Podcast appearances and mentions of John Luther Adams

In het kwartetwerk van John Luther Adams ontbeekt de in het strijkkwartet zo gebruikelijke dialoog tussen de vier instrumenten. Zijn tweede strijkkwartet, ‘untouched' uit 2015, is exact wat de titel aangeeft, namelijk een werk waarin de musici het zwart van de toets (waarover de snaren gespannen zijn) niet aanraken. Zij spelen louter losse snaren of […]

Het strijkkwartet Everything that rises van John Luther Adams is een ‘chip' van een eerder nog omvangrijker werk, Sila: The Breath of the World voor koor en orkest. De titel van het kwartet verwijst naar de veel voorkomende stijgende beweging van zijn materiaal. Over het kwartet merkte hij daarbij op: “In dit nieuwe werk heb […]

Happy Earth Day! Today, we're celebrating our beautiful planet the best way we know how—through music!

Grace Cathedral, San Francisco, CA 2F12 3 Lent (Year C) 11:00 a.m. Eucharist Sunday 23 March 2025   Exodus 3:1-15 Psalm 63:1-8 1 Corinthians 10:1-13 Luke 13:1-9   The time has come to change your life. Alex Ross writes about a sound and light installation by the composer John Luther Adams (1953-) at the University of Alaska in Fairbanks. It is called The Place Where You Go to Listen. The title refers to Naalagiagvik, a beach on the Arctic Ocean, where a particular Inupiaq woman could hear and understand the voices of whales, birds, other creatures and even the whole planet around her.   “O God… my soul clings to you; your right hand holds me fast” (Ps. 63).

The serene spaces of contemplative minimalism have attracted some strange bedfellows over the years, including classical, new music, and experimental composers, serious jazz artists, ambient-electronic sound sculptors, and native musicians from the far north. They share a taste for consonance, repetition, slow tempos, electro-acoustic instrumentation, and expanded ambience. In these vast, frigid spaces, time seems to slow and even stop. On this transmission of Hearts of Space, timeless soundscapes inspired by the Arctic North, on a program called "FROZEN TIME." Music is by CHRISTEL VERAART, JEFF GREINKE, TIGRAN HAMASYAN, JOHN LUTHER ADAMS, MICHAEL JON FINK, SOMEI SATOH, and OLAFUR ARNALDS. [ view program page ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

The landscape of contemporary classical music is rich with diverse voices that draw inspiration from a countless myriad of sources. Among these voices are Philip Glass and John Luther Adams, two composers who have made profound contributions to the genre of art music over the last decades.

We can't wait for someone or something to make good things happen, to bring about change, to do justice. Join us as we explore the prophethood of all and the foundations of Unitarian Universalism that call us to be part of building a just and loving community.  This sermon is part of our Foundations series – inspired by John Luther Adams' essay in which he writes about the five smooth stones of liberal religion. We use these ideas throughout our Faith Forward offerings and religious education. First Unitarian Church of Dallas is devoted to genuine inclusion, depth and joy, reason and spirit. We have been a voice of progressive religion in Dallas since 1899, working toward a more just and compassionate world in all of what we do.   We hope that when you come here your life is made more whole through experiences of love and service, spiritual growth, and an open exploration of the divine. Learn more at https://dallasuu.org/   New sermon every week. Subscribe here: https://tinyurl.com/1stchurchyoutubesubscribe Follow us on Instagram: https://www.instagram.com/1stuchurch/ Follow us on Facebook: https://www.facebook.com/1stUChurch Watch the livestream on Sundays at 9:30am, 11am, & 7pm CST: https://dallasuu.org/live/ Œ

Was David optimistic when he slain Goliath? The story says everyone was afraid. What role does optimism play in stories of triumph and in our lives. In uncertain times our theologian James Luther Adams calls for ‘Ultimate Optimism.' Let's look at that more closely. This sermon is part of our Foundations series – inspired by John Luther Adams' essay in which he writes about the five smooth stones of liberal religion. We use these ideas throughout our Faith Forward offerings and religious education. First Unitarian Church of Dallas is devoted to genuine inclusion, depth and joy, reason and spirit. We have been a voice of progressive religion in Dallas since 1899, working toward a more just and compassionate world in all of what we do.   We hope that when you come here your life is made more whole through experiences of love and service, spiritual growth, and an open exploration of the divine. Learn more at https://dallasuu.org/   New sermon every week. Subscribe here: https://tinyurl.com/1stchurchyoutubesubscribe Follow us on Instagram: https://www.instagram.com/1stuchurch/ Follow us on Facebook: https://www.facebook.com/1stUChurch Watch the livestream on Sundays at 9:30am, 11am, & 7pm CST: https://dallasuu.org/live/ Œ

Have you ever wondered why Unitarian Universalists seem so focused on justice and equity. Some of the theological foundations of our faith are about mutuality between one another and the agency we believe all persons should have. We will deepen our understanding of these concepts together. This sermon is part of our Foundations series – inspired by John Luther Adams' essay in which he writes about the five smooth stones of liberal religion. We use these ideas throughout our Faith Forward offerings and religious education. First Unitarian Church of Dallas is devoted to genuine inclusion, depth and joy, reason and spirit. We have been a voice of progressive religion in Dallas since 1899, working toward a more just and compassionate world in all of what we do.   We hope that when you come here your life is made more whole through experiences of love and service, spiritual growth, and an open exploration of the divine. Learn more at https://dallasuu.org/   New sermon every week. Subscribe here: https://tinyurl.com/1stchurchyoutubesubscribe Follow us on Instagram: https://www.instagram.com/1stuchurch/ Follow us on Facebook: https://www.facebook.com/1stUChurch Watch the livestream on Sundays at 9:30am, 11am, & 7pm CST: https://dallasuu.org/live/ Œ

Unitarian Universalism is a living tradition that remains open to new truths that shape our faith. Let's explore the evolution of Unitarian Universalism taking place around us today. We will also celebrate our annual Back to School Blessing, inviting students and educators of all kinds to bring their backpacks or school bags and to receive a gift. This sermon is part of our Foundations series – inspired by John Luther Adams' essay in which he writes about the five smooth stones of liberal religion. We use these ideas throughout our Faith Forward offerings and religious education. First Unitarian Church of Dallas is devoted to genuine inclusion, depth and joy, reason and spirit. We have been a voice of progressive religion in Dallas since 1899, working toward a more just and compassionate world in all of what we do.   We hope that when you come here your life is made more whole through experiences of love and service, spiritual growth, and an open exploration of the divine. Learn more at https://dallasuu.org/   New sermon every week. Subscribe here: https://tinyurl.com/1stchurchyoutubesubscribe Follow us on Instagram: https://www.instagram.com/1stuchurch/ Follow us on Facebook: https://www.facebook.com/1stUChurch Watch the livestream on Sundays at 9:30am, 11am, & 7pm CST: https://dallasuu.org/live/ Œ

Given the weather recently, JJ and Haz ponder the different ways rain has been treated in music, including Chopin's disturbing dream, Britten's cheerful storm, Debussy's summer tempest, and John Luther Adams' electronic showers. Bambi gets a look-in too, as do two heart-rending versions of 'Over The Rainbow'. And if you've ever wondered how the Welsh say 'it's raining cats and dogs', look no further!Support the Show.www.artsactive.org.ukEmail a2@artsactive.org.ukTwitter @artsactiveInstagram artsactivecardiff Facebook artsactive#classicalmusic #stdavidshall #neuadddewisant #drjonathanjames #bravingthestave #musicconversations #funfacts #guestspeakers #cardiff

Yayoi Kusama: You, Me & The Balloons is the inaugural show in Aviva Studios, the new headquarters for the Manchester International Festival. In a variety of ways Kusama's distinctive polka dots fill the new Warehouse space. Economics the Blockbuster – It's Not Business As Usual at The Whitworth is a very different kind of visual art show which asks artists to re-imagine that most topical of subjects, the economy. Art critic Laura Robertson and novelist Okechukwu Nzelu review. In his illustrious career Benji Reid has moved from the world of breakdancing, to contemporary dance, to physical theatre, to hiphop theatre. After pursuing his interest in photography, he has now created a new art form which he calls Choreo-Photolism. He talks to Nick about the importance of curiosity both for artists and the arts. Grammy award winning composer John Luther Adams and the composer Ailís Ní Ríain have been commissioned to create brand new work inspired by the environment as part of the Manchester International Festival. The premiere is Friday, we'll hear all about it on tonight's programme. Presenter: Nick Ahad Producer: Ekene Akalawu

As the Royal Northern College of Music celebrates its 50th anniversary, Tom Service talks to current students at the college and former alumni - including the pianist Alexandra Dariescu and conductor Alpesh Chauhan. He meets the RNCM's Principal, Linda Merrick, as well as the college's archivist, Geoff Thomason, to learn more about the college's past, the role it currently plays in the city's musical life, and its aspirations for the future. Formed of present and former students of the college, Tom catches-up with three members of an all-female genre-defying string quartet, Vulva Voce, to hear how their approach to repertoire and performance is winning over audiences. With Manchester's leading classical ensembles descending on Bridgewater Hall for a weekend-long festival celebrating the city's rich musical heritage, Tom Service meets the Director of the BBC Philharmonic, Beth Wells; Chief Executive of the Hallé Orchestra, David Butcher; Creative Director of the Manchester Camerata, Samantha McShane; and Artistic Director & Chief Executive of the Manchester Collective, Adam Szabo. And, Music Matters hears from the composer John Luther Adams, whose new work 'Prophecies of Stone' is set to premiere next month at the Manchester International Festival. We chat too to the biennial festival's Director of Music, Jane Beese, about the ambitions for Manchester's new cultural venue - Aviva Studios.

The Ojai Music Festival's Artistic Director Ara Guzelimian was well situated to lead the festival through the tumult of the past three years. He's certainly looking forward to the June 8-11 festival this year and a return to something more closely resembling normal and worrying more about the music and less about the logistics of managing this premier festival of modern contemporary music through a global pandemic. He will be helped this year by returning guest Rhiannon Giddens (ep. 70), as Music Director. Giddens, a generational talent whose broad interests are well-suited to Ojai's spirit of musical adventure and exploration, was so charmed by Ojai in 2020 (the festival was held in September that covid-19 year) that she was eager to return. Ara didn't have to ask her twice to partner with him on programming. Among the audience offerings this year will be a chamber and voice ensemble performing Giddens' "Omar's Journey," from her opera about the Islamic scholar who was sold into bondage in the 19th century and continued his scholarly pursuits despite the horrors of slavery. Of course, there will also be the wide range of pieces performed which characterize the festival, from Bach to John Adams to ancient Chinese music to folk ballads to rapper DJ Flying Lotus. Guzelimian was formerly the artistic director in the 1990s, and recently retired as Dean of The Julliard School, perhaps the most prestigious music school in the country. He has conducted the popular "chalk talks" before the performances for decades. We talked about his journey to Ojai, his brilliant career and Ojai's mystical nature. We also talked about John Luther Adams, Harry Partsch and why Ojai remains so important to global culture. We did not talk about FDR's campaign against Alf Landon, Neopolitan pizza culture or sportfishing for Nile perch on Lake Tanganyika. Check out this year's schedule at ... https://www.ojaifestival.org/2023-festival-schedule/

