Podcasts about Morton Feldman

Playlist de Philippe Poirier pour webSYNradio avec trois de ses compositions entremêlés des sons de David Garland, Christopher Hobbs, Carlos Gardel, Philip Glass, Elvis Presley, Isidore Isou, Eric Satie, kristin Oppenheim, Sonic Youth, David Toop, Morton Feldman, Brooks Williams, Dariush Dolat-Shahi, Marcel Broodthaers. Les morceaux choisis (pas tous) suivent un certain sentiment de la voix. Celle-ci s'exprime ici parfois de façon affirmée, parfois à peine incarnée, chantant ou parlant, d'un lieu où tous les mots ont été dits. Ces voix évoquent, à leur manière, le fameux texte où Roland Barthes rapporte les propos de Panzera, son maître de chant, faisant la distinction entre l'articulation et la prononciation. Avec l'articulation, dit Barthes, « la langue se met en avant, elle est le fâcheux, le casse-pieds de la musique ; dans l'art de la prononciation au contraire (celui de Panzera), c'est la musique qui vient dans la langue et retrouve ce qu'il y a en elle de musical, d'amoureux.

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.

durée : 00:10:02 - Coptic Light : Feldman - Michael Tilson Thomas - L'écoute de Coptic Light de Morton Feldman est une entreprise puissante ; il s'agit d'une composition pleine de tension, où des vagues de sonorités orchestrales entrent et sortent à un rythme glacial (et avec puissance).

durée : 00:10:02 - Coptic Light : Feldman - Michael Tilson Thomas - L'écoute de Coptic Light de Morton Feldman est une entreprise puissante ; il s'agit d'une composition pleine de tension, où des vagues de sonorités orchestrales entrent et sortent à un rythme glacial (et avec puissance).

durée : 00:10:02 - Coptic Light : Feldman - Michael Tilson Thomas - L'écoute de Coptic Light de Morton Feldman est une entreprise puissante ; il s'agit d'une composition pleine de tension, où des vagues de sonorités orchestrales entrent et sortent à un rythme glacial (et avec puissance).

Marcado en un principio por John Cage, de quien incorpora la aleatoriedad y los sistemas alternativos de notación musical, el compositor norteamericano evoluciona hacia obras cada vez más extensas y minimalistas que requieren—o proponen—la suspensión del tiempo._____Has escuchadoNeither (1977) / textos de Samuel Beckett. Petra Hoffmann, soprano; Symphonieorchester des Bayerischen Rundfunks; Kwamé Ryan, director. Col Legno (2000)Patterns in a Chromatic Field (1981). Arne Deforce, violonchelo; Yutaka Oya, piano. Aeon (2008)Piece for Four Pianos (1957). David Tudor, Edwin Hymovitz, Morton Feldman, Russell Sherman, pianos. Edition RZ (2007)String Quartet II (1983). Ives Ensemble. hat[now]ART (2007)The King of Denmark (1964). Max Neuhaus, percusión. Sony (2013)_____ Selección bibliográficaBEAL, Amy C., “Time Canvasses: Morton Feldman and the Painters of the New York School”. En: Music and Modern Art. Editado por James Leggio. Routledge, 2002*BLASIUS, Leslie, “Late Feldman and the Remnants of Virtuosity”. Perspectives of New Music, vol. 42, n.º 1 (2004), pp. 32-83*BOUTWELL, Brett, “Morton Feldman's Graphic Notation: Projections and Trajectories”. Journal of the Society for American Music, vol. 6, n.º 4 (2011-2012), pp. 457-482CERVERÓ, Joan Josep, Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel. Tesis doctoral, Universitat Politècnica de València, 2017CLINE, David, The Graph Music of Morton Feldman. Cambridge University Press, 2016COSTELO, Catherine, “The Sounds of the Sounds Themselves: Analyzing the Early Music of Morton Feldman”. Perspectives of New Music, vol. 34, n.º 1 (1996), pp. 6-27*DELIO, Thomas, The Music of Morton Feldman. Greenwood Press, 1995DOHONEY, Ryan, Morton Feldman: Friendship and Mourning in the New York Avant-Garde. Bloomsbury Academic, 2022FELDMAN, Morton, Écrits et paroles. Editado por Jean-Yves Bosseur. L'Harmattan, 1998—, Give my Regards to Eighth Street: Collected Writings of Morton Feldman. Exact Change, 2000*—, Morton Feldman Says. Selected Interviews and Lectures, 1964-1987. Editado por Chris Villars. Hyphen Press, 2006—, Pensamientos verticales. Caja Negra, 2012GAREAU, Philip, La musique de Morton Feldman ou le temps en liberté. L'Harmattan, 2006JIMÉNEZ CARMONA, Susana, “Suspensiones temporales: sonido y temporalidad en Luigi Nono y Morton Feldman”. En: Musicología en el siglo XXI: nuevos retos, nuevos enfoques. Coordinado por Begoña Lola y Adela Presas. Sociedad Española de Musicología, 2018*JOHNSON, Steven, “Rothko Chapel and Rothko's Chapel”. Perspectives of New Music, vol. 32, n.º 2, (1994) pp. 6-53*JOHNSON, Steven (ed.), The New York Schools of Music and Visual Arts: John Cage, Morton Feldman, Edgard Varèse, Willem de Kooning, Jasper Johns, Robert Rauschenberg. Routledge, 2002KISSANE, Séna (ed.), Vertical Thoughts: Morton Feldman and the Visual Arts. Irish Museum of Modern Art, 2010LAWS, Catherine, Headaches among the Overtones: Music in Beckett. Rodopi, 2013NOBLE, Alistair, Composing Ambiguity: The Early Music of Morton Feldman. Ashgate Pub, 2013SAFATLE, Vladimir, “Morton Feldman comme critique de l'idéologie: expression et politique dans Rothko Chapel”. En: Expression et geste musical: actes du colloque des 8 et 9 avril 2010 à l'Institut national d'histoire de l'art de Paris. Editado por Susanne Kogler y Jean-Paul Olive. L'Harmattan, 2013*SNIJDERS, John, “That is Not Freedom, that is Taking License: The Pitfalls in Performing Morton Feldman's Graph Scores”. En: The Aesthetics of Imperfection in Music and the Arts: Spontaneity, Flaws, and the Unfinished. Editado por Andy Hamilton y Lara Pearson. Bloomsbury Publishing, 2021*VOLANS, Kevin, “What is Feldman?”. Tempo, vol. 68, n.º 270 (2014), pp. 7-14ZIMMERMANN, Walter, “Entretien avec Morton Feldman”. En: Musiques en création. Editado por Philippe Albèra. Contrechamps, 1997* *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

(00:00:49) Live aus dem KKL Luzern: Das Lucerne Festival Contemporary Orchestra unter der Leitung von Beat Furrer mit Werken von Lisa Streich und Morton Feldman. (00:05:47) Autor Christian Haller bleibt in Topform: Sein Neuer Roman Das «Institut» beleuchtet Machtkämpfe in einer Denkfabrik der 70er Jahre. (00:10:01) Faszination Medien: Zum Auftrag der SRG gehört es auch, Musik zu fördern. Wir stellen fünf Musikschaffende vor. Heute ist es die Jazzmusikerin Nicole Johänntgen. (00:15:42) Zwei unterschiedliche Persönlichkeiten über ihr Asyl: Das Zürcher «sogar theater» zeigt die Begegnung zweier Frauen in der Schweiz. (00:20:12) 20 Jahre Beziehung mit Autor Thomas Hürlimann: Schriftstellerin Katja Oskamp schreibt in ihrem neuen Buch «Die vorletzte Frau» in verschlüsselter Form über ihre Liaison.

