Podcasts about ligeti

A Transparency International Magyarország jogi igazgatójának nincs kétsége, hogy a jegybank felső vezetése bizonyíthatóan felelős az 500 milliárd forintos vagyont érintő ügyekben, sőt, a kormány illetékes tagjainak is felelniük kellene. De miért zárta el a pénzcsapot a kormány tavaly a kecskeméti egyetem alapítványa elől?

Jaume Segalés habla de El legado universal de Ligeti y entrevista a la violinista de la formación 4Sonora, Émilie Langlais.El legado universal de Ligeti Así se llama el concierto que va a tener lugar este miércoles 30 de abril en los Teatros del Canal (c/ Cea Bermúdez, 1). En la Sala Verde a las 19:30, a cargo del cuarteto de cuerda 4Sonora, conjunto enfocado a la recuperación, experimentación y promoción de la música de los siglos XX y XXI escrita para este tipo de formación, con especial atención a la creación iberoamericana. Con este recital, se suman a la conmemoración del nacimiento, hace poco más de 100 años, de György Ligeti, compositor de nacionalidad húngara, rumana y austríaca no sólo reconocido en los círculos musicales clásicos, sino también por el gran público gracias a que Stanley Kubrick lo incluyó en la bandas sonoras de 2001, El resplandor y Eyes Wide Shut. 4Sonora, integrado por los violinistas Raúl Suárez y Émilie Langlais y con Alfonso Noriega en la viola y Sara Chordà en el violonchelo, ensalza el legado de este gran compositor, que es una de las figuras más influyentes en la música de nuestro tiempo. Y lo hace a través de las piezas de los cuatro colaboradores y compositores más cercanos que Ligeti tuvo en vida: el húngaro-rumano Péter Eötvös, la finlandesa Kaija Saariahoy. dos de sus alumnos más insignes, el puertorriqueño Roberto Sierra y la surcoreana Unsuk Chin. Entrevistamos a la violinista de la formación 4Sonora, Émilie Langlais.Comparecencia de Pedro Sánchez Jaume Segalés y Juan Pablo Polvorinos siguen y comentan en directo la rueda de prensa del Presidente del Gobierno de España sobre el apagón.

On the latest episode of ‘New Classical Tracks,' pianist Orion Weiss concludes a trilogy 11 years in the making with an album featuring the music of Brahms, Schubert, Dohnanyi, Ligeti and more. Listen now!

fWotD Episode 2882: Pierre Boulez Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 26 March 2025 is Pierre Boulez.Pierre Louis Joseph Boulez (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music.Born in Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.Boulez was also one of the most prominent conductors of his generation. In a career lasting more than sixty years, he was music director of the New York Philharmonic, chief conductor of the BBC Symphony Orchestra and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent appearances with many other orchestras, including the Vienna Philharmonic and the Berlin Philharmonic. He was known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the production of Wagner's Ring cycle for the centenary of the Bayreuth Festival, and the world premiere of the three-act version of Berg's opera Lulu. His recorded legacy is extensive. He also founded several musical institutions. In Paris he set up the Domaine musical in the 1950s to promote new music; in the 1970s he established the Institut de Recherche et Coordination Acoustique / Musique (IRCAM), to foster research and innovation in music, and the Ensemble intercontemporain, a chamber orchestra specialising in contemporary music. Later he co-founded the Cité de la musique, a concert hall, museum and library dedicated to music in the Parc de la Villette in Paris and, in Switzerland, the Lucerne Festival Academy, an international orchestra of young musicians, with which he gave first performances of many new works.This recording reflects the Wikipedia text as of 00:21 UTC on Wednesday, 26 March 2025.For the full current version of the article, see Pierre Boulez on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.

Podcast de Philippe Rahm pour webSYNradio : LA DISSOCIATION DU REEL - Gerard Grisey, Partiels - Tristan Murail, Desintegration - Giacinto Scelsi, Ohoi - Anton Webern, Cinq pièces Op. 10 - Iannis Xenakis, Metastasis - György Ligeti, Atmosphères - Hugues Dufourt, Le Déluge - http://synradio.fr/philippe-rahm-2/

Microtonal jazz extraordinaire Julian Woods shares with us his methodology for re-tuning classic standards into JI and what it's like playing in a live band. Topics include playing songs, composition directives, microtonal setups, and guitarists' advantages for frets, fretlets, and fretless, Philipp Gerschlauer has collaborated with Julian on his own work “Every swing has a silver roundabout” and on microtonal “Angel Eyes,” reharmonized in 13-limit JI (with mostly 5 and 7 limit vertical relationships in the triads). Some notes about our analysis: when Julian is showing the sheet music to Angel Eyes, it's in a different key than the one in which we hear the demo and final song (G minor). Also, at one point Julian mentions G half sharp major, but means A half flat major (I believe). Also, check out a sneak peek of a secret new piece at the end inspired by Ligeti! [video-only shot of guitar] Every swing has a silver roundabout [Just Intonation] - Julian Woods Angel Eyes (sung by Frank Sinatra) Angel Eyes (Julian Woods and Philipp Gerschlauer) [Just Intonation] [snippet] Every swing has a silver roundabout [Just Intonation] - Julian Woods [blues section] Every swing has a silver roundabout [Just Intonation] - Julian Woods String Quartet No. 2 - Ligeti [sung theme] Every swing has a silver roundabout [Just Intonation] - Julian Woods [held notes] Every swing has a silver roundabout [Just Intonation] - Julian Woods [chords in blues] Every swing has a silver roundabout [Just Intonation] - Julian Woods [sung microtones] Angel Eyes (Julian Woods and Philipp Gerschlauer) [Just Intonation] [demo version] Angel Eyes (Julian Woods and Philipp Gerschlauer) [Just Intonation] [demo version with 128/125 between E-flat and D-sharp] Angel Eyes (Julian Woods and Philipp Gerschlauer) [Just Intonation] [snippet 1] Eels “One for Ligeti” - Julian Woods [snippet 2] Eels “One for Ligeti” - Julian Woods Outro - Night & Day (Julian Woods and Philipp Gerschlauer) [Just Intonation]   Julian's music: https://www.youtube.com/@julianwoods7569 https://www.instagram.com/julian_woods_/ https://linktr.ee/julian_woods?fbclid=PAZXh0bgNhZW0CMTEAAaYe7aSNe0sJU6bXODFI78_xn90gh3-PMghW5LH5WjB-6IOC5r3F8NVWdoA_aem_10dyCOhTIbvkp3UmgdZzbw https://gerschlauermusic.bandcamp.com/album/microtonal-toolkit-for-improvisers   Support us on Patreon! (If we get 60 patrons, episodes will be released regularly instead of sporadically) https://www.patreon.com/nowandxen Follow http://nowandxen.libsyn.com https://twitter.com/now_xen https://www.facebook.com/nowxen/   Subscribe RSS: http://nowandxen.libsyn.com/rss iTunes: https://itunes.apple.com/us/podcast/n… Spotify: https://open.spotify.com/show/1mhnGsH… Stitcher: https://www.stitcher.com/podcast/nowxen Twitter: https://twitter.com/now_xen Facebook: https://www.facebook.com/nowxen/ YouTube: https://www.youtube.com/channel/UCnmYNMpemAIq8DnK5HJ9gsA  

