Podcast appearances and mentions of iain chambers

1 aprile 2025 - Pierfrancesco Pacoda, Iain Chambers, FILOQ e Massimo Cannarella

Donald Macleod explores the life and work of the 18th century composer Joseph BologneDonald Macleod explores the life and work of a musician also remarkable for his sporting prowess. Joseph Bologne's story throws a light on the political turbulence affecting France in the 18th century, and on the legacy of colonialism and slavery.Bologne is celebrated as the first composer of African descent to attain widespread acclaim in Europe.Donald is joined by Olivette Otele, distinguished Professor of the Legacies and Memory of Slavery at SOAS, the School of Oriental and African Studies at the University of London.Music Featured: String Quartet in G minor, Op 1, No 3 (2nd mvt, Rondeau) Symphonie Concertante in A major, Op 10, No 2 Violin Concerto in D major, Op 3, No 1 Symphony in G major, Op 11, No 1 Quartetto concertans No 4 in F major (2nd mvt, Rondeau) String Quartet in D major, Op 1, No 6 Lolli: Violin Concerto No 2 in C major, Op 2 (1st & 3rd mvt) Violin Concerto in A major, Op 5, No 2 (1st mvt, Allegro Moderato) Symphonie Concertante in C major, Op 9, No 1 Violin Concerto in G major, Op 8, No 2 (3rd mvt, Rondeau) Keyboard Sonata No 2 in A major with obbligato violin (1st mvt, Allegro moderato) Ernestine (Scena) Symphonie Concertante in E flat, Op 13, No 1 L'Amant anonyme (excerpt) Quartetto concertans No 3 in C major (2nd mvt, Rondeau: Moderato) Symphonie Concertante, Op 6 No 2 in B-flat major, G 038 Violin Concerto in C major, Op 5 No 1 (2nd & 3rd mvts) Haydn: Symphony No 85 in B-flat major, Hob I:85, "La reine" (The Queen): (1st mvt, Adagio - Vivace) String Quartet in G minor, Op 14 No 6 (1st & 2nd mvts) String Quartet in C minor, Op 1 No 4 (2nd mvt, Rondeau) Concertante Quartet in G minor, Op 15 No 2 Violin Concerto in A major, Op 7 No 1 Symphonie Concertante in F major, Op 10 No 1 String Quartet in C Major, Op 1 No 1 (2nd mvt, Rondeau: Tempo di minuetto; Grazioso)Presented by Donald Macleod Produced by Iain Chambers for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Joseph Bologne, Chevalier de Saint-George (1745-1799) https://www.bbc.co.uk/programmes/m0021jymAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Donald Macleod explores the life and work of Orlando GibbonsOrlando Gibbons's life throws a light on the political turbulence affecting Britain in the early 17th century. As King James VI and I struggled to establish the concept of British identity, his court was blessed with one of England's most talented musicians of the time, Orlando Gibbons.Music Featured:The Silver Swan O clap your hands Out of the Deep A Fancy (for Double Organ) Behold, thou hast made my days We praise thee, O Father What Is Our life? I am the resurrection Hosanna to the Son of David How art thou thralled Farewell all joys Now each flowery bank of May Great King of Gods Pavan a 6 Pavan and galliard Lord Salisbury Fantasies in Three Parts Compos'd for Viols (No 6, No 8, No 9) This is the Record of John Fantasia No 10 in C Major Ne'er let the Sun Yet if that age Trust not too much fair youth Lift Up Your Heads Fantasia No 1 for Two Trebles Nay let me weep William Byrd: Fair Britain Isle Fantazia of Four Parts O God, the king of glory In Nomine for 5 Viols Fantasia No 2 for 3 Viols Glorious and Powerful God See, see the word is incarnate O Lord, in thy wrath Drop, drop, slow tears (arr. P. Dearmer) Do not repine, fair sun – Parts I and II Sing unto the Lord, O ye saints O all true faithful hearts Fantasia a 3 with Double Bass Viol Fantasia for 6 Viols Go from my Window Almighty and everlasting God Magnificat (Short Service) Great Lord of Lords Fantasia No 1 for the Great Double Bass Fantasia No 2 a 6 The Hunt's Up (Peascod time) The Second Service (Morning): Te Deum Fantasia No 4 a 6 The Cryes of London I & II Blessed are all they that fear the LordPresented by Donald Macleod Produced by Iain Chambers for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Orlando Gibbons (1583-1625) https://www.bbc.co.uk/programmes/m001zvhm And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Harrie Silver, Iain Chambers and TN25 are In The Lobby this week for a very passionate debate! The physical game is dying. Are digital downloads an improvement on the experience we know and love, or does the nostalgia of owning the discs overrule? Let's find out. Be sure to give us a 5-star rating, and drop us a follow so you can join us In The Lobby every Tuesday!