Japonų pianistė Aki Takahashi (g. 1944) artimai bendravo su amerikiečiu Mortonu Feldmanu (1926-1987), ir jos atlikimai bei įrašai jau keliasdešimt metų laikomi etaloniniais. Laidoje pristatomi įvairių laikotarpių kūriniai: anksčiausias sukurtas 1952 m., vėliausias – 1986 m., o pabaigoje skamba įsimintinas epizodas iš vienos įstabiausių Feldmano kompozicijų – „Piano and String Quartet“ (1985), kurią Aki Takahashi atliko ir įrašė drauge su Kronos kvartetu.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

Sobre su trabajo, Félix Romeo había escrito: «Cuando leo los libros de Julián Rodríguez siento que tienen una potencia aérea: ese misterio de que el acero pueda moverse rápidamente entre las nubes». Además de escritor, codirector de la editorial Periférica; director de la galería de arte «Casa sin fin»; de la revista de arte y estética «Sub rosa» o Premio Ojo Crítico de Narrativa de RNE en 2016, entre muchas otras cosas. Hace cinco años que falleció Julián Rodríguez Marcos, siempre en nuestro recuerdo. Cello Suite No. 2 in D Minor, BWV 1008 - Transcr. for Viola: 1. Prélude                de Johann Sebastian Bach, Kim Kashkashian            J.S. Bach: Six Suites for Viola SoloRothko Chapel 5                    Morton Feldman        Rothko ChapelTristan und Isolde, WWV 90 / Act I: Prelude to Act I de Richard Wagner, Gewandhausorchester, Kurt Masur   The Unreleased MastersSonata in D Minor, K. 32                   Domenico Scarlatti, Khatia Buniatishvili       LabyrinthClouds            Adam Baldych, Vincent Courtois, Rogier Telderman           CloudsRêverie, L. 68 de Claude Debussy    Werner Haas  Classical Piano: ImpressionsMon'ami                    Tiganá Santana          Tempo & MagmaCaring            Mathias Eick   CaringFlamenco sketches Miles Davis Kind of Blue LegacyEscuchar audio

The second portion of Norm and Barbara's talk with Toronto composer Linda Catlin Smith. Linda touches on Listening, teaching composition and her large work for cello and piano, Ballad.Episode NotesFor more information on Linda Catlin Smith please visit her website.During the talk, Linda reference Faure's Piano Quintet it can be heard on YoutubeLinda mentioned Morton Feldman's works For Philip Guston and String Quartet #2. They can be heard on Apple Music here and hereNorm and Barbara made a concert recording of Linda's piece Ballad which you can listen to on SoundcloudIf you would like to help fund New Musing on New Music you can do so on the suddenlyLISTEN website. Thanks for your support! 

In a remarkable moment after WWII New York became the centre of the art world, simultaneously seeing the development of new ways of hearing music, and new ways of seeing art. It was here that the American experimental composer Morton Feldman said, “What was great about the fifties is that for one brief moment - maybe, say, six weeks - nobody understood art. That's why it all happened”. The composer Samuel Andreyev shows how composers and artists in New York in this period went about the difficult business of wrestling with a new abstract language, often at great cost to themselves, to produce some of the masterpieces of post war American art. Samuel focuses on the powerfully productive relationships that Feldman had with the abstract expressionists, Philip Guston, and Mark Rothko, who showed him by example how to set his sounds free, in the same way their paintings set colours free. Feldman even called his own compositions, ‘Time Canvasses', where he said, he more or less primed the canvas with an overall hue of music. This is a clue to the unorthodox way Feldman's music - which can be both very long, and almost always very quiet - remarkably blurs what we imagine to be the boundary between music and painting. A Soundscape Production, produced by Andrew Carter.

Gast: John Snijders doceert uitvoeringspraktijk aan de faculteit Muziek aan Durham University (UK), hij is pianist en artistiek leider van het Ives Ensemble*. Robert van Altena gaat in deze aflevering in gesprek met John Snijders over zijn onlangs uitgekomen boek ‘Ixion. Morton Feldman, Notation, Performance Practice and Jackson Pollock' (Marmalade Publishers of Visual Theory, London 2023) In 1958 vroeg choreograaf Merce Cunningham aan Morton Feldman muziek te schrijven voor ‘Summerspace', een dans waar hij aan werkte voor een festival in de zomer van dat jaar. Feldman schreef daarop in de door hemzelf ontwikkelde rasternotatie het stuk ‘Ixion'. Robert Rauschenberg maakte het ontwerp voor het decor en de kleding van de dansers. Morton Feldman begon in de jaren 50 met het schrijven van dergelijke grafische partituren. Hij verving het conventionele notenschrift met een uit de losse hand getekend raster waar hij summiere informatie invoerde als bijvoorbeeld de hoeveelheid te spelen noten per rasterblokje en bij benadering welk register hij in gedachten had. Dit gaf de componist en de musici een enorme vrijheid waardoor er een nieuwe klankwereld onderzocht kon worden. Opvallend genoeg was Morton Feldman op het idee gebracht door het werk van de schilders waar hij mee omging, de abstract expressionisten, en in het bijzonder het werk van Jackson Pollock. Het eerste schetsje maakte Feldman in 1951 tijdens een bezoek aan John Cage. Cage zei daarna op een wandeling tegen Feldman dat er een grote opdracht voor hen in het verschiet lag. Met zijn grafische partituren had Feldman de componist een enorme vrijheid gegeven, nu was het aan hen om de mogelijkheden van die nieuw gewonnen vrijheid te ontdekken. *Aankomende concerten van het Ives Ensemble: 19 november 2023 16:00 – Podium Marzee Nijmegen 30 november 2023 20:15 – Muziekgebouw aan 't IJ Amsterdam SPRINGVOSSEN 
redactie + presentatie: Robert van Altena
 contact: springvossen[at]gmail.com www.instagram.com/springvossen 
www.facebook.com/springvossen
 www.amsterdamfm.nl/onderwerp/springvossen Voor een speellijst met de Springvossen uitzendingen: www.soundcloud.com/amsterdamfm2/sets/springvossen Foto: deel van een blad van de grafische partituur ‘Ixion' (1958)van Morton Feldman