Episode 154 Chapter 15, Elektronische Musik in Germany. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: ELEKTRONISCHE MUSIK IN GERMANY Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Heinz Schutz, “Morgenröte” (1952). Elektronische musik using magnetic tape (Cologne). 03:42 01:36 2.     Karel Goeyvaerts, “Compositie Nr 5 met zuivere tonen” (1953). Elektronische musik using magnetic tape (Cologne). 02:44 05:12 3.     Karlheinz Stockhausen, “Studie I” (1953). Elektronische musik using only processed sine waves (Cologne). 09:25 07:50 4.     Giselher Klebe, “Interferenzen” (1955). Elektronische musik using magnetic tape (Cologne). 04:52 17:16 5.     Gottfried Michael Koenig, “Klangfiguren I” (1955). Elektronische musikusing magnetic tape (Cologne). 04:18 22:00 6.     Franco Evangelisti, “Incontri di fasce sonore” (1957). Elektronische musikusing magnetic tape (Cologne). 03:30 26:08 7.     Mauricio Kagel, “Transición” (1958). Elektronische musik using magnetic tape (Cologne). 13:22 29:30 8.     Györgi Ligeti, “Artikulation” (1958). Elektronische musik using magnetic tape (Cologne). 03:58 42:44 9.     Herbert Eimert, “Epitaph für Aikichi Kuboyama” (1960). Elektronische musik using magnetic tape (Cologne). 22:26 46:44 10.   Michael von Biel, “Fassung” (1964). Elektronische musik using magnetic tape (Cologne). 13:47 01:09:06 11.   Karlheinz Stockhausen, “Hymnen Region III (opening)” (1953). Elektronische musik using only processed sine waves (Cologne). 02:30 01:22:40 12.   Peter Eötvös, “Mese” (1968). Elektronische musik using magnetic tape (Cologne). 12:42 01:25:10   13.   Karlheinz Stockhausen, “Studie II” (1953). Elektronische musik using only processed sine waves (Cologne). 03:10       Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Episode 146 Chapter 08, Tape Composition and Sound Editing. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 08, Tape Composition and Sound Editing from my book Electronic and Experimental music.   Playlist: Classic Tape Composition Techniques   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1 Pierre Schaeffer, “Cinq études de bruits: Étude violette (1948). Early application of backwards sounds using a turntable 03:19 01:34 2 Pierre Henry, “Le Microphone bien tempéré” (1950– 52). Used reverberation. 24:48 04:50 3 Otto Luening, “Invention in Twelve Tones” (1952). Used tape echo. 03:47 29:37 4 Morton Feldman, “Intersection” (1953). Used leader tape as a composition tool to add patches of silence. 03:30 33:18 5 György Ligeti, “Glissandi” (1957). Extensive use of tape speed variation and backwards sounds. 07:45 33:44 6 Henri Pousseur, “Scambi” (1957– 58). Explored white noise, filtering, and reverberation. 06:34 44:20 7 Herbert Brün, “Anepigraphe” (1958). Tape music with voices edited into the mix, produced in the WDR studio in Cologne. 07:46 50:56 8 Terry Riley, “Music for the Gift” part 1 (1963). One of the first uses of tape delay with multiple tape recorders. 05:45 58:42 9 Pauline Oliveros, “Beautiful Soop” (1967). Used multiple tape echo signals. 27:46 01:04:24 10 Violet Archer, “Episodes” (1973). Using two Putney synthesizers, a bank of 10 oscillators, mixer, reverb, ring modulation, and filtering.  08:46 01:32:10   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Gisteren werd John Adams tegen wil en dank toch filmcomponist, vandaag hoor je het bizarre verhaal van Ligeti's filmmuziek carrière.  Componist Karmit Fadael verteld over haar nieuwe werk 'Ludus' voor het Nederlands Studenten Orkest, dat daar op dit moment mee door het land reist en we drijven de nacht in met een hele bijzondere uitvoering van Arvo Pärts Fratres. 

Mit tehet majd egy új kormányzati szereplő, ha fel akarja számolni a rendszerszintű korrupciót? A Fülke legújabb adásából, melyben Kacskovics Mihály Béla Ligeti Miklóssal, a Transparency International Magyarország jogi igazgatójával beszélgetett, kiderül. Iratkozz fel a Fülke csatornájára! Spotify: tiny.cc/FulkeSpotify Apple Podcasts: tiny.cc/FulkeApple Hallgasd meg a HVG többi podcastját: Spotify: tiny.cc/HVGpodcastokSpotify Apple Podcasts: tiny.cc/HVGpodcastokApple SoundCloud: tiny.cc/HVGpodcastokSC Tartalom: 00:00 Intro 01:31 Lecsúszott ország – ilyen az élet a középmezőny alján 06:32 „NER-ista zajkeltés” – bővebben a módszertanról, reakció az azt ért kormányzati kritikákra 14:31 Mitől lett „szexi” a korrupció? 22:15 Egyszerre legális és mégsem az: bővebben az ingatlanbalhéról, a lombkoronasétányokról és a koncessziókról 35:12 A lecsúszás okai – 2008 óta folyamatosan lejtőn, 2015 óta zuhanórepülésben 38:47 Akkor ne legyenek plakátok! 49:28 Ha a hétköznapi korrupció ellen fel tudtak lépni, miért nem tudnak a rendszerszintű ellen? 57:51 Úgy kell megszüntetni, hogy nem kell csinálni 1:06:28 A szingapúri példa és tanulságai 1:13:29 A lengyel példa és tanulságai

durée : 01:28:34 - Pierre-Laurent Aimard, du grand répertoire à la création contemporaine - par : Aurélie Moreau - Pierre-Laurent Aimard a été entre autres pianiste soliste de l'Ensemble Intercontemporain pendant 18 ans, tout en continuant à jouer les auteurs du passé avec un même succès. Aujourd'hui : Dvořák, Debussy, Ligeti, Beethoven, Ravel et Messiaen.

A Transparency International jogi igazgatója szerint a Tisza Párt az emberek szorongási toplistájának élmezőnyébe katapultálta az irritáló és pikírt botrányokat. A NER lenézi az embereket, a hatalmi arroganciával megtámogatott állami korrupció a nagyberuházásoknál is jelen van.

Después de trabajar como ingeniero de sonido en la radio y la televisión francesas, se incorpora en el Grupo de Investigación de Música Concreta de Pierre Schaeffer. Centrado profunda y metódicamente en la naturaleza del sonido mismo, desarrolla una carrera que une aquella música con la electrónica contemporánea._____Has escuchadoDe natura sonorum. Accidents/harmonique (1975). INA-GRM (2008)Dedans-dehors. En phase/hors phase (1977). INA-GRM (2008)Jazzzex (1966). INA-GRM (2008)Rêveries (2007). INA-GRM (2008)_____Selección bibliográficaCASTANET, Pierre-Albert (ed.), Portraits polychromes: Bernard Parmegiani. CDMC/INA-GRM, 2002ÉVELYNE, Gayou, GRM. Le groupe de recherches musicales: cinquante ans d'histoire. Fayard, 2007*KOSMICKI, Guillaume, Musiques savantes: de Ligeti à la fin de la Guerre Froide, 1963-1989. Le Mot et le reste, 2014*THOMAS, Jean-Christophe, Philippe Mion y Jean-Jacques Nattiez, L'Envers d'une œuvre: De Natura sonorum de Bernard Parmegiani. Buchet-Chastel/INA-GRM, 1983TIFFON, Vincent, “Les musiques mixtes: Entre pérennité et obsolescence”. Musurgia, vol. 12, n.º 3 (2005), pp. 23-45*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

