Podcasts about Julia Wolfe

Andrew Lipke is a composer, producer, arranger, conductor, vocalist, multi-instrumentalist, and educator who has toured for more than a decade with the Led Zeppelin tribute band Get The Led Out and performed as a vocalist with Steve Hackman's Brahms V Radiohead symphonic synthesis; and he collaborates with World Café Live on music education programs for underserved youth in the Philadelphia area. Andrew has produced and released seven albums of original music spanning various genres; and he has collaborated with the Southwest Florida Symphony Orchestra four times, including conducting a "Rock Star Séance" concert and conducting and performing in the Valentine's Day-themed concert called "You've Got Mail!: Musical Love Letters". with the Southwest Florida Symphony. He is scheduled to conduct a concert titled "70s, 80s & 90s Unplugged" with the Southwest Florida Symphony on May 18, 2024. (Note: This date appears to be in the past, which might be an error in the source or my interpretation. It's worth noting.) He is scheduled to conduct a concert titled "Rock Star Séance" on October 24, 2025? praised for his songwriting and orchestration. Producer: Has produced numerous recordings for artists in the Philadelphia region in his studio, The Record Lounge. Arranger & Conductor: Extensively worked with Amos Lee, providing orchestrations for his albums and conducting orchestras for his performances, including major American symphony orchestras. Conducted various other prominent orchestras. Multi-instrumentalist & Vocalist: Toured for over a decade with the Led Zeppelin tribute band Get The Led Out and performed as a vocalist with Steve Hackman's Brahms V Radiohead symphonic synthesis. Concert Series Curator & Host: Created and hosted the innovative "Intersect" concert series with The Chamber Orchestra of Philadelphia, exploring cross-genre musical connections. Music Educator: Collaborates with World Café Live on music education programs for underserved youth. Was an artist in residence for Julia Wolfe's Pulitzer Prize-winning composition and has an ongoing residency with Hill Freedman World Academy, resulting in multiple albums and an Emmy-winning documentary. Taught at The Hartt School of Music. Album Cycle & Current Projects: Created an album cycle based on Herman Hesse's "Siddhartha" and is currently working on a new concept album titled "IRIS" and other projects. SONG 1: Solfeggietto by C.P.E. Bach (Carl Philipp Emanuel) performed here by Frederic Bernachon. https://www.youtube.com/watch?v=-6g-tWmOSsoAnnie’s SONG 2: Song by John Denver from his 1974 album Back Home Again. https://www.youtube.com/watch?v=RNOTF-znQyw SONG 3: Master of Puppets by Metallica from their 1986 album of the same name. https://www.youtube.com/watch?v=E0ozmU9cJDgSee omnystudio.com/listener for privacy information.

A (relatively) in-depth analysis of Max Richter in (just under) twenty minutes.Richter was born in Hamelin, Germany and grew up in Bedford, England. He studied composition and piano at the University of Edinburgh and at the Royal Academy of Music. After completing his studies, Richter co-founded the contemporary classical ensemble Piano Circus. He stayed with the group for ten years, commissioning and performing works by minimalist musicians such as Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe, and Steve Reich. The ensemble was signed to Decca/Argo, producing five albums.Richter now arranges, performs, and composes music for stage, opera, ballet and screen. He has collaborated with many other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums, and his music is widely used in cinema.In this episode I am in discussion with Dr. Andrew Webber.https://buymeacoffee.com/lownoiseWhy buy me a coffee?Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.Mathew Woodall

Na de wolf en de leeuw muzikaal te introduceren transformeren zij in 2 muzikale grootheden: Julia Wolfe en Reinbert de Leeuw. En dan volgt een haast onmogelijke keuze: naar welk concert neem jij je date mee op Valentijnsdag: het eerbetoon aan Reinbert de Leeuw of Steel Hammer van Julia Wolfe?  Ter onderbreking van deze keuzestress duiken we even de Children's Corner in waar we de KinderComponist des Vaderlands, Lize Bastiaens, aan het woord horen over muziek van kersverse Grammy winnares Caroline Shaw. En we drijven de nacht in met een herinnering aan Chick Corea, die vandaag 4 jaar geleden overleed. 

This episode comes to you from Nanna Ruus, booker at the Copenhagen venue Alice. The mix is caring and warm while also being hardcore and rough, like a hug that picks you up and tosses you around. We are delighted to have Nannas picks, added to our ever growing archive of sound. Tracklist: Preparation to Heal - Duxwa Lift you - Moin, Sophia Al-Maria I will Always Miss You - Joy Guidry, Scott Li I am your house - Molina Unreleased - Raisa K feat. Coby Sey Please Tell Me - Lightning Bug Unifying Force - Joshua Chuquimia Crampton Minus - Daniel Blumberg Te Amar Eterno - Bruno Berle Sadati - Asmaa Hamzaoui, Bnat Timbouktou LAD: I.--- - Julia Wolfe, Matthew Welch Stars! I'm coming! - SLIM0 Couch Slut Lewis - Couch Slut No matter where you go - Ryong Guiding Light - Good Sad Happy Bad Harir - Bedouin Burger, Zeid Hamdan, Lynn Adib You Better Mind - Bessie Jones, Georgia Sea Island Singers, Alan Lomax Brief Encounters - Aron Dahl The Merry Golden Tree - Shovel Dance Collective Khazanig - pankisi ensemble svn lvn - BishBusch ANOTHER DAY, ANOTHER DOLLAR - Soli City Stille Hjerte - Frode Veddinge

Today we are joined by professor at the University of Memphis Scheidt School of Music, flute player and member of the wind quintet called The City of Tomorrow and leads a band called The Overly Sensitive Orchestra. Elise brings a great group of compositions from Crumb's Black Angels (which was a Vietnam War protest), some Anthracite Fields by Julia Wolfe (climate change/environmentalism), some music by LJ White (gender and trans visibility), Workers Union by Andriessen, and others.

As founder Andy and Director of Sales Julia talk about in this episode, Grama’s mission is evident in its name: grass (i.e. land stewardship) comes first; the livestock is the main tool and one of the results of this stewardship. It’s also a way of funding the endeavor, and the resultant grass-finished beef is available […]

Dr. Kendall K Williams, son of Trinidadians, began playing pan at the age of 4 and later performed with large, world-renowned steel bands in Trinidad and Tobago as well as bands in the New York-based scene for years, then after studies in architecture, he graduated from Florida Memorial University with a BA in Music under the direction of Dr. Dawn Batson, with his main instrument being the steel pan. He continued to further his studies at NYU Steinhardt, where he pursued a Master of Music Degree in Music Theory & Composition, studying with Julia Wolfe, Michael Gordon, and Rich Shemaria. There he also actively participated in the NYU Steel band under the leadership of Artist Faculty member Josh Quillen. Kendall was awarded the opportunity to work with the Brooklyn Philharmonic on a project that involved steel pan and contemporary music compositions. From 2013 t0 2014 he was the Van Lier Fellow with the American Composers Orchestra and graduated with his PHD in music composition at Princeton University! One of his goals is establishing steel pan music programs in colleges and universities that will allow musicians to major in steel pan and heads the WIADCA educational/development programs for schools, especially as he teaches in elementary schools to universities. Dr. Williams sits as CEO of Pan in Motion, an organization that he started in 2014, to promote history, education, and sustainability in steel pan. He has played in the Macy's Parade and has won the People's Choice award and placed 4th at the Panorama steelpan competition this past September in his second year of competition. In honor of the steelpan, which is the only new instrument invented in the 20th century in its birthplace of the twin islands of Trinidad and Tobago, Kendall's dream is to own a building dedicated to the steelpan, its culture and history, with a steelpan museum, concert halls, performance spaces for mas and other aspects of carnival, rehearsal space, soundproof rooms for recordings, reading and teaching rooms, board rooms, artwork, storage for steel pans. He dreams of offering his employees: 401K retirement benefits, just like any other Fortune 500 company. He is passionate about raising the view of the steelpan to the level of rock, funk, soca, classical music in the eyes and ears of the world. Follow him at: https://www.paninmotion.com   --- Support this podcast: https://podcasters.spotify.com/pod/show/ozzie-stewart/support

Tonight in The Koussevitzky Music Shed at Tanglewood in Lenox, Massachusetts, Giancarlo Guerrero conducts Mahler 1st Symphony and “Her Story” by Pulitzer Prize-winning composer and Bang on a Can co-founder and co-director, Julia Wolfe."Her Story" was written for Lorelei Ensemble and orchestra, and co-commissioned by the Nashville Symphony, Chicago Symphony, San Francisco Symphony, Boston Symphony, and National Symphony Orchestras. Beth Willer is the Founder and Artistic Director of the Lorelei Ensemble and she joins us.

Llisca sobre la superf

Conductor Marin Alsop leads the Chicago Symphony Orchestra in three pivotal works by 21st-century women composers. This Midnight Hour, a single-movement orchestral composition by former Mead Composer-in-Residence Anna Clyne, evokes a visual journey for the listener. Mead Composer-in-Residence Jessie Montgomery's Rounds, commissioned for and performed by pianist Awadagin Pratt, is inspired by the constancy, rhythms and duality of life that impact all living things. Closing the program is Her Story, a CSO co-commission by Pulitzer Prize-winning composer Julia Wolfe that captures the passion and perseverance of women who have led the fight for representation and gender equality. A 40-minute theatrical experience for orchestra and women's vocal ensemble, the piece is the latest in a series of compositions by Wolfe that highlights monumental and turbulent moments in American history. Explore the music in the free preconcert conversation featuring Max Raimi in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets are needed. Learn more: cso.org/performances/22-23/cso-classical/alsop-conducts-wolfe-her-story

This time on The Children's Hour, our summer interns Julia Wolfe and Sophie Anderson-Haynie have co-written and produced a program about Banned Books. They teach us what that means, the history of banning books, and how it's even possible in the era of digital reading.