Episode 110 Before and After Ambient, Part 1 Playlist Erik Satie, “Vexations” (1893-94), First, we will hear two piano versions (1 and 4) of this short work that was intended to be played repeatedly in one sitting 840 times in succession. The piano version was performed by Jeroen van Veen on the album Satie, Complete Piano Music (2016 Brilliant Classics). Then, we will hear an electronic version by Bhutan from Vexations (2016 Venado). Argentinean group Bhutan realized this electronic version of the Erik Satie piece in 2016. I thought it would be fitting to open the program with this because Satie's was one of the first works to be recognized in recent times as a kind of proto ambient composition. Satie preferred the term “furniture music” and thought that it would be suitable for background sound during a dinner party. The Bhutan version, realized in electronic instrumentation, is a fitting bridge of the old and the new when it comes to ambient compositions. John Cage, “In A Landscape” (1948) from In A Landscape played by Victoria Jordanova (2007 Arpaviva Recordings). This early Cage work was originally arranged either for piano or harp. It is very much the interpretation that makes this akin to ambient music. I selected this version for electric harp because it maintains the original's sense of suspended time and energy. I also like William Orbit's version but he took the orchestration to greater lengths and transforming it into something not so ambient. There is also a really quiet piano version by Stephen Drury which remains true to Cage's original intent of being “soft and meditative” with “resonances” being sustained by depressing both pedals throughout the performance. But I included this version for electric harp by Jordanova because it is more in tune with the electronic nature of the music we feature in this program. Morton Feldman, “Projection 1” (1950) from Arne Deforce, Yutaka Oya, Patterns In A Chromatic Field (2009 Aeon). Cello, Arne Deforce; Piano, Yutaka Oya; composed by, Morton Feldman. This is an acoustic work by Feldman (I couldn't find any electronic renditions) but I include it to draw similarities to the work of Harold Budd, also a pianist. In fact, Feldman was a long-standing favorite of Budd. Raymond Scott, “Sleepy Time” from Soothing Sounds for Baby, Volume 1 (1964 Epic). This legendary work is from a set of electronic and ambient records that Scott produced in the early 1960s as background music to help babies go to sleep. The electronic music was produced with his own creation, the Electronium, a from-scratch built custom synthesizer that combines electronic sequencing with tone generation and various filters. Eliane Radigue, “Vice - Versa, Etc. (Mix 1)” (1970) from (2013 Vice - Versa, Etc.). Processed tape reorder feedback. Realized at the composer's studio in Paris. Premiered in 1970 at Galerie Lara Vincy in Paris, on the occasion of a group exhibition. The stereo synthesis presented here was made in Lyon at Studio Fluorescent between 2010 and 2011 by Emmanuel Holterbach. Produced, composed, recorded using feedback by Eliane Radigue. Originally conceived as a sound installation, using several reel-to-reel tape players controlled through a mixing desk. The tapes could be played at different speeds, either forward or backward, right channel only, left channel only or simultaneously. The audience could create their own mix. Teresa Rampazzi (N.P.S.), “Environ” (1970) from Musica Endoscopica (2008 Die Schachtel). Created in 1970, this work represents a kind of reproduction in electronic sound of an ambient environment, peppered with noise and even voice. Rampazzi was a pioneering female composer of electronic music who founded the N.P.S. (Nuove Proposte Sonore) group and studio, where this was realized. Harmonia, “Hausmusik” from Harmonia (1974 Brain). Recorded and produced June - November '73 in the Harmonia home studio. Guitar, Piano, Organ, electronic percussion, Michael Rother; Organ, Keyboards, Guitar, electronic percussion, J. Roedelius; Synthesizer, Guitar, electronic percussion, D. Moebius. Brian Eno, “Discreet Music” (excerpt) from Discreet Music (1976 Obscure). Synthesizer with Digital Recall System, Graphic Equalizer, Echo Unit, Delay, Tape, Brian Eno. Brian Eno (b. 1948) worked with tape delay much in the manner defined by Oliveros for I of However, he expressed a somewhat indifferent attitude toward the outcome. He described the realization of Discreet Music (1975): “Since I have always preferred making plans to executing them, I have gravitated toward situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend toward the roles of planner and programmer, and then become an audience to the results.” Eno's composition consisted of a diagram of the devices used to generate the music. His approach was identical to that of Oliveros except that the sound material was specifically melodic and he did not modify or interact with the sound once the process was set in motion. The result in Discreet Music is the gradual transformation of a recognizable musical phrase. These 10 minutes are excerpted from the beginning of the extended work lasting 31 minutes. Brian Eno, “Through Hollow Lands (For Harold Budd)” from Before and After Science (1977 Island). Bass, Paul Rudolph; Vocals, Bell, Mini-Moog, CS80, AKS synthesizers, piano, guitar, Brian Eno. This is one of the only tracks that I would consider to be ambient from this album. Robert Ashley, “Automatic Writing” (excerpt) (1974–79) from Automatic Writing (1979 Lovely Music). This work was much talked about when it was released on record by Lovely Music Ltd. in 1979. Ashley wrote it over a five-year period after having just come back from his self-imposed exile from composing in the early 1970s. He performed it many times in various formative stages with the Sonic Arts Union before finally committing it to disc. It does indeed have a vocal, but it is also imbued with quiet, ASMR kinds of sounds that mesmerize. The basic musical material of Automatic Writing was the spoken voice, closely miked, uttering what Ashley characterized as “involuntary speech”: random, seemingly rational comments that might not make sense at all, depending on the context in which they were heard. These 10 minutes are excerpted from the beginning of the extended work lasting 46 minutes. Sri Dinesh, “Le Chant Des Étoiles” from Para Symphonie (1978 Alain Grima). French album of music to accompany meditation. It consists largely of short, repeated organ patterns and falls within the frame of mind for which ambient music was intended. Brian Eno, “2/2” from Ambient 1: Music for Airports (1978). Engineer, Conny Plank (yes, the producer of Kraftwerk). Composed, conceptualized, produced and engineered by Brian Eno. Theresa Rampazzi, “Atmen Noch” (1980) from from Musica Endoscopica (2008 Die Schachtel). Conrad Schnitzler, “Control B” from Control (1981 Dys). Edition of 1000 copies. An electronic work by Schnitzler, who played the devices, produced, and recorded the music. Opening background music: Brian Eno and Peter Chilvers, Bloom 3.2 (10) (2014 Opal Ltd.). Bloom is a generative music application that composes ambient music. This recording was made using Bloom running in “Classic” mode on a Macbook Pro running Ventura 13.5.2. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

In de jaren vijftig initieerden verschillende componisten in de Verenigde Staten een trend tegengesteld aan het Europese modernisme, namelijk met nadruk op zowel de oosterse culturen als vooral ook eenvoud. John Cage was een van hen. De ander is Morton Feldman met Three pieces for string quartet uit 1956. Deze muziek is uitermate rustig en […]

Un jour, Morton Feldman dit à Karlheinz Stockhausen : « Je ne mène pas les sons par le bout du nez ». Et Stockhausen lui répondait par un semblant de question : « Pas même un petit peu ? » (p. 125) L'abandon de la maîtrise du son semble être la condition pour l'observer, mais aussi la direction prise par des compositeurs … Continuer la lecture de « Metaclassique #236 – Osciller »