In this interview with Tom Morris, a veteran of orchestra management whose career included leadership roles with the Boston Symphony and the Cleveland Orchestra, conductor Devin Patrick Hughes provides a comprehensive look at the inner workings of orchestral institutions, the evolution of their management, and the crucial role of music in their success. Morris's journey from a percussionist to a top-level administrator offers a unique perspective, and his reflections provide valuable lessons for anyone interested in the performing arts. One of the most compelling aspects of the interview is Morris's discussion of how his musical background shaped his management philosophy. He emphasizes his deep understanding of musicians' lives, having experienced firsthand the challenges and demands of performing in an orchestra. This empathy enabled him to build trust with musicians and approach labor negotiations with a unique perspective. Morris's belief that "ultimately these institutions are about the music" underscores the importance of passion and artistic integrity in organizational leadership. The episode also explores the historical evolution of orchestra management, particularly the Boston Symphony Orchestra. Morris recounts how, before the 1970s, the orchestra relied on simple postcards for subscription renewals. He explains that over the seventies and eighties, the percentage of the budget earned from ticket sales gradually fell. This shift necessitated the development of marketing and fundraising departments, leading to a significant increase in administrative staff.  Morris shares fascinating insights about the Boston Pops, emphasizing that it was founded in 1885, before Arthur Fiedler became its 17th conductor in 1929. The Boston Symphony created the Pops to provide more employment for musicians and to perform lighter music for a broader audience. He discusses how the Boston Symphony transformed Symphony Hall into a "beer hall" to accommodate a more informal setting for the Pops concerts. He explains that in the early days the Pops sold blocks of tickets to community groups and did not have to focus on individual ticket sales. He also recounts how the popularity of Arthur Fiedler was enhanced even further by the "Evening at Pops" television series. Morris details the process of selecting John Williams as Fiedler's successor, explaining that Williams was chosen for his musical integrity and knowledge of the symphony orchestra. Furthermore, the interview addresses the crucial dynamic between management, the music director, and the board of directors, which Morris refers to as the "Bermuda Triangle.” Morris suggests that this structure can function perfectly if the right people are in those roles and are bound by a common vision. He also emphasizes that having a collaborative culture is essential, but that collaborative decision-making should be avoided. Morris stresses the importance of clear lines of authority and not settling for "good enough" when hiring. He also shares that when hiring he uses Jim Collins' three C's: competence, character, and chemistry. These points underscore the need for strong leadership and a shared vision in any successful organization. Morris also touches on the importance of thoughtful programming. He humorously mentions his collection of "dumb programs" and emphasizes the importance of carefully considering the combination of pieces in a concert. He contrasts examples of bad programming with one of his favorites, a concert he organized with Christoph von Dohnányi, which combined pieces by Ligeti, Wagner, and Bruckner. This conversation highlights that thoughtful artistic direction is an essential element in the success of an orchestra. Thank you for joining us on One Symphony. Special thanks to Thomas Morris for sharing his life and leadership. You can pick up a copy of Always the Music: How a Lifelong Passion Framed a Future for Orchestras wherever you get your books. For a list of recordings played on today's episode, please check out our show notes. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music. https://www.alwaysthemusic.com Featured Music All music selections for this episode feature the Boston Pops.  Tchaikovsky's Serenade for Strings in C Major, Op. 48: Waltz. Conducted by Arthur Fiedler, from the album Fiedler: Greatest Hits.  L'Arlésienne Suite No. 2: Farandole. Composed by Georges Bizet. Conducted by Arthur Fielder, from the album Fiedler: Greatest Hits. “Manhattan Skyline.” From the album Disco Inferno / Manhattan Skyline. Conducted by Arthur Fiedler.  “I Got Rhythm, Embraceable You.” From the album Boston Pops Salutes Astaire, Kelly, Garland. Composed by George and Ira Gershwin. Conducted by John Williams.  “Flying Theme” from E. T. Composed by John Williams. Performed live by John Williams conducting the Boston Pops in 2002.  “America Medley: America.” From the album Salute to America. Composed by Leonard Bernstein. Lyrics by Stephen Sondheim. Conducted by John Williams.  “None But The Lonely Heart.” From the album Pops a la Russe. Composed by Pyotr Ilyich Tchaikovsky. Conducted by John Williams.  The Snow Maiden - Suite - Danse des Bouffons. Composed by Nikolai Rimsky-Korsakov. From the album Pops a la Russe. Conducted by John Williams.  Holst: The Planets, op.32: 3. Mercury, The Winged Messenger. From the album Boston Pops Orchestra: John Williams. Conducted by John Williams. Overture from The Merry Wives of Windsor. From the album Fiedler: Greatest Hits. Conducted by Arthur Fiedler.  “Pizzicato Polka.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  “Funeral March of a Marionette.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  

Mit "Autobahn" bringt die Düsseldorfer Band Kraftwerk 1974 ihr viertes Album raus. Ein echtes Meilensteine Album – und das, obwohl das Album nur ganze fünf Titel hat. Die Gruppe Kraftwerk hat ihre Wurzeln in der nordrhein-westfälischen Hauptstadt Düsseldorf. Genauer gesagt aus dem direkten Umfeld der Düsseldorfer Kunstakademie, in denen sich auch andere große zeitgenössische Künstler bewegt haben wie Joseph Beuys, Karlheinz Stockhausen oder Györgi Ligeti. Die New York Times hat die Band Kraftwerk einmal als "die Beatles der elektronischen Musik" bezeichnet. Was genau das Album "Autobahn" zu einem Meilenstein macht, verrät Podcast-Gast und Kraftwerk-Fan Sascha Simnovec in seinen eigenen Worten: "Autobahn ist bis heute so konsequent anders und stilprägend! [...] Ein Kunstprofessor, genauso wie ein Taxifahrer, der ihn zur Ausstellung fährt, versteht das Album. Es gibt keine intellektuellen Fallen, obwohl das Album so intelligent ist." Das Herzstück von "Autobahn" ist der Titelsong selbst. Über 22 Minuten erstreckt sich diese romantisierte Reise auf der deutschen Autobahn, die dabei auch künstlerisch unterstützt wird von dem ursprünglichen Plattencover des Albums. Darauf sehen wir genau die dort beschriebene Landschaft mit zwei typisch deutschen Autos auf der Autobahn. Die Sonne scheint im Hintergrund über die Berge und im Rückspiegel sehen wir tatsächlich dann auch die vier Bandmitglieder von Kraftwerk sowie die beiden Gründer der Band, Ralf Hütter und Florian Schneider. Der Titelsong "Autobahn" ist mit seinen 22:30 Minuten tatsächlich der einzige Song auf der A-Seite des Albums und damit auf mehreren Ebenen in sich geschlossen. Ralf Hütter von Kraftwerk hat das Stück auch nicht unbedingt als Song betitelt, sondern eher als "Soundmalerei". Im SWR1 Meilensteine Podcast zu "Autobahn" von Kraftwerk sprechen wir natürlich auch über die zweite Seite der Platte und auch darüber, ob die Platte jetzt eigentlich aus zwei oder aus drei großen Themenbereichen besteht, welche kosmischen Kräfte die Platte beeinflusst haben und darüber, wie genau viele dieser damals neuen Sounds entstanden sind. __________ Über diese Songs vom Album "Autobahn" wird im Podcast gesprochen (17:43) – "Autobahn"(55:47) – "Kometenmelodie 1 und 2"(01:00:58) – "Mitternacht"(01:09:51) – "Morgenspaziergang" __________ Alle Shownotes und weiterführenden Links zur Folge "Autobahn" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/kraftwerk-autobahn-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Samu Gryllus zeneszerzőként gyakran dolgozik különböző zenei-társadalmi háttérrel rendelkező zenészekkel. Fő érdeklődési területe az előadóművészet multidiszciplinaritása, különös tekintettel az előadott zenei identitásra. Tapasztalatokkal rendelkezik a hangművészet és az egyetemi oktatás terén egyaránt. 2010 óta a Soundpainting szakértője, ami az oktatásban és az előadóművészetben használt jelnyelv. Samu 1976-ban született Budapesten, Magyarországon. A Liszt Ferenc Zeneakadémián szerzett diplomát jazz-basszusgitár és jazz-pedagógia szakon 2001-ben. 2007-ben MFA diplomát szerzett médiaszerzésből, majd 2012-ben zeneszerzésből a Bécsi Zenei és Előadóművészeti Egyetemen (MDW), ahol Michael Jarrell és Klaus Peter Sattler tanítványa volt. 2005-ben az Erasmus-program segítségével Samu a berlini Művészeti Egyetemen (UDK) Walter Zimmermann és Daniel Ott mellett zeneszerzést és kísérleti zenés színházat tanult. 2008/2009-ben Fulbright-ösztöndíjasként tanult a Wesleyan Egyetemen. Doktori tanulmányait (DLA) a budapesti Színház- és Filmművészeti Egyetemen fejezte be 2019-ben. Kutatási területe a multidiszciplináris előadóművészet és az instrumentális színház. Számos ösztöndíjat kapott ( 2021-es osztrák állami zeneszerzői ösztöndíj, 2017/18-as nemzeti kiemelkedési ösztöndíj, 2012-es Theodor Körner Preis, 2009/11-es Kodály Zoltán zeneszerzői ösztöndíj, 2010-es Czibulka Alapítványi ösztöndíj, 2008/12-es Artisjus alkotói ösztöndíj, 2008-as Sylt:Quelle rezidens ösztöndíj stb.). Műveit különböző fesztiválokon (Wien Modern, Bartók Fesztivál, ManiFeste) és helyszíneken (Carnegie Hall, Wiener Konzerthaus, Magyar Állami Operaház, valamint parkok és botanikus kertek) mutatták be. Kamaraoperákat komponált a Sophiensaele Berlin és a Novoflot Company (AOIHANA 2007), a Theater an der Wien és Rupert Bergmann (Blaubarts, 2011), a Peter Eötvös Kortárs Zenei Alapítvány (Out at S.E.A. 2013), Magyar Állami Operaház (Két Nő, 2017), MuPATh a WUK Performing Arts és a Musiktheatertage Wien együttműködésében (Túszopera  2021-22) Interaktív installációit többek között a Brooklyn Museum of Arts (Opera Looper I-IV), Ludwig Múzeum Budapest, Tallin Architecture Gallery (ANSaw) állította ki. 2021 óta tanít a Bécsi Zeneművészeti Egyetemen, 2013 és 2022 között a Bécsi Zenei Intézet zeneszerzés tanszékét vezette, 2014 és 2019 között a Széchenyi Egyetemen Új kamarazene hangszereseknek, 2015 és 2019 között a Színház- és Filmművészeti Egyetemen Hangfestés színészeknek és minden bejövő Erasmus hallgatónak. 0:00Beköszönés 2:20 Gryllus család 5:30 Punk zene 7:40 Pedagógia 9:00 Pepsi sziget 10:00 Liszt Ferenc Zeneakadémia: jazz-basszusgitár, jazz-pedagógia  11:00 WH - Shakespeare's Sonnets & Songs 14:00 Amerika, Braxton 2008 17:00 Populáris zene hangszerelése 18:30 Stockhausen: Sternklang: performance 20:00 Sargfabrik, Janus Ensemble 22:00 Aktuáis projektek 23:10 Kortárs sanzonok 24:30 Átlátszó Hang Fesztivál, társalapító és kurátor 34:00 2015-2019, Doktori tanulmány, Színház- és Filmművészeti Egyetemen 36:00 Soundpainting 40:00 SZFE váltás, Freeszfe 42:00 Erasmus-program, Berlin 48:00 2007, 1. opera, Aoihana darf nicht sterben! 50:00 Túszopera 52:00 Eötvös Péter 80 1:00:00 Ligeti 101 1:03:00 HoMe: House.Music.Europe 1:09:00 Jövőbeli tervek 1:12:00 Both Miklós és Kina 1:15:00 Bécs és Budapest 1:18:37 Elköszönés #zeneszerző #zenész #zene https://sargfabrik.at/veranstaltungen/janus-ensemble-2411 http://www.samugryllus.info/ https://www.youtube.com/@GryllusSamu/videos WH: https://www.facebook.com/whshakespeare/ HoMe: https://proprogressione.com/projekt/home/HoME