Vanessa Wagner présente l'album Study Of The Invisible (InFiné). S'il y a une constante chez Vanessa Wagner, c'est bien sa versatilité, au sens où l'entendent les Anglo-Saxons. Parallèlement à sa carrière de musicienne interprétant le grand répertoire soliste, chambriste et concertant sur les scènes du monde entier (et l'enregistrant pour le label La Dolce Volta), celle que Le Monde qualifie de "pianiste la plus délicieusement singulière de sa génération" et que Libération décrit comme "une des pianistes les plus curieuses et captivantes du paysage hexagonal - arpente avec la complicité du label InFiné des chemins tout aussi personnels, mais peut-être plus intimes". Après Statea en 2016, en duo avec le musicien électronique Murcof, elle vient aujourd'hui poursuivre avec Study Of The Invisible le voyage entamé sur son disque solo Inland (2019). Un voyage qui la voit défricher ce répertoire qu'elle est en France, voire en Europe, pratiquement la seule pianiste "classique" à aborder. Un répertoire contemporain et intemporel que l'on qualifiera, pour aller vite, de "minimaliste", mais qui recouvre en réalité une multitude d'univers singuliers et de personnalités musicales souvent hors du commun, toutes générations confondues. Pour composer ce programme, Vanessa Wagner a creusé son passionnant travail de découverte entamé avec Inland, assemblant des pièces rares qui tissent entre elles une mystérieuse histoire. Parmi les 15 stations qui composent ce palpitant périple, les États-Unis se taillent la part du lion. Sous le parrainage de Moondog, le viking aveugle et visionnaire, dont le très "bachien". Prélude en la majeur de 1961 constitue la pièce la plus ancienne du disque, se côtoient les icônes du minimalisme - l'incontournable Philip Glass, l'inclassable Harold Budd, pape de la musique ambient -, les représentants de la première génération de "postminimalistes" - Peter Garland, David Lang ou Julia Wolfe, nés dans les années 1950 - et la jeune garde : Bryce Dessner, Nico Muhly, Timo Andres, nés entre 1976 et 1985. Mais aussi quelques outsideuses de choix : Suzanne Ciani, plus connue (tout est relatif) comme pionnière de la musique électronique ou l'étonnante Caroline Shaw, qui fut en 2013, à 31 ans, la plus jeune lauréate du prix Pulitzer, et dont l'univers va et vient librement entre musiques "savante" et "populaire". Tout aussi inclassables, apparaissent aussi les œuvres et les parcours de l'Italien Ezio Bosso, du Français Melaine Dalibert ou, bien sûr, des frères Brian et Roger Eno, autres musiciens d'entre les mondes.   Ces partitions qui peuvent de prime abord paraître simples techniquement - quoique les Études de Philip Glass ou de Nico Muhly exigent une vélocité extravagante - réclament en réalité de l'interprète - bien davantage que la simple virtuosité : une intériorité, une authentique disposition de l'âme. À l'instar de la musique d'Érik Satie, c'est une musique qu'il appartient à chacun d'habiter en se gardant de la dénaturer. Ainsi l'exploration à laquelle se livre Vanessa Wagner est aussi une quête : "Chercher son intériorité : c'est ce que j'aime de plus en plus dans la musique." Après avoir joué Scriabine, Rachmaninov ou Ravel, explorer l'intensité sans déluge de notes, le dépouillement comme mode d'expression me passionne. Il s'agit pour l'interprète de faire ressortir une vraie atmosphère, une respiration du tempo, une sensualité du son, de mettre une intensité dans chaque intention, et faire vivre et vibrer les espaces entre chaque note. "Ce n'est pas une musique légère, c'est une musique intense émotionnellement, qui va en profondeur, dans laquelle on met une part de son histoire…" Marier à ce degré d'intensité le contrôle - celui du toucher, du son - et l'abandon n'est pas à la portée de tous les instrumentistes. Tel est le sens de Study Of The Invisible : aller chercher ce monde mystérieux qui vit derrière la partition, les liens imperceptibles qui unissent ces silences et ces harmonies, mais aussi ces ressources intérieures que cette musique est capable de mettre à jour. Avec ce disque et ce voyage, Vanessa Wagner dont l'apparente mélancolie s'avère en fin de compte puissamment réconfortante, continue de donner ses lettres de noblesse à une musique qui, mieux que brillante, se révèle avant tout rayonnante et lumineuse.   Et Labelle présente Eclat (InFiné/ Eumolpe), son nouvel album pour quatuor à cordes et électro-maloya avec la participation du quatuor Metavers. Avec Éclat - moment unique d'étincelle de la création - Labelle continue son exploration de l'infinie possibilité de la composition débutée en 2019 avec Orchestre Univers. Son quatrième album studio, centré autour d'un quatuor à cordes, est né lors d'une répétition à laquelle assistait Labelle : assis à côté des cordes, il les observe communiquer entre eux dans un langage sans paroles, presque télépathique, fait de contacts visuels, de hochements de tête et de coups d'archets. Depuis ses débuts, le compositeur aime s'affranchir des règles orchestrales traditionnelles pour expérimenter, innover et "créoliser" son art. "J'ai écrit pour eux comme si j'écrivais pour un groupe de rock." Jeremy précise : "Tu as ta section rythmique, tes deux guitares lead et un seul musicien joue de la basse." Dans la musique classique, le langage entre les musiciens est la clé - la conversation entre les lignes et les musiciens crée quelque chose d'organique et vivant. Ainsi, Labelle écrit aussi les parties électroniques pour qu'elles aient une double fonction : élément musical d'une part, clef de compréhension de l'œuvre d'autre part, devenant ainsi une partie du langage entre les musiciens. Ensemble, ils explorent un son unique où l'orchestration classique rencontre le Maloya, l'électronique moderne rencontre les instruments organiques, l'Afrique rencontre l'Europe, la terre rencontre l'espace. Labelle cherche l'inspiration partout : Mes Mondes a été augmenté d'un quart de ton pour correspondre à la gamme de la musique Gnaoua du Maroc, un morceau très rythmé et hypnotique étroitement lié au Maloya de La Réunion, pays d'origine de l'artiste. Le morceau suivant, Dann Ron Maloya, est une construction jusqu'à RON, la seule fois sur le disque où les quatre musiciens jouent la même ligne, un récit musical de l'état de transe que la musique et la danse Maloya peuvent permettre d'atteindre. Ils s'élèvent et s'élèvent jusqu'à ce qu'ils soient noyés dans la distorsion, ressemblant plus à un solo de guitare rock qu'à un quatuor à cordes. Le titre éponyme Éclat est peut-être celui qui s'inscrit le plus directement dans la lignée du précédent album de l'artiste, Orchestre Univers, évoquant un son cosmique, comme un orchestre suspendu en apesanteur. De nombreuses chansons ont d'abord été enregistrées lors d'une série de concerts, avant que la pandémie ne frappe en 2020, puis réenregistrées, éditées et superposées au cours d'une année de confinement. Sur le disque fini, grâce à un mixage et une production exceptionnelle, il est impossible de distinguer ce qui a été enregistré en direct de ce qui a été enregistré en studio : un témoignage du niveau étonnant de détails apporté à cet album. Pour immortaliser et ajouter la touche finale à cette expérimentation, le disque a été envoyé à Hector Plimmer pour un mixage supplémentaire. La touche jazz et expérimentale du producteur anglais déconstruit encore plus le quatuor à cordes, l'amenant vers un résultat encore plus beau et singulier. Labelle a créé un disque capable d'unir des éléments de rock, de jazz, d'électronique et de musique classique sans jamais perdre l'auditeur, il l'attire en l'introduisant lentement dans un monde où la musique se libère de toutes ses barrières. Ce n'est définitivement plus de la musique classique qu'il compose.   À propos de Labelle  Jeremy Labelle est à l'avant-garde d'une jeune génération de musiciens réunionnais représentant et développant le son Maloya à travers le monde. Après avoir enregistré sa première œuvre orchestrale Orchestre Univers lors de quatre concerts à guichets fermés à La Réunion, Éclat continue cette série de recherches atour de la composition classique et des sons traditionnels de son île. Titres interprétés au Grand studio à RFI - Étude n°16 [Philip Glass] Live RFI Vanessa Wagner voir le clip  - Elude Live RFI Labelle - Prélude N°1 In A Minor [Moondog] Live RFI Vanessa Wagner - Mes Mondes enchainé avec Dann Ron Maloya Live RFI Labelle (4'15'' au total) - Explore ! Live RFI commun Vanessa Wagner et Labelle (Ennéade). Son  Benoît Letirant, Fabien Mugneret, Mathias Taylor (Rediffusion du 5 juin 2022)

This episode is also available as a blog post: https://theoryofmusic.wordpress.com/2022/07/14/lorelei-ensemble-premieres-julia-wolfes-her-story/

I have an uplifting ride to work as I pass the Fort Motte Garden Club Garden Spot, the Pollinator Friendly Garden maintained by Nina Mack, Julia Wolfe and friends, and then I go down a hill to cross the Congaree River and check out its water flow.

