Podcast appearances and mentions of Olivier Messiaen

University of Illinois Percussion Professor Josh Graham returns to talk about his post-master's degree years in Michigan and taking non-music opportunities to make it work (02:15), moving to Chicago, getting his doctorate at the University of Illinois, getting more fully into chamber music, and his time teaching at the University of Northern Iowa (10:30), and finishing with the Random Ass Questions, including segments on commissioning non-percussion composers, working at Wendy's, Alfred Hitchcock movies, Detroit sports, and Olivier Messiaen (27:25).Finishing with a Rave on the 2025 film Sinners (56:35).Josh Graham links:Part 1 with Josh GrahamJosh Graham's websiteJosh Graham's Illinois pageF-PLUS MusicPrevious Podcast Guests mentioned:Megan Arns in 2017Garrett Arney in 2019Marco Schirripa in 2022Other Links:Aspen Music FestivalContemporary Directions EnsembleSteven Stucky“Micro-Concerto” - Steven MackeyCloyd DuffJoe GramleyAndrew SpencerJenny KlukkenDoug PerkinsRaves:Sinners trailer

Jamaica's former poet laureate, Lorna Goodison, on setting Dante's Inferno on the island of her birth; Journalist Joanna Moorhead on Pope Francis' relationship with the arts; Poet and librettist Michael Symmons Roberts on writing a form-breaking book to re-examine French composer Olivier Messiaen's form-breaking masterwork - Quartet for the End of Time; and going in search of an important piece of theatre history with Daniel Swift, author of The Dream Factory: London's First Playhouse and the Making of William Shakespeare.Presenter: Nick Ahad Producer: Ekene Akalawu

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

Greetings! Many new things, then, a digression in Phase 2 focused on the influence of gamelan in Western music. Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Blue Sky:  https://bsky.app/profile/envpusher1.bsky.social    3-15-25 PTE Playlist   G's Sabbath - Double Bass: Roberto Cassani / Guitar: Graeme Stephen - Pictish Spaghetti - 577 Records (2025) https://577records.bandcamp.com/album/pictish-spaghetti     Lands End - composer: Luciano Chessa / piano: Claudio Sanna - Lands End - Col Legno (2025) https://col-legno.com/de/shop/15030-lands-end    Pillows - electronics: Simon Grab / drums: David Meier - Porœs - OUS (2025) https://simongrab.bandcamp.com/album/por-s    Strawberry Festival In Louisiana - Stereo Minus One - Dead Petals At The Other - Machine Records (2025) https://stereominusone.bandcamp.com/album/dead-petals-at-the-other    After The Flood - Jeff Greinke - Late Rain - Projekt Records (2025) https://projektrecords.bandcamp.com/album/late-rain    Testing Area - Thomas Poken - digital single (2025) https://thomaspoken.bandcamp.com/album/testing-area    Universe Emerging (10 minute) - Gallanitte - Universe Emerging - digital release (2025) https://gallanitte.bandcamp.com/album/universe-emerging    Intro / Farfisa for Polly Peachum / Sure As Me - Petridisch - Horse Sense: Live at DUALITYFEST - self-release (2023) https://petridisch.bandcamp.com/album/horse-sense-live-at-dualityfest    Parlando I/II/III - percussion: Christopher Clarino / composer: Igor Santos - Parlando - Neuma Records (2025) https://christopherclarino.bandcamp.com/album/parlando    Estampes 1: Pagode - piano: Aldo Ciccolini / composer: Claude Debussy -  L'Œuvre Pour Piano, Vol. I - EMI (1992) https://symposium.music.org/52/item/22-claude-debussys-gamelan.html    "The Joy of the Blood of the Stars" from Turangalila Symphony - Orchestre De L'Opéra Bastille, cond. Myung-Whun Chung / composer: Olivier Messiaen - Mystic (The Musical Visions Of Olivier Messiaen) - Deutsche Grammaphon (1996) https://www.britannica.com/biography/Olivier-Messiaen#ref54011    Sleeping Braid - Gamelan Son of Lion / composer: Barbara Benary - The Complete Gamelan in the New World - Locust Music (2004)  https://www.soundohm.com/product/the-complete-gamelan-in-t    Lamentation & Fantasia Gamelantronique - Discus - 1st - Mellow (1999)  https://mellowlabelproductions.bandcamp.com/album/1st    Poem for Bali - Wendy Carlos - Beauty In The Beast - Audion (1986) https://www.wendycarlos.com/+bitb.html 

Pierre Boulez war nicht nur ein großer Dirigent, sondern prägte die Musik der Nachkriegszeit auch als Komponist. Als Vertreter der seriellen Musik wollte der Messiaen-Schüler alle Aspekte des Klangs in Reihen organisieren und schuf faszinierende Werke voller Logik und Poesie wie "Der Hammer ohne Meister" von 1955. Von Ben Süverkrüp.

Just when we thought we had our final rankings pretty much in the bag, Nickel Boys comes and changes everything. RaMell Ross's living piece of art took us all by surprise and moved us in ways we never expected. The performances were extraordinary, but the heart of the piece was in the direction and camera work. We'll be angrily shaking our fists for years to come that this didn't receive more nominations. Another year in the books, tell us your final rankings! Let us know on Twitter, Instagram or Threads! Listen to the score, track played Grown Into by Alex Somers Read the script Listen to our other episodes we talked about - Judas and the Black Messiah, Moonlight, The Tree of Life, The Zone of Interest, Maestro Watch Passing Read The Vanishing Half by Brit Bennett Listen to Olivier Messiaen's Quartet For The End Of Time Theme music by RomanBelov    #NickelBoys #BestPicture #BestAdaptedScreenplay #Oscars2025 #2025Oscars #AcademyAwards #Oscars 

Olivier Messiaen (1908 - 1992) - Quatuor pour la fin du tempsPer violino, clarinetto, violoncello, pianoforte1.       Liturgie de cristal2.       Vocalise, pour l'Ange qui annonce la fin du Temps3.       Abîmes des oiseaux4.       Intermède5.       Louange à l'éternité de Jésus6.       Danse de la fureur pour les sept trompettes7.       Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps8.       Louange à l'immortalité de Jésus Barnaby Robson, clarinettoJames Clark, violinoDavid Cohen, violoncelloMatthew Schellhorn, pianoforte

A 24 ans, Lalo Schifrin dirige l'orchestre de jazz officiel de la radio argentine. Pour celui qui vient de boucler ses études au conservatoire de Paris avec le compositeur Olivier Messiaen, c'est une consécration. Mais plus qu'un pianiste, Schifrin est un arrangeur né et un passionné de musique à l'image. C'est lors de son séjour à Paris qu'il s'est fait sa culture cinéma, dans les salles des Champs Elysées. Et en  juillet 1956, sa vie va basculer lorsqu'il rencontre son idole de jeunesse : Dizzy Gillespie. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The Battenkill Chorale, founded in 1995, is a dedicated group of amateur singers that has become a cultural jewel of the North Country and the Capital Region. On January 18 and 19, The Battenkill Chorale will perform Louis Vierne's “Solemn Mass” and works by Maurice Duruflé, Jean Langlais, Olivier Messiaen, and Pierre Villette at the historic Immaculate Conception Church in Hoosick Falls, New York.

Die Musikerin Yvonne Loriod ist eine Instanz des Pariser Musiklebens. Sie wurde bekannt als Interpretin für das Klavierwerk ihres Mannes Olivier Messiaen. Aus ihrer Klasse am Pariser Konservatorium gingen berühmte Pianisten hervor. Doch auch besonders nahestehende Personen ahnten nichts von ihrem Geheimnis: Sie war Komponistin! // Von Philipp Quiring/ WDR 2024/ www.radiofeature.wdr.de Von Philipp Quiring.

Die Musikerin Yvonne Loriod ist eine Instanz des Pariser Musiklebens. Sie wurde bekannt als Interpretin für das Klavierwerk ihres Mannes Olivier Messiaen. Aus ihrer Klasse am Pariser Konservatorium gingen berühmte Pianisten hervor. Doch auch besonders nahestehende Personen ahnten nichts von ihrem Geheimnis: Sie war Komponistin! // Von Philipp Quiring/ WDR 2024/ www.radiofeature.wdr.de Von Philipp Quiring.

Violinist Sophie Till of the Marywood University Music Faculty, and clarinettist Pascal Archer, principal with the NEPA Philharmonic, speaking about the Quartet for the End of Time by Olivier Messiaen which they performed with cellist Christiane Appenheimer-Vaida and pianist Ron Stabinsky, in the Marian Chapel at the Swartz Center on the Marywood campus in Scranton on Saturday, September 28, 2024.  The event was a collaboration between Marywood Music Faculty and the NEPA Philharmonic.  For information: marywood.edu/mtd or  nepaphil.org/ The interview was first broadcast 9/20/24.

Su hondo sentido espiritual—que aglutina catolicismo e hinduismo—,su gran conocimiento del canto de los pájaros(que incorpora por primera vez en el Cuarteto para el fin del tiempo),la sinestesia y el uso de la simetría recorren la apasionante creación del compositor y organista francés._____Has escuchadoCatalogue d'oiseaux. Livre I. Le merle bleu (1958). Markus Bellheim, piano. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 12 de abril de 2014Des Canyons aux étoiles. VI. Appel interstellaire (1971-1974). Michael Thompson, trompa. CBS Masterworks (1988)La transfiguration de notre Seigneur Jésus-Christ. VII. Choral de la Sainte Montagne (1965-1969). Koor van de BRT Bruxelles; Groot Omroepkoor & Radio Symfonie Orkest hilversum; Reinbert de Leeuw, director. Montaigne (1994)Quatuor pour la fin du temps. Louange à l'Éternité de Jésus (1940). Anner Bijlsma, violonchelo; Reinbert de Leeuw, piano. Philips (1980)_____Selección bibliográficaAMBLARD, Jacques, Vingt regards sur Messiaen: une étiologie de la médiation. Presses universitaires de Provence, 2015ANDERSON, Julian, “Messiaen and the Notion of Influence”. Tempo, vol. 63, n.º 247 (2009), pp. 2-18*BALMER, Yves, Thomas Lacôte y Christopher Brent Murray, Le modèle et l'invention: Messiaen et la technique de l'emprunt. Symétrie, 2017BENITEZ, Vincent P., Olivier Messiaen. A Research and Information Guide. Routledge Publishing, 2008—, Olivier Messiaen's Opera, “Saint François d'Assise”. Indiana University Press, 2019BERNARD, Jonathan W., “Messiaen's Synaesthesia: The Correspondence between Color and Sound Structure in His Music”. Music Perception: An Interdisciplinary Journal, vol. 4, n.º 1 (1986), pp. 41-68*BOIVIN, Jean, La Classe de Messiaen. Christian Bourgois, 1995CHADWICK, Roderick, Olivier Messiaen's “Catalogue d'oiseaux”: From Conception to Performance. Cambridge University Press, 2022DINGLE, Christopher, The Life of Messiaen. Cambridge University Press, 2007DINGLE, Christopher y Nigel Simeone (eds.), Olivier Messiaen. Music, Art and Literature. Routledge, 2007FALLON, Robert, “Birds, Beasts, and Bombs in Messiaen's Cold War Mass”. The Journal of Musicology, vol. 26, n.º 2 (2009), pp. 175-204*FORTE, Allen, “Olivier Messiaen as Serialist”. Music Analysis, vol. 21, n.º 1 (2002), pp. 3-34*GRIFFITHS, Paul, Olivier Messiaen and the Music of Time. Faber and Faber, 1985HALBREICH, Harry, Olivier Messiaen. Fayard, 1980HILL, Peter (ed.), The Messiaen Companion. Faber and Faber, 1995HILL, Peter y Nigel Simeone, Messiaen. A Major New Biography. Yale University Press, 2005HOLD, Trevor, “Messiaen's Birds”. Music & Letters, vol. 52, n.º 2 (1971), pp. 113-122*IRLANDINI, Luigi Antonio, “Messiaen's Gagaku”. Perspectives of New Music, vol. 48, n.º 2 (2010), pp. 193-207*MESSIAEN, Olivier, Traité de rythme, de couleur et d'ornithologie: en sept tomes (1949-1992). Leduc, [1994-2002]—, Music and Color. Conversations with Claude Samuel. Amadeus Press, 1994MESSIAEN, Olivier y Claude Samuel (2012), “Fe, amor y naturaleza: entrevista con Olivier Messiaen”. Minerva: Revista del Círculo de Bellas Artes, n.º 19 (2012), pp. 54-62NICHOLS, Roger, Messiaen. Oxford University Press, 1975POPLE, Anthony, Messiaen. Quatuor pour la fin du temps. Cambridge University Press, 1998SAMUEL, Claude, Musique et couleurs, nouveaux entretiens avec Olivier Messiaen. Belfond, 1986SHENTON, Andrew, Olivier Messiaen's Turangalîla-symphonie. Cambridge University Press, 2023SHOLL, Robert, Olivier Messiaen: A Critical Biography. Reaktion Books, 2024WAI-LING, Cheong, “Messiaen's Triadic Colouration: Modes as Interversion”. Music Analysis, vol. 21, n.º 1 (2002), pp. 53-84* *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