Dice nuestro tenor favorito que hasta para los muertos se ha hecho buena música. Hoy recorremos con José Manuel Zapata algunos réquiems de grandes compositores como Mozart, Bach, Brahms, Verdi e incluso el aparentemente desconocido Ligeti. ¡Música, maestro!Escuchar audio

Cikle „Geriausi visų laikų kino garso takeliai“ – siaubo klasika „Švytėjimas“ („The Shining“) su Pendereckio, Ligeti, Bartóko ir Wendy Carlos kūriniais. O taip pat: 100 metų vienam vibrafono džiaze pradininkų Terry Gibbsui, arba Julijui Gubenko.Ved. Domantas Razauskas

Dorothee Oberlinger ist Hochschulprofessorin, Ensemblegründerin, Dirigentin und Intendantin. Als Solistin arbeitet die mehrfache ECHO-Preisträgerin mit den weltweit besten Barock-Orchestern zusammen. Mit ihrem virtuosen und ausdrucksvollen Spiel verzaubert sie auch Menschen, die der Blockflöte eher skeptisch begegnen. Als Intendantin der Arolser Barock-Festspiele und der Musikfestspiele Potsdam Sanssouci überrascht sie ihr Publikum immer wieder mit vielfältigen und innovativen Programmideen. Überraschendes hält auch das Musikprogramm bereit, das Dorothee Oberlinger für uns zusammengestellt hat: Bach und Telemann tummeln sich neben Ligeti, Sting und Jimi Hendrix, der hier sogar selbst zur Blockflöte greift!

Intro:  One More Night – Can 1. Get Off My Cloud – The Rolling Stones (2:57)                                                                                                                      2.  Man in the Fog – Flying Burrito Brothers (2:31)                                                                                                               3.  Misty Morning, Albert Bridge – The Pogues (3:02)                                                 4.  Mac's Fancy / The Mist Covered Mountain – De Danann (3:06)                                                                                       5.  Passing Clouds – Roger Limb / BBC Radiophonic Workshop (1:01)                                                                  6.  Cloud 149 – Pere Ubu (2:37)                                                                                                                                               7.  Ominous Cloud – Broadcast (3:46)                                                                          8.  The Morning Fog – Kate Bush (2:39)                                                                                                                                  9.  Little Fluffy Clouds – The Orb (4:27)                                                 10.  Little Cloud – Incredible String Band (4:01)                                                                                                                                                                                                                             11.  Misty Mountain Hop – Led Zeppelin (4:39)                                                                                                                 12.  Sodom and Gomorrah – Misty in Roots (6:37)                                                                                                                  13.  Le Brouillard – Brigitte Fontaine, Areski, avec Art Ensemble of Chicago (3:24)                                                                  14.  Fog On the Hudson (425 W 57th Street) – Moondog (1:19)                               15.  The Cloud of Unknowing – James Blackshaw (10:50)                                                                                           16.  The Foggy Mountain Top – The Carter Family (2:58)                                                             17.  Both Sides Now – Judy Collins (3:15)                                                                             18.  Lost in a Fog – Ella Fitzgerald (4:00)                                 19.  Clouds O'ertake The Brightest Day (from ‘Susanna') – Handel, Cummings/Festspiel Orchester Göttingen/ Lowrey (1:54)                               20.  Foggy Mountain Breakdown – Lester Flatt, Earl Scruggs, & the Foggy Mountain Boys (2:39)                                                                                                                       21. In A Mist – Bix Beiderbecke (2:48)                                                                                                                                    22.  White Cloud – Jan Garbarek Group (9:01)                                                                                                                       23.  Clear or Cloudy – John Dowland, Rooley/Consort of Musicke/Kirkby (3:21)                                                       24.  A Foggy Day – Chris Connor (3:20)                                                                                                                                   25.  Nuages – Quintette du Hot Club de France, avec Alix Combelle (3:15)                                                                             26.  Cloudscape (from ‘Koyaanisqatsi') – Philip Glass (4:39)                                                                                                    27.  Foggy Notion – Velvet Underground (6:50)                                                          28.  Clocks and Clouds (excerpt) – György Ligeti, De Leeuw/Asko-Schönberg Ensemble/Capella Amsterdam Choir                                                                                                                                                                                              Outro: Pogles Walk – Vernon Elliott Ensemble

