Podcast appearances and mentions of michael finnissy

La primera se refiere a una escuela de especulación intelectual surgida en el último cuarto del siglo XX en el Reino Unido, y propone obras disonantes y atonales, densas y abstractas. La segunda recupera, a partir de la llegada del minimalismo, elementos tonales olvidados._____Has escuchadoDistentio (1992) / Walter Zimmermann. Ensemble Recherche. Mode (2002)Et lux (2009) / Wolfgang Rihm. Huelgas Ensemble, Paul Van Nevel, director; Minguet Quartett, cuarteto de cuerda. ECM (2015)Funérailles I (1969-1977) / Brian Ferneyhough. Arditti Quartet; Ensemble Recherche; Virginie Tarrête, arpa. Stradivarius (2005)Time and Motion Study I (1971-77) / Brian Ferneyhough. Carl Rosman, clarinete bajo. Etcétera (1998)_____Selección bibliográficaÁLVAREZ FERNÁNDEZ, Miguel, “Disonancia y emancipación: comodidad en/de algunas estéticas musicales del siglo XX”. Espacio Sonoro, n.º 4: [PDF]BALIK, Jessica, “Romantic Subjectivity and West German Politics in Wolfgang Rihm's Jakob Lenz”. Perspectives of New Music, vol. 47, n.º 2 (2009), pp. 228-248*BONS, Joël, “Entretien avec Brian Ferneyhough”. En: Musique en création. Contrechamps Editions, 1997*COURTOT, Francis, Brian Ferneyhough: figures et dialogues. L'Harmattan, 2009*DELIÈGE, Célestin, Cinquante ans de modernité musicale: de Darmstadt à l'IRCAM. Contribution historiographique à une musicologie critique. Mardaga, 2003*DUNCAN, Stuart Paul, “Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity'”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 136-172*FERNÁNDEZ, Isaac D. G., “Los retornos en la música contemporánea”. Sinfonía Virtual: Revista de Música Clásica y Reflexión Musical, n.º 8 (2008), consultada el 21 de junio de 2023: [Web]FERNEYHOUGH, Bryan, “Form-Figure-Style: An Intermediate Assessment”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 32-40*FISK, Josiah, “The New Simplicity: The Music of Górecki, Tavener and Pärt”. The Hudson Review, vol. 47, n.º 3 (1994), pp. 394-412*FOX, Christopher, “Walter Zimmermann's Vom Nutzen Des Lassens”. Tempo, n.º 154 (1985), pp. 49-50*HARVEY, Jonathan, “Brian Ferneyhough”. The Musical Times, vol. 120, n.º 1639 (1979), pp. 723-728*HERNÁNDEZ CRISTANCHO, Diego A., Una composición elaborada a partir del concepto de sintaxis musical de la nueva complejidad. Tesis de grado, Universidad Distrital Francisco José de Caldas, 2015, consultada el 21 de junio de 2023: [Web]HOWARD, Luke B., “Motherhood, ‘Billboard,' and the Holocaust: Perceptions and Receptions of Górecki's Symphony No. 3”. The Musical Quarterly, vol. 82, n.º 1 (1998), pp. 131-159*THEOCHAROUS, Georgios, “Not Too Violent: The Fall of Notation in Michael Finnissy's Autumnall for Solo Piano”. Perspectives of New Music, vol. 52, n.º 1 (2014), pp. 4-27*TOOP, Richard, “On Complexity”. Perspectives of New Music, vol. 31, n.º 1 (1993), pp. 42-57*TRUAX, Barry, “The Inner and Outer Complexity of Music”. Perspectives of New Music, vol. 32, n.º 1 (1994), pp. 176-193*ULMAN, Erik, “Some Thoughts on the New Complexity”. Perspectives of New Music, vol. 32, n.º 1 (1994), pp. 202-206*WARNABY, John, “Wolfgang Rihm's Recent Music”. Tempo, n.º 213 (2000), pp. 12-19*WILLIAMS, Alastair, “Swaying with Schumann: Subjectivity and Tradition in Wolfgang Rihm's ‘Fremde Szenen' I-III and Related Scores”. Music & Letters, vol. 87, n.º 3 (2006), pp. 379-397* *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