Vanessa Wagner présente l'album Study Of The Invisible (InFiné). S'il y a une constante chez Vanessa Wagner, c'est bien sa versatilité, au sens où l'entendent les Anglo-Saxons. Parallèlement à sa carrière de musicienne interprétant le grand répertoire soliste, chambriste et concertant sur les scènes du monde entier (et l'enregistrant pour le label La Dolce Volta), celle que Le Monde qualifie de "pianiste la plus délicieusement singulière de sa génération" et que Libération décrit comme "une des pianistes les plus curieuses et captivantes du paysage hexagonal - arpente avec la complicité du label InFiné des chemins tout aussi personnels, mais peut-être plus intimes". Après Statea en 2016, en duo avec le musicien électronique Murcof, elle vient aujourd'hui poursuivre avec Study Of The Invisible le voyage entamé sur son disque solo Inland (2019). Un voyage qui la voit défricher ce répertoire qu'elle est en France, voire en Europe, pratiquement la seule pianiste "classique" à aborder. Un répertoire contemporain et intemporel que l'on qualifiera, pour aller vite, de "minimaliste", mais qui recouvre en réalité une multitude d'univers singuliers et de personnalités musicales souvent hors du commun, toutes générations confondues. Pour composer ce programme, Vanessa Wagner a creusé son passionnant travail de découverte entamé avec Inland, assemblant des pièces rares qui tissent entre elles une mystérieuse histoire. Parmi les 15 stations qui composent ce palpitant périple, les États-Unis se taillent la part du lion. Sous le parrainage de Moondog, le Viking aveugle et visionnaire, dont le très "bachien". Prélude en la majeur de 1961 constitue la pièce la plus ancienne du disque, se côtoient les icônes du minimalisme –l'incontournable Philip Glass, l'inclassable Harold Budd, pape de la musique ambient -, les représentants de la première génération de "postminimalistes" –Peter Garland, David Lang ou Julia Wolfe, nés dans les années 1950 – et la jeune garde : Bryce Dessner, Nico Muhly, Timo Andres, nés entre 1976 et 1985. Mais aussi quelques outsideuses de choix : Suzanne Ciani, plus connue (tout est relatif) comme pionnière de la musique électronique ou l'étonnante Caroline Shaw, qui fut en 2013, à 31 ans, la plus jeune lauréate du prix Pulitzer, et dont l'univers va et vient librement entre musiques "savante" et "populaire". Tout aussi inclassables, apparaissent aussi les œuvres et les parcours de l'Italien Ezio Bosso, du Français Melaine Dalibert ou, bien sûr, des frères Brian et Roger Eno, autres musiciens d'entre les mondes. Ces partitions qui peuvent de prime abord paraître simples techniquement - quoique les Études de Philip Glass ou de Nico Muhly exigent une vélocité extravagante – réclament en réalité de l'interprète –bien davantage que la simple virtuosité : une intériorité, une authentique disposition de l'âme. À l'instar de la musique d'Erik Satie, c'est une musique qu'il appartient à chacun d'habiter en se gardant de la dénaturer. Ainsi l'exploration à laquelle se livre Vanessa Wagner est aussi une quête : "Chercher son intériorité : c'est ce que j'aime de plus en plus dans la musique." Après avoir joué Scriabine, Rachmaninov ou Ravel, explorer l'intensité sans déluge de notes, le dépouillement comme mode d'expression me passionne. Il s'agit pour l'interprète de faire ressortir une vraie atmosphère, une respiration du tempo, une sensualité du son, de mettre une intensité dans chaque intention, et faire vivre et vibrer les espaces entre chaque note. "Ce n'est pas une musique légère, c'est une musique intense émotionnellement, qui va en profondeur, dans laquelle on met une part de son histoire…" Marier à ce degré d'intensité le contrôle – celui du toucher, du son – et l'abandon n'est pas à la portée de tous les instrumentistes. Tel est le sens de Study Of The Invisible : aller chercher ce monde mystérieux qui vit derrière la partition, les liens imperceptibles qui unissent ces silences et ces harmonies, mais aussi ces ressources intérieures que cette musique est capable de mettre à jour. Avec ce disque et ce voyage, Vanessa Wagner dont l'apparente mélancolie s'avère en fin de compte puissamment réconfortante, continue de donner ses lettres de noblesse à une musique qui, mieux que brillante, se révèle avant tout rayonnante et lumineuse. Et Labelle présente Eclat (InFiné/ Eumolpe), son nouvel album pour quatuor à cordes et électro-maloya avec la participation du quatuor Metavers. Avec Éclat - moment unique d'étincelle de la création - Labelle continue son exploration de l'infinie possibilité de la composition débutée en 2019 avec Orchestre Univers. Son quatrième album studio, centré autour d'un quatuor à cordes, est né lors d'une répétition à laquelle assistait Labelle : assis à côté des cordes, il les observe communiquer entre eux dans un langage sans paroles, presque télépathique, fait de contacts visuels, de hochements de tête et de coups d'archets. Depuis ses débuts, le compositeur aime s'affranchir des règles orchestrales traditionnelles pour expérimenter, innover et "créoliser" son art. "J'ai écrit pour eux comme si j'écrivais pour un groupe de rock". Jeremy précise : "tu as ta section rythmique, tes deux guitares lead et un seul musicien joue de la basse". Dans la musique classique, le langage entre les musiciens est la clé - la conversation entre les lignes et les musiciens crée quelque chose d'organique et vivant. Ainsi, Labelle écrit aussi les parties électroniques pour qu'elles aient une double fonction : élément musical d'une part, clef de compréhension de l'œuvre d'autre part, devenant ainsi une partie du langage entre les musiciens. Ensemble, ils explorent un son unique où l'orchestration classique rencontre le Maloya, l'électronique moderne rencontre les instruments organiques, l'Afrique rencontre l'Europe, la terre rencontre l'espace. Labelle cherche l'inspiration partout : ‘Mes Mondes' a été augmenté d'un quart de ton pour correspondre à la gamme de la musique Gnaoua du Maroc, un morceau très rythmé et hypnotique étroitement lié au Maloya de La Réunion, pays d'origine de l'artiste. Le morceau suivant, ‘Dann Ron Maloya', est une construction jusqu'à ‘RON', la seule fois sur le disque où les quatre musiciens jouent la même ligne, un récit musical de l'état de transe que la musique et la danse Maloya peuvent permettre d'atteindre. Ils s'élèvent et s'élèvent jusqu'à ce qu'ils soient noyés dans la distorsion, ressemblant plus à un solo de guitare rock qu'à un quatuor à cordes. Le titre éponyme Éclat est peut-être celui qui s'inscrit le plus directement dans la lignée du précédent album de l'artiste, Orchestre Univers, évoquant un son cosmique, comme un orchestre suspendu en apesanteur. De nombreuses chansons ont d'abord été enregistrées lors d'une série de concerts, avant que la pandémie ne frappe en 2020, puis réenregistrées, éditées et superposées au cours d'une année de confinement. Sur le disque fini, grâce à un mixage et une production exceptionnelle, il est impossible de distinguer ce qui a été enregistré en direct de ce qui a été enregistré en studio : un témoignage du niveau étonnant de détails apporté à cet album. Pour immortaliser et ajouter la touche finale à cette expérimentation, le disque a été envoyé à Hector Plimmer pour un mixage supplémentaire. La touche jazz et expérimentale du producteur anglais déconstruit encore plus le quatuor à cordes, l'amenant vers un résultat encore plus beau et singulier. Labelle a créé un disque capable d'unir des éléments de rock, de jazz, d'électronique et de musique classique sans jamais perdre l'auditeur, il l'attire en l'introduisant lentement dans un monde où la musique se libère de toutes ses barrières. Ce n'est définitivement plus de la musique classique qu'il compose. À propos de Labelle : Jeremy Labelle est à l'avant-garde d'une jeune génération de musiciens réunionnais représentant et développant le son Maloya à travers le monde. Après avoir enregistré sa première œuvre orchestrale Orchestre Univers lors de quatre concerts à guichets fermés à La Réunion, Éclat continue cette série de recherches atour de la composition classique et des sons traditionnels de son île.   Titres interprétés au Grand studio à RFI - Étude n°16 [Philip Glass] Live RFI Vanessa Wagner voir le clip  - Elude Live RFI Labelle - Prélude N°1 In A Minor [Moondog] Live RFI Vanessa Wagner - Mes Mondes enchainé avec Dann Ron Maloya Live RFI Labelle (4'15'' au total) - Explore ! Live RFI commun Vanessa Wagner et Labelle (Ennéade). Son : Benoît Letirant, Fabien Mugneret, Mathias Taylor.

What stories do our monuments tell? What legacies do they embody? What memories do they cement? These questions will be explored at Washington DC's Kennedy Center this month through a collection of new operas, including one called "Rise", with music by Kamala Sankaram. Kamala joins Garrett to talk about her introduction to opera, what "Rise" is meant to relay to audiences, and how this work continues the push for more new music in traditional "classical" spaces. Scott highlights the educational advocacy of violinist Ezinma, Garrett unpacks a musical about a machine that turns Black people white, and the guys continue their celebration of Women's History Month with music by Julia Wolfe, Martha Wash, and more. Playlist: Mykhailo Verbytsky - "Shche ne vmerla Ukraina" (Ukrainian National Anthem) Ezinma - "Ode To Hustle" Black Thought - "Thought Vs Everybody" Julia Wolfe - "Reeling" SNAP! - "The Power" Black Box - "Everybody Everybody" C+C Music Factory - "Everybody Dance Now" Martha Wash - "I'm Not Coming Down" Bombay Rickey - "Megalodon" Bombay Rickey - "Taki Rari" Francisco Mignone - Concertino for Bassoon and Chamber Orchestra More: Kamala Sankaram: https://www.kamalasankaram.com The Kennedy Center Presents "Written in Stone": https://www.kennedy-center.org/wno/home/2021-2022/written-in-stone/ Downbeat (Kira Rudik Honors International Women's Day): https://twitter.com/kiraincongress/status/1500962456763514883?s=20&t=SP3akLIePrwyJdZhTGH_bQ Valery Gergiev, a Putin Ally, Fired as Chief Conductor in Munich: https://www.nytimes.com/2022/03/01/arts/music/valery-gergiev-fired-munich-ukraine.html Ezinma Brings Music To Underserved Youth: https://www.thestrad.com/news/beyonces-violinist-launches-foundation-to-bring-classical-music-to-underserved-children/14537.article A machine turns Black people white in the musical 'Black No More': https://www.npr.org/2022/02/14/1080160459/black-no-more-machine-musical-tariq-trotter EU Official Calls Refugee Discrimination "Fake News": https://twitter.com/TNTVIRALUS/status/1499336460671107077?s=20&t=0mROEqSx7G6BntC0IrqVYA