Zwei Streichquartette hat der ungarische Komponist György Ligeti geschrieben. Das erste von 1953 für «die Schublade», denn im Ungarn der 1950er Jahre durfte seine Musik nicht aufgeführt werden. Ligeti floh 1956 aus seiner Heimat. Und fand danach zu seinem eigenen Stil. Sagt man, behauptet er selbst. Vieles vom späten Ligeti ist allerdings bereits hier angelegt: das Absurde, die Tonflächen. Was braucht es, um das am besten hörbar zu machen? Gäste von Benjamin Herzog sind der Tonmeister Andreas Werner und die Musikwissenschaftlerin Doris Lanz. Erstausstrahlung: 22.05.2023

In this episode, we discuss recordings of “Young & Foolish: Mozart & CPE Bach” (Alpha) by Céline Frisch, Alexander Melnikov & Café Zimmermann / Pablo Valetti, “Brahms, Ligeti, Mozart, Schumann: Horn Trios” (Chandos) by Martin Owen, Francesca Dego & Alessandro Taverna, “Arto Koskinen: Fuga Indiana” (Alpha) by Joonas Ahonen, “Orizzonti” (Emme Produzioni Musicali) by The Gianluca Caporale Quartet, “Artform Revisited” (Savant) by Louis Hayes, and “Painter of Dreams” (Criss Cross Jazz) by Misha Tsiganov.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 174 Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “Young & Foolish: Mozart & CPE Bach” (Alpha) Céline Frisch, Alexander Melnikov, Café Zimmermann / Pablo Valetti https://open.spotify.com/album/20cqvhFwcIPqYOc4r2rLat https://music.apple.com/us/album/young-foolish-mozart-c-p-e-bach/1744001308 https://music.amazon.com/albums/B0D31YZT9X   “Brahms, Ligeti, Mozart, Schumann: Horn Trios” (Chandos) Martin Owen, Francesca Dego, Alessandro Taverna https://open.spotify.com/album/7Ergmza2i7quaeLavtpAsg https://music.apple.com/us/album/brahms-ligeti-mozart-schumann-horn-trios/1742021362 https://music.amazon.com/albums/B0D23PXQHQ   “Arto Koskinen: Fuga Indiana” (Alpha) Joonas Ahonen https://open.spotify.com/album/49u8g73PRLVV01kZDedIsM https://music.apple.com/us/album/arto-koskinen-fuga-indiana/1742579299 https://music.amazon.com/albums/B0D2DLX631   “Orizzonti” (Emme Produzioni Musicali)  Gianluca Caporale Quartet https://open.spotify.com/album/0UVAgRUAH1DMD10f53NEes https://music.apple.com/us/album/orizzonti-feat-fabio-zeppetella/1754372648 https://music.amazon.com/albums/B0D87CRFYL   “Artform Revisited” (Savant)  Louis Hayes https://open.spotify.com/album/2aD01WkSKtyWKZKJ5LLa9b https://music.apple.com/us/album/artform-revisited/1746245405 https://music.amazon.com/albums/B0D44TXR3Z   “Painter of Dreams” (Criss Cross Jazz) Misha Tsiganov https://open.spotify.com/album/36hHCSY5sNo2lmLyr8HfJg https://music.apple.com/us/album/painter-of-dreams-feat-alex-sipiagin-miguel-zenon/1755419820 https://music.amazon.com/albums/B0D61586V5  

Stürz, Franziska www.deutschlandfunk.de, Kultur heute

Im letzten Jahr wurde sein 100. Geburtstag gefeiert: György Ligeti gilt als Publikumsliebling unter den Komponisten der Nachkriegsavantgarde. Am Freitag wurden die Münchner Opernfestspiele mit einer Neuinszenierung von Ligetis einziger Oper eröffnet: "Le Grand Macabre". Dirigiert hat Kent Nagano, ein früherer Musikchef der Bayerischen Staatsoper.

Die Oper "Le grand Macabre" von György Ligeti ist keine gewöhnliche Oper. Sie weicht von der herkömmlichen Moral- und Klangvorstellung ab. Kein Wunder: Die Handlung spielt einen Tag, bevor unsere Erde von einem Kometen zerstört wird. Da darf man nochmal ordentlich über die Stränge schlagen! Regisseur Krzysztof Warlikowski inszeniert das Stück an der Bayerischen Staatsoper. Dirigiert wird die Oper vom ehemaligen Münchner Generalmusikdirektor Kent Nagano, mit dem BR Klassik-Reporterin Sylvia Schreiber gesprochen hat.

durée : 00:11:58 - Le Disque classique du jour du lundi 24 juin 2024 - Dans ce nouvel enregistrement, l'Ensemble intercontemporain et son nouveau directeur musical Pierre Bleuse rendent hommage à György Ligeti, dont on a célébré le centenaire de la naissance en 2023

durée : 01:27:36 - En pistes ! du lundi 24 juin 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce lundi matin, Emilie et Rodolphe vous proposent d'écouter les œuvres de François Colin de Blamont, Joseph Haydn, Frédéric Chopin, Wolfgang Amadeus Mozart, György Ligeti et Antonio Rosetti. En pistes !

durée : 00:25:09 - Hae Sun Kang, violoniste (5/5) - par : Judith Chaine - Dans ce dernier épisode, Hae-Sun Kang revient sur sa relation d'interprète avec de nombreux compositeurs d'aujourd'hui. Elle évoque notamment sa collaboration avec la compositrice Unsuk Chin et d'autres belles rencontres avec des personnalités incroyables comme Ligeti. - réalisé par : Arnaud Chappatte

heute u.a. Musikfestival "c/o pop" startet in Köln; Schauspielerin Shirley MacLaine wird 90; Tiemanns Wortgeflecht: Willy Brandt, der "gecancelte Bundeskanzler"; Aachen zeigt Oper über eine Liebe im Nahen Osten; Gedicht: "Großer Abendsegler" von Jürgen Brôcan; Musiktipp: Kammermusik und Konzerte von György Ligeti; Moderation: Rebecca Link. Von Rebecca Link.

Madžarska politika se je nepričakovano znašla v krizi. Zaradi pomilostitve s pedofilijo povezanega človeka blizu vladajoči stranki sta odstopili predsednica države in pravosodna ministrica. Ministričin nekdanji mož je kot žvižgač razkril nekatere posle stranke Viktorja Orbana in postal njegov glavni izzivalec. Madžarski premier medtem ob slabih gospodarskih kazalcih grmi proti Evropski uniji in se povezuje z Donaldom Trumpom. Je Madžarska res pred velikimi spremembami ali gre le še za en vihar v kozarcu Blatnega jezera? Lahko Orban, ki bo poleti prevzel predsedovanje Svetu Evropske unije, res še enkrat zatrese bruseljsko politiko ali pa smo priče njegovemu labodjemu spevu? Koliko si Madžari v resnici želijo sprememb? Sogovorniki: Márton Gergely, novinar in urednik Stefano Bottoni, zgodovinar in politični analitik Miklós Ligeti, Transparency International Lili Simon, študentka glasbe Luka Lisjak Gabrijelčič, raziskovalec na CEU Rajmond Percze, podjetnik Lacek Takács, umetnik Vsebina je del projekta I know EU/ Tu EU 2024, ki ga sofinancira Evropska unija.

Am 1. März spielt das Symphonieorchester des Bayerischen Rundfunks unter der Leitung von Iván Fischer Werke von Ernst von Dohnanyi, György Ligeti, Erik Satie, Claude Debussy und Maurice Ravel. Kristin Amme hat den Dirigenten zum Interview getroffen und dabei erfahren, warum er so gerne mit dem BRSO zusammenarbeitet.