SynopsisToday a tip of the hat to a much-beleaguered and frequently unacknowledged species: the piano teacher. Do you, for example, remember the name of your first piano teacher?In the case of Duke Ellington, it was not a name one could easily forget. She was a certain Mrs. Clinkscales, and Ellington always gave her credit for her persistence. “Because of my enthusiasm for playing ball and racing through the street, I missed more lessons than I took,” wrote Ellington. “When she had her piano recital with all her pupils, I was the only one who could not play his part. So Mrs. Clinkscales had to play the treble, and I just played the umpy-dump bottom!”The avant-garde American composer Morton Feldman immortalized the name of HIS piano teacher in an elegiac chamber piece titled Madame Press Died Last Week at Ninety. This music was premiered in France on today's date in 1970. Madame Maurina Press had taught the children of the Czar and knew the Russian composer Alexander Scriabin. She started teaching Morton Feldman when he was twelve, and his tribute to her is scored for 12 instruments—with the piano conspicuous by its absence!Music Played in Today's ProgramMorton Feldman (1926 - 1987) Madame Press died last week at 90 Orchestra of St. Luke's; John Adams, conductor. Nonesuch 79249

Composer pianist Timo Andres joins us to discuss the Apple Music Classical app and Kirk's article about classical music that doesn't sound like classical music. Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Guest: Timo Andres (https://www.andres.com) ‌Show notes: Timo Andres on Wikipedia (https://en.wikipedia.org/wiki/Timo_Andres) Apple Music Classical (Mostly) Plays the Right Chords - TidBITS (https://tidbits.com/2023/03/29/apple-music-classical-mostly-plays-the-right-chords/) The Next Track: Episode #253: Apple Music Classical (https://www.thenexttrack.com/258) Classical music recommendations for people who want to discover classical music that doesn't sound like classical music (https://kirkville.com/classical-music-recommendations-for-people-who-want-to-discover-classical-music-that-doesnt-sound-like-classical-music/) Takemitsu: Spectral Canticle (https://music.apple.com/us/album/1679990578) Merlin Bird ID (https://merlin.allaboutbirds.org) Terry Riley: In C, Shanghai Film Orchestra (https://music.apple.com/us/album/in-c/201360456?i=201360500) Timo Andres: Shy and Mighty (https://music.apple.com/us/album/shy-and-mighty-feat-david-kaplan/368561944) - Brian Eno: Everything Merges With The Night — Timo Andres (https://www.youtube.com/watch?v=e0YJIvyrrRA) Sufjan Stevens: Reflections (https://music.apple.com/us/album/reflections/1675947765) The music Steve Reich: Music for 18 Musicians This 1976 work is one of the foundational works of minimalism. Its driving beat, or pulse, as Reich calls it, makes it a toe-tapper. This recording, on the ECM label in 1978, is the first recording by Steve Reich and Musicians. There have been many recordings since then by Reich and by other ensembles. John Cage: Sonatas and Interludes for Prepared Piano You can't talk about 20th-century classical music without mentioning John Cage. His music, mostly created using chance operations, was revolutionary. The pieces on this recording were composed between 1946 and 1948, before Cage adopted his Yi Jing influenced compositional approach. The revolution here is the "prepared" piano, in which screws and bolts, pieces of plastic and rubber were wedged between the piano strings, turning into a percussion ensemble. Morton Feldman: Piano and String Quartet Morton Feldman was a close friend of John Cage, but his music was very different. Many of his pieces are long - this one lasts 79 minutes - and quite. His music has slow, soft, slowly morphing phrases, and you can get lost in his sound world. Toru Takemitsu: From Me Flows What You Call Time Strongly influenced by western classical music, notably Debussy, Tour Takemitsu created unique music that doesn't fit easily in any boxes. This 1990 work is a concerto for five percussionists and orchestra, and lasts about 36 minutes. Philip Glass: Einstein on the Beach Philip Glass is one of the foundational composers of New York minimalism, and is well known for his operas and film scores. His first "opera," Einstein on the Beach, lasts about five hours, and is a summation of his various composing styles in the 1970s. This recording is from the 1984 revival at the Brooklyn Academy of Music, which I attended, and which has left its mark on me. If you like this, you may want to see the opera staged, and this Blu-Ray of a 2014 production in Paris is excellent. Olivier Messiaen: Catalogue d'Oiseaux My only atonal selection is this group of works by the French composer Olivier Messiaen. He lived in the French Alps for many years, and in this series of piano pieces, Catalogue of birds, he presents his take on songs of the different birds heard around France. Much of Messiaen's music is "difficult," but if you take the time to get into this recording, you may find it enjoyable. Arvo Pärt: Tabula Rasa Estonian composer Arvo Pärt was "discovered" in the west in 1984 when ECM released this album. The title work, from 1977, is an example of music that deconstructs, and other works on the album are also fascinating. Terry Riley: In C One of the first true minimalist works, In C "consists of 53 short numbered musical phrases, lasting from half a beat to 32 beats; each phrase may be repeated an arbitrary number of times at the discretion of each musician in the ensemble. Each musician thus has control over which phrase they play, and players are encouraged to play the phrases starting at different times, even if they are playing the same phrase." (Wikipedia) This is the first recording, from 1968, led by the composer, but it has been recorded many times since. Frederic Rzewski: The People United Will Never Be Divided This work consists of 36 variations on a Chilean protest song ¡El pueblo unido jamás será vencido! which is both highly musical and extremely difficult to perform. Timo Andres: Home Stretch Timo Andres is a young composer living in New York City. This recording is probably the most classical sounding of my selection. At its center is a "reconstruction" of an incomplete Mozart piano concerto, which is "an almost entirely new-sounding piece, which I hope will be an antidote to the studied blandness of most existing completions." This is bookended by Home Stretch, a piece "in three large sections which gradually accelerate: beginning in almost total stasis, working up to an off-kilter dance with stabbing accents, and ushering in a sturm-und-drang cadenza which riles itself up into a perpetual-motion race to the finish," and Paraphrase on Themes of Brian Eno, where Andres orchestrates some of Brian Eno's songs from Before and After Science and Another Green World. (Notes from Timo Andres's website.) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

Michael Veltman spricht über seinen Weg zur neuen Musik, Komposition, Morton Feldman und auch seine Aufgaben als Organist in Kunst-Station Sankt Peter in Köln. Für mich Irene war das kompetente, ehrliche und tiefgründige Gespräch mit Michael sehr bewegend und wohltuend.

Host Rick Whitaker's selection of aphorisms with music from Morton Feldman's Rothko Chapel. Literary Guise Podcast: A Book Club for Modern MenA cocktail-infused book podcast, examining positive and toxic portrayals of masculinity.Listen on: Apple Podcasts SpotifySupport the showRead Me to Sleep, Ricky is hosted by Rick Whitaker and produced in New York City. Contact: rickawhitaker@gmail.comhttps://readmetosleepricky.com

Synopsis Each January, Martin Luther King Day is observed on the third Monday of the month, and in 2009, MLK day fell on January 19th. To celebrate, the director of the Boston Children's Chorus commissioned and premiered a new work from the American composer Trevor Weston. Rather than set words spoken by King, Weston took a different course: “[Dr. King's] speeches speak to … the beauty of living in a society where the truth of equality is actually realized and often demonstrate a broad historical perspective,” says Weston, “so I celebrated King by using texts from the African Saint Augustine and the African-American poet Paul Laurence Dunbar.” From Saint Augustine's “Confessions,” Weston includes the line, “O Truth, you give hearing to all who consult you … you answer clearly, but all men do not hear you,” and from a Dunbar work entitled “The Poet,” this line: “He sang of life, serenely sweet/With now and then a deeper note.” Musically, Weston echoes works both medieval and modern, specifically the 12th century composer Hildegard von Bingen and the 20th century composer Morton Feldman, with a variation on the spiritual “Wade in the Water” tossed in for good measure. The result is a haunting, inward-looking choral work that Weston entitled “Truth Tones.” Music Played in Today's Program Trevor Weston "Truth Tones" Trinity Youth Chorus; Julian Wachner, conductor. Acis 72290

Un día como hoy, 12 de enero: Nace: 1628, Charles Perrault. 1849, Jean Béraud. 1876, Jack London. 1876, Ermanno Wolf-Ferrari. 1926, Morton Feldman. 1949, Haruki Murakami. Fallece: 1976, Agatha Christie. Conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023.