Olivier Messiaen leistet 1944 einen weihnachtlichen Beitrag zur Klaviermusik, der es in sich hat: Seine "Vingts regards sur l'enfant Jésus" sind ebenso faszinierend wie rätselhaft. 20 Klavierstücke zwischen Meditation und Dramatik, in denen er mit speziellen "Modi" arbeitet, die für unverwechselbare Farbwirkungen sorgen. Von Ben Süverkrüp.

durée : 01:29:21 - Roger Muraro - par : Aurélie Moreau - Roger Muraro, pianiste éclectique, romantique et grand interprète des œuvres de Maurice Ravel et Olivier Messiaen, produit aussi des émissions sur France Musique. Son enregistrement des Années de pèlerinages de Liszt est paru le 4 octobre (Alpha).

Compositor y director de orquesta francés. Sus maestros, Olivier Messiaen y René Leibowitz, le introducen en la música contemporánea, que él enriquece en su faceta creativa y en la de intérprete. En 1970 funda el IRCAM (Institutde Recherche et Coordination Acoustique/Musique), que dirige hasta 1992._____Has escuchadoNotations IV. Rythmique (1945-1978). Wiener Philharmoniker; Claudio Abbado, director. Deutsche Grammophon (1990)Pli selon pli: portrait de Mallarmé. Don [du poème] (1957-1989). Christine Schäfer, soprano; Ensemble Intercontemporain; Pierre Boulez, director. Deutsche Grammophon (2002)Répons. Introduction (1981-1984). Ensemble Intercontemporain; Pierre Boulez, director. Deutsche Grammophon (1998)Rituel in memoriam Maderna (1975). BBC Symphony Orchestra; Pierre Boulez, director. Sony (1990)_____Selección bibliográficaÁGUILA, Jesús, Le Domaine musical: Pierre Boulez et vingt ans de création contemporaine. Fayard, 1992—,“Entrevista con Pierre Boulez, 1945-2006: ¿Es transmisible la experiencia del serialismo?”. Doce Notas Preliminares, n.º 17 (2006), pp. 10-29*ALBÈRA, Philippe, Pli selon pli de Pierre Boulez: entretien et études. Contrechamps, 2003*BOULEZ, Pierre, Penser la musique aujourd'hui. Gonthier, 1964*—, Hacia una estética musical. Monte Ávila, 1992*—, Puntos de referencia. Gedisa, 2008*—, Escritura del gesto: conversaciones con Cécile Gilly. Gedisa, 2012BOULEZ, Pierre y André Schaeffner, Correspondance: 1954-1970. Fayard, 1998CAMPBELL, Edward, Boulez Music and Philosophy. Cambridge University Press, 2014CAMPBELL, Edward y Peter O'Hagan (eds.), Pierre Boulez Studies. Cambridge University Press, 2016*COULT, Tom, “Pierre Boulez's Sur incises: Refraction, Crystallisation, and the Absent Idea(l)”. Tempo, vol. 67, n.º 264 (2013), pp. 2-21FERNÁNDEZ GUERRA, Jorge, Pierre Boulez. Círculo de Bellas Artes, 1985*GOLDMAN, Jonathan, “Boulez and the Spectralists between Descartes and Rameau: Who Said What about Whom?”. Perspectives of New Music, vol. 48, n.º 2 (2010), pp. 208-232*—, The Musical Language of Pierre Boulez: Writings and Compositions. Cambridge University Press, 2014GRIFFITHS, Paul, Boulez, Oxford Studies of Composers. Oxford University Press, 1978GULDBRANDSEN, Erling E. y Pierre Boulez, “Pierre Boulez in Interview, 1996 (I). Modernism, History, and Tradition”. Tempo, vol. 65, n.º 255 (2011), pp. 9-16*—, “Pierre Boulez in Interview, 1996 (II). Serialism Revisited”. Tempo, vol. 65, n.º 256 (2011), pp. 18-24*—, “Pierre Boulez in Interview, 1996 (III). Mallarmé, Musical Form, and Articulation”. Tempo, vol. 65, n.º 257 (2011), pp. 11-21*—, “Pierre Boulez in Interview, 1996 (IV). Some Broader Topics”. Tempo, vol. 65, n.º 258 (2011), pp. 37-43*JAMEUX, Dominique y Susan Bradshaw, Pierre Boulez. Harvard University Press, 1990KOBLYAKOV, Lev, Pierre Boulez: A World of Harmony. Routledge, 2010LELEU, Jean-Louis y Pascal Decroupet (eds.), Pierre Boulez: techniques d'écriture et enjeux esthétiques. Contrechamps, 2006MEÏMOUN, François, Entretien avec Pierre Boulez. La naissance d'un compositeur. Aedam Musicae, 2010—, La Construction du langage musical de Pierre Boulez: la première sonate pour piano. Aedam Musicae, 2019MERLIN, Christian, Pierre Boulez. Fayard, 2019NATTIEZ, Jean-Jacques, “De las artes plásticas a la música: Pierre Boulez, a la escucha de Paul Klee”. Bajo Palabra: Revista de Filosofía, época 2, n.º 7 (2012), pp. 117-128*O'HAGAN, Peter, “From Sketch to Score: A Facsimile Edition of Boulez's Le Marteau sans Maître”. Music & Letters, vol. 88, n.º 4 (2007), pp. 632-644*—, Pierre Boulez and the Piano: A Study in Style and Technique. Routledge, 2018PEYSER, Joan, To Boulez and Beyond. Scarecrow Press, 2008ROSEN, Charles, “La música para piano de Pierre Boulez”. Quodlibet: Revista de Especialización Musical, n.º 28 (2004), pp. 42-56*SALEM, Joseph Robert, Pierre Boulez: The Formative Years. University Press, 2023SAMUEL, Claude, Pierre Boulez. Éclats 2002. Mémoire du Livre, 2002WALTERS, David, “Artistic Orientations, Aesthetic Concepts, and the Limits of Explanation: An Interview with Pierre Boulez”. En: Contemporary Music: Theoretical and Philosophical Perspectives. Editado por Max Paddison e Irène Deliège. Ashgate, 2010*WILLIAMS, Alastair, “Répons, de Pierre Boulez ¿fantasmagoría o articulación de espacio?”. Quodlibet: Revista de Especialización Musical, n.º 26 (2003), pp. 51-68* *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

SynopsisToday's date in 1922 marks the birthday of Héctor Campos Parsi, one of Puerto Rico's finest composers.Campos Parsi originally planned to become a doctor, but after a meeting with the Mexican composer Carlos Chávez, ended up studying music at the New England Conservatory in 1949 and 1950 with the likes of Aaron Copland, Olivier Messiaen and Serge Koussevitzky, and between 1950 and 1954 with Paul Hindemith at Yale and with Nadia Boulanger in Paris.Returning to Puerto Rico, Campos Parsi pursued a dual career: as a writer, he contributed short stories, essays, poems to Puerto Rican magazines, and wrote music reviews and articles for island newspapers. As a composer, he wrote instrumental and vocal works for chamber, orchestral, and choral ensemble. Two of his best-known works are Divertimento del Sur, written for string orchestra with solo flute and clarinet, and a piano sonata dedicated to Puerto Rican pianist Jesús María Sanromá. As a musicologist, Campos Parsi wrote entries for music encyclopedias and served as the director of the IberoAmerican Center of Musical Documentation and as composer-in-residence at the University of Puerto Rico at Cayey, where died in 1998 at 75.Music Played in Today's ProgramHéctor Campos Parsi (1922-1998): Divertimento del Sur; Members of the Casals Festival Orchestra; Milton Katims, conductor; Smithsonian Folkways COOK-01061

DOMRADIO.DE hat am fünfundzwanzigsten Sonntag im Jahreskreis das Kapitelsamt aus dem Kölner Dom mit mit Domdechant Robert Kleine. Das Vokalensemble Kölner Dom singt unter der Leitung von Eberhard Metternich die Missa "O quam gloriosum" von Tomás Luis de Victoria, "Ubi caritas et amor" von Ola Gjeilo und "O sacrum convivium" von Olivier Messiaen. An der Orgel: Winfried Bönig.

Violinist Sophie Till of the Marywood University Music Faculty, and clarinettist Pascal Archer, principal with the NEPA Philharmonic, speaking about the Quartet for the End of Time by Olivier Messiaen which they will perform with cellist Christiane Appenheimer-Vaida and pianist Ron Stabinsky, in the Marian Chapel at the Swartz Center on the Marywood campus in Scranton.The concert will take place on Saturday, September 28, 2024, at 7:00 pm, and the event is a collaboration between Marywood Music Faculty and the NEPA Philharmonic.  For tickets and more information: marywood.edu/mtd or  nepaphil.org/

Violinist Sophie Till of the Marywood University Music Faculty, and clarinettist Pascal Archer, principal with the NEPA Philharmonic, speaking about the Quartet for the End of Time by Olivier Messiaen which they will perform with cellist Christiane Appenheimer-Vaida and pianist Ron Stabinsky, in the Marian Chapel at the Swartz Center on the Marywood campus in Scranton. The concert will take place on Saturday, September 28, 2024, at 7:00 pm, and the event is a collaboration between Marywood Music Faculty and the NEPA Philharmonic.  For tickets and more information: marywood.edu/mtd or  nepaphil.org/