        Kevés példa van arra, hogy a Liszt Ferenc Zeneművészeti Egyetem egyik oktatója, aki a katedrán Bach és Beethoven, Ligeti és Kurtág műveit és módszereit elemzi,  személyes érdeklődésének köszönhetően, Taylor Swift-szakértővé is válik. Márpedig Fazekas Gergely Taylor Swift-szakértővé vált!       Tudományos alapossággal elemzi a 34 éves kora ellenére máris 14 Grammy-díjjal rendelkező, több mint 200 millió lemezt eladott gigasztár munkásságát, aki a Time magazin szerint 2023-ban "Az év embere" lett, a Forbes magazin pedig őt tartja a legbefolyásosabb nőnek a média és a szórakoztatóipar világában, miközben tavaly őt hallgatták a legtöbben a Spotify-on is, összesen 26,1 milliárd alkalommal streamelték. És ha ez még nem volna elég, több, jelentős amerikai egyetem már Taylor Swift-ről szóló kurzusokat is indított.       Miért pont ő és mért pont most? Vajon csak a YouTube és társai tették kiemelkedően divatossá a világ legmeghatározóbb zenei előadóját, netán professzionális marketing és a tudományos tervezettség járatta csúcsra, vagy tényleg van valami plusz, valami egyedülálló a művészi, előadói teljesítményében?       A Taylor Swift teljesítménye és személye iránt kifejeződő felfokozott figyelem mozgatórugóiról beszélget Friderikusz Sándor ebben a mostani podcast-ban Fazekas Gergely zenetörténésszel, aki maga is igen szuggesztív előadó, és oly sok mindent megtudhatnak tőle nemcsak Taylor Swiftről, de a zene hatalmáról is. (Sajnos, a beszélgetéshez zenei illusztrációkat Swift dalaiból nem tudunk adni, mert ezekhez engedélyt szerezni egy YouTube-on is látható műsor esetében számtalan amerikai zenekiadótól és Taylor Swift menedzsmentjétől csak hetekig, hónapokig tartó eljárás után lett volna lehetséges, ha egyáltalán, de mert Önöknek rendelkezésére áll a YouTube-on megannyi Taylor Swift-dal, bármikor megállíthatják a beszélgetést és a szóban forgó dalt, illetve az abból készült felvételt megnézhetik, meghallgathatják!)       A műsor második részében beszélgetést láthatnak a 2024. évi Szente László-díjas Wirth Zsuzsannával, a direkt36.hu oknyomozó újságírójával.       Együttműködő partnerünk a KARE Design, amely az alábbi linken elérhető: https://www.kare24.hu Hogyan támogathatja a munkánkat? Legyen a patronálónk, és a támogatása mértékétől függően egyre több előnyhöz juthat: https://www.patreon.com/FriderikuszPodcast Egyszeri vagy rendszeres banki átutalással is segíthet. Ehhez a legfontosabb adatok: Név: TV Pictures Számlaszám: OTP Bank 11707062-21446081 Közlemény: Podcast-támogatás Ha külföldről utalna, nemzetközi számlaszámunk (IBAN - International Bank Account Number): HU68 1170 7062 2144 6081 0000 0000 BIC/SWIFT-kód: OTPVHUHB Akármilyen formában támogatja munkánkat, köszönjük! Kövessenek, kövessetek itt is: youtube: https://www.youtube.com/c/FriderikuszPodcast Facebook: https://www.facebook.com/FriderikuszPodcast Instagram: https://www.instagram.com/friderikuszpodcast Anchor: https://anchor.fm/friderikuszpodcast Spotify: https://spoti.fi/3blRo2g Google Podcasts: https://bit.ly/3fc7A7t Apple Podcasts: https://apple.co/3hm2vfi Deezer: https://www.deezer.com/hu/show/1000256535

SynopsisIn the early 1990s, flutist Susan Morris de Jong and guitarist Jeffrey Van commissioned Puerto Rican composer Roberto Sierra to write three sets of chamber works that have become classics for their combination of instruments. Sierra titled these Crónicas del Descubrimiento, or Chronicles of Discovery, and said they were his vision of the bewilderment the native Indians of Puerto Rico must have felt during first interactions with the Spanish conquistadores, and vice-versa.Each of the three sets contains two contrasting pieces in which flute and guitar seem to observe, excite and provoke each other, with the first slow atmospheric piece followed by a more rhythmic second one. On today's date in 1994 in Minneapolis, De Jong and Van presented the third and final set of Sierra's Chronicles of Discovery, containing two pieces: the first titled Song, and the second, more ominously, Battle.Sierra left his native Puerto Rico to study composition with György Ligeti in Hamburg in the late 1970s, served as the composer-in-residence of the Milwaukee Symphony in the 1980s and was elected to the American Academy of Arts and Letters in 2021.Music Played in Today's ProgramRoberto Sierra (b. 1953) – Battalia, from Tercera Crónica del Descubrimiento (Marcelo Barbozab, flute; Fabio Zanona, guitar) Somm CD-0669

Unikāla spēja, kas piemīt tikai retajam — tas ir maņu "kopdarbs" jeb sinestēzija. Vai pirmdiena skan kā dzeltenā krāsa, bet melns apģērbs "dzied dziesmu"? Varbūt vārds Leonards garšo pēc apelsīniem, bet Inese ir "skāba"? Kas ir sinestēzija un kāda ir sinestētiķu dzīve ar šādu ikdienas maņu eksploziju? To pārrunājam ar Latvijas Universitātes Izglītības zinātņu un psiholoģijas fakultātes un Datorikas fakultātes Uztveres un kognitīvo sistēmu laboratorijas vadošo pētnieci Solvitu Umbraško un Latvijas Universitātes Datorikas fakultātes Uztveres un kognitīvo sistēmu laboratorijas vadošo pētnieci Līgu Zariņu. Sinestēzijas gadījumā nozīme ir iedzimtībai, un iedzimtība ir aspekts, kas būtisks arī krāsu akluma gadījumā, par ko skaidrojumu sniedz Gunta Krūmiņa. Īpaši mūzikas pasaulē ir visai daudz personību, kuras zināmas ne tikai ar savu radīto mūziku, bet arī vēl kādu neparastu īpašību, kas šiem cilvēkiem piemitusi, un tā ir sinestēzija. Redzēt mūziku krāsās, bet krāsas dzirdēt skaņās, un tie nebūt nav vienīgie sinestēzijas veidi. Sinestēzija kā iedvesmas avots ir kalpojusi, piemēram, tādiem komponistiem kā Olivjē Mesiāns, Ģērģs Ligeti, Mikalojs Konstantīns Čurļonis, tā piemitusi arī latviešu skaņražiem Jānim Ivanovam, Ādolfam Skultem. Sinestēzija noder arī mūslaiku komponistiem, bet, protams, tā nav tikai uz māksliniekiem attiecināma īpašība. Vēl interesanti, ka katram sinestētam būs savs stāsts par to, kādā krāsā būtu viens vai otrs cilvēka vārds, bet sinestētu strūpi jeb testi ar nodrukātiem vārdiem konkrētās krāsās palīdz saprast, cik viegli vai grūti ir uztvert vārdu vienā krāsā, pat ja pašam sinestētam liekas, ka šim vārdam patiesībā piemīt pavisam cita krāsa.     

DUTILLEUX: 3 Cuadros sinfónicos sobre “Cumbres borrascosas” (11.37). Orq. Nac. des Pays de la Loire. Dir.: P. Rophe. Correspondances (17.41). B. Hannigan (sop.), Orq. Fil. de Radio Francia. Dir.: E. Pekka-Salonen. LIGETI: 3 Fantasías según Friedrich Hölderlin (11.33). London Sinfonietta Voices. Dir.: T. Edwards. Estudio para piano nº 11 “En suspens” (1.16). J. Hocker (pianola).Escuchar audio

durée : 00:25:07 - Ligeti, Le grand Macabre, opéra provocateur - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur un opéra provocateur du compositeur György Ligeti, "Le grand Macabre" ! - réalisé par : Philippe Petit

durée : 00:59:21 - Dan Tepfer & Miguel Zenon - par : Alex Dutilh - Le pianiste Dan Tepfer et le saxophoniste alto Miguel Zenόn confirment leur complicité ludique avec “Internal Melodies”, sur des compositions de Ligeti et Tristano. Enregistré, mixé et masterisé par Dan Tepfer.

