Podcast appearances and mentions of Gillian Moore

There are statements made time and time again when you approach the topic of women in music: 'but historically music by men is just better', 'I'm sick of this wokeism in classical music' and 'people won't buy tickets to concerts of just women's music'. CN Lester and Gillian Moore join us live at the Royal Society of Musicians to unpack these statements and uncover the truth to performance, programming and pessimism around classical women composers.Things Musicians Don't Talk About is supported by the Royal Society of Musicians! Follow RSM on Instagram, X and Facebook.-------------------------------------------------------------Support TMDTAWant to support us on a regular basis? Consider joining our Patreon from £1 a month: https://www.patreon.com/tmdtaFeeling generous? Help us raise funds for the podcast: https://www.gofundme.com/f/things-musicians-dont-talk-aboutFind TMDTA on all the socials at @tmdtapodcast-------------------------------------------------------------Hosts: Hattie Butterworth & Rebecca ToalEditor: Katy EhrlichMusic: Katy Ehrlich Hosted on Acast. See acast.com/privacy for more information.

Gillian Moore chooses her favourite version of Wagner's orchestral piece, Siegfried Idyll.

Composer, conductor and bassoonist Leo Geyer, and The Southbank Centre's Gillian Moore, join Jeffrey Boakye and saxophonist Jess Gillam - standing in for Cerys Matthews - as they head from a famous Bach well-tempered classic, via Taiwan, to David Bowie's parting gesture. British-Chinese flautist Daniel Shao explains the intricacies of a traditional Taiwanese flute tune.Producer Jerome Weatherald Presented, with music direction, by Jeffrey Boakye and Jess GillamThe five tracks in this week's playlist:Well-Tempered Clavier: Prelude in C Major by Bach Bad Romance by Lady Gaga A Tayal Folk Song by Ming Flute Ensemble Symphony No.9 in D Major (1st movement) by Gustav Mahler Lazarus by David BowieOther music in this episode:Pull Up To The Bumper by Grace Jones In the Mood by Glenn Miller Ave Maria by Charles Gounod Don't Cry For Me Argentina by Andrew Lloyd-Webber and Tim Rice Fugue No 24 in B Minor by Bach Symphony No.6: 'Pathétique' by Pyotr Ilyich Tchaikovsky

Gillian Moore chooses her favourite version of Stravinsky's Soldier's Tale

Tom Service speaks to the conductor Yannick Nézet-Séguin, Music Director of the Montreal Philharmonic, the Philadelphia Orchestra, and the Metropolitan Opera in New York. He is one of the starriest and most sought-after conductors in the world. also one of the most loved by the musicians who work with him. Nézet-Séguin is guest conductor to some of the world's top orchestras, like the Vienna Philharmonic, the Chamber Orchestra of Europe and the Berlin Philharmonic, and he has recorded cycles of symphonies by Brahms, Beethoven and Bruckner, plus operas by Mozart, Gounod and Wagner. Alongside the core repertoire, he's on a mission to perform new works that represent all of society and thereby draw new audiences to the orchestras that he leads and the Metropolitan Opera in New York. He tells Tom about the richly fulfilling experiences of putting on Terence Blanchard's Fire Shut up in My bones and Kevin Puts' The Hours, and how these two new operas are both bringing in audiences who have never been to the MET before, whilst also refreshing the cherished classics traditionally staged there. 2024: what does the new year hold for the musical scene? What's the impact of cuts across classical music, from education in schools to opera companies, and what are the opportunities of the moment for those who run our orchestras and lead music education? Tom Service convenes a Music Matters counsel of musical sages to discuss their thoughts of the state of music as we step into 2024: Sophie Lewis, Chief Executive of the National Children's Orchestras and Chair of the Association of British Orchestras; Gillian Moore, Artistic Associate of the South Bank Centre in London, writer and consultant; and Phil Castang, Chief Executive of Music for Youth.

Gillian Moore's personal recommendation for Mahler's epic 'Symphony of a Thousand'

Gareth Malone, who brought choral singing into the mainstream with his TV series The Choir, is joined by The Southbank Centre's Gillian Moore as they take us on the rolling sea from Benin in West Africa to the streets of Havana. Cerys Matthews and Jeffrey Boakye continue to compile the new playlist, with additional insights from Afrobeat musician Dele Sosimi. Producer Jerome Weatherald Presented, with additional music curation, by Cerys Matthews and Jeffrey Boakye The five tracks in this week's playlist: Yoruba by the Gangbé Brass Band Rolling Sea by Eliza Carthy Spring Rounds from The Rite of Spring by Igor Stravinsky Havana by Camila Cabello ft. Young Thug Gnossienne: No 1 by Erik Satie Other music in this episode: Levels by Avicii Sir Duke by Stevie Wonder Authority Stealing by Fela Kuti The Passenger by The Cambodian Space Project Barbarella by The Bob Crewe Generation Orchestra Why by Carly Simon Dance Me to the End of Love by Leonard Cohen