Harrie Silver, Iain Chambers and Stevie White are In The Lobby, with a blind ranking special! The rules are simple. The gang each pick a category and provide 5 things from that category in a random order. It's up to the others to rank them one at a time, 5 to 1. Let the controversy commence! Be sure to give us a 5-star rating, and drop us a follow so you can join us In The Lobby every Tuesday!

Our podcast guest this week needs no introductions! We welcome British grime MC, rapper and songwriter Paris Joel "P Money" Moore-Williams to the podcast and find out more about his legendary music career and favourite games. - In The Lobby! - Our first podcast at Guild Studios. Join streamer and content creator Harrie Silver, the iconic esports presenter Iain Chambers, and legend of the podcast world Stevie White - as we bring you everything from deep dives into the latest game releases, action from esports tournaments, the big movie blockbusters and absolutely anything that relates to our wonderful world of gaming! We'll have exclusive guests in each episode, here to chat about what they playing, how they'd survive if they were thrown into the world of the last game they played, and even answering the toughest of tough questions provided by you, the listeners. So don't miss out! Catch us on Spotify, Apple Podcasts and YouTube, give us a 5-star rating and most importantly... join us In The Lobby

The Guild Crews discusses the GOTY 2023. Was Baldur's Gate 3 worthy of the title? - In The Lobby! - Our first podcast at Guild Studios. Join streamer and content creator Harrie Silver, the iconic esports presenter Iain Chambers, and legend of the podcast world Stevie White - as we bring you everything from deep dives into the latest game releases, action from esports tournaments, the big movie blockbusters and absolutely anything that relates to our wonderful world of gaming! We'll have exclusive guests in each episode, here to chat about what they playing, how they'd survive if they were thrown into the world of the last game they played, and even answering the toughest of tough questions provided by you, the listeners. So don't miss out! Catch us on Spotify, Apple Podcasts and YouTube, give us a 5-star rating and most importantly... join us In The Lobby

The team interviews CS2 presenter Daisy Powers a.k.a DAMP, who tells us how she picked her incredible gamertag and how she started her career in esports. Follow DAMP on socials: https://twitter.com/Dampptowel https://www.twitch.tv/dampptowel Be sure to give us a 5-star rating, and drop us a follow so you can join us In The Lobby every Tuesday! - In The Lobby! - Our first podcast at Guild Studios. Join streamer and content creator Harrie Silver, the iconic esports presenter Iain Chambers, and legend of the podcast world Stevie White - as we bring you everything from deep dives into the latest game releases, action from esports tournaments, the big movie blockbusters and absolutely anything that relates to our wonderful world of gaming! We'll have exclusive guests in each episode, here to chat about what they playing, how they'd survive if they were thrown into the world of the last game they played, and even answering the toughest of tough questions provided by you, the listeners. So don't miss out! Catch us on Spotify, Apple Podcasts and YouTube, give us a 5-star rating and most importantly... join us In The Lobby