Mivel az Európai Unió Magyarországgal kapcsolatos eljárásainak lényegi eleme az uniós források elköltésének módja, amire a hatályos közbeszerzési szabályok vonatkoznak, a téma még inkább figyelmet kapott. Éppen ezért a Mutyimondó Extra huszonötödik podcast-epizódját ennek a kérdésnek szenteltük, és az Átlátszó részéről Katus Eszter újságíró vett részt abban a beszélgetésben, ahol partnere Vincze Orsolya, a K-Monitor jogásza és Ligeti Miklós, a Transparency International magyarországi jogi igazgatója volt, míg az eszmecserét – szokás szerint – Hont András moderálta. Az adás felvétele 2023. november 13-án volt. SHOW NOTES: Korrupciógyanú: több száz közbeszerzést vizsgáltunk meg, bejelentést teszünk a hatóságoknál: ⁠https://atlatszo.hu/kozpenz/2023/10/24/korrupciogyanu-tobb-szaz-kozbeszerzest-vizsgaltunk-meg-bejelentest-teszunk-a-hatosagoknal/⁠ Meghívásos közbeszerzések: így bábozzák el a tisztességes versenyt: ⁠https://atlatszo.hu/kozpenz/2023/09/14/meghivasos-kozbeszerzesek-igy-babozzak-el-a-tisztesseges-versenyt/⁠ Hont András Facebook-oldala: ⁠⁠⁠www.facebook.com/hontandras75⁠⁠⁠ Katus Eszter Facebook-oldala: ⁠https://www.facebook.com/keatlatszo⁠ A Transparency International Facebook-oldala: ⁠https://www.facebook.com/TransparencyInternationalMagyarorszag⁠ A K-Monitor Facebook-oldala: ⁠https://www.facebook.com/Kmonitor⁠ Az Átlátszó Facebook-oldala: ⁠⁠⁠www.facebook.com/atlatszo.hu/⁠⁠⁠ Az Átlátszó Instagram-oldala: ⁠⁠⁠www.instagram.com/atlatszo/?hl=hu⁠⁠⁠ Az Átlátszó Twitter-oldala: ⁠⁠⁠twitter.com/atlatszo⁠⁠⁠ Az Átlátszó YouTube-oldala: ⁠⁠⁠www.youtube.com/c/Atlatszovideo⁠⁠⁠ Az Átlátszó Tumbrl-oldala: atlatszo.tumblr.com

durée : 01:00:08 - Benjamin Lazar, metteur en scène - par : Priscille Lafitte - Metteur en scène d'un "Bourgeois gentilhomme" historiquement informé qui a fait date en 2005, Benjamin Lazar travaille toujours avec sa troupe baptisée le "Théâtre de l'Incrédule", mettant en scène l'"Orfeo" de Sartorio, ou encore le "Grand macabre" de György Ligeti donné samedi à Radio France. - réalisé par : Claire Lagarde

durée : 00:30:43 - Les Nuits de France Culture - par : Albane Penaranda - En 1998, "Les chemins de la musique" proposent une série de 5 émissions intitulée "La musique concrète a cinquante ans". Épisode 2 : "Supports et mémoire, la question de la technologie" avec François Bayle et Luc Ferrari, et des extraits d'œuvres de Cage, Schaeffer, Ligeti, etc. - invités : François Bayle Compositeur, créateur et ancien directeur du Groupe de recherche musicale (GRM); Luc Ferrari Compositeur; Daniel Teruggi

Collaborating with a 16-voice choir Von Oswald delves into the interplay between the human voice and electronic synthesis. https://www.theransomnote.com/music/premiere-moritz-von-oswald-luminoso-tresor/ In the realm of Moritz Van Oswald's delight, Luminoso at Tresor, a surreal flight, Twinkling stars in the techno night, Where beats and dreams take their curious height. Electronic wizard, with a hat so tall, His tunes enchant, and the walls do crawl, Through the dancefloor, we heed the call, Luminoso's magic, we surrender to all. In the land of nonsense, we find our way, Where melodies and rhythms start to sway, Moritz Van Oswald leads the play, In Luminoso's world, we'll forever stay. Moritz von Oswald's album “Silencio” due out on Tresor Records, November 10th, 2023, is an exploration of the differences and similarities between human and artificial sound. Collaborating with a 16-voice choir he delves into the space between these sounds, drawing inspiration from composers like Edgard Varèse, György Ligeti, and Iannis Xenakis. Combining elements of repetition and reduction, reminiscent of techno and minimalism it showcases the interplay between the human voice and electronic synthesis. The compositions for “Silencio” were created using classic synthesizers in von Oswald's Berlin studio and then transcribed for the choir by Finnish composer Jarkko Riihimäki. Out Nov 10. Listen below and pre-order here: @tresorberlin

Ganador de prestigiosos concursos como el Paloma O’Shea o el Arthur Rubinstein, Juan Pérez Floristán es uno de los pianistas más destacados de la escena actual. Tras su reciente paso por el Festival Eñe de Málaga, donde ofreció el pasado viernes 4 de noviembre el recital “Los lenguajes de la poesía al piano” junto al joven poeta Mario Obrero (Premio Loewe de Poesía 2021), el músico nos acerca su último trabajo: {Algo}ritmo. Un disco grabado en directo en la Sala Mozart del Auditorio de Zaragoza en un concierto en el que interpretó Música Ricercata de György Ligeti, las 3 Danzas Argentinas de Alberto Ginastera y los Cuadros de una Exposición de Modest Mussorgsky. Escuchar audio

SynopsisOn today's date in 1992, one of the strangest — and some would say most strikingly original — violin concertos of the late 20th century had its premiere performance in Cologne, Germany. It was written by Transylvanian-born Hungarian composer György Ligeti.Ligeti became famous in the West when some of his music appeared in the 1968 Stanley Kubrick film 2001: A Space Odyssey. Kubrick used Ligeti's music to evoke the eerie and empty vastness of outer space. And, in fact, Ligeti was fascinated by the sounds traditional orchestral instruments make when pressed to the extreme limits of their range — their own sonic “outer limits.” There's some of that in Ligeti's 1992 Violin Concerto, plus a dash of the traditionally melancholic Hungarian strain familiar from the music of Ligeti's famous compatriot Béla Bartók. Finally, tossed in for good measure, is Ligeti's puckish fondness for thumbing his nose at life, the universe and traditional concert hall decorum.As if to counterbalance his melancholic strain, or perhaps just express it in a more surprising way, there's a good deal of the clown in Ligeti, who includes a chorus of ocarinas in the score of his Violin Concerto.Music Played in Today's ProgramGyörgy Ligeti (1923-2006) Violin Concerto - Saschko Gavrilov, violin; Ensemble InterContemporain; Pierre Boulez, cond. DG 439 808