Ian Power is a composer and performer in Baltimore, USA. Power's music is inscrutable, warm, insistent, and performer-driven, and has been performed by ensembles and soloists in the US, UK, Germany, Denmark, Israel, and New Zealand.He released two albums in 2020: Diligence on Edition Wandelweiser Records, featuring long solo works; and Maintenance Hums on Carrier Records, featuring chamber works. Dusted describes him as “a force guiding the rapid-fire development of instrumental syntax and its expressive components.”Power is Assistant Professor and Director of Arts Production & Management at the University of Baltimore, where he won the Distinguished Teaching Award in 2018. His writing on rhetoric in new music and reviews of CDs and performances are published in TEMPO, and he has lectured at the American Musicological Society, American Studies Association, and universities in the US, UK, and Turkey.Power studied primarily with Chaya Czernowin, as well as with Steven Takasugi, John Luther Adams, Antoine Beuger, Anthony Burr, Bob Morris, and Dana Wilson. He has degrees from Harvard University, UC San Diego, and Ithaca College. The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. Mentioned in this episode:Ian Power To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Ben Luke talks to John Akomfrah about his influences—including writers, musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Akomfrah was born in Accra, Ghana, in 1957 but has been based in London since he was a child. From his early years with the Black Audio Film Collective to his recent works as a solo artist, he has explored major issues—including racial injustice, colonialist legacies, diasporic identities, migration and climate change—through a distinctive approach to memory and history. First shown on television and in the cinema, his films are increasingly made for museums and galleries, in the form of ambitious, often epic, multi-screen video installations. He is one of the great film-makers of the last few decades. He discusses discovering Jackson Pollock through Ornette Coleman's Free Jazz album, his early experiences of the Tate Gallery and ongoing love of J.M.W. Turner's paintings, his passion for John Milton's Paradise Lost and Virginia Woolf's The Waves, and his enduring engagement with music from post-punk to John Luther Adams. He also gives us insight into his studio life and answers our usual questions, including the ultimate one: what is art for?John Akomfrah: Purple, Hirshhorn Museum, Washington, D.C., 28 October–summer 2023; The Unfinished Conversation, Tate Britain, London, until the end of 2022. A new work will be shown at the Sharjah Biennial, 7 February-11 June 2023, and The Box, Plymouth, UK, from December 2023. Hosted on Acast. See acast.com/privacy for more information.

Part 2 of our exploration of climate emotions through music: Thomas's playlist “Shifting Basslines of the Cornucopians” — its title inspired by the Snapped Ankles number, and having a double meaning: Shifting bass lines in the music that inspires us and “Shifting Baselines” in how each generation perceives the natural world. As Thomas notes: “My themes are water and fire, being a hostage to Capitalism and Climate Change, finding refuge, transformation, and our all-togetherness during these challenging times. As Courtney John sings “Yes we are sailing in a different boat. But we are sailing in the same ocean.” In my mix, I am inspired by a variety of sources, the old time music of the Carter Family, the cathartic punk of The Thermals, the immersive ‘Become…' series of Alaskan composer John Luther Adams, and the tribal techno of ‘Land Back.' We are nostalgic (and solastalgic) about the beautiful ‘Flatlands' in ‘The World We Knew' while the ‘Sword of Damocles' hangs over our heads. In this ‘Cruel Summer' with ‘No Snow on the Mountain' we hope that ‘Somewhere' there is a place for us.”

  *In English Language*  »Die Spieler scheinen telepathische Kräfte entwickelt zu haben«, staunt die New York Times über das Zusammenspiel der vier Musiker von Sō Percussion. 1999 als Studentenensemble gegründet, hat das Quartett während seines gut 20-jährigen Bestehens die Kammermusik für Schlagwerk neu definiert. Es tritt in den größten Konzerthäusern weltweit auf und hat viele spannende Kooperationen gestartet, die von klassischer Musik über Pop, Indie-Rock bis zu zeitgenössischem Tanz und Theater reichen. Bei seinem ersten Hamburg-Besuch im Mai 2022 wirkte So Percussion bei der Aufführung von John Luther Adams' großem Open-Air-Stück »Inuksuit« im Park Planten un Blomen mit und präsentierte im Kleinen Saal der Elbphilharmonie ein kammermusikalisches Programm. Hierbei spielten die vier (teils mit neuen Instrumenten und ausgefallenen Spieltechniken) Musik von Angelica Negron und dem The-National-Gitarristen Bryce Dessner. Und sie stellten das Album »Let the Soil Play Its Simple Part« vor, das sie mit der gefeierten Komponistin und Sängerin Caroline Shaw herausgebracht haben.

John Luther Adams's Silences So Deep: Music, Solitude, Alaska (Farrar, Straus and Giroux, 2020) is a profound, funny, and enlightening memoir from one of our greatest contemporary composers. Adams describes the process of writing music inspired by the wild landscapes of the far north, pieces with titles like Arctic Dreams, In the White Silence, and Become Ocean. But as much as Silences So Deep is a meditation on craft, it is also a masterpiece of nature writing, reminiscent at times of Walden, at other times of Dharma Bums.  Adams moved to Alaska as a young man in search of the solitude of America's last frontier. But Adams also discovered community: a bohemian group of farmers, poets, activists, and musicians, including the poet John Haines and the conductor/composer/activist Gordon Wright.  Silences So Deep is sure to reward long-time fans of Adams' work and listeners of contemporary classical music more broadly. It will also appeal to nature lovers and to anyone interested in the day to day work of a life committed to art. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

John Luther Adams's Silences So Deep: Music, Solitude, Alaska (Farrar, Straus and Giroux, 2020) is a profound, funny, and enlightening memoir from one of our greatest contemporary composers. Adams describes the process of writing music inspired by the wild landscapes of the far north, pieces with titles like Arctic Dreams, In the White Silence, and Become Ocean. But as much as Silences So Deep is a meditation on craft, it is also a masterpiece of nature writing, reminiscent at times of Walden, at other times of Dharma Bums.  Adams moved to Alaska as a young man in search of the solitude of America's last frontier. But Adams also discovered community: a bohemian group of farmers, poets, activists, and musicians, including the poet John Haines and the conductor/composer/activist Gordon Wright.  Silences So Deep is sure to reward long-time fans of Adams' work and listeners of contemporary classical music more broadly. It will also appeal to nature lovers and to anyone interested in the day to day work of a life committed to art. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

John Luther Adams's Silences So Deep: Music, Solitude, Alaska (Farrar, Straus and Giroux, 2020) is a profound, funny, and enlightening memoir from one of our greatest contemporary composers. Adams describes the process of writing music inspired by the wild landscapes of the far north, pieces with titles like Arctic Dreams, In the White Silence, and Become Ocean. But as much as Silences So Deep is a meditation on craft, it is also a masterpiece of nature writing, reminiscent at times of Walden, at other times of Dharma Bums.  Adams moved to Alaska as a young man in search of the solitude of America's last frontier. But Adams also discovered community: a bohemian group of farmers, poets, activists, and musicians, including the poet John Haines and the conductor/composer/activist Gordon Wright.  Silences So Deep is sure to reward long-time fans of Adams' work and listeners of contemporary classical music more broadly. It will also appeal to nature lovers and to anyone interested in the day to day work of a life committed to art. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

John Luther Adams's Silences So Deep: Music, Solitude, Alaska (Farrar, Straus and Giroux, 2020) is a profound, funny, and enlightening memoir from one of our greatest contemporary composers. Adams describes the process of writing music inspired by the wild landscapes of the far north, pieces with titles like Arctic Dreams, In the White Silence, and Become Ocean. But as much as Silences So Deep is a meditation on craft, it is also a masterpiece of nature writing, reminiscent at times of Walden, at other times of Dharma Bums.  Adams moved to Alaska as a young man in search of the solitude of America's last frontier. But Adams also discovered community: a bohemian group of farmers, poets, activists, and musicians, including the poet John Haines and the conductor/composer/activist Gordon Wright.  Silences So Deep is sure to reward long-time fans of Adams' work and listeners of contemporary classical music more broadly. It will also appeal to nature lovers and to anyone interested in the day to day work of a life committed to art. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

John Luther Adams's Silences So Deep: Music, Solitude, Alaska (Farrar, Straus and Giroux, 2020) is a profound, funny, and enlightening memoir from one of our greatest contemporary composers. Adams describes the process of writing music inspired by the wild landscapes of the far north, pieces with titles like Arctic Dreams, In the White Silence, and Become Ocean. But as much as Silences So Deep is a meditation on craft, it is also a masterpiece of nature writing, reminiscent at times of Walden, at other times of Dharma Bums.  Adams moved to Alaska as a young man in search of the solitude of America's last frontier. But Adams also discovered community: a bohemian group of farmers, poets, activists, and musicians, including the poet John Haines and the conductor/composer/activist Gordon Wright.  Silences So Deep is sure to reward long-time fans of Adams' work and listeners of contemporary classical music more broadly. It will also appeal to nature lovers and to anyone interested in the day to day work of a life committed to art. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

John Luther Adams's Silences So Deep: Music, Solitude, Alaska (Farrar, Straus and Giroux, 2020) is a profound, funny, and enlightening memoir from one of our greatest contemporary composers. Adams describes the process of writing music inspired by the wild landscapes of the far north, pieces with titles like Arctic Dreams, In the White Silence, and Become Ocean. But as much as Silences So Deep is a meditation on craft, it is also a masterpiece of nature writing, reminiscent at times of Walden, at other times of Dharma Bums.  Adams moved to Alaska as a young man in search of the solitude of America's last frontier. But Adams also discovered community: a bohemian group of farmers, poets, activists, and musicians, including the poet John Haines and the conductor/composer/activist Gordon Wright.  Silences So Deep is sure to reward long-time fans of Adams' work and listeners of contemporary classical music more broadly. It will also appeal to nature lovers and to anyone interested in the day to day work of a life committed to art. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

In the thick of the New Music Dublin festival, we talk to one of the charismatic megafauna of contemporary music, John Luther Adams. Pianist, Izumi Kumura has been improvising to the soundscape of Dun Laoghaire; and Louise William encounters some traditional Japanese cherry blossom patisserie.

John Luther Adams' on where his environmentalism and his music meet (Part 2)

Environmentalist-turned-composer, John Luther Adams' latest sortie into musical landscape plunges deep into the Grand Canyon (Part 1)

*In English Language* John Luther Adams ist ein außergewöhnlicher Komponist. Über 40 Jahre lebte er im Norden Alaskas, dessen Landschaft seine Musik ganz maßgeblich beeinflusst hat. Einige seiner Werke sind explizit für die Aufführung draußen, unter freiem Himmel geschrieben. Dazu gehört auch sein Werk »Inuksuit«, das im Rahmen des Internationalen Musikfests Hamburg 2022 im Park Planten un Blomen aufgeführt wird. Inspiriert ist es von den gleichnamigen Steingebilden, die die Inuit über viele Jahrhunderte als Wegweiser in den kahlen Ebenen der Arktis errichteten. Im Podcast erzählt er, wie das Stück entstanden ist und und wie sehr ihn die Natur zu seiner eigenen Musik inspiriert. 