SeaJun Kwon is a composer and bassist who focuses on exploring boundaries. His music draws from the jazz and avant-garde music traditions of Anthony Braxton and Henry Threadgill as well as contemporary classical composers György Ligeti, Tristan Murail, and Morton Feldman. Born and raised in Seoul, South Korea, Kwon graduated from Boston's New England Conservatory and is currently based in Brooklyn. He has been leading his group Walking Cliché Sextet since 2019. The ensemble released two albums, Suite Chase Reflex(2021) and Micro-Nap(2021).  If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

A wedding weekend in Minnesota leaves Jake with a tired voice, and his new frequent guest continues to not pull her weight.Music recommendations are “Mingus Mingus Mingus Mingus Mingus” by Charles Mingus, and “Rothko Chapel” by Morton Feldman.Wake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid

The Memory Palace is a proud member of Radiotopia from PRX. Music Rauelsson plays Mom, in Ukraine Group Listening plays Julie With Richard Birkin plays Vigil II Colleen plays Les Ondes Silencieueses Taylor Deupree and Marcus Fischer play Bell The Ensemble Rescerche plays Morton Feldman's Something Wild in the City: Mary Ann's Theme

Tijd. Ik weet wat het is, maar als je me vraagt wat het dan is, dan weet ik het niet - of woorden van gelijke strekking. Aldus Augustinus. Martin Fondse over de wonderlijke werking van de tijd in de muziek van Morton Feldman. En verder: Myriam Marbé (uit de podcastserie Nooit Van Gehoord?!), en eeuwenoude muziek door Le Miroir de Musique. 23.04 CD Mozart en famille (Challenge Classics CC 72902) Wolfgang Amadeus Mozart: ‘Kegelstatt' Trio in Es, KV 498 Sigiswald Kuijken [viool]; Marie Kuijken [fortepiano]; Sara Kuijken [altviool] 2'00” 23.10 Anonymous - Poi che t'hebi nel core – Cantasi come – Fortuna desperata 4'46” Anonymous - Padovana in piva – O Dio ch'a fatto il ciel con la fortuna 2'48” Josquin des Prez (1455-1521) - O Mater Dei 3'07” Le Miroir de Musique https://lemiroirdemusique.com/ Miriam Trevisan, soprano Sabine Lutzenberger, mezzo-soprano http://www.cappellamariana.com/en/ Jacob Lawrence, tenor Cyprien Sadek, baritone Rui Stähelin, bass and lute Elizabeth Rumsey, viola d'arco, Renaissance viola Marc Lewon, lute Baptiste Romain, bowed fiddle, lira da braccio, Renaissance violin & direction 23.20 CD Lumen (Zennez Records ZR2104010) Martin Fondse: Hawa Martin Fondse, Kika Sprangers, Jörg Brinkman 5'18” CD Piano and string quartet (Nonesuch None 7559793 202) Morton Feldman: Piano and string quartet Aki Takahashi [piano]; Kronos Quartet 14'30” 23.43 Myriam Marbé: Humoresque Eugen-Bogdan Popa (cello), Anamaria Biaciu-Popa (piano) www.youtube.com/watch?v=OIAyhPK0JYE tijdsduur: 3'27 23.50 CD Thursday Afternoon (EG EGCD 64) Brian Eno: Thursday Afternoon Brian Eno 10'00”

Jeremiah and I discuss Morton Feldman, a towering colossus of 20th Century music, who has had an profound impact on both of our creative lives. We focus on three compositions: Durations, Rothko Chapel, and Patterns in a Chromatic Field.

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/

Músicas con historias de amistad, del homenaje de Morton Feldman a Rothko pasando por Für Alina de Arvo Pärt, un movimiento del Quatuor pour la fin du Temps de Messiaen, Brian Eno con su hermano Roger y con su amigo Samuel Aguilar o John Cage. Escuchar audio

An electronic mix of various ingredients. More on this 552nd weekly Disquiet Junto project – The Radio in My Life (The Assignment: Record music in response to a John Cage and Morton Feldman conversation) – at: https://disquiet.com/0552/ Thanks to Tobias Reber and Musikfestival Bern for collaboration on this project. More on the festival at: https://www.musikfestivalbern.ch/ https://www.instagram.com/musikfestival_bern https://www.facebook.com/musikfestivalbern More on the Disquiet Junto at: https://disquiet.com/junto/ Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/ Project discussion takes place on llllllll.co 2: https://llllllll.co/t/disquiet-junto-project-0552-the-radio-in-my-life/

durée : 01:00:02 - En pistes, contemporains ! du dimanche 19 juin 2022 - par : Emilie Munera - Ce dimanche, Emilie et Rodolphe nous font découvrir le dernier disque consacré à la musique d'Eric Tanguy et interprétée ici par un casting 5 étoiles. Nous écouterons également la musique Laurent Lefrançois ou encore celle de Morton Feldman. En Pistes, contemporains ! - réalisé par : Céline Parfenoff

Tom Service talks to drummer, conductor and composer Tyshawn Sorey. A musician very much in demand across both classical and jazz circles, Tyshawn discusses his continuing mission to break down boundaries in music and his recent piece ‘Monochromatic Light', written for the 50th anniversary of Rothko Chapel in Houston, Texas, for which he took inspiration not just from the artwork of Mark Rothko, but the piece Morton Feldman wrote for the opening of the space in 1971. Tom also speaks to conductor and writer John Mauceri about his new book, The War on Music: Reclaiming the Twentieth Century, in which he argues the extent to which 20th-century music was shaped by World War I, World War II and the Cold War. John tells Tom why he believes a century of cultural politics has resulted in certain composers not being sufficiently appreciated, and thus not played enough in concert halls today. We also hear from the composer Lavender Rodriguez who tells us how they're inspiring young people across the north west of England to become the next generation of music creators through Manchester Camerata's Hidden Histories project; and we turn to TikTok, speaking to some of the finest young musicians and classical institutions about how they are using the hugely popular social media app to take classical music to new audiences. Tom talks to violinist Esther Abrami, composer and conductor Alma Deutscher and London Philharmonic Orchestra's Kath Trout.

