Podcast appearances and mentions of ingram marshall

SynopsisA famous commercial for magnetic recording tape once asked the question: “Is it live—or Memorex”—suggesting it was hard to tell the difference. These days, at concerts of some contemporary composers' works, the correct answer would be “It's live AND Memorex”—as there is a growing body of works that involve both live performers and prerecorded tape.A 1995 work by the American composer Ingram Marshall, titled Dark Waters, was written for an English horn soloist accompanied by a prerecorded tape of fragments from old 78-rpm recordings of Jean Sibelius' chilly tone-poem “The Swan of Tuonela.” Both the live English horn part and the prerecorded tape are digitally processed and mixed at each live performance. “Those who know the Sibelius will recognize familiar strains,” says Marshall.On today's date in 1998, Marshall and Libby Van Cleve, the English horn player for whom Dark Waters was written, recorded the work at St. Casimir's Church in New Haven, Connecticut. “You can actually hear the sound of that church in the recording,” recalls Van Cleve. “We finished at about 3 AM, and it was stiflingly hot—How ironic that Ingram's music—and Sibelius'—is always associated with cold climates!”Music Played in Today's ProgramIngram Marshall (b. 1942) Dark Waters Libby van Cleve, English horn; Ingram Marshall, electronics New Albion 112

“I never really thought of them as walls. I thought of them more as boundaries. Walls are a much more serious matter. You're not supposed to be able to get through, while boundaries at least you can crossover and I think the whole crossover thing is basically what the history of music in the second part of this century is about. It's about crossing over these boundaries.” If there's one quote that could sum up the music of the composer Ingram Marshall, it might be this one. Last week I talked about Sibelius and our inability to place him in the typical classical music eras of Romantic or Modernist music. Well, Ingram Marshall's music follows very much on that discussion, and it's no surprise that Sibelius is one of Marshall's favorite composers. I imagine most of you listening to the show today are not familiar with Ingram Marshalls' music, so today on this Patreon Sponsored episode, I'm going to briefly give you a background on this remarkable modern composer, and then we'll finish the show with both an interview and an analysis of Marhsall's work Flow with the great composer Timo Andres, who studied with Marshall and had some great insights on his music. You won't regret diving into the remarkable work of Ingram Marshall, so come and join us!

..A cura di Fabio Barbieri. Musiche: Julian Shore, Dino Saluzzi, Gidon Kremer, Andrei Pushkarev, Rolf Lislevand, Concerto Stella Matutina, Bobo Stenson Trio, Stephan Micus, Sote, Laurie Spiegel, New York Philarmonic, David Murray, Kenny Wheeler, Pepper Adams Quintet, Kronos Quartet, Ingram Marshall.

..A cura di Fabio Barbieri. Musiche: Julian Shore, Dino Saluzzi, Gidon Kremer, Andrei Pushkarev, Rolf Lislevand, Concerto Stella Matutina, Bobo Stenson Trio, Stephan Micus, Sote, Laurie Spiegel, New York Philarmonic, David Murray, Kenny Wheeler, Pepper Adams Quintet, Kronos Quartet, Ingram Marshall.

The forlorn, hypnotic sound of foghorns echoing over San Francisco Bay, recorded in 1981 by the pioneering environmental sound artist BILL FONTANA. It's an artifact of a bygone era: the fog horns are still there, but as an aid to navigation they've mostly been replaced by GPS. Fortunately, Fontana's work has now been memorialized in a deluxe CD edition from the Bay area New Music label Other Minds Records. It makes a lovely souvenir of foggy, hypothermic summer nights in San Francisco. As an atmospheric phenomenon, fog has been with us since the earth cooled enough for water vapor to condense into tiny droplets that float on air. For humans, fog reduces visibility and makes it difficult, even dangerous, to move around; on the plus side, fog creates subtle monochromatic dreamworlds of endless beauty and fascination for both visual artists and ambient musicians. On this transmission of Hearts of Space, chilled, soft-focus, atmospheric dreamworlds...on a program called WINTER FOG. Music is by BILL FONTANA, INGRAM MARSHALL, BRIAN ENO, JEFF GREINKE, MICHAEL BRÜCKNER, and ROBERT RICH. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