Donald Macleod surveys the life of Girolamo Frescobaldi and the musical spectacle of Rome Girolamo Frescobaldi established the keyboard style that would dominate Europe in the Baroque era. His life throws a light on the nepotism and patronage at the heart of Italy in the 17th century, and how it created extraordinary music and spectacle.... breaking the bank in the process. Donald Macleod and his guest Robert Quinney, Director of the Choir of New College, Oxford, explore Frescobaldi's story alongside some of the other great musicians of his time, who fell into his orbit. Music Featured: Partite Sopra Ciaccona Canzona Terza a 2 Fantasia prima, sopra un soggietto Fantasia undecima, sopra quattro soggietti Luzzaschi: Aura soave Luzzaschi: Sacrarum Cantionum, Book 1: Deus tu scis insipientiam meam Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata nona (arr. for double harp) Il secondo libro di toccate canzone, versi d'hinni, Magnificat, gagliarde, correnti: Toccata prima Canzon terza Partite sopra L'Aria della Romanesca Peter Philips: Salve Regina William Byrd: Pavan and Galliard (from The Fitzwilliam Virginal Book, Nos. 174-5) Giunt'e pur lidia il mio S'io miro in te, m'uccidi Toccate e partite d'intavolatura di cimbalo et organo, libro primo: Toccata ottava Arie musicali per cantarsi, Book 2: Vanne, o carta amorosa Partite Sopra Ciaccona - Corrente Fantasia prima, sopra un soggietto Fantasia seconda, sopra un soggietto solo Francesco Soriano: Missa Nos autem gloriari oportet: Gloria Giovanni Pierluigi da Palestrina: Tu es Petrus a 6 Messa della Domenica: Canzon post il Comune;Bergamasca Toccate e partite d'intavolatura di cimbalo et organo, libro primo: Toccata quarta; Balletto prima Toccata no. 10 in D Minor Stefano Landi: La morte d'Orfeo, Op 2 (excerpt) Arie musicali, Book 2: No 19, Vanne, o carta amorosa Arie musicali, Book 2: No 18, Ti lascio, anima mia Jacques Arcadelt: Madrigali, Book 1: Ahime, dov'è'l bel viso: Madrigali, Book 1: Ancidetemi pur, grievi martiri Ancidetemi pur d'Archadelt passeggiato Johann Hieronymous Kapsberger: I pastori di Bettelemme (excerpt): Arie musicali per cantarsi, Book 1: Così mi disprezzate (Aria di passacaglia) Canzona duodecima detta la Todeschina Stefano Landi: Il sant'alessio (excerpt) Johann Jakob Froberger: Suite (Partita) No. 30 in A Minor, FbWV 630 Marco Marazzoli: Dialogo fra Rosinda ed Olindo Missa sopra l'aria della monica: Credo Cento Partite Sopra Passacagli Presented by Donald Macleod Produced by Iain Chambers for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Girolamo Frescobaldi (1583-1643) https://www.bbc.co.uk/programmes/m001qfrt And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Welcome to In The Lobby! Our first podcast at Guild Studios. Join streamer and content creator Harrie Silver, the iconic esports presenter Iain Chambers, and legend of the podcast world Stevie White - as we bring you everything from deep dives into the latest game releases, action from esports tournaments, the big movie blockbusters and absolutely anything that relates to our wonderful world of gaming! We'll have exclusive guests in each episode, here to chat about what they playing, how they'd survive if they were thrown into the world of the last game they played, and even answering the toughest of tough questions provided by you, the listeners. So don't miss out! Catch us on Spotify, Apple Podcasts and YouTube, give us a 5-star rating and most importantly... join us In The Lobby.