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn't just document Shawnee's narrative—he intervenes in it. He's an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I'll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.   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

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn't just document Shawnee's narrative—he intervenes in it. He's an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I'll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn't just document Shawnee's narrative—he intervenes in it. He's an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I'll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn't just document Shawnee's narrative—he intervenes in it. He's an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I'll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

A gratifyingly inventive listening experience, Ispilu marks the first recording of Basque accordionist Lore Amenabar Larrañaga's self-designed quarter-tone accordion, custom-built by Bugari Armando.Claudia Molitor (b. 1974) Fleeting Puddles (2022)David Gorton (b. 1978) Barafostus' Dreame (2020)Donald Bousted (1957-2021) My Time is Your Time (2020)Mioko Yokoyama (b. 1989) Feast(2022) Michael Finnissy (b. 1946) Permissible Self-Expression(2021- 2022) Christopher Fox (b. 1955) Die Stimme der Stadt(2021) Electra Perivolaris (b. 1996) Crystalline Air (2022)Veli Kujala (b. 1976) L'eaurelle (2023)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Chapters00:00 - Introduction01:04 - Collaborations04:13 - Replacing Tape With Digital06:29 - The Move Into Computers08:03 - The Launch of EMS14:31 - Running A Studio From Home16:16 - Working In Raasay18:19 - The VCS3 And Synthi20:05 - Copies And Virtual Versions22:50 - Creativity Post EMS26:49 - Lucy RailtonPeter Zinovieff BiogPeter Zinovieff has been described as Britain's Bob Moog. A renowned composer from the mid ‘60s to the present day, he was one of the founders of EMS who produced seminal synthesizers such as the VCS3 and the Synthi AKS, as used by Brian Eno, Pink Floyd and the Chemical Brothers.James Gardner BiogJames Gardner is a composer, synthesizer programmer, researcher, and broadcaster based in Auckland, New Zealand. Born in Liverpool, James played and programmed synthesizers in London during the 1980s, and in 1990 co-founded the band/remix team Apollo 440. Following encouragement from Michael Finnissy, he left the group in 1993 to concentrate on notated composition. Moving to New Zealand in 1994, he established the contemporary music ensemble 175 East, which he directed until 2010.As well as composing, he has written and presented many programmes for RNZ Concert including features on Frank Zappa, Morton Feldman, John Barry's James Bond soundtracks, and These Hopeful Machines – a six-part series on electronic music. https://www.rnz.co.nz/concert/programmes/hopefulmachinesAs a teacher, Gardner has lectured on music and music technology at the University of Auckland, Unitec Institute of Technology and the University of Canterbury, Christchurch, where he is an Adjunct Senior Fellow. His primary research topic is the synthesizer company EMS, and the electronic music studio of Peter Zinovieff.Website: https://www.gardnercomposer.com/Twitter: @JEGcomposerhttps://www.cambridge.org/core/journals/organised-sound/article/don-banks-music-box-to-the-putney-the-genesis-and-development-of-the-vcs3-synthesiser/38928808A05A6F2118B148CE302E3764https://modular-station.com/modulisme/itatiom/ems-1/

Michael Finnissy is a British composer and pianist. This conversation was recorded via Zoom on 27 April 2022.00:00:00 Introduction00:01:12 The composition process00:06:38 Serialism00:10:05 MF's critique of Grand narratives00:13:30 On teaching00:27:36 On originality00:38:36 On being an outsider00:48:13 Present-day obsessions00:52:13:08 Microtonality00:55:16:22 Instrumentation01:00:47:13 How MF works with pitch01:19:09:16 Patreon question: Drawing inspiration from nature01:22:14:07 Patreon question: New complexitySUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPost production: Marek IwaszkiewiczPodcast artwork photograph © 2019 Philippe StirnweissSupport the show