A famous commercial for magnetic recording tape once asked the question: "Is it live—or Memorex"—suggesting it was impossible to tell the difference. These days, at concerts of some contemporary composers' works, the correct answer would be "It's live AND Memorex"—as there is a growing body of works that involve BOTH live performers and prerecorded tape. A 1995 work by the American composer Ingram Marshall, titled 'Dark Waters,' was written for an English horn soloist accompanied by a prerecorded tape of fragments from old 78-rpm recordings of Jean Sibelius' chilly tone-poem "The Swan of Tuonela." Both the live English horn part and the prerecorded tape are digitally processed and mixed at each live performance. "Those who know the Sibelius will recognize familiar strains," says Marshall. "Of course the live and taped materials are highly processed, so eventually the listener forgets about the original materials and sinks into the re-created music itself." On today's date in 1998, Ingram Marshall and Libby Van Cleve, the English horn player for whom "Dark Waters" was written, recorded the work at St. Casimir's Church in New Haven, Connecticut. "You can actually hear the sound of that church in the recording," recalls Van Cleve. "We finished at about 3 AM, and it was stiflingly hot—How ironic that Ingram's music—and Sibelius'—is always associated with cold climates!"

Foster Reed launched New Albion Records in 1984’s San Francisco. It was a record label centred on a variety of styles that belonged to pioneering contemporary music, releasing aroud five titles a year. The label was named after what Sir Francis Drake named the San Francisco Bay after being the first European to see the area, which was near where the label was founded. Reed decided to close the label in 2012, after 25 indispensable years. In his goodbye note, Foster Reed wrote: "Our audience has always been artists, musicians, composers, dancers and all those who like to stare out of the windows of perception.” The episode features: Stephen Scott, Ingram Marshall, John Adams, Daniel Lentz, Morton Feldman and Joan La Barbara.

The Memory Palace is a proud member of Radiotopia. Music We start with Waveland by Norm Pikelny. Then a smidge of N.Y.C. from the original Broadway cast recording of Annie. The Stars vs. Creatures by Colleen. Wiese by Roedelius & Arnold Kasar. Then there's some chaos built out of Missing Piece from the score to Broken City, Fog Tropes by Ingram Marshall, Spindrift by Colin Stetson, and Longing for a Frozen Sky by Ernst Reijseger. That heads into Wake by Aaron Martin & Machinfabriek. Galaxies Like Grains of Sand by Hampshire & Foat. Finishing on Minuet for Cheap Piano by Winged Victory for the Sullen

Today’s MTC bonus track is a WORLD PREMIERE! Or, apropos of its October release, we might call it a movement brought back from the dead. This undead movement was born back in 1981, when Ingram Marshall wrote a string quartet for the Kronos Quartet called Voces Resonae. The piece employed, among other things, very complicated choreography for a sound engineer operating delay units (big physical boxes about the size of say a DVD player), a task which, at the time, was completed by Ingram himself. However, when the third movement of this work, "Turbulent but flowing," proved too logistically complex to be performed, it was essentially put in a drawer, where it has remained for the last thirty-some years.  That’s where we come in! MTC has enlisted the fabulous Parker Quartet to help us rescue this lost movement, with the help of MTC producer Curtis Macdonald playing the role of, as Ingram put it, “the mad scientist in the middle.”  Except in our contemporary take on the piece, all the delays and echoes are created with software instead of hardware.  The Parker Quartet is: Daniel Chong, violin Ying Xue, violin Jessica Bodner, viola Kee-Hyun Kim, cello We hope you enjoy the Lost Movement! - Nadia Sirota Special thanks to publisher Peermusic Classical for allowing this usage.

Ingram Marshall is often called a California Minimalist, a title which, while not exactly geographically accurate, allies him with a loose cadre of artists writing ambient, visceral scores. It’s a title he’ll happily wear, but it only vaguely describes they art he makes. Ingram is kind of a throwback – a free-thinker making music on his own, music that accesses a deep, emotional place. His music leaves the listener gutted, keyed into something beyond consciousness. It’s ambience with a purpose, slowly inevitably unfolding towards a climax. - Nadia Sirota Immerse yourself in Ingram Marshall's music with our weeklong pop-up stream.