Daniel Popp présente l'intégrale en 13 CD de son père André Popp et le duo toulousain Tropic Hotel se rêve en pop love tropicale à Rio. André Popp (1924-2014) serait le chaînon manquant entre Olivier Messiaen et la variété, c'est ce que nous explique son fils Daniel Popp, à l'occasion de la sortie de l'intégrale instrumentale de son père, soit 293 titres, 13 CD, entre 1955 et 1976. Note d'intention Daniel Popp (son fils)Réunir pour la première fois dans une intégrale, tous les albums d'André Popp de 1955 à 1976, jamais ou si peu publiés en CD, permet de voir à quel point la musique instrumentale est un élément essentiel de son œuvre de compositeur, arrangeur, chef d'orchestre. Un volant peu connu tant les arrangements qu'il a écrits pour les plus grands, ses chansons à succès qui ont fait le tour du monde, couvrant plusieurs générations, jusqu'à aujourd'hui, ou la série des « Piccolo, Saxo et Cie » ont voilé quelque peu son travail en tant que chef d'orchestre. Car outre le côté avant-gardiste des explorations sonores d'« Elsa Popping et sa Musique Sidérante » qui lui auront collé une image d'« amuseur », ou les musiques qui ont alimenté nombre de génériques de séries d'animation (Colargol, Babar...), et d'une myriade d'émissions de radio ou de télévision (« Les Maîtres du Mystère », « La Tête et les Jambes » entre autres…) et de bandes originales (« Tintin »…), André Popp, album après album, n'aura cessé de creuser un sillon musical qui n'appartient qu'à lui. Souvent nourri d'œuvres composées pour la radio qui fut son conservatoire, dont le bonus inédit, exceptionnel, du CD 13, offre un concert radiophonique dirigé par Popp, lui-même, revisité dans un esprit jazz coloré de joyeuses dissonances. Cette publication en révèle enfin la mesure, l'incroyable variété : une véritable malle aux trésors prenant figure d'œuvre regorgeant d'audace, de malice, de folle créativité musicale, entrecoupée de périodes plus sages, mais toujours élégantes et inventives, dont il est passionnant de constater l'évolution sur une vingtaine d'années.  Biographie André PoppLa passion absolue de la musique résume la vie et la carrière d'André Popp. Parfait autodidacte ou presque, génial créateur, il est resté dans l'ombre malgré une œuvre très riche, jalonnée par des tubes internationaux sur fond d'explorations musicales en tous genres. Dès cinq ans, en 1929, il apprend le piano en Vendée, là où réside sa famille. Mais la musique se révèle vraiment à lui, pendant la guerre, quand il remplace l'abbé mobilisé qui tenait l'harmonium dans la chapelle de son pensionnat. Le jeune André joue de l'instrument à tous les offices avec un grand bonheur. Déjà, plutôt que les grands classiques, il préfère écouter Stravinsky ou Messiaen. À la même période, sa première rencontre importante fut Jean Broussolle, futur ‘Compagnon de la chanson' avec lequel il écrit ses premières chansons. C'est encore avec Broussolle, qu'il ose « monter » à Paris à la Libération en 1944, venant de sa Vendée natale. Là, il travaillera comme pianiste dans divers cabarets ou encore au célèbre Théâtre des Trois Baudets à partir de 1949. Sur tous les fronts en 1953, il devient le musicien/producteur de la grande émission du samedi soir sur Paris Inter : « La bride sur le cou ». Véritable laboratoire et conservatoire pour André Popp qui affirmait y avoir fait ses classes d'orchestration, de composition, de direction d'orchestre !  En 1956, Jacques Canetti engage André Popp chez Philips et sa filiale Fontana comme chef d'orchestre et arrangeur. Chez Fontana, sous la direction artistique de Boris Vian, André Popp enregistre en 1956 son premier album instrumental Musiques en tous genres, suivi un an plus tard de Elsa Popping, un album 30 cm réunissant des classiques connus : polkas, java et autres, avec des arrangements avant-gardistes et de nombreux trucages jamais réalisés en studio. Parmi les accompagnements d'artistes chez Philips/Fontana, on découvre ses arrangements ciselés sur mesure pour Jacques Brel avec ‘Quand on a que l'amour', son premier succès, Juliette Gréco et ‘Il n'y a plus d'après', Mouloudji, Zizi Jeanmaire et tellement d'autres, tant son originalité lui vaut de faire partie des arrangeurs « à la mode » ! Puis viendront une kyrielle de chansons dont il écrit les musiques gravées dans toutes les mémoires : les célébrissimes ‘Lavandières du Portugal' en 1955 avec Jacqueline François, ‘La complainte du téléphone' ou ‘De Pantin à Pékin' pour Juliette Gréco, ‘Tom Pillibi', chanté par Jacqueline Boyer, Grand prix de l'Eurovision en 1960, ‘Le chant de Mallory' avec Rachel, quatrième de cette même Eurovision en 1964, ‘Le lit de Lola', ‘Manchester et Liverpool' et ‘Mon amour, mon ami', pour Marie Laforêt. Son plus grand succès comme compositeur restera ‘Love Is Blue' (‘L'amour est bleu') dont le chef d'orchestre Paul Mauriat fera un succès mondial en 1968 et vendra trente millions de disques. ‘La solitude c'est après' pour Claude François, ‘L'amour c'est comme les bateaux' pour Sylvie Vartan ou un autre tube planétaire ‘Song for Anna' joué au départ par Herb Ohta, un guitariste Hawaïen, sont d'autres belles réalisations à l'actif d'André Popp qui a aussi offert des chansons à Petula Clark, Brigitte Bardot, France Gall, Régine, Françoise Hardy, Nana Mouskouri, Nicole Croisille ou encore à la toute jeune Céline Dion à ses débuts.  Mais le chef d'œuvre d'André Popp restera à tout jamais « Piccolo, saxo et compagnie », seule œuvre symphonique éducative destinée à la jeunesse, jouée de l'Australie à la Colombie en passant par l'Allemagne, la France… Peu présent dans le monde du cinéma, André Popp composera néanmoins quelques musiques de film, dont « Tintin et le mystère de la toison d'or ». Le théâtre lui ouvrira ses portes grâce à ses orchestrations célèbres d'Irma la douce jouée encore à Broadway le jour de sa mort, ou par ses musiques composées pour nombre de pièces d'André Barsac au Théâtre de l'Atelier. Depuis une décennie, André Popp était heureux d'avoir trouvé en Fred Pallem et son orchestre de jazz « Le Sacre du Tympan », le prolongateur de son œuvre. Fred Pallem qui ne se lasse pas de répéter qu'André Popp symbolise encore aujourd'hui le chaînon manquant entre Olivier Messiaen et la musique de variété.Extrait de « Les Arrangeurs de la Chanson Française : 200 Rencontres » Par Serge ELHAÏK (2017) Éditions Textuel.Titres d'André Popp joués dans l'émission :Les Papillons, Les Lavandières du Portugal, 20 que da ?, Le chant de Mallaury par Tabuley Rochereau (extrait), Manchester & Liverpool demo par David Bowie (extrait), Love is Blue par George Benson et La Polka du Roi.► Coffret 13 CD André Popp L'intégrale instrumentale (1955-1976) (Universal 2024).Facebook - Site - Deezer - YouTube.En 2025 ! Le 8 Mars 2025, concert exceptionnel de Fred Pallem et le Sacre du Tympan Big Band « 100 ans de Popp et de jazz » dans le cadre du centenaire du compositeur André Popp, Radio France, Studio 104. Puis nous recevons Tropic Hotel  pour la sortie de l'album Tum Tum Bossa. Un travail d'adaptation en français de poésies brésiliennes issues de la bossa nova des années 60 (Tom Jobim, Chico Buarque, Caetano Veloso, Vinicius de Moraes, Carlos Lyra, Adoniran Barbosa…) au plus proche du sens et de la sonorité d'origine : Tropic Hotel, c'est un homme (Frédéric Jean, ex-Hyperclean) et une femme (Sandra Campas) qui jouent et chantent face à face le discours amoureux. Partis de la forme brute de la bossa, le Tropic Hotel n'hésite pas à s'aventurer sur les sentiers électriques de la pop exotica et nous entrainent dans un véritable « road movie musical. » Ce sont des histoires d'amour. D'abord celle de Sandra et Frédéric.En 2014, alors élève au Conservatoire de Jazz de Montauban, Sandra rencontre Frédéric. Le week-end, ils se retrouvent dans une petite cabane perdue au fond des bois pour jouer de la bossa nova nus. S'inspirant des surréalistes, ils s'essaient à des adaptations à partir de jeux littéraires. Sandra chante en brésilien et Frédéric interprète ce qu'il entend en français. Ils appellent cela des « bossas sourdes ». Fin 2016, Sandra se lance dans des adaptations, au plus proche du sens et de la sonorité d'origine. Il apparaît évident que c'est ce qui restitue le mieux la poésie crue de ces textes brésiliens des années 60. Au printemps 2017, ils décident alors de les partager sur scène. Frédéric fait quelques propositions d'arrangements plus électriques et peu à peu se dessine le répertoire, nouvel havre pour ces poèmes d'amour. On laisse la cabane pour le Tropic Hotel.  Titres interprétés au grand studio- Je ne suis plus toi et moi (voce e eu) Live RFI- Viens, extrait de l'album voir le clip- Petite Valse Live RFI.Line Up : Sandra Campas, chant, Frédéric Jean, guitare.Son : Benoît Letirant.► Album Tum Tum Bossa (Velvetica Music 2024).- Site - Facebook - Instagram - Spotify.