Ian Rawes (1965-2021) was a sound recordist best known for creating the London Sound Survey, a huge collection of his recordings of the sounds of London. Before his death, Ian was recording the course of the night across the wilder places of East Anglia. He made these field recordings in remote locations across Norfolk and Suffolk, sometimes camping overnight in bird hides to capture the different nocturnal moments. Ian called the project, ‘From Dusk Till Dawn', and handed the recordings to his friend, composer/producer Iain Chambers, saying that he wanted them to bring about something new. Here, writer Kayo Chingonyi responds to the recordings, and Iain uses both elements to create a new composed sound piece, in tribute to Ian Rawes. We start at sunset: the sounds of wildfowl travel far across the flooded fields of the Ouse Washes in Cambridgeshire. Many are Bewick's and whooper swans spending the winter in the Fens before migrating back to Iceland and Siberia. https://thelondonsoundsurvey.bandcamp.com/album/from-dusk-till-dawn https://www.soundsurvey.org.uk Recordings – Ian Rawes / The London Sound Survey Words/voice – Kayo Chingonyi Composer/producer – Iain Chambers Mixing engineer – Peregrine Andrews Executive Producer – Nina Perry An Open Audio production for BBC Radio 3

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

Stew, the name for brothels in London. A townhouse set to become luxury flats in the centre of Soho is the focus of the new novel Hot Stew from Fiona Mozley, who was shortlisted for the Booker Prize for her debut book Elmet. SI Martin founded the 500 Years of Black London walks nearly 20 years ago. In his novel Incomparable World he depicts a bustling eighteenth century London which offers a refuge for the many black Americans who fought for liberty on the side of the British. Plus pianist and composer Belle Chen on her six original new pieces exploring London - each composition with its genesis in a field recording in the city from both before and during the pandemic. They join architects Eric Parry and Alison Brooks, and presenter Laurence Scott, for a conversation about the development of London, as part of the London Festival of Architecture. Alison Brooks is one of the judges for this year's Davidson Prize Exhibition: a digital showcase of architects' solutions to ways of living in a post-pandemic world. Eric Parry has been thinking about the changing city skyline. Fiona Mozley's novel called Hot Stew is out now, as is Incomparable World by SI Martin - part of the Black Britain: Writing Back series of books chosen by Bernadine Evaristo for republishing. You can find out more about the music of Belle Chen here - https://www.bellechen.com/ The London Festival of Architecture runs throughout June with events online and around the city https://www.londonfestivalofarchitecture.org/ https://www.alisonbrooksarchitects.com/ https://www.ericparryarchitects.co.uk/ On BBC Radio 3 Essential Classics is broadcasting five classic choices of music composed for particular buildings. Words and Music inspired by architecture features readings by Marilyn Nnadebe and Henry Goodman, from writers including Caleb Femi, Marwa al-Sabouni, Susanna Clark, Thomas Hardy, Andrew Marvell, Adrienne Rich, and music from Hildegard of Bingen to Iain Chambers. Music Matters explored buildings, acoustics, and music, looking at Bold Tendencies and the former car park they use as a venue in Peckham, in London. Producer: Emma Wallace

A radiophonic sound journey of Parisian brutalism by composer Iain Chambers, composed entirely from recordings of the buildings featured. Paris is well known for its historic architecture: the Eiffel Tower, the Arc de Triomph, and the endless rows of apartment buildings built by Hausmann in the 19th century. But beyond the historic centre lie a series of alternative Parisian cities, built from concrete during the 1960s and 70s. This lesser-known concrete Paris creates a surprising journey around the Boulevard Périphérique, the ring road that contains the historic centre of Paris. These alternative Parises were built after World War 2, when the need to provide mass accommodation was counterbalanced by the desire to protect the historic centre. So a ‘multi-polar’ solution was found, and the administrations beyond the Péripherique - many of them Communist - set to work commissioning architects to reimagine the city. We visit buildings at Ivry-sur-Seine designed by Jean Renaudie and Renée Gailhoustet; Bobigny, by Oscar Niemeyer; and Créteil, by Gérard Grandval. Contributors: Robin Wilson Gérard Grandval Serge Renaudie Producer/Composer: Iain Chambers Sound mix: Peregrine Andrews Executive Producer: Nina Perry Recordings by Dinah Bird, Iain Chambers Translations by Madeleine Williams An Open Audio production for BBC Radio 3