Chapters00:00 - Introduction00:48 - A Tape Op At Manor Studios02:25 - A Typical Day At The Manor03:45 - The Engineers And The Bands06:01 - Tape Editing07:56 - Switching To Digital09:18 - From House Engineer To Freelance09:42 - Hugh Padgham and Steve Lillywhite12:24 - Early Sampling13:03 - Using An SSL Desk17:45 - Scritti Politti Cupid and Psyche18:25 - Synchronising MIDI and Tape22:24 - Getting The Scritti Sound23:48 - Working With UB4028:01 - The Age Of Chance 28:15 - From Tape To Digital To HD Recording29:09 - Working With Slave Reels30:48 - The Change To Digital Tape31:58 - Preferred Recording Medium33:02 - Engineering Apollo 44034:31 - Recording A Jazz Quartet35:59 - Using Logic and Plug-insHoward Gray BiogHoward started out in the early 80s as a teenage razor-sharp tape operator at The Manor - Virgin Records' quintessential getting it together in the country recording facility, before graduating to house engineer at one of the first Solid State Logic console equipped studios, west London's legendary Townhouse. Sessions there included Kate Bush, Phil Collins, XTC, OMD, PIL, The Stranglers, Japan, Rip Rig & Panic, Van Morrison and ABC. He worked on countless classic 80's records with producers like Mick Glossop, John Leckie, Hugh Padgham, Steve Lillywhite, Adrian Sherwood and Trevor Horn, engineering albums such as Simple Minds' Sparkle in the Rain, and the paradigm shifting Cupid & Psyche for Scritti Politti.His first production credits with UB40 (Red Red Wine) led to more, including The Cure, Terence Trent D'Arby, Danny Wilson, Manic Street Preachers, Age Of Chance, Screaming Blue Messiahs, Pete Wylie, Tom Jones and Art Brut - at the controls in seminal London studios Air, Trident, Roundhouse, Sarm, Metropolis, Eden, Strongroom, as well as New York, Paris, Tokyo, Munich, Oslo, Baltimore and more.Witness to the dawn of digital and early adopter of the Sequential Circuits Studio 440, the possibilities of sampling led Howard in the early 90s to form dance/rock/dub combo Apollo 440, prolific producers and remixers of, amongst others, U2, Scritti and Shabba Ranks, Jean-Michel Jarre, James, Hotei, Puretone and Jeff Beck from their Camden Town ‘Apollo Control' base. The group delivered three albums for Sony Records, numerous top 40 singles, including international hit Stop The Rock, film themes Lost in Space and Charlie's Angels. He still regularly directs their live performance/Dub sound system at European festivals from FOH. Mixer of The Anfield Rap, co-writer and producer of Pass and Move (it's the Liverpool Groove), and now nearing 500 credits on Discogs. His recent projects include Jazz LPs and Baroque Opera.James Gardner BiogJames Gardner is a composer, synthesizer programmer, researcher, and broadcaster based in Tāmaki Makaurau (Auckland). Born in Liverpool, James played and programmed synthesizers in London during the 1980s, and in 1990 co-founded the band/remix team Apollo 440. Following encouragement from Michael Finnissy, he left the group in 1993 to concentrate on notated composition. Moving to Aotearoa/New Zealand in 1994, he established the contemporary music ensemble 175 East, which he directed until 2010.As well as composing, he has written and presented many programmes for RNZ Concert including features on Frank Zappa, Morton Feldman, John Barry's James Bond soundtracks, and These Hopeful Machines – a six-part series on electronic music. https://www.rnz.co.nz/concert/programmes/hopefulmachinesAs a teacher, Gardner has lectured on music and music technology at the University of Auckland, Unitec Institute of Technology and the University of Canterbury, Christchurch, where he is an Adjunct Senior Fellow. His primary research topic is the synthesizer company EMS, and the electronic music studio of Peter Zinovieff.Website: https://www.gardnercomposer.com/Twitter: @JEGcomposer