Daniel Popp présente l'intégrale en 13 CD de son père André Popp et le duo toulousain Tropic Hotel se rêve en pop love tropicale à Rio. André Popp (1924-2014) serait le chaînon manquant entre Olivier Messiaen et la variété, c'est ce que nous explique son fils Daniel Popp, à l'occasion de la sortie de l'intégrale instrumentale de son père, soit 293 titres, 13 CD, entre 1955 et 1976. Note d'intention Daniel Popp (son fils)Réunir pour la première fois dans une intégrale, tous les albums d'André Popp de 1955 à 1976, jamais ou si peu publiés en CD, permet de voir à quel point la musique instrumentale est un élément essentiel de son œuvre de compositeur, arrangeur, chef d'orchestre. Un volant peu connu tant les arrangements qu'il a écrits pour les plus grands, ses chansons à succès qui ont fait le tour du monde, couvrant plusieurs générations, jusqu'à aujourd'hui, ou la série des « Piccolo, Saxo et Cie » ont voilé quelque peu son travail en tant que chef d'orchestre. Car outre le côté avant-gardiste des explorations sonores d'« Elsa Popping et sa Musique Sidérante » qui lui auront collé une image d'« amuseur », ou les musiques qui ont alimenté nombre de génériques de séries d'animation (Colargol, Babar...), et d'une myriade d'émissions de radio ou de télévision (« Les Maîtres du Mystère », « La Tête et les Jambes » entre autres…) et de bandes originales (« Tintin »…), André Popp, album après album, n'aura cessé de creuser un sillon musical qui n'appartient qu'à lui. Souvent nourri d'œuvres composées pour la radio qui fut son conservatoire, dont le bonus inédit, exceptionnel, du CD 13, offre un concert radiophonique dirigé par Popp, lui-même, revisité dans un esprit jazz coloré de joyeuses dissonances. Cette publication en révèle enfin la mesure, l'incroyable variété : une véritable malle aux trésors prenant figure d'œuvre regorgeant d'audace, de malice, de folle créativité musicale, entrecoupée de périodes plus sages, mais toujours élégantes et inventives, dont il est passionnant de constater l'évolution sur une vingtaine d'années.  Biographie André PoppLa passion absolue de la musique résume la vie et la carrière d'André Popp. Parfait autodidacte ou presque, génial créateur, il est resté dans l'ombre malgré une œuvre très riche, jalonnée par des tubes internationaux sur fond d'explorations musicales en tous genres. Dès cinq ans, en 1929, il apprend le piano en Vendée, là où réside sa famille. Mais la musique se révèle vraiment à lui, pendant la guerre, quand il remplace l'abbé mobilisé qui tenait l'harmonium dans la chapelle de son pensionnat. Le jeune André joue de l'instrument à tous les offices avec un grand bonheur. Déjà, plutôt que les grands classiques, il préfère écouter Stravinsky ou Messiaen. À la même période, sa première rencontre importante fut Jean Broussolle, futur ‘Compagnon de la chanson' avec lequel il écrit ses premières chansons. C'est encore avec Broussolle, qu'il ose « monter » à Paris à la Libération en 1944, venant de sa Vendée natale. Là, il travaillera comme pianiste dans divers cabarets ou encore au célèbre Théâtre des Trois Baudets à partir de 1949. Sur tous les fronts en 1953, il devient le musicien/producteur de la grande émission du samedi soir sur Paris Inter : « La bride sur le cou ». Véritable laboratoire et conservatoire pour André Popp qui affirmait y avoir fait ses classes d'orchestration, de composition, de direction d'orchestre !  En 1956, Jacques Canetti engage André Popp chez Philips et sa filiale Fontana comme chef d'orchestre et arrangeur. Chez Fontana, sous la direction artistique de Boris Vian, André Popp enregistre en 1956 son premier album instrumental Musiques en tous genres, suivi un an plus tard de Elsa Popping, un album 30 cm réunissant des classiques connus : polkas, java et autres, avec des arrangements avant-gardistes et de nombreux trucages jamais réalisés en studio. Parmi les accompagnements d'artistes chez Philips/Fontana, on découvre ses arrangements ciselés sur mesure pour Jacques Brel avec ‘Quand on a que l'amour', son premier succès, Juliette Gréco et ‘Il n'y a plus d'après', Mouloudji, Zizi Jeanmaire et tellement d'autres, tant son originalité lui vaut de faire partie des arrangeurs « à la mode » ! Puis viendront une kyrielle de chansons dont il écrit les musiques gravées dans toutes les mémoires : les célébrissimes ‘Lavandières du Portugal' en 1955 avec Jacqueline François, ‘La complainte du téléphone' ou ‘De Pantin à Pékin' pour Juliette Gréco, ‘Tom Pillibi', chanté par Jacqueline Boyer, Grand prix de l'Eurovision en 1960, ‘Le chant de Mallory' avec Rachel, quatrième de cette même Eurovision en 1964, ‘Le lit de Lola', ‘Manchester et Liverpool' et ‘Mon amour, mon ami', pour Marie Laforêt. Son plus grand succès comme compositeur restera ‘Love Is Blue' (‘L'amour est bleu') dont le chef d'orchestre Paul Mauriat fera un succès mondial en 1968 et vendra trente millions de disques. ‘La solitude c'est après' pour Claude François, ‘L'amour c'est comme les bateaux' pour Sylvie Vartan ou un autre tube planétaire ‘Song for Anna' joué au départ par Herb Ohta, un guitariste Hawaïen, sont d'autres belles réalisations à l'actif d'André Popp qui a aussi offert des chansons à Petula Clark, Brigitte Bardot, France Gall, Régine, Françoise Hardy, Nana Mouskouri, Nicole Croisille ou encore à la toute jeune Céline Dion à ses débuts.  Mais le chef d'œuvre d'André Popp restera à tout jamais « Piccolo, saxo et compagnie », seule œuvre symphonique éducative destinée à la jeunesse, jouée de l'Australie à la Colombie en passant par l'Allemagne, la France… Peu présent dans le monde du cinéma, André Popp composera néanmoins quelques musiques de film, dont « Tintin et le mystère de la toison d'or ». Le théâtre lui ouvrira ses portes grâce à ses orchestrations célèbres d'Irma la douce jouée encore à Broadway le jour de sa mort, ou par ses musiques composées pour nombre de pièces d'André Barsac au Théâtre de l'Atelier. Depuis une décennie, André Popp était heureux d'avoir trouvé en Fred Pallem et son orchestre de jazz « Le Sacre du Tympan », le prolongateur de son œuvre. Fred Pallem qui ne se lasse pas de répéter qu'André Popp symbolise encore aujourd'hui le chaînon manquant entre Olivier Messiaen et la musique de variété.Extrait de « Les Arrangeurs de la Chanson Française : 200 Rencontres » Par Serge ELHAÏK (2017) Éditions Textuel.Titres d'André Popp joués dans l'émission :Les Papillons, Les Lavandières du Portugal, 20 que da ?, Le chant de Mallaury par Tabuley Rochereau (extrait), Manchester & Liverpool demo par David Bowie (extrait), Love is Blue par George Benson et La Polka du Roi.► Coffret 13 CD André Popp L'intégrale instrumentale (1955-1976) (Universal 2024).Facebook - Site - Deezer - YouTube.En 2025 ! Le 8 Mars 2025, concert exceptionnel de Fred Pallem et le Sacre du Tympan Big Band « 100 ans de Popp et de jazz » dans le cadre du centenaire du compositeur André Popp, Radio France, Studio 104. Puis nous recevons Tropic Hotel  pour la sortie de l'album Tum Tum Bossa. Un travail d'adaptation en français de poésies brésiliennes issues de la bossa nova des années 60 (Tom Jobim, Chico Buarque, Caetano Veloso, Vinicius de Moraes, Carlos Lyra, Adoniran Barbosa…) au plus proche du sens et de la sonorité d'origine : Tropic Hotel, c'est un homme (Frédéric Jean, ex-Hyperclean) et une femme (Sandra Campas) qui jouent et chantent face à face le discours amoureux. Partis de la forme brute de la bossa, le Tropic Hotel n'hésite pas à s'aventurer sur les sentiers électriques de la pop exotica et nous entrainent dans un véritable « road movie musical. » Ce sont des histoires d'amour. D'abord celle de Sandra et Frédéric.En 2014, alors élève au Conservatoire de Jazz de Montauban, Sandra rencontre Frédéric. Le week-end, ils se retrouvent dans une petite cabane perdue au fond des bois pour jouer de la bossa nova nus. S'inspirant des surréalistes, ils s'essaient à des adaptations à partir de jeux littéraires. Sandra chante en brésilien et Frédéric interprète ce qu'il entend en français. Ils appellent cela des « bossas sourdes ». Fin 2016, Sandra se lance dans des adaptations, au plus proche du sens et de la sonorité d'origine. Il apparaît évident que c'est ce qui restitue le mieux la poésie crue de ces textes brésiliens des années 60. Au printemps 2017, ils décident alors de les partager sur scène. Frédéric fait quelques propositions d'arrangements plus électriques et peu à peu se dessine le répertoire, nouvel havre pour ces poèmes d'amour. On laisse la cabane pour le Tropic Hotel.  Titres interprétés au grand studio- Je ne suis plus toi et moi (voce e eu) Live RFI- Viens, extrait de l'album voir le clip- Petite Valse Live RFI.Line Up : Sandra Campas, chant, Frédéric Jean, guitare.Son : Benoît Letirant.► Album Tum Tum Bossa (Velvetica Music 2024).- Site - Facebook - Instagram - Spotify.

Compline by Candlelight provides peace and stillness as one week ends and another begins. Set in the tranquility of St. Paul's Chapel, one of the oldest buildings in New York City, guests find a seat and hold a candle, while 30 minutes of improvised music by The Choir of Trinity Wall Street fill the space. There's nothing to do but listen.  O sacrum convivium! – Olivier Messiaen

BELIEVE IT OR NOT, the combination of ambient nature sounds and electronic music was actually an innovation in the 1970s. And you may be surprised that the idea had a history in European classical music, especially in England and France. In England, it was the so-called "pastoral" composers like ARNOLD BAX and RALPH VAUGHAN WILLIAMS, who created orchestral images of nature. In France, it was the Impressionists, from CLAUDE DEBUSSY to OLIVIER MESSIAEN. They didn't have recordings, so they created new instruments and playing techniques to imitate natural sounds like wind and birdsongs. By the mid-20th century, we could record the sounds of nature, edit them and play them back at will. In the 1950s, avant-garde composers like JOHN CAGE were promoting an awareness of ambient sound as equal to music. Music...was how you listened. Incorporating nature sounds into music was the next step; beside, film soundtracks had been doing it for years. The psychology is foundational: humans evolved listening to natural sounds, and they send a message we respond to instinctively. For example, birdsong on a gentle summer morning is delightful and calming. Blend in some subtle synthesizers, season with gourmet reverberation and you have what two young Canadians named MYCHAEL DANNA and TIM CLÉMENT called "environmental electronic music." It's an idea that was embraced by New Age musicians and in time became a bit of a cliché. But it led to an electronic genre of extended tone-color journeys in virtual space, which is still alive and well. On this transmission of Hearts of Space, the fluid, airy sound of summer spacemusic, on a program called SUMMERTONES 3. Music is by MEG BOWLES, DANNA & CLÉMENT, CHRONOTOPE PROJECT, ALTUS, and STELLIA. [ view program page ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

In this episode of One Symphony, conductor Devin Patrick Hughes interviews internationally renowned pianist Quynh Nguyen (pronounced Quin Nwen), exploring her remarkable journey in music. Born in post-war Vietnam, Nguyen's path has been shaped by her family legacy, global influences, and dedication to her craft. From her early beginnings at the Hanoi Conservatory to her studies in Moscow, Paris, and the United States, Nguyen's story exemplifies perseverance and the power of music to transcend boundaries. The interview examines Nguyen's direct connections with French composer Olivier Messiaen and studying with his wife Yvonne Loriod, her respect for Germaine Tailleferre's resilience, and her collaboration with Paul Chihara on his Concerto Fantasy for Piano and Orchestra. Nguyen also explores music's capability to promote peace between nations in her touching final remarks.   Quynh Nguyen has performed throughout the United States, Europe, and Vietnam, in venues including Carnegie Hall, Lincoln Center, Smithsonian's Freer Gallery, Berlin Konzerthause, and the Opera House in Hanoi, Vietnam. Broadcast appearances include Voice of America, WQXR, WGBH, NHK Television in Japan, Vietnamese national television, and “Grand Piano,” on cable TV channels across the United States. Her discography includes recordings on Arabesque, Naxos's American Classics Series, and Music and Arts labels.   Dr. Nguyen is a graduate of The Juilliard School and Mannes College of Music and received her Doctor of Musical Arts degree from the Graduate Center of City University of New York. She is the recipient of several highly prestigious scholarships and awards, including the United States Presidential Academic Fitness Award, the American Prize, and the Fulbright Fellowship to France.   Thank you for joining us on One Symphony. Thanks to Quynh Nguyen for sharing her music and spirit. You can find more info at https://www.quynhpiano.com   All music selections feature Quynh Nguyen on Piano. The following albums were featured on One Symphony today: “Fleurs de France: No. 2, Coquelicot de Guyenne” and “Berceuse” composed by Germaine Tailleferre from the album The Flower of France available from Naxos.  From Vingt regards sur l'Enfant-Jesus I. No. 15. Le baiser de l'enfant-Jesus ("The kiss of the infant Jesus") composed by Olivier Messiaen from the album Quynh Nguyen: Live in Concert - New York available from Arabesque Records. Concerto Fantasy, composed by Paul Chihara and featuring Nguyen with the London Symphony Orchestra “Drinking Songs for Kittens,” “Like Rising Must,”  and “Kleine Toccata…” from the Twice Seven Haiku.  4 Reveries on Beethoven (2021 Version): No. 2, Pastorale.  All these selections are available on the album Chihara: Concerto-Fantasy for Piano and Orchestra, Bagetelles, Reveries & Ami on the Naxos label.   You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!   https://www.quynhpiano.com https://www.priceattractions.com/devin-patrick-hughes-conductor  