www.iainchambers.com

Composer Iain Chambers's celebration of the domestic sound world, starting in the present day before travelling back in time.Lockdown gave us the excuse to consider our own home environments in a new way. Household Gods takes this new focus further, exploring in depth and amplifying the sounds of domestic objects, arranged into a through-composed musique concrète work.This is a joyful sonic celebration of the domestic environment, starting in the present day, and travelling back in time to explore earlier homes, through historic sound research and sound design.At times the domestic sound world is bustling, at others a haven of peace. We hear the technology that helps us cook, clean, relax, eat, pass time. During lockdown, many of us rediscovered the hidden joy in the objects that surround us that we hadn't properly considered before our enforced isolation.Composed and produced by Iain Chambers.

Happy FIFA day everyone! Little chat about Leeds Utd in the world of FIFA 21.   The home nation internationals seemed to go OK last night, we talk through what we got to see.   We launched the first steps of our (well Dads) e-sports Leeds dream, so today we get one of the hottest properties in e-sports presentation, Iain Chambers on the show to talk us through how our e-sports Leeds United team gets off the ground!   Contact the show 24/7 via the WhatsApp by messaging the show phone - 07747 084 311 (use Wi-Fi then it's free!) You not only need this for our new game “What’s This” but also you can get is 24/7 on here about anything.   Also – contact on our socials @ladtoleeds

In this final installment of our WKW Pledger episodes, Tom and Svein are joined by Americans Jim Schubilske and Steve Coulter and by UK native Iain Chambers. A variety of Big Country topics are discussed, including favorite BC live songs, bands that should cover BC songs and what cover they should choose to fit their style, the shortest BC set in history, and Hammer Time. Sound bites are played and many laughs ensue.