Continuing to celebrate the AAPI Heritage Month, joining me today for a new episode of Tuesday Conversation with Friends is violinist, Cory (Corin) Lee, not your regular violinist. Juilliard trained, founder of The Liberated Performer (an organization to work with performers to overcome performance and audition anxiety), and a member of the string quartet ETHEL which is acclaimed as “unfailingly vital” (The New York Times), “brilliant,” “downtown's reigning string quartet” (The New Yorker), and “one of the most exciting quartets around” (Strad Magazine). In this interview we will start with an incredible work of ETHEL: CIRCUS WANDERING CITY, Cory's beginning (you won't want to miss this story!), managing performance anxiety, shifting from a skill centric conservatory mindset to be audience-focused. You get to watch him perform a humorous edition of Paganini's Caprice No. 5 and finish with his arrangement of Steve Reich's Violin Phase. Featured Guest Cory (Corin) Lee: Corin's collaborations include performances with Grammy Award-winning artists such as Native American flute player Robert Mirabal, jazz pianist Laurence Hobgood, Latin jazz pianist Pablo Ziegler, Pulitzer Prize-winner David Lang, MacArthur Genius composer Julia Wolfe, and DJ Mako. Corin has performed on, FOX, NBC, From The Top, TED, TEDx, SiriusXM, and The Late Show with Stephen Colbert. In addition to concert work, he is the founder of Liberated Performer®, a program that guides and trains musicians to defeat performance anxiety, prepare for auditions and concerts, and achieve peak performance. He has taught at National YoungArts Foundation (New York and Miami), directs the audition preparation programs at the New York Youth Symphony, and has given lectures at conservatories like The Juilliard School and San Francisco Conservatory. Corin studied with Ani Kavafian, Hyo Kang, Naoko Tanaka, Wei He, Camilla Wicks, Robert Mealy, and Cathryn Lee. He received degrees from Juilliard (BM), Yale (MM), and an honorary doctorate from Denison University. Your Hostess: Shirley Wang, Operatic Soprano, Pianist, Educator, International Best Selling Author, and Content Creator. Additional ways to stay updated with Tuesday Conversation with Friends: Facebook: www.Facebook.com/SimpleGiftsMusicStudio Instagram: @Simple.Gifts.Music.Studio YouTube: https://tinyurl.com/TuesdayConversationWithFriends Twitter:@SG_MusicStudio Clubhouse: @MsShirleyWang To watch this episode on YouTube: https://youtu.be/ENg4TNP9Ark To stay in touch with the featured guest: Ethel: www.EthelCentral.org "A Wondrous Space" by Dorothy Lawson (ETHEL's Circus: Wandering City): https://www.youtube.com/watch?v=SCuBK68DTZA Mini Paganini Caprice No. 5 by Corin Lee: https://www.youtube.com/watch?v=F_BIGkX_azQ Violin Phase by Steve Reich, Arr. by Corin Lee for Electronic Violin, Cello & Bass: https://youtu.be/Pxg1tuQiBF8 --- Send in a voice message: https://podcasters.spotify.com/pod/show/shirley-wang6/message Support this podcast: https://podcasters.spotify.com/pod/show/shirley-wang6/support

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Aqua - from Playing Piano for the Isolated by Ryuichi Sakamoto on @0 EP3 (Ahead of Our Time)

In 1999 the musician Warren Ellis clambered onstage at the Royal Festival Hall to retrieve a piece of chewing gum. The gum was deposited there by Nina Simone, who had chewed it throughout her concert that night. Fast forward twenty-two years and Ellis has written a book inspired by the piece of gum, now enshrined in its own glass case, on a specially built gum plinth. Kate Molleson caught up with him to find out more about a story which goes to the heart of artistic belief, generosity and affirmation. It was a book he never really set out to write, but then couldn't not write. Following on from Music Matters' meeting with Steve Reich two weeks ago, Kate delves further into the origins, development and lasting legacy of minimalism. She talks to composers Linda Catlin Smith, Nate Wooley and Julia Wolfe to find out how a disparate group with new ideas continues to inspire, and also hears from pioneers such as Philip Glass and Pauline Oliveros about the mentality of anti-hierarchy and participation which changed the musical landscape. Laurence Crane is one of the most beloved figures in British contemporary music, his work is full of surprise, fondness, wit and wisdom. As a successor to a certain sort of minimalism, he lets us hear humble wonders in the everyday. Celebrating his sixtieth birthday this year, he met up with Kate at one of his favourite performance spaces to look over his constantly surprising career and oeuvre. And as orchestras and musical institutions look at ways to represent diversity among their ranks, Kate talks to John Shortell of the Musicians' Union, and Diversity and Inclusion consultant Chico Chakravorty, about what are the most effective ways to achieve this.

Bang on a Can and MASS MoCA present LOUD Weekend this weekend which will be a fully loaded eclectic super-mix of minimal, experimental and electronic music. LOUD Weekend features two days of ear-bending music and mind-blowing art exhibitions taking place throughout the museum's vast galleries and its stunning collection of indoor and outdoor performing arts venues. Featured performers include Kronos Quartet, Mazz Swift, and Bang on a Can All-Stars among many others. The opening concert on Friday July 30 at 4pm begins with Julius Eastman's FEMENINE followed by world premiere performances of music by Frederic Rzewski, Terry Riley, and much more. Bang on a Can co-founders and artistic directors David Lang, and Julia Wolfe join us this morning.

The Memory Palace is a proud member of Radiotopia from PRX. A note on notes: We’d much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don’t suggest looking into the show notes first. Music: Suite from A Hatful of Rain from the GOAT, Bernard Herrmann Sexfaldur from amiina Piano 1 from Emily Sprague Earring from Julia Wolfe and Lisa Moore The Squirrel, from Herrmann’s score to The Three Worlds of Gulliver All in Circles by Shida Shinabi Them by Nils Frahm

16th-21st Centuries This week we hear works by Giovanni Pierluigi da Palestrina, Manuel de Zumaya, František Krommer, Léo Delibes, Ludomir Różycki, and Julia Wolfe. 146 Minutes – Week of May 24, 2021

Matthew Welch studied traditional Highland Bagpipe music with Gold Medalist masters such as James McIntosh M.B.E., Colin MacLellan, Mike Cusack, Jack Lee, Pipe Major Angus MacLellan, Andrew Wright and celebrated, repeat World-Champion Pipe Majors Terry Lee and Iain McLellan B.E.M. Mr. Welch was a member of one of the most internationally acclaimed bagpipe bands of the last two decades: the six-time World Champion Simon Fraser University Pipe Band, and played with the band for their World Pipe Band Championship wins of 1999 and 2001 in Glasgow. As Musical Director for the New York Metro Pipe Band, his unique way of teaching pipe music, musical ensemble cohesion and cultivating a bright, rich pipe corps sound helped steer NY Metro to their 2011 and 2012, 2014 wins at the World Pipe Band Championships, the North American Pipe Band Championships and the American Pipe Band Championships respectively. He is also in demand as a private bagpipe instructor. Beyond the traditional repertoire, Welch has pioneered new techniques and materials in his own works that include the bagpipe and has premiered a number of new compositions written for bagpipes by living composers such as Julia Wolfe, Anthony Braxton, Alvin Lucier, Paula Matthusen, Zeena Parkins, David Watson, Michael O’Neill and Lainie Fefferman. As a classically trained composer, he holds degrees in Music Composition from Simon Fraser University (BFA), Wesleyan University (MA), and Yale University (DMA), writing his dissertation in the form of a treatise on the structures of musical composition for the Highland Bagpipe. He has been giving world class recitals of traditional, contemporary and original works for over 20 years. If you enjoyed this, you should try a Dojo University Premium Membership. Our premium membership features over 50 courses, 17+ live classes each week, social interaction channels, feedback on your playing, weekly challenges, and more! Try one month for just $1 by visiting DojoUniversity.com/testdrive today! Join us on Facebook, YouTube, Instagram, Snapchat, Twitter… wherever you do your social media!

In our recurring weekly practitioner chat on Clubhouse, we discuss what are the practical ways to infuse environmentally preferable purchasing standards into public procurement. Julia Wolfe with the Commonwealth of Massachusetts kicks us off with a description of her program, and Justin Sullivan, Jaime Schorr, Jonathan Walker, and Katherine Moskos chime in with their experiences.

In my discussion with Bay Area pianist, musical activist and community organizer Sarah Cahill, we talk visioning, dream journals, when the music is not about you, the purpose of LinkedIn, and Sarah's project, The Future is Female. Sarah Cahill is a prolific pianist who has commissioned, premiered, and recorded numerous compositions for solo piano. Cahill founded and co-organizes the annual Garden of Memory event at Chapel of the Chimes in Oakland, CA (my favorite event of all time -- sorry! had to interject!!). Before the pandemic, she also curated a monthly series of new music concerts at the Berkeley Art Museum and before that at the Exploratorium in San Francisco. Cahill is faculty at the San Francisco Conservatory, and host of the radio show Revolutions Per Minute on KALW in San Francisco. She's had works dedicated to her by the likes of John Adams, Terry Riley, and Pauline Oliveros, and has premiered pieces by Lou Harrison, Julia Wolfe, George Lewis, and more, more, more.www.sarahcahill.comPhoto by Marianne LaRochelle. Used by permission.

durée : 00:12:15 - Le disque contemporain de la semaine du dimanche 21 mars 2021 - Pour ce nouveau disque sous le label Naxos, Paul Hillier et l'ensemble Ars Nova Copenhagen mêlent six œuvres chorales d'Arvo Pärt à celles de deux compositrices américaines, Caroline Shaw et Julia Wolfe.

durée : 00:59:52 - En pistes, contemporains ! du dimanche 21 mars 2021 - par : Emilie Munera - Deux concertos de Michael Jarrell au disque, l'un pour ato l'autre pour violon, interprétés par leur dédicataires Tabea Zimmermann et Renaud Capuçon sous la direction de Pascal Rophé. Mais aussi un disque monographique du compositeur finlandais Antti Auvinen... - réalisé par : Claire Lagarde