Helena was recently commissioned to work on a global project to tell the story of the Apple. She and her team used groundbreaking technology to create ‘The Crunch Coda', which uses solely the apple's genomic sequence, ATCG, to inform its musical vocabulary. The percussive nature of the apple bite is interpreted through “crunchy” rhythmic piano textures and octave transpositions. Bite samples overlay musical samples to create a satisfyingly energetic artistic experience of the eating of an apple, guaranteed to leave a smile.Helena Cavan was born in Washington State, USA, began writing poetry as a small child and her poem, The Wall, was first published at the age of 12. She immigrated to the UK in 1994 and studied music composition with Michael Finnissy, graduating with a B.Mus, LRAM in 2000 from the Royal Academy of Music. She returned to writing poetry in 2010, setting her poem, Pilgrim's Journey, to music for mezzo-soprano Victoria Kane and the English String Orchestra.Helena is a member of The Winchcombe Poets, which she co-founded with Chris Haslam in 2011. Helena has performed her poetry-inspired-by-music with pianists Marcel Zidani and Janine Smith and launched her first MP3 collection of Concert Poetry recorded with pianist John-Paul Gandy. Poetry commissions to date include Gloucestershire artist, Tony Heath, and Coughton Court, a National Trust property, where her poetry is currently for sale.Helena is passionate about healthy food for body, soul and spirit and loves flowers and topiary. TOPICS:- Frequencies and sound and how the universe is constructed- Revelation in how the Spirit Realm works- Writing words inspired by music- Reading poetry that was inspired from the garden- Putting aside creative work in order to start a new business- Making a sound file of your name by voice, and use a cymascope to create a pattern- Capturing the sound of an apple crunch- Making a pattern with cymascope from apple crunch sound- Apple has 57,368 genes, that is more than twice than in the human genome- Apple World Map with 46 stories from around the world about the apple- Understanding the coloration of an apple- Composition aspect of the apple coda using three notes are A,C, and G to reflect the genomic sequence- Everyone wants energyGOLD NUGGETS:1) 3 way alignment: Internal - Head and heart or intellect and passion. Vertical: alignment with God and his plans for your life and your business, then Horizontal alignment, where you understand the spiritual principles of how the universe works, which includes others, so we work well together.2) It is beautiful to experience a seed dying in order for a new shoot to start growing and springing to life. God has his timing for germination, so the seeds are always there, but it is his fingers on the pulse as to when things germinate and when they are going to sprout and grow.3) We can learn things in life and business that can bring you full circle back to join in with your creative work that may have taken a back seat for a minute.4) It is all about asking the right questions to find the best results. Einstein said, “Give me any problem, I'll spend the first 45 minutes working out the right question to ask, and then I'll spend 15 minutes answering the question.”The question that leads to the discoveries that none of us ever imagined, all start with, I wonder what would happen if ….. !5) You must understand the genome of the apple crunch, then you can create new varieties of apples and make sure that the apple has maximum crunch. This is necessary because we associate the crunchiness to freshness and juiciness of an apple.QUOTES:- Everything not attached to God has to go.- I had an understanding of music from the inside out that opened up a way of feeling and communicating music that was different.- The fullness of myself is full of the allness of God all the time.- We each have our own unique voice print in the universe and our stories have to be told. - My life has 3 areas that have been all present throughout. Health, Composing and Liebusters. The model we are headed towards is where our lives aren't compartmentalized, but is showing up in the fullness of ourselves all the time.- What can we join in and add to someone else to make them bigger and better, plus bring glory to them?- Believe in your brilliance.- Bring your energy to someone else's energy.LINKS:- Find the apple stories, the project journal and the science: https://applesandpeople.org.uk/- Watch the Crunch Coda video by Helena and Nathan Cavan: https://applesandpeople.org.uk/commissions/#toggle-id-1- See Helena's poetry and composing art: www.helenacavan.com- Have Bralynn Liebust you or your business:: http://SpiritCenteredBusiness.com/healing- Join the SCB Tribe: http://facebook.com/groups/scbtribe- Design your Leveraged, Scalable & Sustainable business model that brings Transformation in the world. Schedule a FREE Discovery call with Bralynn:http://Bralynn.appointlet.com/s/discovery

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions.  For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn’t just document Shawnee’s narrative—he intervenes in it. He’s an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I’ll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.