To celebrate the show's anniversary, I'm unlocking what just might be the best episode I've ever done. Today I talk about a MKULTRA subproject studying sexual psychopaths; I believe it vindicates McGowan's Programmed to Kill thesis. This is truly insane stuff, and I don't believe anyone's made these connections before. I couldn't believe it. Songs: Piano and String Quartet by Morton Feldman (shout-out to whoever said it would be great in an episode, you weren't kidding) Murder Company by Church of Misery

Antonio Correa, amigo, maestro, compositor y pianista, se sienta en nuestro piano llamado Dionisio para interpretarnos una de sus obras y hablar sobre el minimalismo, el silencio, la aceptación de las influencias dentro de la labor del compositor y de la necesidad de componer. Interpreta para nosotros su obra: Superficie III Música de Antonio Correa: https://lamusicadelaptopper.bandcamp.com/ Música de ALS ECO: https://alseco.bandcamp.com/ Música de OBI: https://obi2000.bandcamp.com Escucha los demás episodios de IMÁN MUSIC SESSIONS EN www.imanmusic.net/sessions Un podcast original de Imán Music Grabado por Jorge Arango Editado por Tariq Burney Presentado por Tariq Burney y Sergio Cote RESEÑA ANTONIO CORREA: Antonio Correa (Popayán, Cauca, 1982) Antonio Correa inició sus estudios musicales en el conservatorio de la Universidad del Cauca a la edad de seis años. No sería sino hasta los doce años que empezaría a estudiar con gusto la música. El detonante de este cambio de actitud tuvo que ver con un castigo muy severo de sus padres tras un acto de delincuencia juvenil bastante menor, pero sumamente vergonzoso. Pasó entonces tres meses castigado sin salir con sus amigos ni ver televisión. La música llegó entonces en su vida, para quedarse, por cuenta del aburrimiento que el mencionado castigo causaba. El gusto de Antonio Correa por la lectura también se asentó en este momento. Para cuando empezó el castigo, no tenía nada más que hacer como no fuera tocar piano y leer. Para cuando terminó el castigo, no quería hacer otra cosa como no fuera tocar piano y leer. Eventualmente, al terminar el bachillerato, entraría a la Pontificia Universidad Javeriana a estudiar piano. Lo de la composición vendría poco tiempo después. Hacia el 2003 conoce la música de Steve Reich y Simeon ten Holt y empieza a componer como Steve Reich y Simeon ten Holt. Hace esto por varios años con algunas piezas de interés, pero con muy poco realmente de valor. Eventualmente, cuando Antonio Correa empezó a tocar la música de Steve Reich y Simeon ten Holt, gracias al ensamble que ayudó a crear junto con Eduardo Caicedo y Adriana Vásquez llamado Als Eco, se dio cuenta de que no necesitaba seguir componiendo alla Reich/Ten Holt, pero que sin embargo, necesitaba seguir componiendo. Su solución inicial fue conservar el gusto por la tonalidad y la repetición, pero eliminó las relaciones rítmicas predeterminadas. Luego, eliminó las relaciones tonales predeterminadas (por tenues que fueran), pero esto no le gustó y volvió a sus ideas y estructuras tonales y modales y a un particular gusto por la lentitud por cortesía de Morton Feldman y Jürg Frey. Así las cosas, hoy por hoy, describe su música como la de un fan de Steve Reich, Simeon ten Holt, Morton Feldman, Jürg Frey, William Basinski y Brian Eno que resultó estudiando música en la Javeriana. Se deduce, por como define su música, que ser original lo tiene sin cuidado… La música de Antonio Correa ha sido interpretada en Colombia, EEUU, Francia, Alemania, Holanda, Inglaterra, Serbia, Croacia, Ucrania, Austria y Corea del Sur. Como intérprete, ha tocado más de una obra…

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

This 15th episode of the SIMM-podcast is a reflective one.  The main guest in this episode is sociologist Hartmut Rosa (16'30->45'54).  Lukas Pairon interviews him on his book ‘Resonance – A Sociology of Our Relationship to the World', but we also hear interviews with musicians Tom Pauwels (2'33->6'50), Chrissy Dimitriou (6'56->8'40), Michael Schmidt (8'46->14'40 + 23'20->24'35 + 28'56->31'10) and Filip Verneert (14'48->16'13).Hartmut Rosa is Professor of Sociology and Social Theory at the Friedrich-Schiller-Universität Jena, and director of the Max Weber Center for Advanced Cultural and Social Studies in Erfurt, both in Germany.Following his now classical ‘Social Acceleration', Hartmut Rosa invites us in his book ‘Resonance' to reflect on and consider the alternative relationship of being in resonance with the world.  It was first published in German in 2016 and later translated in different languages. The French translation appeared in 2018, and the English version was released in 2019.  Hartmut Rosa was the keynote speaker at the 7th international SIMM-posium organized from 12 to 14th December 2022 at the London based Guildhall School of Music and Drama, in collaboration with the Copenhagen Rhythmic Music Conservatory and the research network SIMM. The recording of his keynote can be found here on Vimeo and here on YouTube.Referenced during this podcast-episode: anechoic chamber, 'Breathcore' by Michael Schmidt, Luciano Berio's 'Sequenze', Anne Teresa De Keersmaeker, 'En Atendant' by Rosas, Morton Feldman's 'Crippled Symmetry', Stephen Greenblatt's 'The Swerve', Guildhall School of Music and Drama, Ictus, Ircam, Emmanuel Levinas, Emmanuelle Lizère, George Herbert Mead, Mozarteum, participatory sense-making, SIMM-research-seminar London (September 2022)contact: info@simm-platform.eu / www.simm-platform.eu

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!John Cage, in full John Milton Cage, Jr., (born September 5, 1912, Los Angeles, California, U.S.—died August 12, 1992, New York, New York) was an American avant-garde composer whose inventive compositions and unorthodox ideas profoundly influenced mid-20th-century music.Cage's early compositions were written in the 12-tone method of his teacher Schoenberg, but by 1939 he had begun to experiment with increasingly unorthodox instruments such as the “prepared piano” (a piano modified by objects placed between its strings in order to produce percussive and otherworldly sound effects). Cage also experimented with tape recorders, record players, and radios in his effort to step outside the bounds of conventional Western music and its concepts of meaningful sound. The concert he gave with his percussion ensemble at the Museum of Modern Art in New York City in 1943 marked the first step in his emergence as a leader of the American musical avant-garde.Among Cage's best-known works are 4′33″ (Four Minutes and Thirty-three Seconds, 1952), a piece in which the performer or performers remain utterly silent onstage for that amount of time (although the amount of time is left to the determination of the performer); Imaginary Landscape No. 4 (1951), for 12 randomly tuned radios, 24 performers, and conductor; the Sonatas and Interludes (1946–48) for prepared piano; Fontana Mix (1958), a piece based on a series of programmed transparent cards that, when superimposed, give a graph for the random selection of electronic sounds; Cheap Imitation (1969), an “impression” of the music of Erik Satie; and Roaratorio (1979), an electronic composition utilizing thousands of words found in James Joyce's novel Finnegans Wake.Cage published several books, including Silence: Lectures and Writings (1961) and M: Writings '67–'72 (1973). His influence extended to such established composers as Earle Brown, Lejaren Hiller, Morton Feldman, and Christian Wolff. More broadly, his work was recognized as significant in the development of traditions ranging from minimalist and electronic music to performance art.From https://www.britannica.com/biography/John-Cage. For more information about John Cage:Previously on The Quarantine Tapes:Sonny Rollins about Cage, at 02:30: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-130-sonny-rollinsDwight Trible about Cage, at 12:10: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-109-dwight-tribleMeredith Monk about Cage, at 14:07: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-meredith-monk-054Edwin Schlossberg about Cage, at 04:15: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-040-edwin-schlossberg“Searching for Silence: John Cage's art of noise”: https://www.newyorker.com/magazine/2010/10/04/searching-for-silence“John Cage interview: ‘I gave up the notion of communication as impractical in my case'”: https://www.theguardian.com/music/from-the-archive-blog/2015/dec/08/john-cage-interview-november-1989