Is there really a music of the spheres? And why is space so inspirational for creativity? To ponder these cosmic questions, Dr. Charles Liu and co-host Allen Liu welcome noted composer and pianist Bruce Lazarus.   As always, though, we start off with the day's joyfully cool cosmic thing, this time in honor of our guest: the fact that the movie “Oppenheimer” won the Academy Award for Best Original Score. Chuck mentions some other incredible musical scores, especially John William's soundtrack to “Star Wars.” Bruce points out that Williams also did the theme song and soundtrack to the 1960s TV series, “Lost In Space.” And of course, his soundtracks for “Jurassic Park,” “Raiders of the Lost Ark,” “E.T. the Extra-Terrestrial,” and “Close Encounters of the Third Kind.”   Bruce has composed many musical pieces inspired by and about the cosmos, including “Musical Explorations of Messier Star Clusters and Nebulae” and “Starry Messenger.”   He talks about how the early U.S. space program and the Mercury 7, and the U.S. World's Fair in 1964 inspired him. And while he got away from space-themed music for a while after his time at Juilliard in the 1970s, Bruce estimates that about two thirds of his work over the last 20 years has been astronomy themed. He talks about being inspired by other musical works, from science fiction movie soundtracks like “Arrival” to a few classical pieces like “Colors of the Celestial City” and “Visions from Beyond” by Olivier Messiaen.   For our first student question, Ariella asks, “Is there really a music of the spheres?” To answer, Bruce quotes the 5th Century Roman philosopher Boethius, who wrote about how everything is vibrating, so everything has sound. We then listen to a portion of Bruce Lazarus's piece, “Boethius Said.” Allen talks about how many aspects of our existence involve vibration and sound while Chuck brings up the Cosmic Microwave Background and Gravitational Wave Background.   Bruce talks about his cycle of 14 pieces for the solo piano inspired by the most commonly referenced Hubble images of the celestial objects found in the Messier Catalog (not to be confused with Messiaen), including Andromeda Galaxy (M31), Ring Nebula (M57), Eagle Nebula (M16), Sombrero Galaxy (M104), and the Pleiades (M45).   Our next student question comes from Gino, who asks, “Did you ever want to be a scientist before you became a composer?” Bruce explains that he's always liked building things, so he began building music the way he'd built model airplanes, and at 14 years old decided he wanted to be a composer and also focused on the piano, for both composing and making money! The trio ends up discussing the original “Tron” – and believe it or not, it's Bruce who brings it up, not our Geek-in-Chief Chuck!   Our last student question comes from Wally, who asks, “Why is space the most inspirational thing to you when writing music?” Bruce describes how space has been a large part of his life for as long as he can remember. He talks about the Veil Nebula, and why he didn't include it in his Messier cycle. He also shares his experience watching the April 8, 2024 total solar eclipse, and how the reality of seeing it with his own eyes impacted him unexpectedly.   If you'd like to know more about Bruce, you can visit his website at www.brucelazaruscomposer.com.   We hope you enjoy this episode of The LIUniverse, and, if you do, please support us on Patreon.   Credits for Images Used in this Episode: – NASA's first astronauts, the “Mercury 7” – NASA, Public Domain – Olivier Messiaen – Dutch National Archives, Public Domain – Andromeda Galaxy (M31) – Kees Scherer, Public Domain – Ring Nebula (M57) – NASA, ESA, and C. Robert O'Dell, Public Domain – Eagle Nebula (M16) – NASA, ESA, and the Hubble Heritage Team (STScI/AURA), Public Domain – Sombrero Galaxy (M104) – NASA/ESA and The Hubble Heritage Team (STScI/AURA), Public Domain – Pleiades (M45) – NASA, ESA, AURA/Caltech, Palomar Observatory, Public Domain – Crab Nebula (M1) – NASA, ESA, J. Hester and A. Loll, Public Domain – Veil Nebula –  Giuseppe Donatiello – The April 8 2024 Total Solar Eclipse – NASA Headquarters / NASA/Keegan Barber   Credits for Music Used in this Episode: – “Boethius Said”; Original Lyrics by Boethius, Music & Lyrics by Bruce Lazarus, performed by Cantabile Chamber Chorale, Directed by Rebecca Scott. Used with permission from Bruce Lazarus. – “M1 Crab Nebula” from “Musical Explorations of the Messier Catalogue of Star Clusters and Nebulae.” Composed and performed by Bruce Lazarus. Used with permission from Bruce Lazarus.   #TheLIUniverse #CharlesLiu #AllenLiu #SciencePodcast #AstronomyPodcast  #BruceLazarus #MusicoftheSpheres #CharlesMessier #MessierCatalog #Boethius #BoethiusSaid #MusicalExplorationsoftheMessierCatalogue #StarClusters #Nebulae #ColorsoftheCelestialCity #OlivierMessiaen #CelestialObjects #HubbleSpaceTelescope #SolarEclipse

As we continue to investigate the great books, music, and ideas of our Western Civilization, we thought it would be good to offer a live conference lecture from 2010 that Director Hodges gave on Olivier Messiaen's masterful QUARTET FOR THE END OF TIME, for violin, cello, clarinet, and piano. Coming as it did out of his time in a Nazi prison camp during WW II, it is a sobering work, but its purpose is one of liberation of the soul. We hope you like it.

20th Century Classical Music Books I use for Composition. The Technique of my musical Language” by Olivier Messiaen. Twentieth Century Harmony” by Vincent Persichetti. The musical language of Pierre Boulez” by Jonathan Goldman: My Youtube Channel https://www.youtube.com/@CliffordMartinOnline

Clive Oppenheimer is a volcanologist, filmmaker and Professor of Volcanology at the University of Cambridge. His research has taken him on expeditions across the world, from Antarctica, where he discovered the camp of Captain Scott's attempt to reach the South Pole, to Ethiopia where he was held at gunpoint by rebels. Clive was born in London, and fell in love with rocks and the stories they tell on visits to what is now the Natural History Museum. His mother survived the Blitz in London and his father escaped persecution by the Nazis in Germany in the 1930s. On a gap year trip to Indonesia, Clive saw his first volcanoes and realised both their natural power and their significance in human lives. He studied at the University of Cambridge, and completed a PhD at the Open University.He has taken part in and led expeditions to volcanoes all over the world, including Indonesia, Italy and Ethiopia. He is one of few Westerners to have worked in North Korea, where he was invited by the government to study volcanic activity at the culturally significant Mount Baekdu. He has also made three documentaries with filmmaker Werner Herzog about volcanoes and their scientific, cultural and spiritual significance. DISC ONE: Blue Rondo a la Turk - Dave Brubeck Quartet DISC TWO: Love Hangover - Diana Ross DISC THREE: Autobahn - Kraftwerk DISC FOUR: Lava - The B-52's DISC FIVE: Debaser - Pixies DISC SIX: Turangalîla-symphonie, Part VI Jardin du sommeil d'amour. Composed by Olivier Messiaen and performed by the Orchestre de l'Opéra Bastille, cond Myung-Whun Chung, with Yvonne Loriod (piano) and Jeanne Loriod (ondes martenot) DISC SEVEN: T'zeta - Bezawork Asfew DISC EIGHT: Hymn for the Dormition of the Mother of God - The Sixteen and Harry ChristophersBOOK CHOICE: The Vivisector by Patrick White LUXURY ITEM: A seismometer CASTAWAY'S FAVOURITE: Debaser – PixiesPresenter Lauren Laverne Producers Sarah Taylor and Tim Bano

Tommy Murphy is an award-winning screenwriter and playwright based in Sydney. Tommy adapted the Australian queer classic memoir Holding the Man for both stage and screen, while his limited series Significant Others was broadcast on the ABC last year. Most recently, he adapted Nevil Shute's On the Beach for the Sydney Theatre Company.Holding the Man is currently back on stage in Sydney at the Belvoir Theatre. We discuss music by Whitney Houston, Olivier Messiaen, and Rufus Wainwright.This conversation was recorded at Forbes Street Studios in Sydney. A huge thank you to Anthony Garvin for his support.Listen to all previous guest choices in one handy Spotify playlist, Selections from Tracks of Our Queers and follow the pod on Instagram.Support the showHelp keep Tracks of Our Queers ad-free by shouting me a coffee right here. Thank you for your support.

In this episode we hear Darius Battiwalla improvising to a 1920 silent horror film called 'The Cabinet of Dr Caligari. Sitting at the console of the 1972 Hradetzky organ at the Royal northern College of Music, Darius demonstrates some of the musical techniques he uses when improvising to silent films.http://www.dariusbattiwalla.com/Tom Daggett, Director of Music at Sheffield Cathedral, talks about the work he's doing to rebuild the cathedral's choir. https://www.sheffieldcathedral.org/cathedral-choirBlind organist and composer, David Aprahamian Liddle, explains the process of learning music through braille, and shares some amusing anecdotes of his encounters with Jean Langlais, Olivier Messiaen, André Marchal and Madame Duruflé. http://davidliddle.org/biography.htm Get in touch: theorganpodcast@rco.org.ukhttps://www.rco.org.uk/

Violinist Alena Baeva is Russian, Luxembourgish Polish and Ukrainian. With her Ukrainian husband, the pianist Vadym Kholodenko, she has just released a new album entitled "Fantasy", which revisits dream-tinted music by Franz Schubert, Igor Stravinsky, Robert Schumann and Olivier Messiaen. The duo are currently touring the record and the award-winning soloist stopped by arts24 to tell us more about it. We also take a look at other new collaborative albums including Ye (Kanye West) and Ty Dolla Sign's "Vultures 1", as well as Liam Gallagher and John Squire's eponymous first album.

durée : 00:13:25 - Disques de légende du mardi 13 février 2024 - Les Vingt Regards sur L'Enfant-Jésus sont un véritable monument du XXe siècle. « Le drame de ma vie, confiait Olivier Messiaen, c'est que j'ai écrit de la musique religieuse pour un public qui n'a pas la foi. »

It's a new year and that means a new season of TNT! This year we're still digging into full-length albums - but we're also uncovering the record labels that provide the world with these releases and the rare gems that we look forward to uncovering. On our first show of Season 5 (!) Thanh + Tim talk about the 2017 Luaka Bop release, "Reflections: Mojave Desert" by British electronic music producer, DJ, and musician Floating Points.

durée : 01:28:10 - En pistes ! du vendredi 02 février 2024 - par : Rodolphe Bruneau Boulmier - En ce vendredi matin, Emilie et Rodolphe vous proposent de parcourir les époques et les territoires, en compagnie de Gerónimo Giménez, Antonín Dvořák, Claude Debussy, Gioachino Rossini, Jean-Baptiste Quentin, Gasparo Garavaglia, John Williams, Giacomo Puccini, Carl Loewe et Olivier Messiaen