February 25 marks the release of the third volume of cellist Inbal Segev's “20 for 2020” commissioning project, comprising world premiere works (in album order) by John Luther Adams, Adolphus Hailstork, Gloria Coates, Agata Zubel, and Christopher Tyler Nickel, with guest artists Ian Rosenbaum on marimba, vocalist Charlotte Mundy, and Nickel playing oboe d'amore, cor anglais and bass oboe on his own composition, Fractures of Solitude, which is also available as an audio single. The cellist launched this major new project in the fall of 2020, galvanized by the unprecedented worldwide crises that characterized that year, to capture something of that collective experience and encourage creative recovery from it.Purchase the music (without talk) at:20 for 2020 - Volume 3 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

The geologist Sanjeev Gupta tells Michael Berkeley about his search for evidence of ancient life in rocks on Mars with the help of NASA's Mars Rovers, and he plays unique recordings of sounds from the surface of Mars. Professor Sanjeev Gupta is a scientist who takes the long view, the very long view, into Deep Time. As the Royal Society Leverhulme Trust Senior Research Fellow at Imperial College London, he investigates how landscapes have evolved over vast spans of time. His work as a geologist has meant camping out alone for months at a time in some of the world's most remote places. And Sanjeev Gupta is part of a team of hundreds of scientists working on one of humanity's most ambitious expeditions ever - NASA's three billion dollar Perseverance Mars Rover which is helping us to understand what that planet was like an astonishing three-and-a-half billion years ago. The team is searching for evidence of ancient life in rocks on the Red Planet, rocks that will hopefully be returned to earth for analysis in 2031. Music is vital to Sanjeev Gupta's life. He brings Michael Berkeley music by Bach, Messiaen and Handel and by contemporary composers Peteris Vasks, John Luther Adams and Anna Meredith, music which conjures ‘visions of the beyond' – starlight, canyons, oceans and heaven. Sanjeev describes the surreal experience of helping to operate the Perseverance Rover as it landed on Mars in February 2021 from a flat above a hairdresser in Lewisham when restrictions prevented him from travelling to NASA Mission Control in California. And he recalls the transcendent experience of listening to music alone on long field trips in the vast deserts of Utah. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

For the Stuart Collection at the UC San Diego, Adams created a musical composition with and within the signature landscape of the campus: the eucalyptus grove. There are no pre-recorded elements, everything that occurs in "The Wind Garden" is driven by the wind and the light conditions on the site, in real time. This work never repeats itself. Hidden in the trees are 32 small loudspeakers and 32 accelerometers that measure the movements of the trees in the wind. As the velocity of the wind changes so does the amplitude of the sound. The musical foundation of The Wind Garden is two “choirs” of virtual voices – a “day choir” tuned to the natural harmonic series, and a “night choir” tuned to the sub-harmonic series. The rising and falling of these choirs traces the contours of the sun's movement above, below and around the horizon over the course of the year. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37824]

For the Stuart Collection at the UC San Diego, Adams created a musical composition with and within the signature landscape of the campus: the eucalyptus grove. There are no pre-recorded elements, everything that occurs in "The Wind Garden" is driven by the wind and the light conditions on the site, in real time. This work never repeats itself. Hidden in the trees are 32 small loudspeakers and 32 accelerometers that measure the movements of the trees in the wind. As the velocity of the wind changes so does the amplitude of the sound. The musical foundation of The Wind Garden is two “choirs” of virtual voices – a “day choir” tuned to the natural harmonic series, and a “night choir” tuned to the sub-harmonic series. The rising and falling of these choirs traces the contours of the sun's movement above, below and around the horizon over the course of the year. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37824]

For the Stuart Collection at the UC San Diego, Adams created a musical composition with and within the signature landscape of the campus: the eucalyptus grove. There are no pre-recorded elements, everything that occurs in "The Wind Garden" is driven by the wind and the light conditions on the site, in real time. This work never repeats itself. Hidden in the trees are 32 small loudspeakers and 32 accelerometers that measure the movements of the trees in the wind. As the velocity of the wind changes so does the amplitude of the sound. The musical foundation of The Wind Garden is two “choirs” of virtual voices – a “day choir” tuned to the natural harmonic series, and a “night choir” tuned to the sub-harmonic series. The rising and falling of these choirs traces the contours of the sun's movement above, below and around the horizon over the course of the year. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37824]

During WWII, Unitarian Universalist theologian and scholar, John Luther Adams traveled to Germany and watched one liberal church after another fold against the tide of fascism. As we continue to explore the gifts of a liberal faith, we ask questions about the nature of a faith that is free, and whether or not there are non-negotiables that we hold in balance with our freedom.

De Doorgeef-CD-van-de-Week bevat muziek van Michael Gordon, gespeeld door het Cello Octet Amsterdam. In de uitzending een prijsvraag waarmee je kans maakt op die CD '8' met het gelijknamige werk van Gordon door het Cello Octet. En meer werk van dezelfde componist, naast ingetogen klanken van onder meer John Luther Adams. 23.04 CD Michael Gordon 8 (Cantaloupe CA21159) Michael Gordon: 8 Cello Octet Amsterdam 6'34” 23.13 download Clouded Yellow (Canteloupe Music CA21140) Michael Gordon: Clouded Yellow Kronos Quartet 10'23” https://michaelgordonmusic.bandcamp.com/album/clouded-yellow 23.25 CD Arctic Dreams (Cold Blue Music CB 0060) John Luther Adams: Arctic Dreams - I The place where you go to listen Synergy Vocals; Robin Lorentz [viool]; Ron Lawrence [altviool]; Michael Finckel [cello]; Robert Black [contrabas] 6'24” https://johnlutheradams-coldblue.bandcamp.com/album/arctic-dreams 23.33 download Seven Sacred Names (Cantaloupe CA21157) Michael Harrison, Payton MacDonald, Ina Filip: Alim Polyphonic Raga Malkauns Roomful of Teeth; Ritvik Yaparpalvi (tabla); Ina Filip (zang); Ashley Bathgate (cello); Tim Fain (viool); Caleb Burhans (viool); Michael Harrison (piano) 12'31” https://michaelharrison.bandcamp.com/album/seven-sacred-names 23.50 CD Origins (Sjaella Vertriebsgesellschaft GbR) Henry Purcell: Hush no more 3'21” Sjaella 3'21”

In a quest to understand the Aeolian Harp, an interview with composer John Luther Adams. 

Synopsis On today's date in 1903, violinist and conductor Harry West led the very first performance by the Seattle Symphony. At that time, the orchestra comprised just 24 players. For their first program, the aptly named Maestro “West” conducted Schubert and Rossini, two long-dead classical masters, and also programmed works by three living composers: Max Bruch, Jules Massenet, and Pablo Sarasate. More recently, under music director Gerard Schwarz, the Seattle Symphony earned worldwide attention with its recordings of both classical and contemporary works, including critically acclaimed recordings of symphonic works by modern American masters like Howard Hanson, David Diamond, and Alan Hovhaness, as well as newer pieces by a younger generation of American composers including Richard Danielpour and Stephen Albert.That tradition continued under Gerard Schwarz's successor Ludovic Morlot, who took particular interest in fostering music from Seattle composers, including composers within the orchestra itself. And the Seattle Symphony commissioned and premiered a work by the American composer John Luther Adams entitled “Become Ocean,” which went on to win the 2014 Pulitzer Prize for Music and the 2015 Grammy Award for Best Classical Contemporary Composition. Music Played in Today's Program Max Bruch (1838–1920) — Violin Concerto No. 2, Op. 44 (Nai-Yuan Hu, violin; Seattle Symphony; Gerard Schwarz, cond.) Delos 3156 John Luther Adams (b. 1953) – Become Ocean (Seattle Symphony; Ludovic Morlot, cond.) Cantaloupe 21161

A unique kind of human skull has been discovered in China. The team describes the details of this skull, known as the ‘Dragon Man', and explains how it might belong to a new species of human. And if that's not exciting enough, its discovery has the most amazing Indiana Jones style backstory too. In breaking news, Jeff Bezos has announced that legendary aviator Wally Funk, one of the Mercury 13 women who trained as astronauts, will go to space with him on the first crewed Blue Origin mission. The team then discusses the intense heat waves that have been wreaking havoc in the Arctic and across the Pacific northwest. They explore the effects of covid-19 on the brain, as new studies show that a third of people who've been infected have suffered some form of cognitive or psychological disorder. They also share some incredible, experimental music from the composer John Luther Adams, whose new album ‘Arctic Dreams' is inspired by the sounds of the Alaskan wilderness. And they bring bad news from the surface of Venus, as hopes for life on the planet begin to dwindle. On the pod are Rowan Hooper, Tiffany O'Callaghan, Alison George and Chelsea Whyte. To read about these stories and much more, subscribe at newscientist.com/podcasts. Special thanks to John Luther Adams and his record label Cold Blue Music.

you either BURN baby BURN, or you DROWN baby DROWN : (Eliza, Noah, and Anthony return to the 1970s glory days of the disaster genre, big destructive movies in which an ensemble cast of the era's stars dodge debris, rising waters, and some matching schlocky theme songs by Maureen McGovern.The real life-threatening dilemma is this: which movie actually wins?? We've got a tie for the ages, with the team having mixed feelings on both the sizzling, broader-in-scope star vehicle The Towering Inferno and the splashy religious epic of an upturned boat The Poseidon Adventure. The former has a nice big spread of characters facing a multitude of mini-disasters, plus it's a rare example of a pair of twin films being knitted together. But the latter has Gene Hackman as an angry new age priest in a skivvy, so audience; you gotta help us out!! Vote via our Instagram page to decide which 70's disaster is, once and for all, the most Towering or uhh Adventurous.TRIPLET IN THE ATTIC LINKSNoah's rollicking Norwegian disaster thriller The Wave (https://en.wikipedia.org/wiki/The_Wave_(2015_film)Eliza's anxiety-inducing article about inevitable tsunami destruction (https://www.newyorker.com/magazine/2015/07/20/the-really-big-one)Anthony's haunting John Luther Adams composition Become Ocean (https://www.youtube.com/watch?v=dGva1NVWRXk)chain email The Physics of Santa Clausanime titty speed physicsEMAIL: twinpickspodcast@gmail.comINSTAGRAM: twinpicksFACEBOOK: @twinpickspodcastROUGH CUT: https://roughcutfilm.com/NEXT TIME: The Incredibles + Fantastic Mr Fox See acast.com/privacy for privacy and opt-out information.

A cura di Gigi Longo. Brani di AMMAR 808, Shakti, The Joe Harriot Double Quintet, The Soft Pink Truth, The Karuna Trio, Marco Zanotti, Carl Stone, Mary Halvorson's Code Girl, Andrew Hill, Cory Smythe, Joel Gabrielsson, Structure con Francesca Boni, Sébastien Guérive, John Luther Adams.

A cura di Gigi Longo. Brani di AMMAR 808, Shakti, The Joe Harriot Double Quintet, The Soft Pink Truth, The Karuna Trio, Marco Zanotti, Carl Stone, Mary Halvorson's Code Girl, Andrew Hill, Cory Smythe, Joel Gabrielsson, Structure con Francesca Boni, Sébastien Guérive, John Luther Adams.

Jim Meskimen narrates John Luther Adams’s exceptional memoir with conviction and recognition that these words are from a composer of music. Host Jo Reed and AudioFile’s Alan Minskoff discuss the way Meskimen narrates with great care and understanding, capturing an immersive text with a deliberate voice and well-paced cadence. Adams’s life and work in the solitude of Alaska bring the listener an appreciation of creativity. This soul-gracing work from an American original delves deeply into the intersections of ecology and art. Published by Blackstone Audio. Find more audiobook recommendations at audiofilemagazine.com Support for AudioFile's Behind the Mic comes from Dreamscape Media, Publishers of bestselling audiobooks from classics like THE GREAT GATSBY to suspenseful mysteries, to indulging romance to essential non-fictions that make your ears happy! Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:00:08 - John Luther Adams, de la terre et du ciel - par : Laurent Vilarem - Né en 1953, John Luther Adams s'inspire des grands paysages et des bords de mer du nord-ouest du Pacifique pour composer. Le compositeur, qui réside dans le désert de Sonora dans le sud-ouest des Etats-Unis, est un ardent défenseur de l'environnement et place la nature au cœur de son œuvre. - réalisé par : Claire Lagarde

Music, like the stillness and solitude of a Montana winter, is a special kind of gift. John Luther Adams and the JACK Quartet share their thoughts and hopes for the music of our time.