Gillian Moore, author and Artistic Associate of London's Southbank Centre, and Ivor Novello-winning composer Gavin Higgins join Cerys Matthews and Jeffrey Boakye as they add five more tracks to the playlist in the penultimate show of this series. The journey takes them from the accordions of Texas to the mellow sounds of Portugal via the ploughed fields of Belgium and the raging seas of Suffolk, and they are joined on the line by the singer and composer Vashti Bunyan. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks in this week's playlist: Ay te Dejo en San Antonio by Flaco Jiménez Scherza Infida by George Frideric Handel Diamond Day by Vashti Bunyan Storm Interlude from Peter Grimes by Benjamin Britten Lilac Wine by Ana Moura Other music in this episode: Theme from Starsky & Hutch - Funky People Mix - by the James Taylor Quartet Concerto Grosso for Brass Band and Orchestra by Gavin Higgins Do-Re-Mi by Julie Andrews from The Sound of Music by Rodgers and Hammerstein Chasing Cars by Snow Patrol Bluebell Polka by Jimmy Shand Stairway to Heaven by Led Zeppelin Lilac Wine by Jeff Buckley Fanfare and Love Songs: Brightly by Gavin Higgins

Gillian Moore compares recordings of Mahler's Ninth Symphony and chooses her favourite. Mahler's final completed symphony is a monumental achievement ranging in emotion from wild passion to deep despair and finally resignation. He wrote it in 1908 and 1909 but did not live to see it performed. Leonard Bernstein said of the last movement: "It is terrifying, and paralyzing, as the strands of sound disintegrate. In ceasing, we lose it all. But in letting go, we have gained everything."

Cerys Matthews and Jeffrey Boakye are joined this week by Gillian Moore, Director of Music at London's Southbank Centre, and Romanian concert violinist Bogdan Văcărescu, to add the next five tracks to the playlist. The studio guests serve up their usual eclectic mix, and from Mumbai we hear from one of the great voices of a classical Indian music tradition. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks in this week's playlist: Infernal Dance from The Firebird Suite by Igor Stravinsky The Sea and Sinbad's Ship: Scheherazade by Nikolai Rimsky-Korsakov Toxic by Britney Spears Raga Madhuvanti by Hariprasad Chaurasia You're the Voice by John Farnham Other music in this episode: Scherzo Fantastique, Op 25 by Antonio Bazzini, performed by Bogdan Văcărescu and Julian Jacobson Thunderball by Tom Jones Tere Mere Beech Mein by Lata Mangeshkar and S.P. Balasubrahmanyam Venus in Furs by The Velvet Underground 400 Lux by Lorde

How did Gillian Moore's musical upbringing shape her views about the relevance of music in the lives of everyone today? Ahead of her appearance a the Association of British Orchestras conference in Glasgow in February 2022, she reflects on her own experiences and offers some thoughts on what we need to do next to secure music in the lives of future generations.

As Music Matters returns to the airwaves for the Autumn, and classical music emerges from Covid along with the rest of the world, Tom Service assesses the current state of play with musicians and industry leaders, and asks them how much has really changed in the last eighteen months and what the future holds. Gillian Moore, Director of Music at the Southbank Centre in London, and Roger Wright, Chief Executive of the newly-merged Britten Pears Arts in Suffolk, explain how they navigated the issues raised for their organisations by Covid restrictions, and what they take from these experiences moving forward. Freelance trumpeter Chris Cotter spoke to Music Matters last year about finding a new living from painting and decorating when his concerts dried up in lockdowns, and he updates Tom now on his return to live music. Soprano Juliet Fraser talks, too, about her adventures with the TC Helicon during lockdown and her experiences of returning to the stage. Tom Service also speaks to Igor Toronyi-Lalic, arts editor of the Spectator and director of the London Contemporary Music Festival, who points out what went wrong for classical music in its digital online ventures. To discuss the many issues raised by these experiences of the classical music world during the Covid era, Tom Service is joined by Jamie Njoku-Goodwin, Chief Executive of UK Music, Stephen Maddock, Chief Executive of the City of Birmingham Symphony Orchestra, and Sarah Willis, horn player with the Berlin Philharmonic. When the Taliban held power in Afghanistan in the late 1990s, they banned music and persecuted musicians. Two decades later as they regain control of the country, we speak the Director of Afghanistan's National Institute of Music, Dr. Ahmad Sarmast, about his fears of a clampdown on music by the new regime. We talk to the BBC reporter Yalda Hakim about the evolving situation inside the country and hear from Afghanistan's most famous pop-star, Aryana Sayeed, about why musicians' lives may be endangered as they become political targets. We speak, too, to Massood Sanjer, who's in charge of Afghanistan's Tolo TV network, and hear how the Taliban's disapproval of music affects their output.