Liturgical lullaby, canine concrète, a chess game that never ends. The Chicago-based media artist and composer talks about three important albums.Olivia's picks:Alèmu Aga – Éthiopiques 11: The Harp Of King DavidBeatriz Ferreyra – Huellas EntreveradasMorton Feldman – For Samuel BeckettHonourable mention: Kim Jung Mi – NowOlivia also mentioned another record in the Éthiopiques series: Piano Solo by Tsegué-Maryam Guèbrou.Olivia's new album, Innocent Passage In The Territorial Sea, is out now on Room40. Check it out on Bandcamp here. Her website is here.PLUS: Head over to ATTN for a premiere of the video for "Laika", directed by Deborah Stratman.Crucial Listening is taking donations on ko-fi: https://ko-fi.com/cruciallistening

Ambient Meditations S2 Vol 55 - Rob Burger  This week, we have a beautifully chilled-out selection from pianist Rob Burger, who brings a cinematic mix that fits your December mood. Burger is currently preparing to release his new album Marching With Feathers that is out on February 11th, a follow-up to his 2018 release, The Grid. His mix features a wonderful variety of artists from Can to Brian Eno to John Cage and many you may have never heard of before. So sit back, stare up at those holiday lights you've draped around your house and let your mind unwind. It's time to let the holiday spirit take over. Ambient Meditations 55 Tracklist By Rob Burger  Bernard Herrmann - The Bedroom Can - One More Night Brian Eno / Harold Budd - The Silver Ball Alice Coltrane - Sita Ram Terry Riley - Anthem of the Trinity Moondog - All Is Loneliness Emahoy Tsegué-Maryam Guèbrou - The Song of the Sea John Fahey - Will The Circle Be Unbroken Tom Zé - Toc John Cage - VIII The Haxan Cloak - The Mirror Reflecting (Part 1) Morton Feldman - excerpt from Piano and String Quartet (1985) Hans Joachim Roedelius - Girlande Low - Dancing and Fire Jonny Greenwood - For The Hungry Boy 

In this episode, Victor provides a commentary on Morton Feldman's "Bass Clarinet and Percussion". He contextualizes the composer and the piece and analyzes unique facets of the piece such as its innovative use of notation. He additionally talks about the implications of the composer and the piece upon his own musical development and on contemporary society.

دنیای مدرن با آرامش رابطۀ خوبی ندارد و دامنۀ سکوتی که تجربه می‌کنیم مدام در حال تنگ‌تر شدن‌ست. در قسمت چهاردهم پادکست اورسی سراغ موضوع سکوت رفته‌ایم.اسپانسر پادکست: خنیاگر، رسانۀ موسیقیحامی پادکست: خنیاگر، رسانۀ یادگیری موسیقیلینک حمایت از داخل ایران | لینک حمایت خارج از کشور-----محتوای استفاده‌شده در قسمت چهاردهم: ۰۰:۰۰ – ۰۰:۲۸ | موسیقی تیتراژ ساختۀ بامداد افشار برای پادکست ۰۰:۴۰ – ۰۱:۱۲ | Sabreen – In The Silence Of The Night 02:21 – ۰۳:۵۷ | Bjrn Meyer – Garden of Silence 03:58 – ۶:۵۹ | Mirabai Ceiba – She (روایت نازنین باران) ۷:۰۰ – ۷:۱۰ | سخنرانی کارل هانر – در ستایش آهستگی (روایت حسین کرمی) ۷:۱۸ – ۹:۰۳ | Aaron Martin – Slow Wake 9:06 – ۱۱:۴۷ | محمدرضا شجریان و کیهان کلهر – سکوت شب ۹:۴۲ – ۱۱:۱۵ | تجربۀ زیست مسعود حسن‌نیا در کنار بچه‌ها در مدرسۀ طبیعت کاتی ۱۲:۰۰ – ۱۳:۰۰ | صحبت‌های سیاوش اخلاقی راجع به قطعۀ ۴:۳۳ ساختۀ جان کیج ۱۳:۱۶ – ۱۵:۴۴ | Max Richter – Dream 11 13:33 – ۱۶:۵۶ | بخشی از صحبت‌های مصطفی ملکیان راجع به سکوت ۱۷:۰۵ – ۱۷:۳۱ | Morton Feldman & Samuel Beckett – Words and Music 17:30 – ۱۹:۱۹ | Light Beyond Life – Solitude 17:30 - 18:30 | روایت علی حاتم از مصاحبۀ سکوتِ ساموئل بکت 19:23 – ۲۲:۴۳ | کوروش کنعانی – Quietnessپیشنهاد کتاب: سکوت در زمانۀ هیاهو(نشر گمان) نوشتۀ ارلینگ کاگه و ترجمۀ شادی نیک‌رفعت Hosted on Acast. See acast.com/privacy for more information.

Violinist/composer Tom Chiu leads the Flux Quartet, a cutting edge quartet from NYC who've taken on the massive 6-hour, "String Qt No.2 by Morton Feldman. Tom has collaborated with Oliver Lake, Muhal Richard Abrams, and Henry Threadgill. Tom and I worked with Ornette Coleman in Ornette's Harmelodic Chamber Players. We chat about that wild project, Tom's composition, "RETROCON," and more.

Daisy Press is a vocalist acclaimed for her original interpretations of early music and contemporary composers, and more recently as the high priestess of Voice Cult, a "convent" devoted to singing the music of Hildegard of Bingen. We talk about tuning the voice, Morton Feldman, chant for everyone, and Burning Man.

Pianist/composer/improviser Vicki Ray's musicality has spanned the gamut of many new musical worlds - genre-be-damned. Vicki's expressive reach is just incredible. We explore her work with The California Ear Unit, the music of Morton Feldman, Mel Powell, Wadada Leo Smith, and the micro-tonal music of Harry Partch. All of that, and Vicki's current dive into the solo piano music of Cecil Taylor, on The ProgCast right now.