Jenny welcomes a new guest - Tina - and we chat about reading more books from our own shelves and great books we've read recently. Jenny also asks about Tina's knitting, a new hobby she enjoys alongside reading.Download or listen via this link: Reading Envy 206: Black Sheep Subscribe to the podcast via this link: FeedburnerOr subscribe via Apple Podcasts by clicking: SubscribeOr listen through TuneIn Or listen on Google Play Or listen via StitcherOr listen through Spotify New! Listen through Google Podcasts Books discussed:The House of Broken Angels by Luis Alberto UrreaSilences So Deep by John Luther AdamsA River in Darkness by Masaji Ishikawa, translated by Risa KobayashiBeowulf: A New Translation by Maria Dahvana HeadleyTwo Wings to Fly Away by Penny MickelburyThe Shadow King by Maaza MengisteOther mentions:#audioknittingRizzoli & Isles novels by Tess GerritsenI Contain Multitudes by Ed YongThe Gene by Siddhartha Mukherjee2 Knit Lit Chicks (podcast)RavelryRBG dissent sweater and Empower cowl#yarnbombingInto the Beautiful North by Luis Alberto UrreaThe Devil's Highway by Luis Alberto UrreaThe Hummingbird's Daughter by Luis Alberto UrreaQueen of America by Luis Alberto UrreaPBS Reads July 2019Urrea Facebook pageThe Writer's Library edited by Nancy Pearl and Jeff SchwagerPachinko by Min Jin LeeConvenience Store Woman by Sayaka Murata, translated by Ginny Tapley TakemoriMimi Patterson books by Penny MickelburySmart Podcast, Trashy Books - Beverly Jenkins, episode 421Burnt Sugar by Avni DoshiBeneath the Lion's Gaze by Maaza MengisteLost Children Archive by Valeria LuiselliTell Me How it Ends: An Essay in 40 Questions by Valeria LuiselliNew York Society Library - Maaza MengisteCelestial Bodies by Jokha AlharthiMagic Lessons by Alice HoffmanRelated episodes:Episode 088 - Author Head Space with Sara MooreEpisode 133 - To Understand the World with Lauren WeinholdEpisode 160 - Reading Plays with Elizabeth Episode 161 - Women in Translation Month Recommendations with LaurenEpisode 183 - Birthing Rabbits with JessicaEpisode 189 - Surreal Superpowers with TimEpisode 203 - Backlist with Marion Stalk us online: Tina at GoodreadsTina is @godmotherx5 on Instagram and LitsyJenny at GoodreadsJenny on TwitterJenny is @readingenvy on Instagram and Litsy All links to books are through Bookshop.org, where I am an affiliate. I wanted more money to go to the actual publishers and authors.

Tom Service asks what climate change means for classical music, and explores how cultural organisations, practitioners and institutions can respond to looming environmental challenges. We speak with the American composer, John Luther Adams, as he looks out over a freak wintry landscape of cactuses covered by snow in the Chihuahaun desert. He shares his thoughts about humanity’s relationship with the planet, his faith in future generations, and a lifetime’s work in the service of music. George Kamiya, Energy Analyst at the International Energy Agency, and the researcher and musicologist Kyle Devine, join Tom to discuss the environmental costs to how we consume music digitally. We hear, too, from the CEO and founder of Julie’s Bicycle, a charity which advises the creative industry about how to reduce its carbon footprint, and the leader of the Orchestra of the Age of Enlightenment, Margaret Faultless, as they consider the environmental consequences of the classical music industry’s activity and what they’ve learned from different ways of working. And, the director Stephen Langridge shares how he’s put sustainability at the heart of the production effort behind Gothenburg Opera’s Ring cycle. Plus there’s another instalment of our ‘Musicians in our Time’ series with the members of the Castalian Quartet.

Emerson Eads is from Fairbanks, Alaska. He studied composition with Adlai Burman and John Luther Adams. He studied choral conducting at the University of Notre Dame with Carmen-Helena Téllez, obtaining his Doctorate in Musical Arts in May, 2018. He is currently Assistant Professor of Music and Director of Choral Activities at Minot State University. As a composer and conductor, Emerson has devoted himself to music of social concern

“Sounds of the Silenced” uplifts and weaves together voices that have been oppressed – whether by circumstance of history, internal sentiment, or tragedy. Joseph Bologne, Chevalier de Saint-Georges was a Black composer from the 18th century. He was quite successful when he was alive, however, given that Mozart and Haydn were among his contemporaries, history did little justice to his prominence. Dimitri Shostakovich's eight-string quartet was dedicated to the victims of fascism and war. This work is at the center of a very complicated puzzle of Shostakovich’s life. Throughout his life it was believed that Shostakovich was a supporter of the Soviet regime, but to everyone’s surprise a revealing and controversial book – ‘Testimony’ (published four years after his passing) – depicts the composer as a closest dissident. This book revealed that this string quartet was instead a biographical work that expressed the most obscure struggles in the life of the composer. Webster Gadbois’ moving piece was inspired by Tahlequah, the Puget Sound J-pod Orca that publicly grieved for 17 days following the passage of her newborn calf. SEVENTEEN DAYS BY WEBSTER GADBOIS INSTRUMENTATION: 8 CELLOS PERFORMED AND RECORDED BY LASZLO MEZO COMPOSER’S NOTES BY WEBSTER GADBOIS In the summer of 2018, the southern J-pod of orcas residing in Washington states’ Puget Sound gave birth to a calf for the first time in years. 30 minutes later, the calf died of malnutrition. The mother, who has been given the name Tahlequah, proceeded to mourn the dead calf by carrying it around with her for the next seventeen days. This level of mourning is unprecedented in orcas, and the story made international headlines. The J-pod’s primary food source is Chinook salmon, which are endangered due to overfishing. This piece’s primary goal is to catalogue the tour of grief that the J-pod experienced throughout this time, with Tahlequah acting as the centerpiece. The central idea presented at the beginning of the piece initially serves as a beacon of hope for the J-pod, as it represents continued life in the face of starvation. As the calf dies, however, this idea becomes warped into a strained cry of grief, as the pod mourns the loss as a collective. As the music becomes more frantic and primal, the central idea becomes more focused on Tahlequah herself, and her refusal to let go of the calf. After a climax of suffering, the pod delivers one last eulogy, as Tahlequah learns to let go of the calf mentally, as well as physically. The piece concludes as the story concludes: with Tahlequah dropping the calf into oblivion as the pod moves on from mourning to mating with other pods. As a postscript to this tragic tale, Tahlequah is a mother again. The Orca and her calf were documented in September 2020 near the San Juan Islands. WEBSTER GADBOIS – COMPOSER Composer and improviser Webster Gadbois has sought to explore creative methods of communicating the impact climate change has had on the planet. This has led him to write music about wild orcas in his hometown of Bainbridge Island, Washington. In addition to environmental motivation, Gadbois’s work centers around collaboration with artists in visual mediums, such as dancers and filmmakers. Holding a Bachelor of Music degree from Rice University and a Master of Music degree from The Juilliard School, he is committed to the creation of work intended to foster a childlike sense of discovery and to increase dialogue around social change.   LASZLO MEZO – CELLO Born in Budapest, Hungary, Laszlo Mezo gained national recognition as one of the top musicians of his generation at the young age of 18. He forged a career as a soloist, recitalist, master teacher, and chamber musician, has performed extensively in Europe, Asia, and North and South America, and is currently a professor in cello at Chapman University and Saddleback College in California. He is a sought after soloist, and an active studio musician in Hollywood, having played in many film scores, including Star Wars, Ice Age, Life of Pi, Wolverine, and The Lone Ranger. His first CD is a recording of Dávid Popper’s works, and his second, “Made in Paris,” includes romantic cello pieces from the 19th century. BAINBRIDGE SYMPHONY ORCHESTRA QUARTET PATRICIA STRANGE, FIRST VIOLIN Pat is a performer of traditional and contemporary violin literature and has performed throughout the US and Europe. She received a Bachelor of Music degree from Calif. State University Fullerton and a Master of Arts degree from the University of Calif. San Diego. Before moving to Bainbridge Island in 2001 she held the position of Principle Second violin with the San Jose Symphony. She is currently the Concertmaster of the Bainbridge Symphony Orchestra, founder and director of Bridges; A String Orchestra and has frequently performed with Ovation! Performing Arts Northwest and BPA’s musical theatre productions. “Being in quarantine as a musician has been difficult. I’ve found it hard to have the motivation to practice alone. I really miss not being able to rehearse in person with my music community here on Bainbridge Island, whether it’s in orchestra, chamber music or musical theater performances. The Bainbridge Pod Accomplice is a wonderful project allowing us to make music again.”   PEGGY BRADY – SECOND VIOLIN Peggy Brady, violinist, studied at the Universität für Musik and darstellende Kunst in Vienna and Arizona State University in the 70’s. She has been a member of the first violin section of the Phoenix Symphony, the violin section of the Göttinger Symphonie Orchester, the Braunschweig Staatsoper Orchestra, Principal Second Violin and Assistant Concertmaster of the Napa Valley Symphony and Principal Second Violin of the Marin Symphony. In 2004 she founded the Eloquence String Quartet and Trio of Napa Valley. The group is now in high demand for weddings and vineyard events throughout Napa and Sonoma. Soon to become a full time resident of Bainbridge Island, Peggy is enjoying a new musical project called “Olympic Serenade” – playing chamber music with other members of the Bainbridge Island Symphony. “A highlight for me during this pandemic has been providing outdoor musical therapy for ourselves, neighbors, and friends. We have been meeting on my large open driveway on Sunday afternoons to play chamber music. The neighbors are invited to come and enjoy the music while they sip a glass of wine. Our conductor Mario has joined us several times on viola. It’s been my favorite part of the summer.”   MARIO ALEJANDRO TORRES – VIOLA Mario Alejandro Torres is a conductor, teacher, and performer native to San Pedro Sula, Honduras. Currently based in Seattle, Washington, Mr. Torres made his Benaroya Hall conducting debut in collaboration with Maestros Ludovic Morlot and David Alexander Rahbee in an exciting concert with the University of Washington Symphony Orchestra. For the past two years, he has served in a conducting fellowship with the Seattle Symphony, assisting Maestro Morlot in collaboration with artists such as Hilary Hahn and John Luther Adams. As the former Music Director of Poulsbo Community Orchestra, he brought a new and exciting sound to the ensemble. Outside of the United States, he has conducted performances with the Eddy Snijders Orchestra in Paramaribo, Suriname, and in his hometown with the professional Chamber Orchestra of San Pedro Sula, and Victoriano Lopez School of Music Choir. “Bainbridge Performing Arts has been a very special place to me by virtue of its unique position to highlight and welcome artists, creators, writers, and more – each coming from different backgrounds and perspectives in life. This key diversity nurtures a very special community, as it does our beautiful Bainbridge Island. As Music Director of the Bainbridge Symphony Orchestra it has been an incredible pleasure to follow those steps, and that is why I am very excited to present ‘Sounds of the Silence,’ the first October episode of BPA’s Bainbridge Pod Accomplice!”   ARLAYNE ESEMAN – CELLO Arlayne took her first cello lessons from Marcia Treend in 9th grade. A year later, she began studying with Thaddeus Markiewicz, assistant principal cellist with the Detroit Symphony, and continued with him until earning her Masters in Cello Performance. While in college, she performed in some Motown recordings and played in the pickup orchestras for Paul Anka and Sammy Davis (what an entertainer). In 2013, Arlayne retired as a “computer geek” and moved to Bainbridge Island, where she auditioned for the symphony and made many wonderful friends. In 2015, she started playing in local ensembles as well as musicals performed on the island. “It is not uncommon that I am performing up to 12 nights a month. I think that is a pretty good life. During shelter in place, my biggest accomplishment is not killing my husband. Being a basic introvert (yes, really), I enjoy being home. Typically, I play Sudoku, read about WW2 code breakers, and sew for my family or myself. When the weather permits, I take my cello out on my condo deck and play unaccompanied cello for my neighbors. So far, no one is complaining.”  