In this episode, Ken Hoyme, a semi-retired product security expert, talks in-depth about his 40-year career focusing on safety-critical systems, which spanned across commercial aviation, aerospace, and medical devices, with a particular focus on medical device security. Ken reflects on the personal impact of his work, and also talks about his continued involvement in the field through consulting, teaching, and volunteering post-retirement. He also discusses troubleshooting solutions, his pride for his family, and his passion for pipe organs. Guest links: https://www.linkedin.com/in/kenhoyme/ Charity supported: Save the Children Interested in being a guest on the show or have feedback to share? Email us at podcast@velentium.com.  PRODUCTION CREDITS Host: Lindsey Dinneen Editing: Marketing Wise Producer: Velentium   EPISODE TRANSCRIPT Episode 022 - Ken Hoyme [00:00:00] Lindsey Dinneen: [00:00:01] Hi, I'm Lindsey and I'm talking with MedTech industry leaders on how they change lives for a better world. [00:00:08] Diane Bouis: The inventions and technologies are fascinating and so are the people who work with them. [00:00:13] Frank Jaskulke: There was a period of time where I realized, fundamentally, my job was to go hang out with really smart people that are saving lives and then do work that would help them save more lives. [00:00:27] Diane Bouis: I got into the business to save lives and it is incredibly motivating to work with people who are in that same business, saving or improving lives. [00:00:37] Duane Mancini: What better industry than where I get to wake up every day and just save people's lives. [00:00:41] Lindsey Dinneen: These are extraordinary people doing extraordinary work, and this is The Leading Difference. [00:00:47] Hello and welcome to The Leading Difference podcast. I'm your host, Lindsey, and I am excited to introduce you to my guest today, Ken Hoyme. Ken is the semi retired former Director of Product security at Boston Scientific. His 40 year career spanned commercial aviation and aerospace and medical devices with specific emphasis on medical device security. In retirement, Ken continues to consult, teach, and volunteer. Welcome, Ken. Thank you so much for joining us today. I'm so excited that you're here. [00:01:20] Ken Hoyme: Thanks, Lindsey I'm happy to be here. [00:01:22] Lindsey Dinneen: Wonderful. If you wouldn't mind just starting off by telling us a little bit about yourself and your background, I would love to hear more about you. [00:01:31] Ken Hoyme: Sure, I'd be happy to. Being semi retired, I have had a career that spans close to 40 years, or actually I think I just passed 40 years about a month ago from when I started working. So I went to grad school, did four years of grad school at the same time my wife was in vet school, so four years of marriage that we were both studying like crazy. I never finished my dissertation on a PhD, so I'm the classic PhD, ADD person. Pretty much my entire career has been spent in safety critical, life critical systems, which has been a fascinating area. You gotta do the right job or people might die. [00:02:08] I started, split 50 /50. My first 18 years was at Honeywell Corporate Research Labs, where I ended up working on various things between integrated circuit projects, but a lot of it was focused on control systems for commercial aircraft, and so building safety critical systems that made the pilot interface to the airplane was fascinating, tough, but interesting problems. [00:02:32] Touched a bit on industrial controls and automotive controls, and then mid career, I got recruited away by former Honeywell folks who had gone to Guidant, medical device company at the time, that was later purchased by Boston Scientific, and where I ended up working initially on cardiac pacemakers and defibrillators and then shifted into remote patient monitoring, and that kind of evolved into more detailed interactions with how security can impact patient safety. [00:03:02] So a large fraction of the last 12, 15 years has been in medical device cybersecurity. Did a brief stint, three and a half years, at a small R&D company doing research on medical device cybersecurity, and then returned to Boston Scientific in 2016 to lead the product security program at Boston Scientific, which is what I was doing when I officially retired. [00:03:25] Lindsey Dinneen: Nice. Okay. So lots of cool twists and turns throughout your career. I wanted to touch on a couple things. The first is, you've actually talked about how one of the running themes was safety and safety critical systems and whatnot. And I'm curious, have you always had an interest or a passion in safety and security. Where did that come from? [00:03:49] Ken Hoyme: Given some of my behavior as a kid, you wouldn't think so. I certainly did my share of foolish things as you grew up. My, my interest in grad school was in computer architecture, kind of a foot between hardware and software, though I was in electrical engineering as a degree. So as I ended up at Honeywell, Honeywell was at that time focused on control systems. And control systems are cyber physical systems, they are computers touching the real world physically. And almost all aspects of cyber physical systems-- which are pervasive and now what's viewed as US critical infrastructure-- there's a safety aspect of whether you're talking about nuclear power plants or oil refining and things that can explode to commercial aviation, automotive. All of those things, if they don't work correctly, the people that are interacting with them that run the risk of being harmed. [00:04:44] So it really was that culture at the original research center of thinking about how you interact with the physical world. And so that really grew that interest. And that was the skill set in doing safety analysis that drew guidance to recruit me because it really was obviously another safety critical environment in cardiac devices. So it was a an early budding interest that was really nurtured by the projects and things that worked on for Honeywell. [00:05:14] Lindsey Dinneen: Yeah, absolutely. And then you obviously continued to grow in your career, you continue to be involved in safety and security. And then you had your stint at Boston Scientific. And I wonder if you could share a little bit more about some of the projects that you worked on that were particularly impactful or just moments that stand out perhaps. [00:05:36] Ken Hoyme: My first project, I knew nothing about things that bled. I had avoided them. In junior high, I had to dissect a frog, I really didn't like it. And so in high school, when you needed to have some science stuff, and I knew I was planning on going toward electrical engineering, I skipped biology and took chemistry and physics. And by working on cyber physical systems, aircraft and automotive and industrial controls, nothing bled, but I also had no pets growing up. [00:06:09] And when I started dating my now wife of 44 years, she had a quarter horse, 4 Shetland ponies, a dog and two cats at a 10 acre hobby farm she had talked her parents into buying so that she could have horses. And as a veterinarian, everything in her life bled, so we really had this difference in backgrounds, but interest in learning from each other. [00:06:35] And so when I first went to Guidant, the company recognized I didn't have that domain knowledge. And so I ended up being put on projects specifically with the goal of rapidly bringing me up to speed. I went to various classes on how the heart works, how you pace it, all the various different things. And I can tell you that the dinner conversation changed considerably as I was starting to learn these things and my wife knew these things. So it was kind of an exhilarating mid career change because of having to learn the domain. [00:07:05] So, because of my safety background, Guidant was working on a new architecture for their pacemakers and defibrillators. And I got put on the redundant safety core, which was a redundant hardware pacemaker and defibrillator. If anything failed in the rest of the device, the hardware would kick in and keep the patient pink. And so I got to work on that, and I ended up with several patents. [00:07:30] And so in 2006 or 7, I believe, my brother in law, my wife's brother, ended up with a viral cardiomyopathy and his ejection fraction was down at 15%. It's normally in a healthy human should be up around 70. He ended up getting a resynchronization defibrillator that I had worked on, as well as being put on the home patient monitor that I had been the lead system engineer in developing. And so that was that first family connection of recognizing that what you're doing is personal. [00:08:04] And a few years back, my now 95 year old mother in law has a pacemaker in her and I have four patents on the technology. So you're recognizing that people that you love and care for are using these things. And the people who get these things are loved and cared for by somebody, so it really becomes a passion of building something that works correctly and is safe. Those kind of things stand out in terms of things that are meaningful. [00:08:29] Lindsey Dinneen: Yeah, of course. Yeah, because when you are able to see the results in real time in real life, by people who you know personally who are affected by it, that's such a full circle moment of just recognizing that what you do isn't confined to this silo. It actually does impact lives. And that's a pretty cool thing to be a part of. [00:08:52] Ken Hoyme: And I crossed over into security. I can recommend the devices that I was involved in developing because I am personally familiar with the level of detail that had been done in terms of securing them. So I don't have fears that my family members or others are going to have hackers going after them, which is a paranoia in the industry. The idea of hacking pacemakers became, as Dr. Kevin said, " sucks the oxygen out of the room." It's theoretically possible, but very difficult to do, compared to devices that might be connected to a hospital network, which are exposed to more. [00:09:24] Lindsey Dinneen: And to that point, if you don't mind sharing a little bit more about how you were able to develop those skills and awareness of the importance of medical device security. I know that you are an expert in this field and there is a lot more education and knowledge these days, but it still seems like something every once in a while that you have to remind people, this is actually a critical thing. Do you mind speaking a bit to that? [00:09:52] Ken Hoyme: I started out as an electrical engineer, but evolved to a systems engineer, particularly working in aviation. I worked on the design of the flight deck of the Boeing 777. And Boeing is the-- at least they used to be, they've lost some of the secret sauce-- but they were the premier system engineering organization in the world. And working on a critical system for an aircraft with the master of system engineering, you start learning the techniques. So my, my evolution into system engineering was very much on the job training, certainly a lot of reading and things that went on at the same time, but it was also interacting with experts. [00:10:31] Similar thing happened when security came along is, I got recruited into Guident because of my safety skills. And then within the first year of being there, Guident was putting a remote patient management system together, which was a bedside monitor for every patient with the radio links to the device links up to a server that would analyze all the data for potential alerts that the physician should know. [00:10:56] The system has more than a million patients on it. So it's a scalable protected health information, all of that. Program Manager on that project understood the importance of the various ilities that sit around system engineering and deal with the development. So he hired in a PhD psychologist to do human centered design and machine interface, he had been dealing with all of those issues. And in the medical device world, user interfaces also touch safety, because if you have confusion and a physician or patient makes a mistake in using something, harm can happen. So it's another branch of safety. And he recognized the security implications of what we were doing and hired in security experts. [00:11:43] And so we had this old grizzled, bearded, absolutely canonical look of a computer geek that had been a chief architect at a company called Secure Computing and had been security. And he was titled our Security Curmudgeon and as Lead System Engineer, I worked with these various groups as we balance the design. And it really was interacting with real experts in this field who had no compunction about correcting me whenever I said anything that was inaccurate. [00:12:15] In that environment, I started absorbing. The methods of doing security and the importance of it and what those kind of, so it really was one of those cool opportunities in your career where you get to a Vulcan mind meld with experts and absorb the information and integrate it with what you know. [00:12:32] Lindsey Dinneen: Yeah, absolutely. And at the time of this recording the FDA has finalized their guidance and I'm curious to know what your thoughts are on that and how you feel it's going to affect everybody moving forward. [00:12:50] Ken Hoyme: It's interesting because both the original pre market guidance and the post market guidance came out relatively quickly. The time between the draft pre market and the issuance of it, I think was just less than a year, which everyone who were involved with guidance has said was light speed for the FDA. And the post market was similar, but they've done a couple of iterations in 2018 and 2022 of drafts. And, was in a meeting earlier today where two of the FDA people who had been working on that were mentioning that in both cases, they got more than 100, 000 comments back to the FDA related to it. [00:13:28] You know, the push by Congress to have it out by October 1st really pushed, I don't think anybody thought that it would be feasible to get it done. And yet they did it. It seems like they have clarified many of the concerns that were still in the 2022 draft, had some clear definitions about things like exploitability. So I think it really will anchor, and everyone is scrambling this week to read it and adapt to what's in there. But, the good news is it's not a giant leap from what they issued in 2022. So it's not going to have everyone doing a 90 or 180 degree turn on what they've already assumed it was heading for. So it's just good to have that out in its definitive form. [00:14:14] Lindsey Dinneen: Yeah, absolutely. And it'll be exciting to see how the industry adapts. [00:14:19] Ken Hoyme: As one example, the Health Sector Coordinating Council had published in 2018, I believe it was, their joint security plan, because the non formal standard, but kind of a guide, particularly helpful for smaller companies for what they need to do, incorporate cybersecurity into their quality system and their development. And a lot has changed, and so we have been working since middle of 2022, this is one of my retirement volunteer efforts that I'm involved in, to bring it up to date. [00:14:54] And there was a real goal for the JSB version 2 to be out by the end of this year. And we were worried about the race condition with the FDA getting their final set pre market guidance out. And so one of the activities now is adapting what we've written in the joint security plan to make sure that it is in sync and in line with the finalized guidance. By getting it out now, we have time over the next couple of months to make whatever changes we need to based on that change. Which will be good, it means when that guide is updated, it will not be anchored in an old guidance, but will properly reflect the new update from the FDA. So it's really great to see them do that. [00:15:38] Lindsey Dinneen: Yeah, absolutely. So circling back to something you mentioned, because I'm curious how you were able to overcome it. You mentioned you hadn't dealt early on in your career with anything blood related and you didn't necessarily want to go after that when you were in college. So how are you able to overcome that and say, "No, this is fine. I'm gonna, I'm gonna make it happen." [00:16:05] Ken Hoyme: Thankfully, I didn't have to personally do any implants. Okay. I didn't have to handle a knife or deal with that and get flashbacks of my frog experience. When I left Honeywell, I thought I was going to retire out of the company. I was in an absolutely great position at the research center. I was invited to the strategic planning sessions for the entire aviation business as a technical expert. Honeywell was bought by Allied Signal, which was quite a culture shift. They were far more prescriptive. You're telling research center, here's what you're going to do rather than asking you to partner with the businesses, determine how to best apply the skills. And the other aspect is because I had become an expert in commercial aviation, I was not learning at the rate that you used to. It's like, you know, a lot of things, you're doing more mentoring than individual personal learning. So when I shifted domains and got hired in because I was a senior fellow at Honeywell, they hired me in at the top technical rank that Guidant had at the time to be competitive. I felt a huge obligation to learn the domain as quick as possible. [00:17:19] I needed to feel like I was providing value. It's just not a good feeling to feel like you're taking a paycheck and not providing something for that. It's just not the way I was raised. And so I really took it on that I needed to learn this domain. And the reality, all kidding aside, is the work in understanding the physiology and the behavior of cardiac devices is really more about electrochemistry and how the muscles work and how arrhythmias