Acclaimed pianists, Charles Owen and Moscow-born Katya Apekisheva, started the London Piano Festival at Kings Place in 2016 as a way of bringing together pianists from around the world.  Pianists tend to practice and play in isolation so it can be a lonely profession and this is a much-loved opportunity for them to come together and share their passion for their instrument and its music. Between 5th and 8th October this year's festival is celebrating the 150th birth of Rachmaninov and the centenary of the less well-known but hugely significant and ground-breaking Hungarian musician, Gryorgy Ligeti.   We hear about Rachmaninov's lasting legacy - Katya and Charles will perform his major two piano works - and Charles and Katya will be joined by dazzling British musicians Danny Hammond and Clare Driver for ‘Ligeti 100: The Devil's Staircase'.  Charles and Katya tell us about other performances in store, including jazz with Polish phenomenon Leszek Motżdżer and a portrait of Rachmaninov in exile by Lucy Parham, narrated by Tim McInnerny. The master pianist and extraordinary, original showman from Ukraine, Vadym Kholodenko, will perform work by Liszt, Beetoven, Adès and the Ukrainian composer Silvestrov. What comes through our conversation is the palpable joy and exuberance that Katya and Charles feel when playing the piano and we have a fascinating conversation about how strong their hands have to be and much more.  For all music lovers this is a festival not be missed. We also round up what's happening in the art world – Marina Abramović's astonishing show at the Royal Academy, cementing her reputation as the greatest and most courageous performance artist alive today, Sarah Lucas's new show ‘Happy Gas' at Tate Britain and ‘Celebrating Picasso Today: Infinite Modernism', a show of new and modern works at London's Almine Rech Gallery to honour Picasso 50 years after his death. The London Piano Festival:  Kings Place from 5th to 8th October https://www.kingsplace.co.uk/whats-on/london-piano-festival/?gclid=Cj0KCQjwpc-oBhCGARIsAH6ote_SpwZbkOqCM2s7QO4fhXoL2ggg1UzdDQcd_-U5Ro-A-VP2VFC6bA4aAolkEALw_wcB This episode is brought to you thanks to our sponsor, Lomi, the compact, countertop ‘smart waste' appliance that can process food waste into plant food.  Go to uk.lomi.com to receive a discount of £50 by entering the code breakout at the check-out. 

Marta Vela nos propone conocer a este compositor húngaro, en el 100 aniversario de su nacimiento, cuya obra está muy vinculada al cine de Stanley Kubrick.

György Ligeti: on the 100th anniversary of his birth, we celebrate the Hungarian-Austrian composer and the 2023 Proms performances of his work - music which was famously used by filmmaker Stanley Kubrick in The Shining and A Space Odyssey. Pianist Danny Driver, and music critic, author and librettist Jessica Duchen join Tom to discuss. Plus we review La Cage Aux Folles - the musical story of a gay couple running a drag nightclub, and new Italian film L'immensita, starring Penelope Cruz - about a young girl in 70s Rome who yearns to be a boy, Our reviewers are theatre critic David Benedict, and writer, editor and podcaster Thea Lenarduzzi. Presenter: Tom Sutcliffe Producer: Emma Wallace

Jess Gillam is joined by the Finnish violinist, conductor, and composer Pekka Kuusisto. They share thoughts on some favourite music, from a jazz arrangement of a Monteverdi madrigal to piano music by Ligeti, and from Bernstein's Wonderful Town to the Swedish singer Katarina Barruk.

Following a brief mention of #tenurejosh…Composer, Conductor, and Professor of Composition at Lehman College (NY) Jennifer Jolley stops by to talk about her Fulbright Scholarship in Egypt, her teaching schedule there, Ramadan, and names (04:25), her receiving the Opera America Grant, her previous attempts at writing opera, getting commissioned, and doing the “pre-work” to composition (23:30), teaching composition students, outdated techniques, and a history of music departments (45:20), growing up in southern California, learning piano, and her fandom of The Beach Boys and the Los Angeles Dodgers (54:30), studying composition at the University of Southern California for undergrad (01:09:00), taking time off of her studies to teach and work in Vermont (01:15:50), going to the Cincinnati Conservatory of Music (CCM) for her master's and doctorate (01:21:30), teaching at Ohio Wesleyan University and Texas Tech prior to teaching at Lehman (01:30:10), and finishing with the Random Ass Questions, including portions on resumé inflation, sexism in academia, Olivia Wilde, Ted Lasso, great foods, and the poet Maggie Smith (01:38:40).Finishing with a Rave on traveling, Toronto, and the Art Gallery of Ontario (02:00:00).Links to guests mentioned who appeared on past Pete's Percussion Podcast Shows:Josh Jones in 2020 (Part 1 and Part 2)Emily Salgado in 2021Joshua Simonds in 2022Other Links:Black Orchestral Network website“We Stand With Josh”Classically Black PodcastJennifer Jolley's websiteJennifer Jolley's Lehman College pageEsa-Pekka SalonenSibelius AcademyThe 26th of July - EgyptTransient CanvasFirst All-Women's Spacewalk - 2019Jessica MeirEinstein on the Beach - Philip GlassPussy Riot: A Punk Prayer trailerThe Shape of Water trailerTower documentary trailerJerry JunkinAsh - Jennifer JolleyQuestions to Heaven - Jennifer Jolley2001: A Space Odyssey trailerGyörgy Ligeti and 2001Olivia SlettelandDame Evelyn Glennie“Tiger Rag” - Art TatumStewart Gordon“Imperial March” - John WilliamsMilton BabbittNed RoremStephen SondheimAnton WebernJoel HoffmanPiano Concerto in G Major - Maurice RavelPiano Sonata No. 1 - Alberto GinasteraExcursions - Samuel BarberKind of Blue - Miles DavisGiant Steps - John ColtraneThe Complete Songbooks - Ella FitzgeraldAppalachian Spring/The Tender Land - Aaron CoplandThe Rite of Spring - Igor StravinskyShort Ride in a Fast Machine - John AdamsIn the White Silence - John Luther AdamsSwitched on Bach - Wendy Carlos“Surfer Girl” - The Beach Boys“Wouldn't It Be Nice” - The Beach Boys“Sweet Little Sixteen” - Chuck Berry“Surfin' U.S.A.” - The Beach Boys“It's A Blue World” - The Four FreshmenShenandoah - Frank Ticheli“The Serpent's Kiss” - William BolcomDavid St. JohnGodzilla: King of the Monsters - Bear McCrearySymphony No. 1 - John Corigliano“Scorefollower” on InstagramOlivia Wilde on InstagramCome Sunday - Omar ThomasTed Lasso Season 1 trailerGet Shorty trailerWonder Woman 1984 trailerHoney & Spice - Bolu BabalolaChristopher Kimball's Milk StreetFood That Tastes Like Home: Korean American - Eric Kim“Good Bones” - Maggie SmithYou Could Make This Place Beautiful - Maggie SmithRaves:Art Gallery of Ontario

Wolfgang Marx's I Don't Belong Anywhere: Gyorgy Ligeti At 100 (Brepols Publishers, 2022) commemorates the centenary of Gyorgy Ligeti's birth. The volume consists of twelve contributions that consists of new investigations of many aspects of Legeti's career.  2023 marks the centenary of Ligeti's birth, an appropriate moment to take stock of the relevance this composer has in the contemporary world, to assess where he "belongs" today and how our views of his uvre and our understanding of his position in musical and cultural history have evolved. What do Ligeti and his music have to say to us in our post-postmodernist age? Why do his works still fascinate us so much? This book offers new readings of core compositions such as "Aventures", "Lontano", "Le Grand Macabre", the "Holderlin Fantasies" and "Galamb borong". It also reassesses the context and reception of Ligeti's works, including the influence of Romanian music (not least in his childhood), musical life in Hungary between 1945 and 1956, the ways in which his thinking was influenced by his experience of different soundscapes, yet also the surprisingly widespread use of his music in film and TV (beyond the usual suspect). Finally it presents new sources discovered or made available only recently: letters exchanged between Ligeti and Aliute Mecys in 1972, the correspondence between the composer and his publisher Schott, and an extended BBC interview from 1997. 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

This week's episode features an off the podium chat with conductor and composer Matthias Pintscher. Stephanie, Gonzalo and return-guest John Klinghammer grill he maestro on this weekend's program, featuring works by Ravel, Scriabin and LIGETI. Matthias describes the French-inspired program as a lush, colorful garden that we can't wait to hear in Helzberg Hall! He also discusses his time studying with legendary composer Pierre Boulez, and of course has a question for Beethoven while drinking a dirty filthy martini. All this and more, this week on Beethoven Walks into a Bar.