Gillian Moore recommends recordings of Mahler's First Symphony

A cultural conversation in partnership with Brunswick Arts.John Wilson, Presenter and Producer of BBC Radio 4 ‘Front Row', moderates a conversation on the future of live performance. He is joined by Tamara Rojo CBE, Artistic Director and Lead Principal Dancer of the English National Ballet, John McGrath, Artistic Director & Chief Executive of Manchester International Festival and The Factory, and Gillian Moore, Director of Music at the Southbank Centre. Together, they deliberate what the creative industries need to survive and thrive after the pandemic, explain why people need to become “lighter” on their feet to find new ways to express artistic freedom and spirit, and discuss whether we will see a cultural flourishing from the ‘underground'. 

As the second decade of this century draws to a close Tom Service talks to the composer Steve Reich at his upstate New York home about emotion in music, his love for J.S. Bach and the creative thought process as he writes a new work for the autumn of 2021. With 2020 and a big birthday for Ludwig van Beethoven around the corner, violinist James Ehnes speaks to Tom about how the music of Beethoven continues to surprise. And as we approach the third decade of the new millennium – our 21st century is fresh out of its painful adolescence – Tom hears from composer Gerald Barry, the Director of Music at London's Southbank Centre, Gillian Moore, the vocal and movement artist and composer Elaine Mitchener, and the Creative Director of the Aurora Orchestra, Jane Mitchell, for their take on the creative classical music temperature of the third millennium – so far...

Valerie and Noel Moran who recently sold their business joined Gerry to reflect on their wonderful story. Irish Whiskey Auctions the fledgling business of Anthony and Katie Sheehy has had a fantastic first year. Gillian Moore from Fuschia Makeup celebrates fourteen years in business and was our featured entrepreneur in Lets Talk Business. And Hector O'hEochagain had a word with us about his new series on TG4 as he travels across America's deep south. See acast.com/privacy for privacy and opt-out information.

In this episode, we talk about the infamous riots from the premiere of the Rite of Spring, which starred: Rich People Getting Mad About Things. We also give a glimpse into the badass life and music of triple threat, mom of 4, and composer extraordinaire, Barbara Strozzi (aka the Original Babs). Watch the Joffrey Ballet’s restoration of the ballet as it would have been for the 1913 premiere: https://www.youtube.com/watch?v=l8TQH-5Vrhk&t=145s Like us, follow us, and email us! FB: facebook.com/UnderTheSheetsPodcast Insta: instagram.com/underthesheetspodcast Email: underthesheetspodcast@gmail.com Theme music: “Nessun Dorma,” originally composed by Giacomo Puccini, from the opera "Turandot" Arranged and recorded by Babatunde Akinboboye Facebook: facebook.com/babatundehiphopera Instagram: @babatunde_hiphopera We can’t promise facts, but we can give you our sources: Rite of Spring: Stravinskypedia — https://en.wikipedia.org/wiki/Igor_Stravinsky The Rite of Springipedia — https://en.wikipedia.org/wiki/The_Rite_of_Spring Stravinsky, In Pictures and Documents — Vera Stravinsky and Robert Craft — https://www.amazon.com/Stravinsky-Pictures-Documents-Vera/dp/0091380006 The Rite of Spring: The Music of Modernity by Gillian Moore — https://www.amazon.com/Rite-Spring-Landmark-Library/dp/1786696827 Barbara Strozzi Classic FM: https://www.classicfm.com/discover-music/barbara-strozzi/ Strozzipedia: https://en.wikipedia.org/wiki/Barbara_Strozzi --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/underthesheets/support

German composer Karlheinz Stockhausen didn't just write new music, he created music that had never before been imagined, transformed sound, influenced musicians from classical to Kraftwerk to The Beatles, all while believing he was born on a distant planet. Electronic musician Actress and Southbank Centre's Director of Music, Gillian Moore spoke to Harriet Fitch Little about his legacy. "Stockhausen was the first person to open a sort of sonic box that said to me, anything is really possible with sound." ACTRESS Southbank Centre's exploration of Stockhausen is from 14th May to the 2nd June and you can find full details and book online at southbankcentre.co.uk/stockhausen

Gillian Moore recommends recordings of music by György Kurtág

Inspired by the forthcoming Soundstate festival, Harriet Fitch Little is joined by Southbank Centre's Music Director, Gillian Moore; Susanna Eastburn, CEO of Sound & Music; and Dai Fujikura, composer of contemporary classical music. They discuss the trouble with genres, how writing music will never be the same and why they don't use the word 'classical'.