The election is... Actually not quite over but we have to record this episode sometime. In this episode, a breakdown of the notable winners and losers. Did we fire them all? Or... Any of them?  Please Support Congressional Dish – Quick Links Click here to contribute monthly or a lump sum via PayPal Click here to support Congressional Dish via Patreon (donations per episode) Send Zelle payments to: Donation@congressionaldish.com Send Venmo payments to: @Jennifer-Briney Send Cash App payments to: $CongressionalDish or Donation@congressionaldish.com Use your bank’s online bill pay function to mail contributions to: 5753 Hwy 85 North, Number 4576, Crestview, FL 32536 Please make checks payable to Congressional Dish Thank you for supporting truly independent media! Recommended Episodes CD129: The Impeachment of John Koskinen Articles/Documents Article: Rep. Don Young, 87, tests positive for COVID-19 months after mocking seriousness of pandemic: ‘I call it the beer virus’ By Muri Assuncao, Daily News, November 13, 2020 Article: Trump administration removes senior defense officials and installs loyalists, triggering alarm at Pentagon By Barbara Starr, Zachary Cohen and Ryan Browne, CNN, November 13, 2020 Report: Schedule F, Diversity Training Reviews Continuing for Now By FEDweek, November 12, 2020 Article: North Dakota nurses call for mask mandate, reject policy allowing COVID-19-positive workers to stay on job By Nathaniel Weixel, The Hill, November 12, 2020 Article: Election-reform ballot measure stays too close to call as elections workers tally more votes By James Brooks, Anchorage Daily News, November 12, 2020 Article: Senior U.S. cybersecurity official asked to resign amid Trump transition tumult By Christopher Bing, Reuters, November 12, 2020 Article: Congress’s New Faces Include Ex-Astronaut, Citadel’s First Female Grad By Natalie Andrews, The Wall Street Journal, November 11, 2020 Article: Puerto Rico's statehood piques Congress's interest post-election By Andres L. Cordova, The Hill, November 11, 2020 Article: Pelosi floats above Democrats’ civil war By Heather Caygle and Sarah Ferris, Politico, November 11, 2020 Article: Michigan’s Voting Flaws Were Human Errors and Outliers By Gus Burns, Governing, November 11, 2020 Article: Exclusive: Esper, on his way out, says he was no yes man By Meghann Myers, Military Times, November 10, 2020 Article: The Trump Administration Is Reversing More Than 100 Environmental Rules. Here’s the Full List. By NADJA POPOVICH, LIVIA ALBECK-RIPKA and KENDRA PIERRE-LOUIS, The New York Times, November 10, 2020 Article: Senate GOP lays out priorities in fiscal 2021 spending showdown By Jennifer Shutt, Roll Call, November 10, 2020 Article: Christopher Miller, Trump's surprise acting defense secretary, has a thin resume for the job but deep experience in counterterrorism By Dan Lamothe, Ellen Nakashima, Alex Horton, The Washington Post, November 9, 2020 Article: There's a plan afoot to replace the Electoral College, and your state may already be part of it By Elliot Ramos, NBC News, November 9, 2020 Article: Corporate Democrats Are Rural America's Biggest Losers By Jake Davis, Bryce Oats, The American Prospect, November 9, 2020 Article: Amy Kennedy Loses Race to Rep. Jeff Van Drew, Who Switched Parties for President Trump By Virginia Chamlee, People, November 9, 2020 Article: Donna Shalala Encapsulated Pelosi’s Embrace of Passivity as a Strategy By Eleanor Eagen, The American Prospect, November 9, 2020 Article: Hope Lives in Georgia By David Dayen, The American Prospect, November 9, 2020 Article: 'A Vexing Decision': Calif. Governor Mulls Who Will Replace Harris In Senate By Scott Shafer, npr, November 9, 2020 Article: Win by Biden and Harris opens up California Senate seat By Bridget Bowman, Roll Call, November 7, 2020 Article: South Carolina’s Voting Machines Are Vulnerable to Attacks By Chiara Eisner, Governing, November 6, 2020 Article: Legislative Turnover at Lowest Level Seen Since 1920s By Alan Greeblatt, Governing, November 6, 2020 Article: Second Georgia Senate seat headed to January runoff that could decide Senate control By Stephanie Akin, Roll Call, November 6, 2020 Article: Florida Amendment 4 Election Results: Require Amendments to Be Approved Twice By Stephanie Saul, The New York Times, November 6, 2020 Article: The ACA Is Becoming A Political Problem For Dems By David Sirota and Andrew Perez, The Daily Poster, November 5, 2020 Article: Missouri voters dump never-used redistricting reforms By David A. Lieb, Associated Press, November 5, 2020 Article: Puerto Rico inches closer to statehood, but without key GOP support By Chris Cioffi, Roll Call, November 4, 2020 Article: North Dakota voters reject Measure 2 by wide margin By Jeremy Turley, Grand Forks Herald, November 4, 2020 Article: 2020 election sees record high turnout with at least 159.8 million votes projected By Hannah Miao, CNBC, November 4, 2020 Article: Nationwide Ballot Measure Results to Watch: Live Updates By Carl Smith, Tod Newcombe, Governing, November 4, 2020 Article: Will We Ever Slay the Evil Gerrymander? By Alan Ehrenhalt, Governing, November 4, 2020 Article: The U.S. Inability To Count Votes is a National Disgrace. And Dangerous. By Glenn Greenwald, November 4, 2020 Article: Record ‘Dark Money’ Donations Help GOP Retake House Seats By David Moore, Sludge, November 4, 2020 Article: With Deceptive Measure, Missouri GOP Wins Back Power to Gerrymander By Donald Shaw, Sludge, November 4, 2020 Article: Question 2 supporters concede defeat in effort to bring ranked choice voting to Massachusetts By Nik DeCosta-Klipa, Boston.com, November 4, 2020 Article: A QAnon Supporter Is Headed to Congress By Matthew Rosenberg, The New York Times, November 3, 2020 Article: Eight Reasons Not to Expect Quick Election Results By Carl Smith, Governing, November 3, 2020 Article: Former Congressman Pete Sessions to return to Washington By Michael Oder and Fallon Appleton, KBTX-TV, November 3, 2020 Article: Qualcomm Billionaires Launch Last Minute Attack on Granddaughter’s Progressive Opponent By Donald Shaw, Sludge, November 2, 2020 Article: Voting Itself Becomes Question for Ballot Measures By Alan Greenblatt, Governing, November 2, 2020 Article: Why Trump Can’t Afford to Lose By Jane Mayer, The New Yorker, November 1, 2020 Article: Campaign Against ‘Dark Money’ Disclosure in Alaska Keeps Hiding Its Donors By Donald Shaw, Sludge, October 28, 2020 Article: Salary Council appointee resigns, calls Schedule F executive order a ‘red line’ By Nicole Ogrysko, Federal News Network, October 26, 2020 Article: Trump's historic assault on the civil service was four years in the making By Lisa Rein, Josh Dawsey, and Toluse Olorunnipa, The Washington Post, October 23, 2020 Executive Order on Creating Schedule F In The Excepted Service The White House, October 21, 2020 Article: ‘Stunning’ Executive Order Would Politicize Civil Service By Erich Wagner, Government Executive, October 22, 2020 Article: Rep. Justin Amash, the ex-Republican who tussled with Trump and the GOP, reflects on what's next By Megan Sauer, USA Today, September 26, 2020 Article: Most Americans Don’t Have A Real Stake In The Stock Market By Teresa Ghilarducci, Forbes, August 31, 2020 Article: The Stock Market Does Not Represent the U.S. Economy By Revere Journal, July 8, 2020 Article: Health insurers' profits topped $35B last year. Medicare Advantage is the common thread By Paige Minemyer, Fierce Healthcare, February 24, 2020 Article: Supreme Court allows states to draw partisan political maps By Todd Ruger, Roll Call, June 27, 2019 Article: The Atlas Of Redistricting, Georgia’s districts gerrymandered to favor Democrats By Aaron Bycoffe, Ella Koeze, David Wasserman and Julia Wolfe, FiveThirtyEight, January 25, 2018 Additional Resources HOUSE RESULTS - Democrats retain control of House, CNN Voter Analysis: Poll Results, Fox News Democratic President by Congressional District Targeted Candidates, 2020 Cycle OpenSecrets.org Sound Clip Sources Video: 2020 Presidential Debates: Biden says Obamacare will have a public option, 'Bidencare', Politico, October 22, 2020 Facebook Live Video: Republican congressional candidate caught on video making series of racist and Islamophobic remarks, Independent, June 18, 2020 Facebook Live Video: House Republican leaders condemn GOP candidate who made racist videos, Politico, June 17, 2020 Cover Art Design by Only Child Imaginations Music Presented in This Episode Intro & Exit: Tired of Being Lied To by David Ippolito (found on Music Alley by mevio)

This week we try to make sense of the first Presidential Debate. Stick around for the second half of the episode where we unpack what's happening in America's courts. Catch us on the radio Mondays at 7est on 90.7fm WKPS https://www.thelion.fm/You can send your thoughts to jigsawpoliticspod@gmail.com or connect with us on social media @Jigsawpolitics or on the web https://jppodcast.wixsite.com/jigsawpolitics Music by Joakim Karud https://youtube.com/joakimkarud JIGSAW POLITICS MERCH OUT NOW https://teespring.com/stores/jigsaw-politics-podcastSOURCES: "3 winners and 4 losers from the first 2020 presidential debate" by Matthew Yglesias German Lopez, Alex Ward, Li Zhou, and Zack Beauchamp https://www.vox.com/2020/9/29/21493926/first-presidential-debate-winners-losers-biden-trump"Who Won The First 2020 Presidential Debate?" By Laura Bronner, Aaron Bycoffe, Elena Mejía and Julia Wolfe. Illustrations by Anika Orrock, Candidate Portraits by Fabio Buonocore https://projects.fivethirtyeight.com/trump-biden-debate-poll/"AP FACT CHECK: False claims swamp first Trump-Biden debate" by By CALVIN WOODWARD and HOPE YEN https://apnews.com/article/election-2020-college-football-ap-fact-check-joe-biden-virus-outbreak-65e9180ca829616cff33dd6c1398170b"Who Is Supreme Court Nominee Amy Coney Barrett?" by Nina Totenburg and Domenico Montanaro https://www.npr.org/sections/supreme-court-nomination/2020/09/24/915781077/conenator-who-is-amy-coney-barrett-front-runner-for-supreme-court-nomination"How Amy Coney Barrett’s Religious Group Helped Shape a City" by Adam Wren https://www.politico.com/news/magazine/2020/09/27/how-amy-coney-barretts-religious-group-helped-shape-a-city-422329"The True Victors of Trump’s Supreme Court Nomination" by Emma Green https://www.theatlantic.com/politics/archive/2020/09/trump-supreme-court-conservative-legal-movement/616505/"What Trump has done to the courts, explained" By Ian Millhiser https://www.vox.com/policy-and-politics/2019/12/9/20962980/trump-supreme-court-federal-judges"President Trump nominates Amy Coney Barrett to the Supreme Court" by Vox Staff https://www.vox.com/2020/9/26/21457704/trump-amy-coney-barrett-supreme-court-nominee

We sat down with composer Nicko Villane and talked about his admiration for the works of modern composer Julia Wolfe. To hear the music that we discussed with Nicko, here is a link to the pieces: https://open.spotify.com/playlist/4hMUNyVWYlE1KVs81eob7e?si=zgZk5YcVQyCZeiV-Fer0Qw --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/musicspeaks-podcast/support