1. Garth Baxter – From the Heart: Three American Womenhttps://open.spotify.com/playlist/7k9n3QWkHSYQ5e5TGProGb2. Jennifer Jolley – Prisoner of Consciencehttps://open.spotify.com/playlist/0kAYkFmqvLvBeFVeKL8Zx43. Gleb Kanasevich – your fortresshttps://youtu.be/V1l141q9_VAPanelists:Soprano Katie Procell has been praised throughout the Baltimore area for her “golden tone and arresting stage presence” (Peter Dayton). Her musical curiosity includes the avant-garde and she has performed Pierrot Lunaire, Ginastera’s third String Quartet, Messiaen’s Harawi, Berio Sequenza III, even Kurtàg’s Attila Fragments. Procell’s past opera credits include Giselle, Jenny, Mel 2, and various roles in the two-woman collection of short new operas called Elevator (ENA Ensemble); Lisa ( La Sonnambula; Opera Alchemy); Susanna ( Le nozze di Figaro; Peabody Conservatory); Giulietta ( I Capuleti e i Montecchi; Alchemy); Krysia (understudy, Out of Darkness; Peabody); Rosina ( Il barbiere di Siviglia; James Madison University); and more. She studies with Elizabeth Futral and has studied with Phyllis Bryn-Julson and Kevin McMillan. Procell has trained at Opera Roanoke (Apprentice Artist), Centre for Opera Studies in Italy, and SongFest. She works closely with composer Peter Dayton and has premiered several of his works and is collaborating with both Dayton and Baxter on upcoming recording projects.Award-winning conductor Jordan Randall Smith is the Music Director of Symphony Number One and Assistant Conductor of Hopkins Symphony Orchestra. Smith was recently named Visiting Assistant Professor of Music and Director of Orchestras at Susquehanna University. Smith was formerly Co-founder and Artistic Director of the Dallas Festival of Modern Music and Assistant Conductor of the Peabody Opera Theatre. Smith was lauded for being “an attentive partner” by the Baltimore Sun. His leadership of Mahler’s fourth symphony was praised by the Sun’s Tim Smith: “The third movement, in particular, was quite sensitively molded.” Conductor Alan Gilbert called Jordan’s conducting of Boulez’ Le Marteau sans Maître, “impressive.” An active supporter of new music, Jordan has a discography spanning four commercial releases and a history of commissions, leading over 50 world premieres. Jordan is also a Creative Director of the International Florence Price Festival. Smith was named to the Executive Council for the Institute for Composer Diversity at SUNY-Fredonia in January 2020.Ian Power is a composer, performer, and Director of Integrated Arts at the University of Baltimore. Ian’s music is inscrutable, warm, insistent, and performer-driven, and has been performed by ensembles and soloists in the US, UK, Germany, Denmark, and Israel. His writing on rhetoric in new music and reviews of CDs and performances are published in TEMPO, and he has lectured at the American Musicological Society, American Studies Association, and universities in the US, UK, and Turkey. Ian studied with Chaya Czernowin, Steven Takasugi, and John Luther Adams. Ian’s first CD, Diligence, featuring long solo pieces, is out on Edition Wandelweiser Records (Germany) in June 2020. His CD Maintenance Hums, featuring chamber works, is out on Carrier Records (New York) in September 2020. He is writing an orchestra piece for the BBC Scottish Symphony Orchestra, to be premiered at the TECTONICS festival in Glasgow in May 2022.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

This podcast discusses the life and works of John Luther Adams. Pieces mentioned in this episode:The Wind in High Places: John Luther AdamsThe Farthest Place: John Luther AdamsRothko Chapel: Morton Feldmansongbirdsongs: John Luther AdamsNight Peace: John Luther AdamsEarth and the Great Weather: John Luther AdamsDream in White on White: John Luther AdamsIn the White Silence: John Luther AdamsThe Immeasurable Space of Tones: John Luther AdamsThe Place Where You Go to Listen: John Luther AdamsBecome Ocean: John Luther AdamsBecome Desert: John Luther AdamsAdditional music crafted by yours truly.*At this time, there is no official recording for Become River, however, Adams has indicated an anticipated released date sometime around Fall 2020. Further Listening:Meet the Composer Episode: https://www.wnyc.org/story/john-luther-adams-bad-decisions-and-finding-home/Further Reading: http://johnlutheradams.net/category/writings/*Adams will be releasing another book, called Silences so Deep, in September. You can pre-order the memoir here: https://us.macmillan.com/books/9780374264628Further Viewing:More information on Minimalist Art (Applies to music, though composers aren't mentioned in this video): https://www.youtube.com/watch?v=XEi0Ib-nNGoLecture presented by JLA: https://www.youtube.com/watch?v=wWG0zpPOGcQI mentioned Jackson Pollock and Kazimir Malevich several times, so I thought I'd a link for each of them in case you're not as familiar with their art.JP: https://www.moma.org/artists/4675KM: https://www.kazimir-malevich.org/

Playlist: The Giving Shapes - DousingReena Esmail, Brooklyn Rider - Zether (Poison)Auguste Descarries, Janelle Fung - SarcasmeJohn Burge, Philip Chu - 24 Piano PreludesJulia Wolfe, Bang on a Can All Stars, Gong Linna - Into the Cloudshope lee, Yumiko Meguri - O som do desassossego (Reflection on Recollection)Victoria Cheah, PRISM Quartet - Tell (Quartet)John Luther Adams, Stephen Drury [piano], Scott Deal - Four Thousand HolesMaxence Cyrin - Apollo

The 74th Ojai Music Festival will still take place June 11 to June 14, but due to the pandemic, it will occur virtually as we learn from Ara Guzelimian, who takes over from Chad Smith as artistic director after this year's festival. Guzelimian is busy planning for the 75th anniversary festival for June 2021, with minimalist legend John Adams as music director, putting modern American composers in the spotlight. As for 2020's festival, he urges everyone to go OjaiFestival.Org to keep in the loop as there will be streaming events each day. Although the 74th Ojai Music Festival will have an asterisk next to it because of its virtual nature, a t-shirt, program book and other swag will be available, and could very well become collector's items. Guzelimian has been coming to the festival for more than 50 years, attending with his parents (second-generation refugees from the Armenian Genocide) from Los Angeles. He was the festival's artistic director for six years from 1992 to 1997. His day job is as dean of the Julliard School in Manhattan. at the Lincoln Center, with his nearest neighbors the Metropolitan Opera House and the New York Philharmonic. "But I live just outside the city, I need a few more trees and leaves than is available in mid-town Manhattan. He said between the pandemic and the protests, downtown is a city of "ghost canyons." Despite the protests and "heart-wrenching anger and acts of violence," he says the way forward is get involved in service. "Are you feeling sorry for yourself? Go out and help someone," he said. He's excited about 2021's festival. John Adams, next year's music director, "has occupied place in American life like Aaron Copland, the spirit of American music." Fittingly, Adams himself will turn 75 next year. We talk about favorite festival moments, such as a performance of John Luther Adams music staged by previous artistic director Tom Morris at Meditation Mount, in which strategically placed piccolos blended in seamlessly with the bird song. Or how Michio Uchida's performance of Schubert's Sonata in B flat on a hot afternoon transformed the audience with a mesmerising performance "that willed the heat away, and intensely inward collective experience." Another example was a Boulez-conducted performance of Schoenberg about moon madness in which, right on cue, a full moon rose up to hang heavy in the sky above "Libbey Bowl, a place where the wall between the audience and nature melts away ... there's something incredibly hospitable about the Ojai Valley that welcomes exploration, adventure and creativity." To sum up the Ojai Music Festival, Guzelimian offers this: "Experience and discovery. If you could bottle that, that's the essence of the Ojai Music Festival." We also talk about Rains and Bart's Books, about Chumash sacred art, the Thomas Fire and the influence of Ghanaian drummers on Steve Reich. We indulge in the age-old East Coast v. West Coast cultural supremacy argument, coming down firmly on the West Coast/Best Coast side because of the "openness to the unexpected that comes from living on the edge" of the Pacific Rim. We don't talk about Sandy Koufax, drop D guitar tuning or Barney's Beanery.

Playlist: Walter Ronald Tucker, Ensemble, et al. - Choose Your Own AdventureJocelyn Morlock, Neal Bennett, Brian Nesselroad - SequoiaAna Sokolovic, Quatuor Bozzini - Troisieme page Apres le SoleilDavid Braid, Ensemble Made In Canada - Great Bear River BluesChristof Littman - IrreversibleFrank Horvat, Beverley Johnston - Wood & Metal BarsJohn Luther Adams, John Luther Adams Ensemble - Deep & Distant ThunderJames Wilson, Chineke! Orchestra - The Green FuseRichard Prior, Atlanta Symphony Orchestra - Of Shadow & LightJohn Adams, Orchestra of St. Lukes - The Wound DresserEriks Esenvalds, Pacific Lutheran University Choir of the West - The New Moon

Playlist: Sky Macklay, Spektral Quartet - Many Many CadencesJohn Luther Adams, Percussion Group Cincinnati - Solitary and Time-Breaking WavesAna Sokolovic, Gillian Smith - 5 Danze per violino soloRobert Honstein, Ashley Bathgate - OrisonEnsemble Made In Canada - The Bessborough HotelDawn of Midi - IoDawn of Midi - SinopeIstvan Anhalt, SALT Festival Orchestra - 4 Portraits from MemoryDavid Lang, Molly Barth - Burn Notice

Jess Gillam is joined by Ivor Novello award winning composer and fellow saxophonist Charlotte Harding to swap tracks, including two saxophone greats - Branford Marsalis and Ivy Benson, other worldly textures from John Luther Adams and Anders Hillborg and two generations of Prokofievs. Tracks we played today... Gabriel Prokofiev – Saxophone Concerto: IV. Allegro Mechanico Nadia Boulanger - 3 Pieces for Cello and Piano, no.1: Modere Stravinsky - The Firebird Suite John Luther Adams - The Wind in High Places: II. Maclaren Summit Ivy Benson - Lover Anders Hillborg - Sirens Caoimhín Ó Raghallaigh - What, What, What Prokofiev - Violin Concerto No.1, 3rd movement