occur and how they can be cleared. And so it was more of a learning a new technical domain than really dealing with the bleeding side of it. [00:17:57] Yes, when I was at Honeywell, we had a program where if we were working in the commercial aviation side, we had, it was pre 9/ 11, we had jump seat privileges. So I got to be in the jump seat of aircraft so that you could see how the pilots who use the systems you develop, how they interact with them, just as an experience base. And one of my cool things, just as an aside to talk about, along with the family members using cardiac devices is, I got to jump seat a 777 from Dulles to Frankfort, and that's the aircraft that I did a fundamental invention to enable how the flight deck works. So that was cool to actually see the pilots interact with what you did. [00:18:39] The same thing happened in the cardiac world is you got the opportunity to go and experience implants and see the doctors using and interacting with the devices. Again, part of that system's knowledge of how does the end person, the actual user, use those devices and how do you use that knowledge to get better. So the closest thing you get to bleeding is to watch somebody else do one but I never had to actually directly deal with blood. [00:19:10] Lindsey Dinneen: Okay. That's fair. That's a really good hybrid situation right there. Well, nowadays I understand that you are quote unquote retired, however, you are still quite active. So I would love to hear about your current initiatives and frankly, if you don't mind sharing, why you're still so involved, obviously you care, but I'd love to hear it from your perspective. [00:19:35] Ken Hoyme: So I've always been a bit of a workaholic. I gained a lot of my intellectual stimulation through the people I interact with. When I started a corperate research center, it was 25% PhDs, 50% master. It's a great learning environment because there were brilliant people are all around you. [00:19:52] One of my career advices I've given to the young people is go to a place where you are not the smartest person in the room, surround yourself with people you can learn from. Now you want to have your niche. You want to have something that you feel is your area of expertise that you build, but being or thinking you're the best person in the room isn't necessarily a good learning experience. So, I've always enjoyed interacting with people at various stages in their career. [00:20:20] So when I retired, I don't know how many different serious and semi serious reach outs I had from people asking what I was up to and what I was interested in. It was a dozen or something, but I had been interacting for several years at the company called MedCrypt out of San Diego, a company that focuses on initially tools to help secure medical devices, comes out of the medical device world and tools for software build of materials, things of that nature. And while I'm not a software engineer developing tools, they were also starting to build a service business to work with clients on how to improve their quality system. [00:20:59] When I was at Adventium Labs, that three and a half year stint I did between my two Boston Scientific experiences, along with doing government funded research on medical device security, I also did consulting with companies, and so I had formed a reasonably strong opinion about how you can best organize cybersecurity into a quality management system in a medical device company. And so being able to apply those skills, very lightweight, I've tried to keep my consulting to no more than one day a week so that I still can do some retirement activities. [00:21:36] And Mike Kijewski, who's the CEO of that, I've interacted with him for many years and he had been pursuing me before I retired. So they have some people on staff, two of them are ex FDA. One of their FDA people, Seth Carmody, had written the post market cybersecurity for the FDA and I think he did the first draft of the updated cybersecurity pre market. And then they have another gentleman, Axel Wirth, who I've interacted with for a decade and has written textbooks in the space. And so it was a way to continue where you got to really work with smart people and continue to have that intellectual stimulation that watching TV or picking up whittling doesn't give you. [00:22:16] Lindsey Dinneen: Fair, but those two activities on occasion could be good for your mental health, which we were talking about. So you can have both. You can have both. [00:22:26] Ken Hoyme: So my eldest daughter, when she was going through undergrad, wanted to take a class. She went to Luther College in Iowa, which was a very Scandinavian Norwegian school, and there was a class on Scandinavian whittling. And she really wanted to take it, and she did, but she was going into dental school, and so there was this paranoia about her slicing something important in her hand when she was whittling. She whittled with Kevlar gloves on! [00:22:54] Lindsey Dinneen: Oh! [00:22:55] Ken Hoyme: So there's a certain amount of connection, potentially, between whittling as a hobby and that blood thing that I didn't like, so that hasn't necessarily attracted me retirement hobby. [00:23:04] Lindsey Dinneen: That's a fantastic story. I love that. I wonder, you know, with her whittling skills, did those help her in her dental practice? [00:23:12] Ken Hoyme: She stopped it after undergrad. She also no longer plays the oboe, though she had an oboe scholarship along with her sciences because the finger stretching on the oboe ,she has all of the finger exercises she gets at work and doesn't really think she should be taking the risk of fatiguing it more. And so yeah, being safe in that environment has been important. So I think the thing that actually did the best for her is playing video games. She played things like Mario World, where you're having to constantly in your brain translate going around sphere things and jumping. And that's when you're looking through a mirror and drilling in the back of the mouth, you're constantly doing these translations. And so I'm convinced that all the video games she played growing up really gave her the spatial skills that help, particularly as she took the exams to get in, they do try to assess whether somebody is capable of that before you get into dental school, because you don't want to get in there and start getting into drilling and having somebody who just can't make their brain do that. [00:24:17] Lindsey Dinneen: Thank goodness. [00:24:19] Ken Hoyme: Exactly. [00:24:20] Lindsey Dinneen: That's fantastic. [00:24:21] Ken Hoyme: No wonder why people are afraid of the dentist. Maybe they had one of the bad ones. [00:24:25] Lindsey Dinneen: Right. Yeah, exactly. Oh, my goodness. Oh. [00:24:28] Ken Hoyme: And then I had already alluded to the fact that I'm, I'm doing volunteer work at HSCC on the joint security plan. And then the other thing that I did this last winter, and we'll be repeating this, is I had developed and taught a master's level class in medical device cybersecurity through the University of Minnesota's Technological Leadership Institute. And so after giving it once, they decided to make it a core curriculum for their medical device innovation. So it will be scheduled to be given annually. Things like the FDA keep coming out with new guidances, even while we were giving it last winter, one of the things that would happen each week is, this week, this got replaced. It's kind of this constantly changing environment that happens in this space. [00:25:13] Lindsey Dinneen: It keeps you on your toes and it keeps you learning and growing. I guess that's a great thing. [00:25:18] Ken Hoyme: I can't claim I've been bored. [00:25:22] Lindsey Dinneen: Brilliant. All right. Pivoting just for fun. Imagine someone were to offer you a million dollars to teach a masterclass on anything you want. It can be in your industry, but it doesn't have to be. What would you choose to teach and why? [00:25:37] Ken Hoyme: My first thought might be a master class in how to hide out with somebody's million dollars and not get caught. Being realistic, if I was teaching in my domain, I would probably want to expand out things related to security and safety and how that really is my technical expertise. If I was going to jump out of domain, you know, just something that, might seem off the wall would be a masterclass on the design and physics of the pipe organ. [00:26:09] Lindsey Dinneen: Oh, tell me more. [00:26:12] Ken Hoyme: When I was growing up, I studied the classical organ and sang in choir, was in the all state choir in high school and came out of high school thinking, music major, engineering, music, and I ultimately decided I could do music on an engineer's salary a lot easier than the other way around. And so I had twice been on pipe organ projects at churches I've attended where they brought in and bid and had a pipe organ builder install. So I've been close to that process. When I've been over in Europe, I seek organ recitals. So I've gotten to hear many instruments in Europe that are older than the United States. [00:27:00] And so, yeah, that's always been a passion and fascination of mine because there's such a engineering aspect of that and yet so much of it is musicality. And I've learned a lot interacting and talking with these builders. If I had a million bucks, I would be able to dive deeply into the topic and try to flesh out something that would actually be more comprehensive. [00:27:23] Lindsey Dinneen: Amazing. Okay. So I have to ask you, since you are a pipe organ enthusiast, how do you feel about the fact that there's quite a lot in pop culture of, it's being a vilified instrument, you know, you have the Phantom of the Opera, and there's like a Disney something that has a pipe organ that's a bad character. And how do you feel about the fact that pipe organs are used as villains? [00:27:48] Ken Hoyme: It's always an interesting thing when popular culture adapts something that is so much deeper. As a totally different but slight example, the accordion has always made fun of it. I don't remember how I tripped across it, but there is a very famous organ work by Olivier Messiaen, a French composer, which is-- I think it translates from French to English, "The Epiphany of the Lord." It is a multi-part work related to the Christmas story, and it is incredibly complex, somewhat challenging to listen to, you have to be quite into it. But there is a movement called Du Parmanu, which is, " God Descends and Becomes Us." And it is one of the most bombastic, just these big, huge chords. It's just exciting to hear. [00:28:40] And back 20 years ago, I heard or saw something about a Russian woman who had recorded the entire suite on accordion. And here in the Twin Cities, and it's nationally distributed, but I don't know how many different places, there's a gentleman by the name of Michael Barone who works for Minnesota Public Radio, who for 30 years plus has produced a weekly radio program called Pipe Dreams, all about the pipe organ and that. [00:29:10] So I ended up ordering, because I had a friend who was Russian and was only available on a Russian Amazon kind of equivalent, copies of it and sent a copy to Michael Barone and he actually played an excerpt. I think he did the Du Parmenu section on his radio program. And it's in countries like Russia, the accordion is treated very much differently than in Western countries, where it's more of a polka accompaniment. And so it's different instruments have the different faces, depending on how they're viewed and who's viewing them. So I just tend to look at the mass media view of it as the unwashed heathen. [00:29:48] That said, there is a woman who is bursting onto the scene, she's 26, I think, British, name is Anna Hapwood, and she has been making TikTok videos of her playing the organ, including at the, the Albert Great Hall that they do the BBC proms, and she is popularizing the instrument through her TikTok videos. I think it was CBS Sunday Morning, I saw her interviewed about how she's popularizing the instrument. You never know with the modern media and music distribution, how somebody might reinvigorate interest in something that was viewed as old fashioned before. [00:30:26] Lindsey Dinneen: Yeah, I love that. I love that. And I think it always depends on context. All sorts of instruments, for instance, could be used to be very light hearted and fun or very serious and mysterious. And part of it is just, yeah, are you playing in the major or minor keys? And, all the things that go into it. But anyway, it's just funny because pipe organ, I feel is one of those instruments that is a little polarizing [00:30:50] Ken Hoyme: I understand that. I was warped as a child and the interesting merging there is my father was a serial hobbyist. And when he went into a hobby, he went in 110%. And when I was growing up in my formative years, he was into gardening and breeding his own Asiatic lily types. And we had flowers everywhere and garden clubs would come through and tour the garden. [00:31:23] Then he went cold turkey on it and decided to build him an electronic organ in the basement and he built it from initially a kit and then through other designs that he did. And so I was in fifth or sixth grade with the soldering iron in my hand, helping build this electronic organ. And it was, part of what I view, my dad, his dad died in the Great Depression. He came out of World War II and really had to support his mother and sister, and never really had the money for college-- he would have been a great engineer-- but instead he manipulated my brother and I to both become electrical engineers, and part of it was by these, so part of my interest in organ was also my father's manipulation of getting my brother and I both interested in electrical engineering. [00:32:11] Lindsey Dinneen: Hey, it worked out. I love it. Okay. [00:32:14] Ken Hoyme: My brother has a church organ in his basement, so it took a little heavier with him than it did with me. I enjoy it being played but I don't play it myself anymore [00:32:22] Lindsey Dinneen: Ah, understandable. Well, what is one thing you wish to be remembered for after you leave this world? [00:32:24] Ken Hoyme: Number one would be that I didn't overstay my welcome. I would hope to be remembered that I made lives better, I made lives safer. That attention to detail matter and I worked on things that were significant, that actually had meaning for people's lives. When I moved from Honeywell to Guidant, I said, I used to be worrying on things that if they failed, people might die, 375 people at a time. And then you get into medical devices and now you're working to save their lives, one at a time. I would hope to be remembered that I worked to make a difference and had positive impact on people's lives. [00:33:03] Lindsey Dinneen: Yeah. Of course. Yeah. And then final question, what is one thing that makes you smile every time you see or think about it? [00:33:14] Ken Hoyme: I would have to say my children. Yep. I'm incredibly proud of them. They're both, both professionals, a dentist and an audiologist, they have remarkably snarky sense of humor that I presume they got from their mother. My story on that one was, I was telling my eldest one time, she said something snarky and I said, "Kirsten, you are the queen of snark." And her instant response was, "Yep, broke it, you bought it." But yeah, as you think about what you leave behind in the world, and I'm incredibly proud of them and the things that they've learned. They both secure, use individual passwords on every website and deal with the internet with the sufficient paranoia that they should, so I'm proud of that as well, but yeah. [00:33:57] Lindsey Dinneen: Excellent. Well, It sounds like you raised them right. [00:34:01] Ken Hoyme: They're great kids. They had to live with growing up with their dad being an engineer. [00:34:06] Lindsey Dinneen: Yeah. But it looks like it all worked out beautifully. So I'm very glad to hear all that. Ken, this has been so much fun. I really appreciate you joining me today. It was great to hear about your background and your advice, and I loved especially hearing about some of the little nuances that I wouldn't have gotten to otherwise, like pipe organ interests. So that's fantastic. We are so honored to be making a donation on your behalf as a thank you for your time today to Save the Children, which works to end the cycle of poverty by ensuring communities have the resources to provide children with a healthy, educational, and safe environment. So thanks so much for choosing that organization to support. And we just wish you continued success as you work to change lives for a better world. [00:34:54] Ken Hoyme: Thanks, Lindsey. I really enjoyed chatting with you. [00:34:57] Lindsey Dinneen: Yeah, same. And thank you so much to our listeners for tuning in. And if you're feeling as inspired as I am right now, I'd love it if you'd share this episode with a colleague or two, and we will catch you next time. [00:35:10] Ben Trombold: The Leading Difference is brought to you by Velentium. Velentium is a full-service CDMO with 100% in-house capability to design, develop, and manufacture medical devices from class two wearables to class three active implantable medical devices. Velentium specializes in active implantables, leads, programmers, and accessories across a wide range of indications, such as neuromodulation, deep brain stimulation, cardiac management, and diabetes management. Velentium's core competencies include electrical, firmware, and mechanical design, mobile apps, embedded cybersecurity, human factors and usability, automated test systems, systems engineering, and contract manufacturing. Velentium works with clients worldwide, from startups seeking funding to established Fortune 100 companies. Visit velentium.com to explore your next step in medical device development.