Donald Macleod is joined by Raphael Wallfisch and Sara Bitlloch to discuss Beethoven’s early chamber music. All through 2020, Donald Macleod takes an unprecedented deep dive into the compelling story and extraordinary music of Ludwig van Beethoven. In this uniquely ambitious series, told across 125 episodes of Composer of the Week, Donald puts us inside Beethoven’s world and explores his hopes, struggles and perseverance in all the colourful detail this amazing narrative deserves. Alongside this in-depth biography, Donald will also be meeting and talking to Beethoven enthusiasts and experts from across the world to discover how his music continues to speak to us in the 21st century. Through story and sound, the series builds into a vivid new portrait of this composer, born 250 years ago this year, who made art that changed how people saw themselves and understood the world. This week, cellist Raphael Wallfisch and violinist Sara Bitlloch join Donald Macleod to talk about Beethoven’s early chamber music from 1795 to 1811, including beloved works such as the ‘Razumovsky’ quartets, the ‘Kreutzer’ violin sonata, and the ‘Ghost’ and ‘Archduke’ piano trios. Music featured: String Trio No 3 in G major: Op 9, No 1 (3rd movement - excerpt; 4th movement) Cello Sonata in F major Op 5 No 1 (Allegro) Piano Trio in C minor Op 1 No 3 (4th movement) String quartet in F major Op 18 No 1 (2nd movement) Violin Sonata in D major Op 12 No 1 (1st movement) Sonatina in C major for mandolin and piano WoO44 No 1 String Quartet in C minor Op 18 No 4 (3rd movement) Violin Sonata in A major Op 30 No 1 (3rd movement) Serenade in D major Op 8 (1st and 2nd movements) Cello Sonata No 2 in G minor Op 5 (1st movement) String Quintet in C major Op 29 (4th movement) Piano Trio Op 121a, “Kakadu Variations” String Quartet in F major No 7, Op 59 (“Razumovsky”) (4th movement) Violin Sonata in A major No. 9 Op 47 ("Kreutzer") (1st movement) Septet in E flat major for clarinet, horn, bassoon, violin, viola, cello and double bass Op 20 (2nd movement) String Quartet in C major Op 59 No 3 (“Razumovsky”) (1st movement) Piano Trio No 5 in D major Op 70 No 1 ("Ghost") (2nd movement) Violin Sonata No 5 in F major Op 24 ("Spring") (1st and 4th movements) String Quartet in E flat Op 74 (“Harp”) (1st movement) String Trio in C minor Op 9 No 3 (1st mvt) String Quartet in F minor (“Serioso”) Op 95 (1st and 4th mvts) Cello Sonata No. 3 in A major Op 69 (1st mvt) Piano Trio in B flat ("Archduke") Op 97 (1st mvt) Presented by Donald Macleod Produced by Iain Chambers for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: Conversations with Friends https://www.bbc.co.uk/programmes/m000f5mp And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Peter Blegvad discusses with Ivan six things which should be better known. Small presses in the UK https://www.thisissplice.co.uk/about-splice/small-presses-in-the-uk/ Amateurs https://fs.blog/2017/08/amateurs-professionals/ Wilson "Snowflake" Bentley https://siarchives.si.edu/history/featured-topics/stories/wilson-bentley-pioneering-photographer-snowflakes Lucia Berlin https://www.lrb.co.uk/v40/n23/patricia-lockwood/sex-on-the-roof Sally O’Reilly https://www.whitechapelgallery.org/learn/writer-in-residence/sally-oreilly/ Chris Cutler’s Probes series of podcasts https://rwm.macba.cat/en/probes_tag Peter is a writer, graphic artist, songwriter and broadcaster. He has been making music since the mid 70s with Slapp Happy, Faust, Henry Cow, John Greaves, The Golden Palominos, John Zorn, Andy Partridge and others. His weekly comic strip, Leviathan, ran in the Independent on Sunday from 1991-98 and The Book of Leviathan was published in the UK and the US in 2000. A Mandarin translation was published in 2010. A French translation won le Prix de Révelation at Angoulême Festival in 2014. The Pedestrian, a photo-based strip, is online here: http://www.electrocomics.com/strips.htm He has supplied BBC Radio 3 with ‘eartoons’ since 2002, and has won two Sony awards for his radio work, one in 2003 and one in 2012 (the latter for Use It Or Lose It a collaboration with Iain Chambers). He taught Creative Writing at the University of Warwick for 15 years and was Senior Tutor in Visual Writing at the Royal College of Art, London from 2012 - 2015. He has taught several illustration workshops at the Die Hochschule Luzern – Design & Kunst. In 2011 he was elected president of the London Institute of Pataphysics. An introduction to his life-long multi-media epistemological project Imagine, Observe, Remember is online here: http://www.amateur.org.uk This podcast is powered by ZenCast.fm