  In another first for the Cinematologists, we are hugely excited to present The Lobster with a live score from the classical group the Solem Quartet and in association with Picturehouses cinemas. Live cinema events featuring musical accompaniments are becoming more prevalent as part of the auditorium experience; they echo cinema's past but also a look to the future as audiences seek out material experiences that go beyond or add onto traditional screenings, and perhaps look for a break from the digital. This event took place at the beautiful Gate Cinema in Notting Hill, to a packed house, with Dario introducing the event and discussing the production with the musicians in a post-screening Q&A. Devised, arranged and performed by The Solem Quartet the screening included classic pieces including Beethoven op. 18/1, Shostakovich Quartet no. 8, Schnittke Quartet no. 2, Schnittke Quintet for Piano and Strings, Stravinsky 3 Pieces for String Quartet, Britten Quartet no. 1, Strauss Don Quixote. The music underscores beautifully the dark humour and surrealist milieu of Lanthimos' social satire.  Winner of the 2014 Royal Over-Seas League Ensemble Competition, the Solem Quartet was formed in 2011 at the University of Manchester. The Quartet takes its name from the university's motto "arduus ad solem", meaning "striving towards the sun". The quartet enjoys a busy concert schedule performing at venues both across the UK – including Wigmore Hall, Queen Elizabeth Hall, Bridgewater Hall and Holywell Music Room – and internationally. In keeping with its name, the Solem Quartet’s first project was to play the Haydn Op. 20 “Sun” Quartets. Their repertoire is extensive, spanning the period from early Haydn to a broad spectrum of living composers including Larry Goves, Anna Meredith, John Luther Adams and Emily Howard, whose quartet ‘Afference’ they performed in a BBC Proms Extra broadcast, live on BBC Radio 3.  There are still dates available for upcoming live scorings of The Lobster. Click here for details  You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

With Become Desert, composer John Luther Adams is done "Become"-ing (learn why in this episode). First, there was the Pulitzer- and Grammy-winning Become Ocean. Then, there was Become River. Finally, in 2019, Adams put his feet on solid ground, in a terrain he's much more comfortable with. And now there's Become Desert. Here, Adams talks about what the deceptively simple pieces of the Become trilogy are, both musically and conceptually, about Desert in particular, and about why music > politics will ever be at saving the world.

Jess Gillam is joined by composer and poet Alexia Sloane to swap music including John Luther Adams immersive Become Ocean, the sublime vocal harmonies of Kraja, Steve Reich's Music for 18 musicians, Smetana and a soul classic by Aretha Franklin. Here's the music we played today... Bedrich Smetana - Ma vlast, Vltava [Moldau] Kraja- Polska Till Rut Francis Poulenc - Sonata for Oboe FP, 185; 1. Allegro John Luther Adams - Become Ocean Aretha Franklin - I Say a Little Prayer Hildegard Von Bingen - Digiti Viriditas Dei Steve Reich - Music for 18 musicians John Tavener - The Protecting Veil

http://www.john-lane.com/John Lane is an artist whose creative work and collaborations extend through percussion to poetry/spoken word and theater. As a performer, he has appeared on stages throughout the Americas, Australia, and Japan.Commissioning new works and interdisciplinary collaborations are integral to John's work. Over the last few years, he has been connected with a number of composers including Peter Garland, Mark Applebaum, Yo Goto, Emiliano Pardo, Mara Helmuth, Christopher Deane, John Luther Adams, Kyle Gann, Michael Byron, Wen Hui Xie, Kazuaki Shiota and David Farrell. John has several on-going collaborations with writer Ann McCutchan, poets Nick Lantz and Todd Boss, percussionist Allen Otte, visual artist Pat Alexander, and has created original music for choreographer/dancer Hilary Bryan and granite sculptor Jesús Moroles.John is the creator and host of a podcast, Standing in the Stream: Conversations with Creatives. Through long-form conversations and audio collaborations, the podcast explores the lives and works of artists in a variety of fields from visual art, music, filmmaking, dance, writing/poetry, to everything in between. It is a podcast for and about artists seeking to live and sustain creative lives.Currently, John is the Director of Percussion Studies and Professor of Percussion at Sam Houston State University. He taught previously at the University of Wyoming and held fellowships at the Cincinnati College-Conservatory of Music and the University of North Texas.John is a Yamaha Performing Artist and is an Artist with Innovative Percussion, Evans Drumheads, and Zildjian Cymbals.0:00 Intro and hello 3:00 Your podcast, "Standing in the Stream"?  5:40 Composer, Peter Garland.  9:50 Working with composers12:00 Your methods of composition?  15:30 Ben: Percussion Group Cincinnati 24:50 Percussion Group Cincinnati and sponsorships30:40 The Innocents project43:33 Intersection of politics and art47:57 Working with Christopher Deane? 54:25 Thank you and farewell, Michael Colgrass1:02:00 Casey: This day in music history 1:06:45 Interpreting new works and finding meaning?  1:09:35 Upcoming works and projects? 1:13:10 Recommended books? Watch here. Listen below.If you cannot see the audio controls, your browser does not support the audio element

Amerikiečių kompozitorius John Luther Adams (*1955), 40 metų pragyvenęs Aliaskoje. Laidos autoriai ir vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

Tim talks to Errollyn Wallen about her BBC Proms commission, Beethoven gets his own back on the Brexit party and Sam reviews John Luther Adams' new disc ‘Become Desert'. Music Credits: Gustav Mahler, Symphony No. 1, Mov. 3 performed by the Vienna Philharmonic under Leonard Bernstein. ‘Oil in my Lamp' performed by Timmy Fisher, Nick Clegg, David Cameron and Gordon Brown. Beethoven, Symphony No. 9 Mov. 4 performed by Quatuor Avena. Theme tune from Love Island performed by Timmy Fisher. Ludwig van Beethoven, Symphony No. 9, Mov. 4 performed the NBC Symphony Orchestra under Toscanini. Johannes Brahms, Symphony No. 1 in C minor, Mov. 4 performed by Musopen Symphony. W. A. Mozart, Divertimento in D, K. 136, performed by The Statutory Instruments. John Luther Adams, ‘Become Desert' performed by the Seattle Symphony under Ludovic Morlo for Cantaloupe Music. Jean Sibelius, Symphony No. 5, Mov. 3 performed by Timmy Fisher. Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/ Tim's interview with Phelim McDermott:https://bachtrack.com/interview-phelim-mcdermott-manchester-international-festival-tao-of-glass-2019

De Vrije Geluiden Late Night Show tipt een project van het Nederlands Kamerkoor: The Public Domain van David Lang, voor duizend zangers. In Haarlem en Amsterdam, op 5 en 6 juli aanstaande. Met muziek van Sieur de Sainte-Colombe, David Lang, BartolomeyBittmann, Jan Sandström en John Luther Adams.

Tonight's edition features the final piece of John Luther Adams' musical trilogy, Become Desert, played in its entirety! Plus preview Loscil's new record Equivalents, and plenty more!Playlist:Equivalent 7 – Loscil – Equivalents (2019) – LoscilTalk Break Transmission – Synkro/Arovane – Transmission (2019) – SynkroMusikLiving Space – Earthen Sea – Grass and Trees (2019) – KrankyHA TENGO – Chihei Hatakayama/Stijn Huwels – Jodo (2019)White Paddy MountainTalk BreakBecome Desert – John Luther Adams – Become Desert (2019) – Cantaloupe MusicTalk BreakTwo Birds - Daigo Hanada - Ouka (2019) - Moderna RecordsYouth (Instrumental) - The Midnight - Kids (2018) - The MidnightSilent State Optimizer - Leech - The Stolen View (2007) - LeechTalk BreakEach Of Us Needs Such A Place - Tyresta - Each Of Us Needs Such A Place (2019) - Aural Canyon Enjoying the show? Please support BFF.FM with a donation. Check out the full archives on the website.

Ten Thousand Birds by John Luther Adams is an immersive piece of music deeply connected to nature and place. Hear triple Grammy-award-winning flautist and ANAM Guest Artist Tim Munro, Grammy award and Pulitzer prize winning composer John Luther Adams, and ANAM cellist David Moran talk about their love of birdsong, breaking down performance conventions, and the upcoming performance of Ten Thousand Birds at the Australian National Academy of Music on the 4th of June 2019. Written, edited and produced by Madi Chwasta. Orchestral music from ANAM Opening Concert 1. Flute music was Liminal Highway by Christopher Cerrone. Bird sounds from xeno-canto.org. For more information on ANAM's performance of Ten Thousand Birds and to book tickets, visit anam.com.au/birds

A new radio show where we curate playlists of music we like and stuff we talk about on the podcast. Check out our featured artists with the links for every piece below ⬇️ 1:30 - Traveling Light II by Kristine Tjøgersen, performed by Ensemble Neon http://kristinetjogersen.no/ http://ensembleneon.no/ 8:22 - Byblos by Mary Kouyoumdjian, performed by Duo Noire https://www.newfocusrecordings.com/catalogue/duo-noire-night-triptych/ http://www.marykouyoumdjian.com/ 18:35 - The Gallant Victory, from "a chantey & hymn & ditty (from New England)" by Todd Kitchen, performed by Sharon Harms, soprano, and the Composers Conference faculty ensemble, Jim Baker, conductor http://www.toddkitchen.com/ 23:41 - Soli Deo Gloria by Courtney Bryan, performed by Duo Noire https://www.newfocusrecordings.com/catalogue/duo-noire-night-triptych/ https://www.courtneybryan.com/ 29:53 - Everything that Rises by John Luther Adams, performed by JACK Quartet http://coldbluemusic.com/cb0051/ http://jackquartet.com/ 39:37 - Folk Song by Nathan Thatcher, performed by Room 1078 https://soundcloud.com/nathan-thatcher https://room1078.wordpress.com/2018/05/31/albums/ 44:30 - Fac Ut Ardeat by Lisa Atkinson, performed by Amber Evans, Soprano https://www.atkinsonlisa-composer.com/ http://www.amberevansmusic.com/ 52:05 - Old Fires Catch Old Buildings by Paula Matthusen, performed by Loadbang http://www.newfocusrecordings.com/catalogue/loadbang-old-fires-catch-old-buildings/ http://www.paulamatthusen.com/

Renowned composer John Luther Adams discusses “The Wind Garden,” his soundscape installation for the Stuart Collection at UC San Diego, with the Collection’s Mathieu Gregoire. Series: "Stuart Collection" [Arts and Music] [Show ID: 30732]

Renowned composer John Luther Adams discusses “The Wind Garden,” his soundscape installation for the Stuart Collection at UC San Diego, with the Collection’s Mathieu Gregoire. Series: "Stuart Collection" [Arts and Music] [Show ID: 30732]

Renowned composer John Luther Adams discusses “The Wind Garden,” his soundscape installation for the Stuart Collection at UC San Diego, with the Collection’s Mathieu Gregoire. Series: "Stuart Collection" [Arts and Music] [Show ID: 30732]

Renowned composer John Luther Adams discusses “The Wind Garden,” his soundscape installation for the Stuart Collection at UC San Diego, with the Collection’s Mathieu Gregoire. Series: "Stuart Collection" [Arts and Music] [Show ID: 30732]

It's a pledge drive special edition of Access Utah today. My special guest for the hour is Dean Craig Jessop of USU's Caine College of the Arts. We'll reach into the archives for parts of some of our favorite episodes of the program. We'll hear a segment from our interview with composer John Luther Adams. Then we'll revisit a portion of our conversation with GENTRI, the Gentlemen Trio. And finally, we'll hear from Ann Cannon, author of "I'll Tell You What," tell how her father LaVell Edwards and mother Patty Edwards met.