Paul Thomas is joined by guitarist, broadcaster and concert organiser Tom McKinney for a wide-ranging conversation about contemporary music. As well as discussing some recent new releases the discussion touches upon performances in unconventional venues and the art of commissioning new works.www.prestomusic.comThe music discussed in the show:Haydn: String Quartets Op. 76 Nos. 1 - 3Chiaroscuro QuartetBIS - BIS2348https://www.prestomusic.com/classical/products/8777472--haydn-string-quartets-op-76-nos-1-3Vienne 1900 – Music by Mahler, Zemlinsky, Berg & SchoenbergEric Le Sage (piano), Zvi Plesser (cello), Daishin Kashimoto (violin), Paul Meyer (clarinet), Emmanuel Pahud (flute)ALPHA - ALPHA588https://www.prestomusic.com/classical/products/8789365--vienne-1900Here We AreHéloïse Werner (soprano); The Hermes ExperimentDelphian - DCD34244https://www.prestomusic.com/classical/products/8794320--here-we-areMessiaen: Quartet for the End of Time & Catlin Smith: Among the Tarnished StarsAnton Lukoszevieze (piano), Mira Benjamin (violin), Heather Roche (clarinet) & Philip Thomas (piano)Another Timbre - AT143https://www.prestomusic.com/classical/products/8623053--messiaen-quartet-for-the-end-of-time-catlin-smith-among-the-tarnished-starsMorton Feldman PianoPhilip Thomas (piano)Another Timbre – AT144https://www.prestomusic.com/classical/products/8676745--morton-feldman-pianoSpilled Out From TanglesJuliet Fraser (soprano)Huddersfield Contemporary Records - HCR23CDhttps://www.prestomusic.com/classical/products/8768008--spilled-out-from-tanglesMessiaen: Catalogue d'oiseaux Books 1-7Pierre-Laurent Aimard (piano)PENTATONE - PTC5186670https://www.prestomusic.com/classical/products/8404435--messiaen-catalogue-doiseaux-books-1-7

Tónlist píanóleikarans og tónskáldsins Bunitu Marcus hljómar í þættinum og gluggað er í nýlegt viðtal við hana þar sem hún lýsir sambandi sínu við Morton Feldman, sem var leiðbeinandi hennar á níunda áratugnum. Einnig hljómar tónlist eftir Jo Kondo, Ellen Fullman, Theresu Wong, Pauline Oliveros og Jesper Pedersen í þættinum sem er óvenju hljóðlátur að þessu sinni.

“The people that I connect with online come from all over the musical world, from contemporary composition, from blues, from free jazz, from rock music, from noise… To me it's just all music. I've never felt those barriers were hard and fast — they were imposed by someone else.” Elliott Sharp has been one of the key figures in the avant-garde and experimental scenes in New York City since the late 1970s. With close to 100 releases spanning jazz, noise, orchestral, no wave, contemporary classical, and electronic music, his career can really only be described as prolific. He studied with icons like Morton Feldman, Roswell Rudd, and Robert Moog. His compositions have been performed by renowned ensembles like the Kronos and FLUX quartets. He's released music for the alt rock SST label alongside bands like Sonic Youth and Hüsker Dü. He's collaborated with everyone from jazz legend Jack DeJohnette to Blondie's Debbie Harry to Wilco's Nels Cline to Nusrat Fateh Ali Khan, the Pakistani Qawwali singer regarded as having one of the most impressive voices ever recorded. We chatted about the halcyon '60s when people thought of all kinds of music as simply music, when genrification didn't really stratify how we think about what we hear. We also spoke of the evolution of community alongside the emergence of online platforms, and the importance of resonance when it comes to making music and finding others to make it with. And for budding experimental artists, Elliott offered some wisdom into how they can find their people and work toward making a living. Support Elliott Sharp: www.elliottsharp.com/ Music in this episode, used with permission from Elliott Sharp: The Boreal  (excerpt) -  performed by JACK Quartet Flexagons (excerpt) - performed by Elliott Sharp and Orchestra Carbon Port Bou: Words  (excerpt from opera) - performed by Nicholas Isherwood with Jenny Lin, William Schimmel, and Elliott Sharp Koinoinia - performed by Elliott Sharp on Koll 8-string guitarbass --- Send in a voice message: https://anchor.fm/greymatterfm/message

In the inaugural episode of Ghost Echoes, a suffragette reinvents a bawdy theatre, a professor locks his students in a classroom to see what happens, and a piece of avant-garde music with clearly delineated rules inspires a music history podcast with secret rules. Music and Sound Notes: - The music that starts this episode and recurs later is "Paragraph 7" of Cornelius Cardew & The Scratch Orchestra's The Great Learning. The full piece is a huge work in many parts (“paragraphs”), but this record contains only paragraphs two and seven. - The Emma Cons section features the first movement from Haydn's String Quartet Op. 54, No. 1 performed by Marlburo Music (in the section about the Old Vic) and the March from Holst's Second Suite for Military Band performed by the USAF Heritage of America Band (in the section about Morley College). Also, there's a quick snippet of “Mars” from Holst's The Planets, plus cameos from Graham Chapman and John Cleese in Monty Python and the Holy Grail and Fawlty Towers, respectively. - The strident bit of noise that repeats for comedic effect is not straightforwardly by Cardew—it is an extract from AMMMusic, the debut record by the free improvisation group AMM, of which Cardew was a member. - The section about Cardew's classes at Morley College contains cameo appearances by John Cage's Variations I as recorded by the Motion Ensemble, and Morton Feldman's Rothko Chapel from the Houston Chamber Choir's 2016 recording. (Cardew's students probably didn't actually perform Rothko Chapel, but they did study music by Feldman and this is a representative example.) -Later, there's a brief incursion of Karlheinz Stockhausen's Gruppen, performed by the WDR Sinfonieorchester Köln with three conductors: Bruno Maderna, Michael Gielen and Stockhausen himself (it's a very complicated piece).

We welcome once again the teacher, musician and blogger Antony Rotunno, for the second half of a two-part interview on his music albums Through Life (2019) and Adventures In Retrospect (2017). Whereas in the first programme we discussed his most recent album, in this second half we look back at the 2017 album, and informally chat about various subjects as we play some of the songs. Through Life (2019) and Adventures In Retrospect (2017)—both of which are recommended by TMR—can be heard and purchased via Bandcamp. Antony has joined us several times throughout the life of TMR for conversations on a variety of subjects. [All the songs in this podcast are Copyright © 2019 Antony Rotunno, all rights reserved, and used by TMR with kind permission.] For show notes please visit https://themindrenewed.com

Mark Deutrom is a guitarist, composer, songwriter, and producer. Mark Deutrom studied composition at California Institute of the Arts in Valencia, CA . There he attended seminars with such composers as John Cage, Lou Harrison, Morton Feldman, Aaron Copland, and Morton Subotnick. In 1986 Deutrom co founded Alchemy Records in San Francisco, CA. During his time at the label he produced a record for his own band, Clown Alley, as well as records for Sacrilege, Melvins, RKL, and Neurosis. In 1993 Deutrom was invited to play bass in the Melvins. He was in the band from 1993-1998, and played on and contributed material to the albums "Prick", "Stoner Witch", "Stag", "Honky", " and additional releases. During his time with the band they toured with Tool, Nirvana, Nine Inch Nails, Kiss, and Rush among others. In 2006 he was invited to collaborate with SunnO))) on various live dates in the USA and Europe. Deutrom has released various solo projects and continues to produce projects for others. The band Bellringer is the live vehicle for his music and currently features RL Hulsman on drums, Aaron Lack on drums, and Brian Ramirez on bass and vocals. In 2017 Mark Deutrom signed a licensing agreement with French heavy music label Season of Mist to reissue his catalog, and also for new music beginning with the album The Blue Bird released on January 4 2019. --- Send in a voice message: https://anchor.fm/brutally-delicious/message