Donald Macleod talks to Sir Harrison Birtwistle about his life, inspiration and music. This week Donald Macleod meets Sir Harrison Birtwistle, described as “the most forceful and uncompromisingly original composer of his generation.” We hear his major compositions, broadly in chronological order, and reveal the preoccupations and processes behind a singular music imagination. To begin, we’ll hear about, Birtwistle’s daily working life, and about his early years among what became known as the Manchester school of composers. The premiere of his first opera Punch and Judy at Aldeburgh was infamous - much of the audience – including its commissioner Benjamin Britten – walked out at the interval. Next, we’ll hear about Birtwistle’s time in America and his friendship with Morton Feldman. They discuss some of his non-musical inspirations too: the power of mythology, the paintings of Paul Klee and the films of Quentin Tarantino. Birtwistle reveals how time, and the instruments for measuring time, have inspired many of his compositions, and how a lifelong fascination with moths inspired a new work meditating on loss. Music featured: Oockooing Bird Refrains and Choruses Punch and Judy (The Resolve; Passion Aria; Adding Song) Tragoedia Dinah and Nick’s Love Song Trio Chronometer The Triumph of Time Duets for Storab (Urlar; Stark Pastoral; Crunluath) Carmen Arcadiae Mechanicae Perpetuum The Mask of Orpheus (13th, 14th 15th Arch from Act 2, Scene 2) Silbury Air Nine Settings of Lorine Niedecker (There’s A Better Shine; How The White Gulls; My Life; Sleep’s Dream) Earth Dances Harrison’s Clocks (Clock 2; Clock 5) Panic Virelai (Sus une fontayne) The Minotaur (Part Two) The Moth Requiem In Broken Images Duet for Eight Strings Presented by Donald Macleod Produced by Iain Chambers for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Harrison Birtwistle https://www.bbc.co.uk/programmes/m0009r3h And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Adam Clery is joined by Andy Murray and Iain Chambers (!?!?) to discuss The FiendIs it too soon for a title match?Can he possibly lose to Seth Rollins?Where does each man go in defeat?Who else could possibly be in the Universal Title pictureENJOY!Follow us on Twitter:@AdamClery@AndyHMurray@ItsIainChambers@WhatCultureWWEFor more awesome content, check out: whatculture.com/wwe See acast.com/privacy for privacy and opt-out information.

Donald Macleod tells the story of the loss - and later rediscovery - of CPE Bach’s music Carl Philipp Emanuel Bach was many things in his lifetime: composer, virtuoso harpsichord player and improviser extraordinaire, author, businessman – publishing his own music – biographer – of his father and other members of his family, and teacher. This week we look at CPE Bach's music and reputation in the light of the sensational rediscovery of much of his archive in 1999. Throughout the episode we'll hear recent recordings of this 'new' music. We’ll learn about CPE’s musical crowd-funding, his emotive Empfindsamer style, his life in Hamburg, and how the discovery has changed the way Bach and his music is seen in 2019. Music featured: L'Aly Rupalich, Wq 117 No 27 Keyboard Concerto in D minor, Wq 23 Heilig, Wq 217 Flute concerto in D Major, Wq 13 Solfeggio in C Minor, Wq 117 No 2 Free Fantasie in F sharp minor, Wq 67 Licht der Welt, von Gott gegeben, H 811 (Ehre sei Gott in der Höhe) Rondo II in D Minor, Wq 61 No 4 Flute Sonata in A minor, Wq 132 Solfeggio in C Minor Symphony in D Major, Wq 183 No 1 Fantasia No. 2 in C Major, Wq 59 No 6 Wer ist so würdig als du; Ach, ruft mich einst zu seinen Freuden, H 805 (Nun danket alle Gott) Sonata in C Minor, Wq 78 Morgengesang am Schöpfungsfeste, W 239 Magnificat anima mea Dominum, Et misericordia eius, Gloria Patri et Filio, Sicut erat in principio (Magnificat, Wq 215) Quartet in D Major, Wq 94 Rondo in A minor Wq 56 No 5 Gott fähret auf mit Jauchzen, Wq 240 (Die Auferstehung und Himmelfahrt Jesu) Leite mich nach deinem Willen, H 835 Cello Concerto in A major, Wq 172 (2nd mvt) Symphony in B minor, Wq 182 No 5 Sonata in C major, Wq 55 No 1 (Für Kenner und Liebhaber) Double Concerto for harpsichord and fortepiano in E Flat major, Wq 47 Presented by Donald Macleod Produced by Iain Chambers for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for CPE Bach https://www.bbc.co.uk/programmes/m0006fff And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

This week, N Quentin Woolf goes deep into the bowels of Tower Bridge to meet Iain Chambers, who's using the sounds of the bridge to create sweet music as part of the Totally Thames festival. Photo by Steve Stills. See acast.com/privacy for privacy and opt-out information.