independent 20th century Italian composer Giacinto Scelsi, 1905- [...]

Zwischen Piano & Pianissimo: Die leisen Momente eines Lebens Manchmal ist die abgesenkte Stimme besser geeignet, einen inneren Vorgang zu spiegeln, als die Sprechstimme, und manchmal ist die Musik geeignet, die Empfindung der Stille sogar zu steigern. Isabelle Faust und Roger Willemsen haben ein Hörbuch zwischen Piano und Pianissimo konzipiert, das sich den leisen Momenten eines Lebens widmet. Momente der Stille aus Willem-sens Werk korrespondieren mit der gedämpften Stimme der Geige und arrangieren sich zu einer musikalisch-literarischen Einheit. Mit Kompositionen von: Johann Sebastian Bach; Johann Georg Pisendel; Giuseppe Tartini; Niccolò Paganini; Eugène-Auguste Ysaÿe; Igor Strawinski; Giacinto Scelsi; Iannis Xenakis; John Cage; György Kurtág; Helmut Lachenmann.

Programme de David SHEA pour webSYNradio : Rituals. avec les sons issus de traditions orientales et occidentales et des pièces de Luc Ferrari, David Shea, Aslan-Bek Samtiev, Quincy Jones, György Ligeti, Girija Devi, Pierre Boulez, Xumantra, Guadalcanal Et Savo, Giacinto Scelsi, Steve Reich, Bernard Parmegiani, Asha Bhosie & Mohd. Rafi, Erik Satie, Kecak Wira Natha, John Zorn …

Cellist Frances-Marie Uitti celebrates the music of Giacinto Scelsi, the Italian composer from an aristocratic background whose work looks to the East for inspiration. Ygghur is Sanskrit for catharsis and is the final part of Scelsi's autobiographical La Trilogia. With commentary from Paul Griffiths.

Šios laidos tema: Italų kompozitorius Giacinto Scelsi, kuriam 2005-ais sukanka 100 metų.

Šios laidos tema: Italų kompozitorius Giacinto Scelsi, kuriam 2005-ais sukanka 100 metų.