1. Terence Blanchard's "What Makes a Man a Man" from The Champion:https://www.facebook.com/SmithsonianNationalPostalMuseum/videos/10154947576381054/ (at 32:50)2. Julia Wolfe's Fire in my mouth: III. Protesthttps://open.spotify.com/album/6ko1tkGEWoWUx6xt3u9g9D3. Kirsten Childs' Big Booty Tupelo Gal from Bella: An American Tall Tale https://open.spotify.com/album/3kbplywvgcmfNJsYYYyKEg4. Laura Elise Schwendinger's The Artist's Musehttps://soundcloud.com/user527919643/01-schwendinger-the-artists-musePanelists:Jarrod Lee bass baritone, hails from Alabama and presently resides in Maryland. He has received rave reviews from Maryland Theatre, Opera News, and The Washington Post. Last season Jarrod made a Metropolitan Opera debut as one of the featured soloists in Porgy and Bess and a role debut as the Undertaker in the same opera with Atlanta Opera. Past roles include: Elviro in Tale of Serse with the In Series, Angelotti in Tosca with Annapolis Opera, and Le Bailli in Werther with Opera Delaware. Jarrod has performed in community outreach works commissioned by Washington National Opera called In the Smoke of the Sting and Just out the Window by Tom Minter. Jarrod has been a finalist in the Annapolis Opera, Harlem Opera Theater Vocal Competitions and a semifinalist in Austria’s Meistersinger. In new works, Jarrod premiered the roles Levi in Cloud Nebula by Scott Patterson with Afro House Baltimore, and Joe Louis in Shadowboxer by Frank Proto with the Maryland Opera Studio. As a librettist, Jarrod’s work aims to contribute in the canon of stories by Black Americans which are rarely seen on the operatic stage. JarrodLee.comFrances Pollock‘s music is inspired by a variety of artists including Missy Elliot, Dolly Parton, Whitney Houston, Joni Mitchell, Stephen Sondheim, Beyonce, Julia Wolfe, and Billy Joel. She has written operas for Washington National Opera, the PROTOTYPE Festival, Chicago Lyric, Seattle Opera and American Opera Projects. Her opera, Stinney (Co-librettist Tia Price), won the “Best of Baltimore” award in 2015 and was programmed at the 2019 PROTOTYPE Festival. Her opera “Earth to Kenzie” (librettist Jessica Murphy Moo) is currently touring with both Chicago Lyric and Seattle Opera in the 2019-2020 season. Frances is a founding member of the new music non-profit, Prima Volta. When she is not writing music, she is singing in choirs, cooking dinner for friends and family, exploring New Haven, running with her wife and best friend, Emily, and cheering on her favorite minor league baseball team, the Hartford Yard Goats. francespollock.comMelissa Wertheimer is a flutist and piccoloist who specializes in new music. She performs throughout the Baltimore-DC region, and is a core member of Great Noise Ensemble and Occasional Symphony. Melissa melds her passions for music, research, and cultural heritage into a career as an archivist and librarian who shares historic musical documents with all lovers of music. Melissa is a Music Reference Specialist at the Library of Congress, Archivist of the Music Library Association, and board member of Occasional Symphony in Baltimore. She formerly held adjunct faculty positions at the Johns Hopkins University and Howard Community College. Melissa holds a M.L.I.S. in Archives and Digital Curation from the University of Maryland, a M.M. in Piccolo from the Peabody Institute, and a B.M. in Flute from Ithaca College.

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

On this episode, Eighth Blackbird's Lisa Kaplan speaks about their new album Singing in the Dead of Night, featuring world-premiere works by Bang on a Can composers Julia Wolfe, David Lang, and Michael Gordon. http://hyperurl.co/CDR195

A cura di Gigi Longo. Brani di Boxheads Ensemble, Julia Wolfe, Hilliard Ensemble/Ivan Moody, Gavin Bryars.

A cura di Gigi Longo. Brani di Boxheads Ensemble, Julia Wolfe, Hilliard Ensemble/Ivan Moody, Gavin Bryars. (seconda parte)

A cura di Gigi Longo. Brani di Boxheads Ensemble, Julia Wolfe, Hilliard Ensemble/Ivan Moody, Gavin Bryars. (seconda parte)

Den här veckan recenserar vi en skiva med arg amerikansk pianomusik spelad av Conrad Tao. Men blir man glad eller arg av att höra den? Dessutom försöker Kati Raitinen bli av med Bach-arvet i sin senaste cello-skiva, men lyckas hon? I veckans Musikrevyns val går vi till botten med Bruckners luriga men fantastiska Symfoni nr 6 denna gång med Bergens filharmoniker under ledning av Thomas Dausgaard. I panelen sitter Hanna Höglund, Ingela Karlsson och Måns Tengnér. Programledare: Johan Korssell. Veckans skivor: Camille Saint-Saëns  Symfoni nr 3 och Tableaux symphoniques Paul Jacobs, orgel Thierry Fischer, dirigent Utah Symphony Orchestra Betyg: 4  American Rage Musik för piano av Aaron Copland, Julia Wolfe, Frederic Rzewski Conrad Tao, piano Betyg: 4 The world is (y)ours Musik för cello av Sibelius, Johan Ullén, Anna Clyne, Dai Fujikura Kati Raitinen, cello Betyg: 4 Like to the lark Musik av Vaughan Williams, Judith Bingham, Hugo Alfvén, Gustav Mahler, Wilhelm Stenhammar, med flera Simon Phipps, dirigent Svenska kammarkören Betyg: 4

About this Performance: The Los Angeles Philharmonic and New York's electric Bang on a Can All-Stars join forces for Julia Wolfe's new Flower Power, in which she addresses the radical societal upheaval of the 1960s, presented with suitably psychedelic visuals. Adams also leads the Grammy®-nominated symphonic work he composed for the LA Phil in 1998, when Esa-Pekka led the premiere.

Abandona la rigidesa i respira. El moment

This week at Orchestra Hall, Dalia Stasevska leads the Detroit Symphony Orchestra in Julia Wolfe’s “Fountain of Youth”, Peter Tchaikovsky’s Piano Concerto No. 1 and the First Symphony by Jean Sibelius. Stasevska and WRCJ’s Peter Whorf talked about the program in our studios earlier this week. Upon first hearing Tchaikovsky’s concerto, colleague and pianist Nikolai Rubinstein famously rejected the masterwork. Dalia Stasevska wonders why…

Award-winning composer Julia Wolfe discusses “Fire In My Mouth,” her acclaimed, large-scale homage to women in New York’s garment industry at the turn of the 20th Century; James Parrott, the New School’s Center for NYC Affairs Dir. of Economic & Fiscal Policies, talks about salary parity gains for early childhood educators.

Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music for film, and we hear her "Fuel" with a film by Bill Morrison. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34887]

Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music for film, and we hear her "Fuel" with a film by Bill Morrison. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34887]

Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music for film, and we hear her "Fuel" with a film by Bill Morrison. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34887]

Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music for film, and we hear her "Fuel" with a film by Bill Morrison. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34887]

Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music for film, and we hear her "Fuel" with a film by Bill Morrison. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34887]

Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music for film, and we hear her "Fuel" with a film by Bill Morrison. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34887]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

Steven Schick leads a sharply varied program. Pulitzer Prize-winner Julia Wolfe has taken particular pleasure in writing music with film, and we hear her "Fuel," with a film by Bill Morrison. Young Artist Winner Anne Liu performs Camille Saint-Saens’ witty "Second Piano Concerto," which has been described as “beginning with Bach and ending with Offenbach.” The concert concludes with Jean Sibelius’ mighty "Symphony No. 5," which drives to its triumphant conclusion on six shattering chords for full orchestra. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34006]

Hello! And welcome to another edition of the Inside The Newsroom podcast and newsletter. Today’s guest is… Ben Casselman of the New York Times. Ben covers the U.S. economy and, because of his previous role as chief economics writer at FiveThirtyEight, he’s a fantastic resource for what it all for Donald Trump’s re-election in 2020. Below are links and post-game analyses of everything we talked about. Enjoy and please subscribe at the top!The economy has finally recovered from 2008 right?The latest jobs report showed that total U.S. unemployment is 3.6 per cent, a 50-year low. That’s fantastic news, but economic recoveries are subjective and where one region might be booming, another could still be struggling. As the chart below shows, the unemployment rate is part of the business cycle and is only part of the picture with regards to the true health of an economy. Nelson D. Schwartz, the New York TimesBy Nelson D. SchwartzThe Truth Behind the Jobs ReportFortunately for us, my former FiveThirtyEight colleague and the incredibly smart Julia Wolfe shows us that the number of jobs added or lost may not be as accurate as we think. For example, it was estimated that 263,000 jobs were added to the U.S. economy in April, but the exact figure could in fact be 120,000 more or less than reported. That’s a bloody big range of uncertainty, meaning we should view unemployment figures with extreme caution. Julia Wolfe, FiveThirtyEightLike Inside The Newsroom? Do us a solid and tell a friend or colleague who might enjoy it and subscribe.Repeat After Me: The Stock Market Is Not the EconomyAnother FiveThirtyEight article, god they’re smart… I’ve always been curious as to why people only point to one metric when assessing the health of the economy. I tried hard not to mention him in the podcast, but Mr. Trump tweets all too often about how the stock market is the sole indicator of why the economy is booming under his leadership. Well, Mr. Casselman is far smarter and does a good job of ripping that theory to shreds. Thank god for smart people. Ben Casselman, (formerly of) FiveThirtyEightAnd here’s a nice video explainer just in case…Longest expansion ever?The U.S. economy has grown for 106 consecutive months (8 years and 10 months), which according to CNN, is tied for the second-longest US expansion since records began. We’re still more than a year away from breaking the record, and there are signs suggesting we may or may not get there. Still, credit where credit’s due, the economy hasn’t completely tanked under Trump like some predicted.Zachary B. Wolf and Will Houp, CNNSo Is This Trump’s Economy Now?Ben and I discussed the importance of the economy in elections, going as far as saying the number one reason Trump won in 2016 was because of the economy, which never really recovered in certain areas under Obama. As we sit here in May 2019, the economy is now firmly Trump’s for better or worse, and he could win or lose re-election in 2020 depending on how the economy performs from now until then. Jim Tankersley, the New York TimesFastest growing US citiesPart of the reason for the continued economic growth is down to immigration. In rural counties where much of the population migrate to larger cities, international migration has helped local businesses and services from failing. As Bloomberg also reports, immigrants aren’t just flocking to the glitz and glamour of New York, Los Angeles or Miami. The likes of San Antonio, Columbus and Phoenix are among the fastest growing cities in the US. Jed Kolko, the New York TimesRelated Podcasts#34 — Dave Weigel (Washington Post)#20 — Daniel Dale (Toronto Star)Next up…Next week we’ll have Domonique Foxworth of ESPN on the podcast. Domonique covers the intersection between sports, race and culture for ESPN’s The Undefeated, and I think he’ll make for a gripping podcast so keep an eye out for the newsletter in your inbox next week. Subscribe here.Last time…#39 — Henry Abbot (TrueHoop)Thanks so much for making it all the way to the bottom. If you haven’t already, please consider subscribing to get a newsletter about a cool news topic in your inbox every time I release a new podcast (1-2 times a week). You can find me on Twitter at DanielLevitt32 and email me corrections/feedback or even a guest you’d like me to get on the podcast at daniellevitt32@gmail.com. Or just give us a like immediately below, whatever works. Get on the email list at insidethenewsroom.substack.com