Viv Albertine was the guitarist in the cult punk band The Slits and a key player in British counter culture before working as a film maker and launching a solo career. Her new memoir, To Throw Away Unopened, unpicks family secrets which shaped her childhood and her early creative influences. This book begins when she is at the launch party for her hugely successful first book Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys and her sister calls with news that their mother is dying. After a two-year £35m refurbishment, the Queen Elizabeth Hall and the Purcell Room on London's Southbank re-open this week. The architect Richard Battye and Gillian Moore, Director of Music at the Southbank, give Samira a guided tour of the Brutalist buildings, which have been updated to cater for an even wider range of music, dance and performance for the 21st century.Damian Kavanagh, the Controller of BBC Three, discusses how the platform is different online to on air, considers why it has been a success with younger audiences, and what this means for the future of television.Plus, we gauge the public reaction to Tracey Emin's new artwork, named I Want My Time With You, unveiled at St Pancras Station in London today.Presenter : Samira Ahmed Producer : Dymphna Flynn.

Gillian Moore recommends recordings of works by Ligeti.

Gillian Moore surveys recordings of music by Russia's greatest living composer.

Breaking Free - the minds that changed music.In The Essay this week, personal reflections on the revolutionary music and ideas of the Second Viennese School as they searched for an antidote to all the certainties and expectations of the past, and cast music on a new path of dissonance and discovery, shocking audiences then and now.Tonight's essayist is Gillian Moore, Director of Music at Southbank Centre in London. She talks about Alban Berg's relationships with key women in his life, including his final operatic creation "Lulu".

Gillian Moore recommends a recorded version of Sibelius's 1st Symphony in E minor

Gillian Moore makes a recommendation from the available recordings of Berg's opera, Wozzeck

Violinist Alexander Balanescu recounts his part in Michael Nyman's groundbreaking score for Peter Greenaway's 1982 feature film The Draughtsman's Contract; while commentator Gillian Moore links Nyman's work to the British experimental music tradition.

Author Paul Griffiths singles out this early work for ensemble by Danish composer Hans Abrahamsen, a sonic evocation of nature which takes its name from a poem by Georg Trakl; Gillian Moore highlights some of the other influences at work, including the pictures of M.C. Escher, one of the piece’s dedicatees.

Composer and writer Gerard McBurney nominates the austere and uncompromising Octet by Galina Ustvolskaya, which changed his ideas of modern Russian music; and Gillian Moore highlights the intensity of this work, completed in 1950, in the shadow of the Soviet Zhdanov decree.

Gillian Moore champions George Benjamin’s early orchestral score At First Light, praising its “extraordinary detail and skill”; while writer and critic Paul Griffiths assesses the significance of the work for British composing in the 1980s.

Composer Nico Muhly nominates Philip Glass's Music in Twelve Parts, a large-scale set of pieces for electric organs, voice, flutes and saxophones which is considered to be an early masterpiece of the New York minimalist. Gillian Moore puts the work in context and suggests how this numerical process music attains its human quality through the choice of sounds.

Violinist David Harrington celebrates George Crumb's groundbreaking 1970 work for electric string quartet, Black Angels - the work which inspired him to form the Kronos Quartet. Gillian Moore puts the piece in context, as a work full of dark foreboding and extreme sounds, in direct reaction to the Vietnam War.

Artist Tom Phillips on Howard Skempton's Lento for orchestra, a completely tonal piece that he admires for achieving "content with simplicity"; Gillian Moore puts it in the context of the English experimentalist tradition; and the composer himself explains in detail the process by which he developed his initial sketches into the finished work.

Composer and former Battles frontman Tyondai Braxton nominates Poeme electronique by Edgard Varese, whose soundworld has been a continuing influence on his own work; while Gillian Moore tells the story of Varese's long struggle to create a futuristic music that he finally achieved in this piece, composed for an array of hundreds of loudspeakers inside the Le Corbusier-designed Philips Pavilion at the 1958 Brussels World Fair.

Dutch composer Michel van der Aa salutes compatriot Louis Andriessen's 1976 work for amplified voices and large ensemble, De Staat. Gillian Moore highlights the modern scoring of the work, informed as much by rock music as Stravinsky, while the composer himself reveals how a recording of a Javanese women's choir fed directly into the soundworld of this powerful setting of a text from Plato's Republic.

Christopher Cook talks with Nico Muhly, 59 Productions and Gillian Moore about pulling an opera together.