Andrew Nethsingha talks to Alex about classical music by living composers. Andrew and Alex discuss music by Michael Finnissy, Giles Swayne, and Cecilia McDowall.Subscribe to New Notes on Apple Podcasts, Spotify, or wherever you get your podcasts, and you'll be the first to hear new episodes each week.

Episode 13, 2020: Finnissy’s Ru Tchou (The Ascent of the Sun) Wednesday 7 October 2020 A virtuoso pianist himself, British composer Michael Finnissy has been at the forefront of new music for the last fifty years. He composed Ru Tchou in 1975 for a concert series in Taiwan and intended it to be a musical ritual for welcoming the sunrise. A Canadian colleague advised him on taking advantage of “a small setup but using it thoroughly”. Earlier this year, Finnissy was able to watch ANAM percussionist Alexander Meagher’s performance of his composition and was thoroughly impressed by how Alex interpreted the piece. In this special episode of ANAM Radio, Phil Lambert (ANAM Music Librarian) chats with Michael Finnissy and Alex Meagher about Ru Tchou and the proportions of sound and non-sound that requires the player to perform it like a dance. Finnissy talks about how Alex gave a performance reminiscent of a stylised modern dance – something that is not only meant to be listened to, but also to be watched, a skill Alex credits to his early training in Karate. The performance you are about to see is from Alex’s 2019 ANAM Recital. To watch the performance recording, visit https://www.youtube.com/watch?v=cKjeLH0yGwc&feature=youtu.be

We have mince pies, sherry and crackers: it must be time for the Christmas podcast! Join us for an episode packed with Yuletide joy, beautiful new carols by Dobrinka Tabakova, Toby Young, Cecilia McDowall and Michael Finnissy, as well as our favourite festive musical jokes. Plus hear all about our Christmas isssue. Our cover feature takes a look at a masterpiece that has redefined the sound of Christmas, Handel's Messiah; we also explore the parish church choir scene, and find out what concert-hall horrors cause musicians to see red. And, of course, we've brought along a batch of the latest Christmas CDs we've been enjoying. Merry Christmas!This episode is presented by editor Oliver Condy, who is joined by deputy editor Jeremy Pound, managing editor Rebecca Franks, editorial assisstant Freya Parr and reviews editor Michael Beek. It was produced by Ben Youatt and Jack Bateman.Recordings:Dobrinka Tabakova Good-will to men, and peace on EarthChoir of Queen's College, Oxford/Owen ReesBBC Music Magazine Christmas 2020 Cover CDToby Young The OwlChoir of Queen's College, Oxford/Owen ReesBBC Music Magazine Christmas 2020 Cover CDExtracts from Handel's MessiahTaverner Choir and Players/Andrew ParrottVirgin Veritas 562 0042Peter Warlock Bethlehem DownChristmas at St George's WindsorChoir of St George's Windsor/James VivianHyperion CDA 68281First Listen Choices:Christmas at St George's WindsorChoir of St George's Windsor/James VivianHyperion CDA 68281Advent Carols from King's College, LondonChoir of King's College, London/Joseph FortDelphian DCD34226Tchaikovsky The NutcrackerState Academic Symphony Orchestra of Russia 'Evgeny Svetlanov'/Vladimir JurowskiPentatone PTC5186761 See acast.com/privacy for privacy and opt-out information.