Hello! And welcome to another edition of the Inside The Newsroom podcast newsletter, where I’ll dish further context and info about everything discussed in the podcast. If you enjoy what you read and listen to, please subscribe to get it straight to your inbox next time. Today’s guests are…… storm chaser Josh Morgerman and filmmaker Caroline Menzies of the new TV show Hurricane Man, currently airing in the UK and South Africa (random) and set to hit the US in the coming months. I loved this episode and Josh’s obsession with chasing storms was absolutely addictive and makes me (don’t worry I won’t) really want to tag along with him next time. Does climate change make hurricanes worse?Although it’s not central to the show, it’s impossible not to talk about hurricanes without talking about climate change. What you have to consider is the difference between meteorology and climatology — they’re different but closely related. Meteorology is the study of weather, most often on a day-to-day or event-by-event basis, so it’s hard to decipher if climate change is involved. Climatology is the study of weather trends over an extended period of time. In order to explore if climate change is making hurricanes worse, you have to look at long-term trends, which is (*shameful plug time*) what my colleague and I looked at for the Guardian last year.Niko Kommenda and Moi, The GuardianThe Category is Just a NumberWe most often hear about the ‘category’ of a hurricane, and the barometer of panic ascends or descends according to this number. But what causes significant damage is the rain these storms bring. Take Hurricane Harvey in 2017, which stalled and sat on top of Houston and its surrounding areas for multiple days. In total, Harvey dumped 33 trillion gallons of water, and the folks at the Washington Post visualized what that looked like at the link below. Angela Fritz and Jason Samenow, Washington PostWhy Don’t People Evacuate?Hurricanes bring out the best and worst of people. On one hand, so many incredible people offer to help those whose lives have been destroyed. Then there’s those who sit on the sidelines and lambast anyone who “chooses” not to evacuate. The fact is, not everyone can just get up and leave town for safety. Some are physically unable. Some are physically unable to move loved ones. And as you’ll see from the next blurb, some people just flat out cannot afford to leave their possessions that they rely on to make a living.Nicole Stephens, for the New York TimesLike Inside The Newsroom? Do us a solid and tell a friend or colleague who might enjoy it and subscribe.This Is Why People Don’t LeaveA couple from Florida refuse to leave their fishing boat — worth $250,000 and uninsured against hurricanes — during Hurricane Michael. I watched the below clip with anguish and a clenched butt. Long Road to RecoveryIf you watch the series or have ever seen the destruction of a hurricane, you'll know town's and cities don't recover overnight. My former colleagues at FiveThirtyEight visualized how long it took the victims in New York and New Jersey to recover from Hurricane Sandy (which actually made landfall as a tropical cyclone) and there are still people calling the authorities about the damage. I imagine it will take at least the next decade for the Florida Panhandle to fully recover from the impact of Hurricane Michael, which made landfall as a top-end Category 4 hurricane. Julia Wolfe and Oliver Order, FiveThirtyEightInside the EyeTime for another video. If you’re reading this and you’ve ever survived the strongest part of a hurricane — the ferocious ‘eye wall’ — you’ll know that on the other side is a mystical land where the sun shines and the birds tweet. That majestic place is called the ‘eye’, and in the below clip, we get to see Josh experience something he described as indescribable. I likened it to being on drugs.2019 Hurricane Season ForecastThe past two Atlantic hurricane seasons have been devastating with a total of 32 named storms, including eight major hurricanes (Category 3 or stronger). The good news is that the 2019 season is expected to be nearer the average of 12 named storms. The Department of Atmospheric Science at Colorado State releases its predictions each year and, while these are subject to change, the early signs are that 2019 will be calmer than the past couple of years.Jonathan Erdman, The Weather ChannelRelated Podcasts#23 — Michael E. Mann (Penn State University)#17 — James Spann (ABC 33/40)#15 — Marshall Shepherd (The Weather Channel)#14 — Rick Luettich (University of North Carolina)#13 — Jonathan Petramala (Accuweather)#2 — Damon Lane (KOCO)Next up…Next week we’ll have music label man Shane Morris to talk about the controversy of Lil Nas X and his ‘Old Town Road’ being removed from the Billboard Country chart. And also there’s a good chance I’ll release a pod with Jeff Zeleny of CNN.Last time…#36 — Sam Biddle, technology reporter at The InterceptThanks so much for making it all the way to the bottom. If you haven’t already, please consider subscribing to get a newsletter about a cool news topic in your inbox every time I release a new podcast (1-2 times a week). You can find me on Twitter at DanielLevitt32 or email me corrections/feedback or even a guest you’d like me to get on the podcast at daniellevitt32@gmail.com. Get on the email list at insidethenewsroom.substack.com

Hundreds of sewing machines rattle and hiss—explore the industrial soundscape that shaped the American identities of young factory workers in 1911 with composer Julia Wolfe.

Composer Julia Wolfe recently premiered her third oratorio that is centered on American labor history—this latest piece is based on the Triangle Shirtwaist Factory fire that occurred in New York City in 1911. 146 workers—most of them immigrant women—died. Julia was determined not show these women as victims, but rather as resourceful people who had the courage to travel to a new country and band together to struggle for better working conditions. Fire in my mouth, a multi-media work, opened with the New York Philharmonic as its orchestra, a chorus of 146 women, a sold-out house and a cheering standing ovation. It was a good night. Julia Wolfe, who has won a Pulitzer Prize and a MacArthur fellowship, has a large and varied body of work. A composer that is hard to classify, she not only embraces all musical genres, she hears sound itself as a music which is helpful when you want to recreate the particular roar of a factory floor. In this week's podcast, Julia talks about her deep interest in history, her wide embrace of music and her methods for translating the sounds of work into music.

Composer Julia Wolfe recently premiered her third oratorio that is centered on American labor history—this latest piece is based on the Triangle Shirtwaist Factory fire that occurred in New York City in 1911. 146 workers—most of them immigrant women—died. Julia was determined not show these women as victims, but rather as resourceful people who had the courage to travel to a new country and band together to struggle for better working conditions. Fire in my mouth, a multi-media work, opened with the New York Philharmonic as its orchestra, a chorus of 146 women, a sold-out house and a cheering standing ovation. It was a good night. Julia Wolfe, who has won a Pulitzer Prize and a MacArthur fellowship, has a large and varied body of work. A composer that is hard to classify, she not only embraces all musical genres, she hears sound itself as a music which is helpful when you want to recreate the particular roar of a factory floor. In this week’s podcast, Julia talks about her deep interest in history, her wide embrace of music and her methods for translating the sounds of work into music.

Composer Julia Wolfe recently premiered her third oratorio that is centered on American labor history—this latest piece is based on the Triangle Shirtwaist Factory fire that occurred in New York City in 1911. 146 workers—most of them immigrant women—died. Julia was determined not show these women as victims, but rather as resourceful people who had the courage to travel to a new country and band together to struggle for better working conditions. Fire in my mouth, a multi-media work, opened with the New York Philharmonic as its orchestra, a chorus of 146 women, a sold-out house and a cheering standing ovation. It was a good night. Julia Wolfe, who has won a Pulitzer Prize and a MacArthur fellowship, has a large and varied body of work. A composer that is hard to classify, she not only embraces all musical genres, she hears sound itself as a music which is helpful when you want to recreate the particular roar of a factory floor. In this week’s podcast, Julia talks about her deep interest in history, her wide embrace of music and her methods for translating the sounds of work into music.