Verrassend lieflijke muziek van George Antheil, Tylman Susato, Carlo Farina, Ensemble Sequentia, Lex van Delden, en John Luther Adams.

Join Tom on a Listening Service voyage across our oceans to discover why music has long been inspired by the sea - from Sibelius and Mendelssohn to John Luther Adams and the Beatles - how have composers tried to capture the ocean in their music? Is it even possible? Meanwhile, Tom discovers music that is literally created by the sea itself from Blackpool to the Arctic, and dives down into the sounds of coral reefs with marine biologist Helen Scales to hear the noisy vibrant reality of life under the waves, from snapping pistol shrimps and angry damselfish to singing whales.

Members of Brisbane's Camerata play string quartets by Chris Perren and Argo artistic director Connor D'Netto in the subterranean spaces of the Spring Hill Reservoir, along with works by Philip Glass and John Luther Adams.

Members of Brisbane's Camerata play string quartets by Chris Perren and Argo artistic director Connor D'Netto in the subterranean spaces of the Spring Hill Reservoir, along with works by Philip Glass and John Luther Adams.

Joining us this week is Doug Perkins.  Doug has commissioned and premiered over 100 pieces and works with such composers as David Lang, Steve Reich, Paul Lansky, John Luther Adams, Nathan Davis, Larry Polansky, Christian Wolff, Glenn Kotche, Sofia Gubaidulina, and Tristan Perich. He founded the So Percussion and the Meehan/ Perkins Duo, and performs regularly with Signal, eighth blackbird, the Chicago Symphony’s MusicNOW, and others.  He currently teaches at The Boston Conservatory.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and Hello 1:15 What's up?  Being the Dept. Chair?      3:27 Where/how did you fall in love with drums?  7:16 TBC merging with Berklee?  9:44 New Music Gathering in Boston?     13:41 Casey: What's the sound?  Acoustic Dispersion.  Massive and  excellent laser sound/laser tag tangent 26:00 Getting big projects off the ground?  Chosen Vale percussion  seminar?  35:09 Ben:  Bang On a Can -Julia Wolfe and Michael Gordon   47:10 Doug's podcast series, 5 Days With Doug.    50:43 How you see electronic music as it relates to percussion?

Glacial orchestras, floaty head voices, critique among friends. The New York composer discusses three important albums.

Trombonist Michael Clayville from Alarm Will Sound and Visiting Professor at Lawrence Conservatory Michael Clayville is a musician who is passionate about drawing audiences deeply into the art of sound. His abilities as a trombone soloist, chamber musician, and improviser have taken him to prestigious venues around the world including Carnegie Hall, Walt Disney Hall, the Barbican (London) and the Muziekgebouw aan ’t IJ (Amsterdam) and have led to him working with some of the most prominent classical and popular artists today including Pulitzer Prize-winning composers Steve Reich, John Adams, John Luther Adams, Charles Wuorinen, and David Lang, and experimental groups like Medeski Martin and Wood, and the Dirty Projectors. Michael is a founding member of Alarm Will Sound, a group that has been awarded the ASCAP Concert Music Award for “the virtuosity, passion and commitment with which they perform and champion the repertory for the 21st century” and which has been called the “future of classical music” by the New York Times. In addition to being its trombonist, Michael is also the Director of Marketing for Alarm Will Sound. In this episode, we cover: Playing with Medeski, Martin and Wood Picking repertoire in Alarm Will Sound by quasi-democratic methods Marketing efforts/social media for AWS Splitting Adams CD The Mizzou International Composers Festival Georg Friedrich Haas Teaching at Lawrence, working for/with Brian Pertl LINKS: Personal Site Lawrence University bio page Alarm Will Sound bio page Andrew's TEM interview with Michael   Want to help the show? Take a minute to leave us a rating and a review on iTunes. The Brass Area of the Mary Pappert School of Music at Duquesne University in Pittsburgh PA is our new partner (and Lance has been teaching euphonium there since 2000). If you are interested in learning more about the program, visit the site HERE! Check out Parker Mouthpieces fine offerings (including the Andrew Hitz and Lance LaDuke models) by clicking PARKER! You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated! Last but not least, we are now on Instagram! Follow us at instagram.com/pray4jens/ TODAY! Expertly produced by Will Houchin with love, care, and enthusiasm.

This week's guest, Gene Koshinski, is a performer, composer and educator, teaching at The University of Minnesota Duluth.  He has performed worldwide, receiving awards as player and composer throughout his career.Recent notable publications are his method book TWO, a guide to two-mallet technique and practice, and his Concerto for Marimba and Choir.  He has also commissioned great composers such as John Luther Adams, Alejandro Vinao, Stuart Saunders Smith, and others.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 intro and hello1:30 Summer, projects, kids.5:25 Maximizing practice time8:00 Gene's book, "TWO" currently10:57 Some favorite two-mallet rep.?13:33 Gene's new snare drum solo16:20 Ben: "When Snare Drum gets Weird" 5 orchestra pieces that use snare drum in unusual ways.22:03 How to "get started" composing?30:15 Writing for other instruments and the unfamiliar?33:45 Quey Duo39:00 Megan: Make Music NY Day45:07 State of Minnesota percussion community? Music education in Minnesota52:40 Where are you finding your inspiration?54:20 PAS Competition Committee?

April 30, 2015 With me today is Ron Blessinger, the Musical Director of the internationally known Third Angle New Music Ensemble. I first met him a long time ago when I wrote and produced a TV story on their production of several compositions by Steve Reich, which included a visit FROM Steve Reich to work with them. It was an experience neither one of us will ever forget. Ron and I, that is. Ron talks about TA's landmark concert on Friday, May 1, 7:30 at the Alberta Rose Theatre as the ensemble teams up with The New Yorker’s Alex Ross, author of the bestselling 20th-century music history The Rest is Noise. Ross will read the story of the West Coast avant-garde, complemented by Third Angle’s performance of works by Harry Partch, Henry Cowell, Lou Harrison, and 2014 Pulitzer Prize winner John Luther Adams. Ron is also a long-time violinist with the Oregon Symphony. He had fought traffic to get to World Cup.

Hear music that begins with classical instruments, like the string quartet, piano, or an orchestra, but which is then augmented, enhanced by electronics, percussion, or preparation. Listen to works by English violinist, pianist, and composer Poppy Ackroyd, Netherlands-based composer Peter Adriaansz, and cinematic music from the augmented string quartet amiina. The versatile Dutch pianist Saskia Lankhoorn plays a specially-prepared piano over a bed of droning sine tones in a work by Seattle-born, Netherlands-based Peter Adriaansz, “Attachments III.” Then, hear music by the Icelandic outfit, amiina, which was once the touring string quartet with Sigur Ros, and has now expanded to include percussion & electronics. From amiina, hear selections from their standalone original live score to the 1913 film Fantômas, that lord of terror, creator of fear, and genius of evil who initially came to live in the crime fictions of French writers. Then, listen to "Rave," music for piano and pre-recorded electronics by Molly Joyce for longtime friend and collaborator, pianist Vicky Chow from her record, Aorta. Also, hear music for percussion and electronics by John Luther Adams, featuring Glenn Kotche, from the long-form work, Ilimaq. Plus, listen to grand music for amplified orchestra by English composer Andrew Poppy from a record released on ZTT Records in the mid-eighties. PROGRAM #3927,  classical instruments, contemporary sounds  (First Aired 12-8-2016)         ARTIST: Andrew PoppyWORK: 32 Frames for Amplified Orchestra, excerpt [1:00]RECORDING: The Artefact SeriesSOURCE: ZTT Records 186INFO: ztt.com   ARTIST: Saskia Lankhoorn, pianoWORK: Peter Adriaansz: Attachments III [7:52]RECORDING: EnclosuresSOURCE: Ergodos ER 25INFO: ergodos.ie ARTIST: Poppy AckroydWORK: Birdwoman [5:36]RECORDING: FeathersSOURCE: Denovali RecordsINFO: denovali.com ARTIST: George Hurd EnsembleWORK: Tethering Bird, excerpt [:38]RECORDING: Navigation Without NumbersSOURCE: Innova 937INFO: innova.mu ARTIST: AmiinaWORK: Guðmundur Vignir Karlsson: Crocodile [5:39]RECORDING: FantômasSOURCE/INFO: amiina.com ARTIST: Andrew PoppyWORK: 32 Frames for Amplified Orchestra [8:39]RECORDING: The Artefact SeriesSOURCE: ZTT Records 186INFO: ztt.com   ARTIST: AmiinaWORK: Solrun Sumarlidadottir: Café [3:25]RECORDING: FantômasSOURCE/INFO: amiina.com ARTIST: RestroyWORK: Skin, excerpt [:46]RECORDING: Saturn ReturnSOURCE: Milk Factory Productions INFO: milkfactoryproductions.bandcamp.com ARTIST: Vicky ChowWORK: Molly Joyce: Rave [11:17]RECORDING: Aorta SOURCE: NWAM083INFO: newamrecords.com ARTIST:  John Luther Adams & Glenn KotcheWORK: John Luther Adams: Ilimaq , Ascension [3:06]RECORDING: IlimaqSOURCE: Cantaloupe Music 21112INFO: johnlutheradams.bandcamp.com

This week, we are searching through the archives and bringing you the best of Access Utah. Today our theme is Pulitzer Prize winners, and we have Utah Humanities' Cynthia Buckingham with us to revisit our discussions with Annette Gordon-Reed, John Luther Adams, Ken Armstrong, and Pat Bagely.

Pulitzer Prize-winning composer John Luther Adams, who until very recently made his home in Alaska, is far from the only composer to be inspired by winter landscapes. We'll celebrate the season with music from around the world by composers inspired by winter. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Der Greise Kopf by Franz Schubert Schnee by Hans Abrahamsen Tundra Songs by Derek Charke Lullaby by Derek Charke Throat Song by Derek Charke Winterlicht VIII by In-Sun Cho Cercle du Nord III by Derek Charke

John Luther Adams is a composer whose life and work are deeply rooted in the natural world. On Monday's Access Utah, Adams joins Tom Williams to talk about political art versus art, listeners' interpretations of his works, and composing music for outdoor performance, among other topics. We'll also hear some of John Luther Adams' music.

In December of 2015, pop singer Taylor Swift donated $50,000 to the Seattle Symphony because she loved their recording of John Luther Adams’ 42-minute work, Become Ocean. In this episode, Adams reveals his own pop culture roots, and credits Frank Zappa for getting him into classical music. He talks about his work as an environmentalist, what led him to write Ocean, and swims us through a piece so awesome that critic Alex Ross called it, “the loveliest apocalypse in musical history.”  Music in this episode: Dark Waves. John Luther Adams Ecuatorial. Edgard Varèse. Songbirds: Woodthrush. John Luther Adams. Become Ocean. John Luther Adams. Performed by the Seattle Symphony.   Audio production by Todd “Swifty” Hulslander with “Blank Space” by Dacia Clay and editing by Mark DiClaudio. 