What do we mean by ‘twentieth-century music’? And how are we to square this with the musics of a twenty-first century that is now nearing the end of its second decade? Roger Redgate graduated at the Royal College of Music, where he won prizes for composition, violin performance, harmony and counterpoint, studying composition with Edwin Roxburgh and electronic music with Lawrence Casserley. A DAAD scholarship enabled him to study with Brian Ferneyhough and Klaus Huber in Freiburg. From 1989 to 1992 he was Northern Arts Composer Fellow, he has lectured at Durham and Newcastle Universities. He was invited as guest composer and conductor at the Darmstädter Ferienkurse für Neue Musik in 1984, 1986, 1988, 1990, 1992 and 1994 where he received the Kranichsteiner Musikpreis for composition. He is conductor and artistic director of Ensemble Exposé, with whom he has performed at many European festivals and on BBC Radio 3 and recently released a CD of music by Brian Ferneyhough.He has worked in the fields of jazz, improvised music, film and television (including programmes for the BBC and Channel 4), and performance art. His compositions have been performed extensively throughout Europe, Australia and the USA and he has received commissions from the BBC, the French Ministry of Culture, the Darmstädter Ferienkurse für Neue Musik, the Venice Biennale and Ensemble 21 New York. He has published articles on music and culture, the music of Brian Ferneyhough and Michael Finnissy, including a chapter in the book Uncommon Ground: The Music of Michael Finnissy.

Dick Kattenburg door The Hague String Trio, concerttip Zappa's The Yellow Shark, Mozart binnenstebuiten door Michael Finnissy, en Mats Eilertsen op November Music. Met muziek van Nina Stern & Ensemble Rose of the Compass, Hans Krása en Dick Kattenburg door het Hague String Trio, Frank Zappa door het Ensemble Modern, Michael Finnissy en Mats Eilertsen Trio + Trio Mediaeval.

Nieuwe CD's, oude platen, concerttips en archiefopnamen: de grenzen van de klassieke muziek opgezocht in de Late Night Show van Vrije Geluiden. Vanavond onder meer muziek van Dani de Morón, flamencogitarist uit de Spaanse gitaarstad bij uitstek, Morón de la Frontera. En verder muziek van Marlies du Mosch, Karen Tanaka door het Brodsky Quartet, en Michael Finnissy.

Aad van Nieuwkerk verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Gemaakt in nauwe samenwerking met het televisieprogramma Vrije Geluiden. Met vanavond muziek van Thomas Tallis, Heinrich Ignaz Franz von Biber, Gioacchino Rossini, Charles Koechlin, Michael Finnissy, en Jacob Adler.

How Mozart's Requiem, written when he was dying, has touched and changed people's lives. Crime writer Val McDermid recalls how this music helped her after the loss of her father. Hypnotist Athanasios Komianos recounts how the piece took him to the darker side of the spirit world. And a friend of ballet dancer Edward Stierle, Lissette Salgado-Lucas, explains how Eddie turned his struggle with HIV into a ballet inspired by Mozart's music. Basement Jaxx used the Requiem in their live shows and on their album Scars - Felix Buxton reveals his love for Mozart and the divine nature of the Requiem. And Mozart expert Cliff Eisen takes us inside the composer's world: how the orchestra and choir conjure visions of funerals, beauty, hellfire and the confusion of death. He recounts how Mozart was commissioned to write the piece by a nobleman who may have intended to pass off the work as his own. The stern challenge faced by people trying to complete the piece are described by composer Michael Finnissy, who himself wrote a completion of the work. The Requiem was performed at the funerals of many heroic figures - Beethoven, Napoleon and J F Kennedy, among others. Gordana Blazinovic remembers one extraordinary performance during the horrors of the Bosnian war - a show of defiance and grief from the ruins of Sarajevo City Hall. Producer: Melvin Rickarby.

Pianist Ian Pace and Michael Finnissy discuss twenty-five years of musical collaboration including Finnissy’s five-and-a-half hour piano epic, ‘The History of Photography in Sound’.

Institute of Musical Research Christopher Redgate (oboe and lupophon) & Michael Finnissy (piano) Michael Finnissy “Âwâz-e Niyâz” world première Performed by Christopher Redgate (oboe and lupophon) and Michael Finnisy (piano) in Chancel...