Description: Gwendolyn Sanford is most famous as a composer for TV shows Weeds and Orange Is the New Black, but she got her start as a quirky children’s singer. In fact, it was because of her children’s band that she and her writing partner Brandon Jay scored the audition for Weeds in the first place. On this episode, we talk about how to craft suitable music for show characters, play some of Gwendolyn’s favorite TV cues, and learn more about her hilarious, unbelievably “L.A.” tale of spontaneity, opportunity, and good old fashioned grit. Note to Our Listeners: The Underscore team is currently undergoing transition, as we shift our focus to other exciting projects within the musical-digital realm. Thus, the Underscore podcast is now on indefinite hiatus, at least in its current incarnation. We are so grateful to the astounding guests and loyal listeners who’ve made our ears dance and brains light up episode after episode. If you’ve enjoyed the podcast, please continue to listen, revisit, and share it with friends, as the unique stories and artists featured on the show deserve to be celebrated! Last but not least, we hope you stay in touch with Chrysanthe, Thomas, and the rest of the Underscore team; we have many more things coming soon... Playlist: Here is a Spotify playlist with hand-picked selections from Chrysanthe, Thomas, and Gwendolyn Sanford. Music Featured in Interview “Free to Be...You and Me” by Marlo Thomas (iTunes / Spotify) “Freedom of the Heart (Ooodily, Ooodily)” by Gwendolyn and the Good Time Gang (iTunes / Spotify) “Drain” by Gwendolyn Sanford (CD Baby) “Selfish Shellfish” by Gwendolyn and the Good (iTunes / Spotify) “Somebody Else’s Man” by Gwendolyn (iTunes / Spotify) “Huskaroo TV Spot” (from Weeds) by Brandon Jay & Gwendolyn Sanford (iTunes / Spotify) “Toy Piano or Toy Poodle” (Weeds cue) by Brandon Jay & Gwendolyn Sanford “Skimming Tree Tops” (Weeds cue) by Gwendolyn Sanford & Brandon Jay “Walk the Walk” (Orange Is the New Black cue) by Gwendolyn Sanford & Brandon Jay “Walk the Walk by Gwendolyn Sanford & Brandon Jay “Bad Man” by Gwendolyn Sanford (Music video on YouTube) “Fun with Cigarettes” (from Orange Is the New Black) by Gwendolyn Sanford & Brandon Jay (iTunes / Spotify) Lightning Round: What genre is your music? Folklore Performance ritual? Warm up my voice and play her songs without singing them. A modern/technological tool that’s extremely helpful to your practice? Metronome A failure that turned out for the best? Not getting signed with the Good Time Gang and not getting the TV show for kids. Something besides music that you’re obsessed with right now? Being a good mom. (Gwendolyn has two daughters, but only one of them is a Good Time Gang fan.) A piece of art that changed your life? Performing The Insanity of Mary Girard (by Lanie Robertson) at age 12 Find Gwendolyn Sanford online: Personal website / Gwendolyn and the Good Time Gang Something Old: “Piano Concerto No. 5 - Emperor” by Ludwig van Beethoven (iTunes / Spotify) Something New: “Birdsong” by Regina Spektor (iTunes / Spotify) Something Borrowed: “my lips from speaking: III.” by Julia Wolfe, performed by Lisa Moore (iTunes / Spotify) Something Blue: “The Blue Studio” piano trio by Stephen Hartke (Live performance on YouTube) Credits: Hosts: Chrysanthe Tan and Thomas Kotcheff Guest: Dorian Wood Script: Chrysanthe Tan Recording engineer: Mark Hatwan Produced by: Chrysanthe Tan Editing: Mark Hatwan Underscore is an extension of the Classical KUSC family Podcast theme: "Playground Day" by Chrysanthe Tan (iTunes / Spotify) Social Media: Facebook: /underscorefm Twitter: @underscorefm Instagram: @underscorefm Thomas is @thomaskotcheff on Twitter and Instagram. Chrysanthe is @chrysanthetan on Facebook, Twitter, and Instagram. Facebook group: Join our Facebook group, Underscore Society, to give us your thoughts, request future topics, and connect with other podcast listeners! Newsletter: Sign up for our mailing list to receive Underscore updates, offers, and opportunities to connect with other music aficionados. Email: Thoughts, questions, suggestions? We’re at info@underscore.fm

Sundays @ Noon at the Hugh Lane presents ‘Becket Into Music’ by Benjamin Dwyer and Barry Guy, Chamber Choir Ireland sings Bach, Anne Boyd and Julia Wolfe, and the Workmans Club presents an improvised ‘sonic response to political dystopia’ curated by Olesya Zdorovetska.

What possibilities emerge when we begin to question the tacitly accepted — and easily overlooked — limits that govern who we can be and what we can do? Composer Samuel Adams, rock climber/BASE jumper Steph Davis, and arts leader Ed Yim all push past traditional limitations in their everyday lives by writing music that reaches new emotional depths, scaling cliffs and flying off of them, or making a platform for artists to create without compromise. Each of them offers a unique and insightful perspective on this question in the debut episode of Imagination Radio. Music in this episode: — Dylan Mattingly: from Stranger Love (2018) — Contemporaneous — Samuel Adams: Tension Study no. 2 (2010) — Living Earth Show — Judd Greenstein: Change (2009) — NOW Ensemble — David Moore: Broad Channel (2015) — Bing & Ruth — Samuel Adams: from Chamber Concerto: Prelude (One by One) (2017) — Karen Gomyo, violin — Samuel Adams: Shade Study (2014) — Sarah Cahill, piano — Samuel Adams: Drift & Providence (2012) — National Orchestral Institute Philharmonic & James Ross, conductor; Samuel Adams, electronics — John Lewis: Silver (1964) — John Lewis, piano; Orchestra U.S.A.; Gunther Schuller & Harold Farberman, conductors — Dan Trueman: Silicon / Carbon (2008) — Princeton Laptop Orchestra (PLOrk); American Composers Orchestra & Jeffrey Milarsky, conductor — Ólafur Arnalds: Hands, Be Still (2013) — Philip Glass: from Symphony No. 4 (1996): I. Heroes — American Composers Orchestra & Dennis Russell Davies, conductor — Pyotr Ilyich Tchaikovsky: from String Quartet No. 1, Op. 11 (1871): II. Andante cantabile — New York Philharmonic & Leonard Bernstein, conductor — Julia Wolfe: from Fuel (2007): Part II — Ensemble Resonanz & Brad Lubman, conductor — Hector Berlioz: from Symphonie fantastique, Op. 14 (1830): V. Songe d'une nuit du Sabbat — Orchestre Révolutionnaire et Romantique & John Eliot Gardiner, conductor — Gustav Mahler: from Symphony No. 8 in E-flat, Symphony of a Thousand (1906): Accende lumen sensibus — Schola Cantorum of New York, Juilliard Chorus, Columbus Boychoir; New York Philharmonic & Leonard Bernstein, conductor — James Horner: from Star Trek II: The Wrath of Khan (1982) — Ludwig van Beethoven: from String Quartet in E-flat, Op. 74 (1809): I. Poco adagio; Allegro — Artemis Quartet — Samuel Adams: Quartet Movement (2016) — Spektral Quartet — Meredith Monk & Mieke van Hoek: Vow (2011) — Katie Geissinger, voice — Steve Reich: Proverb (1995) — Theatre of Voices; Steve Reich Ensemble & Paul Hillier — Dylan Mattingly: from Atlas of Somewhere (on the Way to Howland Island) (2011): II. Islanded in a Stream of Stars — Contemporaneous — Morton Feldman: String Quartet No. 2 (1983) — FLUX Quartet — Anthony Motto: Live at GGBY in Moab (2017) With gratitude and admiration, this episode is dedicated to the memory of composer, conductor, pedagogue, and family man Harold Farberman (1929-2018).

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

Composer Julia Wolfe lives in Lower Manhattan, just blocks from where the Twin Towers once stood. She and her family watched 9/11 unfold around them, and dealt with the aftermath. She wrote one of her most stark, concise works as a response. She called it “Compassion.” Hear the piece performed in concert by pianist Conrad Tao at the Aspen Music Festival and School -- and more of Julia's story -- in this episode of Centennial Sounds from CPR Classical and Colorado Public Radio.

Composer Julia Wolfe & guitarist Mark Stewart discuss their Bang On A Can collaborations

Julia Wolfe udgør en tredjedel af newyorkerkomponistkollektivet Bang on a Can. DR VokalEnsemblet opfører hendes Anthracite Fields. Dirigent: Ralf Sochaczewsky. (Den Sorte Diamant 16. april). Ca. kl. 21: Édouard Lalo: Klavertrio nr.3 med Leonore Klavertrio. Vært: Max Fage-Pedersen.

VIDEO: The Pacifica Quartet & Anthony McGill Play Mozart When a long-established string quartet brings in a fifth collaborator, questions inevitably arise: how will the four players interact with the newcomer? Who will call the shots in rehearsals, and how does the group dynamic change? When the Pacifica Quartet gave a performance of the Mozart Clarinet Quintet in the WQXR Café, that fifth member was Anthony McGill, the principal clarinetist of the Metropolitan Opera Orchestra. He recently recorded the clarinet quintets of Brahms and Mozart with the Pacifica, for an album due out next spring. "It's great to have that influx of new energy and new thoughts," Pacifica violist Masumi Per Rostad told host Jeff Spurgeon. "It changes our rehearsal process. It changes the way we interact with each other when it's just the four of us." McGill joked that the group puts on its polite company face when he enters the room. "What's kind of funny about that, especially with a string quartet, is that most of the time, you’re really welcome, because they spend a lot of time with each other,” said McGill. "Every group has its own specific dynamic and it’s really fascinating to be able to feel that." Along with his job at the Met, McGill is active as a chamber musician and soloist. He encounters a lot of Mozart, be it his chamber music or operas like Cosi fan tutte. "The way he captures the overtones and the sweetest part of the instrument is better than any other composer," McGill said of his clarinet writing. "The part of the instrument that sounds like the human voice – that’s the part that he zeroes in on and uses to the best of his abilities." The Pacifica's Cafe Concert came one day after the quartet appeared at Carnegie’s Zankel Hall to perform with another notable artist, pianist Marc-Andre Hamelin, in the rarely-heard Leo Ornstein Piano Quintet. Next year, the ensemble will mark its 20th anniversary with the premieres of commissioned works by Shulamit Ran and Julia Wolfe, the latter of which will be a string quintet with cellist Johannes Moser. The Pacifica has seen other changes lately too. Last year, the group left the University of Illinois after nearly a decade as the resident quartet to join the Indiana University Jacobs School of Music. It is the first quartet-in-residence at a school with a long string pedagogy tradition but much less of a chamber music bent. The quartet now teaches some 35 ensembles. Does the name “Pacifica” – a holdover from the group’s founding in Los Angeles – ever seem strange given their Midwestern orientation now? “It’s a nice name and we’ve been happy with it," said Rostad. "Our students like to joke that they could call us the Cornfield-ica.” Video: Amy Pearl; Sound: Noriko Okabe; Text & Production: Brian Wise

Join us this week for the third part of our foray into the Bang on a Can Marathons. We'll be focusing on Michael Gordon and Julia Wolfe, two of the co-founders of the Bang on a Can organization. Hosted by Seth Boustead Produced by Jesse McQuarters Gordon: Timber, Mvt. 1 (excerpt), Slagwerk Den Haag Gordon: For Madeline, Bang on a Can All-Stars Wolfe: Lad, Part I From Dark Full Ride, Matthew Welch (Bagpipe) Wolfe: Dig Deep, Ethel Frank Zappa: Zombie Woof, Asphalt Orchestra