Happy New Year, everybody! Get ready for an astonishing onslaught of awesome, a veritable juggernaut of wow, from Classical Classroom in 2016 (John Luther Adams! The Force Awakens! Alisa Weilerstein!), starting with this episode featuring Rufus Wainwright.   You may know Rufus Wainwright as a singer-songwriter, a piano man, a dude who hangs out with Elton John and Joni Mitchell. But as it turns out, he also writes classical music and opera. In this episode, he talks about his new opera, Prima Donna, and writing a traditional romantic opera today. Audio production by Todd “Toddwright” Hulslander with polite claps from Dacia Clay and editing by Mark DiClaudio. All music in this episode from the opera Prima Donna, available on Deutsche Grammophon.

As with all mixes this one had a specific starting point or inspiration - the incredible new album from Max Richter - Sleep.  It's 8 hours long!  8 hours!  Here's a link to purchase the full version... http://www.deutschegrammophon.com/us/cat/4795267 I'm a sucker for high concept projects so I was interested from the start.  Add that to the fact that I am a fan of Richter's music and I knew I'd probably love it.  And yup, I do.  It's the perfect combination of Richter's classical style with an ambient sensibility.   I knew I had to make a mix with tracks from the Sleep album.  I decided to keep the whole mix in the classical realm.  A lot of the tunes are new like the Besarin Quartet stuff.  Some cuts I've been waiting to use for awhile now, like the John Luther Adams cut. As much as I like the Max Richter tracks I think my favorite track in the mix is Pie Jesu.  The cut is from The Wine of Silence by Andrew Keeling, David Singleton and Robert Fripp.  The music is based on Fripp's soundscape series, guitar improvisations that use tape loops and echo and reverb.  From there Keeling and Singleton scored the soundscapes for orchestra.  They finally subjected the orchestral recording to further electronic manipulation.  The result is transcendent.  It's a beautiful, beautiful album. The title of the mix comes from a favorite Andrew Bird song, Night Sky, and I thought it fit somehow.  I really like the way each piece dissolves into the next on this mix.  I hope you like it too. Enjoy  T R A C K L I S T 00:00 Nick Cave & Warren Ellis - Farwell at Tinguit 02:15 Max Richter - Patterns(cypher) 05:55 David Wingo - Opening(Take Shelter ost) 6:55 John Luther Adams - The Light that Fills the World 11:20 Bersarin Quartet - die nachte sind erfullt... 15:50 Brambles - Such Owls as You 20:25 Monty Adkins - Sendai Threnody 22:35 Robert Fripp, Andrew Keeling, David Singleton - Pie Jesu 29:40 Max Richter - Nor Earth, Nor Boundless Sea 37:10 Olan Mill - Tallole 40:35 Aphex Twin - Rhubarb orc. 19.53 rev 46:40 Keaton Henson - Elevator Song 49:45 Bersarin Quartet - verflossen ist das gold der tage 53:00 Islands of Light - Gypta 56:14 end

Varför är himlen blå? Och varför är Uranus blå? Varför är en del stjärnor blå när andra är gula eller röda? Bengt Gustafsson utforskar kopplingar mellan det blå i universum och det blå i musiken. I spellistan bla Ted Gärdestad, Alexander Skrjabin, Gustav Holst, Uehara Hiromi, Gösta Nystroem, Nina Simone, Joseph Haydn och John Luther Adams

Hear unusual music for string quartet on this program, as Australian composer Andrew Byrne, now based in New York, uses the string quartet as a percussion instrument in his work called “Striking.” Then, listen to Bang on a Can All-Star saxman, clarinetist and composer Ken Thomson’s work for the JACK Quartet, “THAW.” There’s also folk-informed music from the singer, songwriter and composer Aoife O Donovan as played by Brooklyn Rider. Hear string quartet music by multi-instrumentalist composer Vân-Ánh Vanessa Võ, who plays a traditional Vietnamese string instrument on “Green River Delta,” in collaboration with Kronos Quartet. Plus, hear a work from Pulitzer Prize-winning composer John Luther Adams that uses the string quartet as an ambient music ensemble, relying upon harmonics and on tones played on open strings. That, and more. PROGRAM #3686 Music for String Quartet (First aired on 1/21/2015)   ARTIST(S) RECORDING CUT(S) SOURCE Ken Thomson (JACK quartet) THAW Thaw, excerpt [1:41] Cantaloupe Records 21095 bangonacan.org Members of Either/Or Ensemble Striking; Whispers and Cries Andrew Byrne: Striking Parts 1 & 2 [7:32] Available for purchase directly through composer here: andrewbyrne.com JACK Quartet John Luther Adams: The Wind in High Places John Luther Adams: The Wind in High Places - Above Sunset Pass [7:24] Cold Blue Music CBM 41 coldbluemusic.com Ken Thomson (JACK quartet) THAW THAW: Thaw [10:55] Cantaloupe Music 21095 bangonacan.org Brooklyn Rider Almanac Aoife O'Donovan: Show Me [4:56] Mercury Classics / In A Circle Records #002159302 mercuryclassics.com Available at iTunes, Amazon.com, Emusic.com Vân-Ánh Vanessa Võ with Kronos Quartet  Three-Mountain Pass Vân-Ánh Vanessa Võ: Green River Delta/Luu Thuy Truong [4:40] Innova 866 innova.mu   Members of Either/Or Ensemble Striking; Whispers and Cries Andrew Byrne: Striking Parts 3 & 4 [8:30] Available for purchase directly through composer here: andrewbyrne.com

March 2015 - Day 11 This is the third recording from last Sunday's service at the Community Church of Boston. I played this one after community announcements, joys, and sorrows had been expressed. This was paving the way for our presenter, Souhad Zendah. See Day 9 for a longer description of the service. This is another one in the arpeggiated style. After listening to it, I think it references "Become Ocean" by John Luther Adams, performed by the Seattle Symphony Orchestra. I've been listening to that recently. That is a very cool piece, and I really recommend seeking it out!

A pianist recited Yiddish poetry during a Washington, DC recital, the Seattle Symphony premiered a Pulitzer Prize-winning piece about the environment, and Anna Netrebko made a surprising transformation as Lady Macbeth – these were a few of the high points of 2014, according to three top music critics. Joining host Naomi Lewin for this discussion of the year's highs and lows of classical music are Anne Midgette, the classical music critic of the Washington Post; David Patrick Stearns, classical music critic of the Philadelphia Inquirer and for WQXR's Operavore blog; and Zachary Woolfe, freelance classical music critic for the New York Times. Segment Highlights Midgette noted that Evgeny Kissin's poetry-infused recital was part of a larger trend of artists making more personal, introspective statements in concert halls. But she also lamented the way in which classical music in America seemed disconnected from broader national discussions of race and social change. And when debates did turn up in classical music, they proved one-dimensional. Midgette was particularly "saddened at the level of discourse" around John Adams's opera The Death of Klinghoffer, which drew protests at the Met. Our other panelists agreed. "I thought the [Klinghoffer] debate was such a straw man," said Stearns, "because most of the protesters didn't know much about the piece." All of the critics agreed that serious pros and cons about the opera needed to be raised but often weren't. The Met's eventful year also featured an epic struggle to cut costs and to reach contract deals with its unionized employees; the eventual outcomes didn't entirely solve the company's financial challenges, said Woolfe.  Poor labor-management relations were an ongoing national story in 2014. But the year saw many causes for optimism, say the panel, including some inventive programming at Philadelphia and Seattle orchestras (the latter of which premiered John Luther Adams's much-discussed Pulitzer Prize winner Become Ocean); new leadership at the Kennedy Center in Washington, DC; and the continued emergence of China on the orchestra landscape. Listen to the full discussion above and tell us in the comments below: What were your highs and lows of 2014? Bonus audio: Our guests consider the changing marketing of classical concerts:  

Gordon Wright, the Alaskan composer, conductor, professor and environmentalist, was John Luther Adams's best friend. When he died suddenly in 2007, Adams wrote three pieces for solo violin titled Three High Places, vignettes representing moments Adams and Wright shared while camping. These pieces eventually led Adams to write his first string quartet, at age 59, called The Wind in High Places. In a process that Adams likens to "primitive man discovers fire," he approached the traditional music form in a way that felt true to his compositional identity. The entire work is built on natural harmonics and open strings, allowing an airy, breathy timbre.  John Luther Adams wrote his first string quartet at age 59 as vignettes representing moments he and Gordon Wright shared while camping, and likens his approach to the traditional music form as "primitive man discovers fire." Download The Wind in High Places as Meet the Composer's first Bonus Track with John Luther Adams. The above audio is an exclusive live recording of this currently unavailable piece, performed recently in the Q2 Music Studios by the dynamic JACK Quartet. A studio recording of The Wind in High Places will come out in January 2015, again with JACK Quartet, on the label Cold Blue Music.

Q2 Music celebrated the launch of its inaugural podcast, Meet the Composer, on Tuesday, June 24 at 7 pm with a music party and live video webcast in The Greene Space at WQXR.  Hosted by Nadia Sirota, the evening included interviews with all five members of Season One of Meet the Composer, including the two most recent Pulitzer Prize winners, John Luther Adams (2014) and Caroline Shaw (2013), as well as fellow innovators Andrew Norman, Marcos Balter, and Donnacha Dennehy. The concert featured a star-studded array of dynamic, award-winning performers: flutist and International Contemporary Ensemble artistic director Claire Chase performs Balter's Pessoa; Hotel Elefant performs Adams's Red Arc/Blue Veil; Attacca String Quartet performs excerpts from Norman's Peculiar Strokes; Cellist Hannah Collins performs Shaw's in manus tuas; and Bang on a Can All-Star pianist Vicky Chow, cellist Ashley Bathgate and violinist Todd Reynolds perform Dennehy's Bulb. Watch video of the entire show: Q2 Music’s Meet the Composer pays homage to the landmark show of the same name hosted by Tim Page for WNYC in the mid to late '80s. Thanks to New Music USA for their flexibility with the use of the “Meet The Composer” name, which became famous though their legacy organization founded by composer John Duffy.

John Luther Adams made all of the wrong career decisions. He got kicked out of multiple high schools, went to the "wrong" college, never finished his master's degree, and ultimately moved as close as he could to the edge of society, to a cabin, in Alaska. Somehow, though, all of these unconventional moves crystallized his creative voice into something singular, instantly recognizable, and emotionally mature. Adams's music is fast and slow at the same time, unraveling in fractal patterns that mimic great vast landscapes as well as tiny variations in the snow.

In November of 2012 Texas Performing Arts presented the world premiere of I L I M A Q, a drum kit opera written by American composer John Luther Adams for percussionist Glenn Kotche, drummer for the alternative rock band Wilco. KUT’s Views and Brews couldn’t resist the opportunity to invite John, Glenn and bassist Darin […]

In November of 2012 Texas Performing Arts presented the world premiere of I L I M A Q, a drum kit opera written by American composer John Luther Adams for percussionist Glenn Kotche, drummer for the alternative rock band Wilco. KUT’s Views and Brews couldn’t resist the opportunity to invite John, Glenn and bassist Darin...

1 - "Strange birds passing" (John Luther Adams). NEC Contemporary Music Ensemble. John Heiss, regente/conductor. 2 - "Draw a map" (Hilay Hahn & Hauschka). Hilay Hahn, violino/violin. Hauschka, piano preparado/prepared piano 3 - Canto do pintassilgo/ Brazilian birdcall 4 - "Frevo e fuga" (Paulo Belinatti). Quarternaglia Guitar Quartet. 5 - "Boum!" (Charles Trenet). Charles Trenet

This piece was composed by John Luther Adams. Evan Hurd is producer, director of the video. Also participating are faculty and participants in The Banff Centre's Roots and Rhizomes Percussion Residency.