It made Pierre Boulez want to vomit: Francis Poulenc thought it was atrocious: and Igor Stravinsky said all you needed to write it was enough manuscript paper. But its composer wrote all 80 minutes of it as a love song, and a hymn to joy. So just what is Olivier Messiaen's epic Turangalila Symphony, premiered in 1949 by Leonard Bernstein and the Boston Symphony Orchestra, why did it divide opinion so much, and what does it mean today?Producer: Ruth Thomson

Köhler, Michaelwww.deutschlandfunk.de, Kultur heute

In seiner einzigen Oper, "Saint François d'Assise", bringt Olivier Messiaen den heiligen Franziskus auf die Bühne: Eine besondere Rolle spielen dabei Vögel.

In seiner einzigen Oper, "Saint François d'Assise", bringt Olivier Messiaen den heiligen Franziskus auf die Bühne: Eine besondere Rolle spielen dabei Vögel. Von Christoph Vratz.

In deze aflevering praat Benjamin met pianist en componist Sjoerd van Eijck. In 2021 bracht hij zijn debuutalbum 'Aurora' uit met zijn kwartet OAK, verder bestaande uit trompettist Koen Smits, bassist Nathan Wouters en drummer Willem Romers. Deze week presenteert hij de opvolger hiervan, getiteld 'Eight'. Geïnspireerd door de muziek van Ennio Morricone uit de film “The Hateful Eight” van Quentin Tarantino, dook Sjoerd in de wereld van de Franse componist Olivier Messiaen. Door zich te verdiepen in deze compositietechnieken, vond Sjoerd nieuwe geluiden en klanken die hem hielpen zijn composities op een andere manier vorm te geven. 

durée : 02:10:00 - Les Nuits de France Culture - par : Philippe Garbit - A l'occasion du 70ème anniversaire du compositeur français Olivier Messiaen (1908-1992), France Culture consacre en décembre 1978 une émission spéciale à cet artiste chrétien, amoureux de la nature, des oiseaux, et de la culture japonaise. - invités : Olivier Messiaen Compositeur français (Avignon 1908 – Clichy 1992)

PETER SEIVEWRIGHT has received a Special Judges' Citation in The American Prize Ernst Bacon Award for the Performance of American Music competition, in the professional solo artist division. Peter Seivewright, honored for “Championing American Piano Music,” was selected from applications reviewed recently from all across the United States and the United Kingdom, and the citation awarded for his Divine Art album ‘American Piano Sonatas‘. Peter Seivewright has performed extensively as a recitalist and as Piano Concerto soloist with leading professional Orchestras throughout Great Britain, Ireland, Norway, Austria, Germany, Italy, Belgium, Denmark (eight recital tours), Latvia, Estonia, Malaysia, Afghanistan, Cambodia, Vietnam, Kazakhstan, Australia (four recital tours), China, India, Kuwait, the United Arab Emirates, Trinidad and Tobago, the United States of America, Russia, and the Donetsk People's Republic. Peter Seivewright's CD discography is extensive and includes: The Complete Piano Music of Carl Nielsen (2CDs – Naxos), Contemporary Scottish Piano Music, (Merlin), the major piano works by the Danish Romantic composer Victor Bendix (1851-1926) (Rondo Records, Copenhagen), and several CDs issued by The Divine Art Recordings Group, for whom he now records exclusively. Peter is working through a series of CDs for Divine Art featuring the complete Piano Sonatas of Baldassare Galuppi (1706-1785), the last great composer of the independent Venetian Republic. In 2007 Divine Art released a double CD comprising the major piano works of the Danish composer Louis Glass (1864-1936).Other Divine Art recordings include a disc of J.S.Bach Piano Concertos and a CD featuring American Piano Sonatas, which was exceptionally critically well-received, and which is currently a finalist for the Ernst Bacon Award in THE AMERICAN PRIZE 2018. Future recording plans include several more sets of American Piano Sonatas, more J.S.Bach and music by Reger, Cyril Scott, and Olivier Messiaen.

durée : 00:27:09 - George Benjamin, compositeur (3/5) - par : Judith Chaine - Troisième volet de nos entretiens avec le compositeur et chef d'orchestre George Benjamin. Après deux ans passés à étudier la composition avec Olivier Messiaen et le piano avec Yvonne Loriod à Paris, il retourne en Angleterre suivre les cours d'Alexander Goehr au King's College de Cambridge. - réalisé par : Périne Menguy

Synopsis Today's the birthday of the versatile Argentinean-born American composer, arranger and jazz pianist, Boris Claudio “Lalo” Schifrin, who was born in Buenos Aires on today's date in 1932.From his background, you'd guess Schifrin was destined for a concert career. His father was a violinist in the orchestra of Argentina's premiere opera house, the Teatro Colon. As a boy he studied with Enrique Barenboim, father of pianist/conductor Daniel Barenboim, and in Paris he studied composition with Olivier Messiaen and Charles Koechlin. But Lalo Schifrin also loved jazz, and after studies by day with Messiaen, his nights were spent performing in Parisian jazz clubs. Eventually Dizzy Gillespie commissioned him to write for his band. Around the same time, Schrifin began writing film and TV scores. When he started working on the TV series “Alfred Hitchcock Presents,” he came into contact with legendary film composer Bernard Herrmann, who became a friend and mentor. Schifrin has written more than 100 scores for film and television but his most famous composition is this catchy theme of the 1960s TV series, “Mission Impossible”—and still used in the subsequent movie remakes. Music Played in Today's Program Lalo Schifrin (b. 1932) Hommage a Ravel Eaken Piano Trio Naxos 8.559062 Lalo Schifrin (b. 1932) Theme fr Mission Impossible studio orchestra BBC Records 763

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.

Maurice Martenot with his invention   Last year in my Halloween mix I included a track that used an instrument called the Ondes Martenot. I new a little bit about it - that it was an old instrument played with a ring on a wire. But that was all I really knew. Then a listener pointed me in the direction of a piece for the Ondes Martenot written in 1937. Yikes, 1937?! I had no idea that "Oraison" by Olivier Messiaen was one of the first electronic pieces of music ever written. Of course this lead me down a Ondes Martenot rabbit hole and this mix is the result. The Ondes Martenot was invented in 1928 by the French inventor Maurice Martenot. It sounds very much like a Theremin with it's wavering tones produced by oscillators. The Ondes Martenot can be played with a metal ring worn on the right index finger. Sliding the ring along a wire produces "theremin-like" tones. The music definitely can have a spooky, other-worldly sound. But it can also be quite expressive in the right hands.   Current players of the Ondes Martenot include Jonny Greenwood of Radiohead. He uses it on "Kid A" and it appears in Radiohead songs including "The Natinal Anthem", "How to Disappear Completely" and "Where I End and You Begin".   The other artist that is most well known for her use of the unusual instrument is Christine Ott, both in her solo work and with the band Snowdrops. The mix uses four of her tracks and two from Snowdrops. All of her work is excellent and worth checking out. https://christineott.bandcamp.com/     Cheers!     T R A C K L I S T : 00:00    Olivier Messiaen - Oraison (1937) 02:50    Tomas Bloch - Mare Teno(Michel Redolfi) (Music for Odnes Martenot 2004) 07:31    Christine Ott - Burning (Chimères (pour Ondes Martenot) 2020) 13:44    Snowdrops - Ultraviolet (Volutes 2020) 20:00    Sylvette Allart - Elegie(Darius Milhaud ) (Magie Des Ondes Martenot 1970) 22:46    Tindersticks - Percy's Theme (Minute Bodies: The Intimate World of F. Percy Smith 2017) 24:40    Peter Kohlmetz Moller - Song for AJ 26:08    Christine Ott - Comma (Chimères (pour ondes Martenot) 2020) 31:42    Thomas Bloch - Sweet Suite 1 (Music for Odnes Martenot 2004) 36:00    Snowdrops - Firebirds (Missing Island 2022) 41:18    Jeanne Loriod & S. Laurent & P. Duclos - Ondes Spatiales (Ondes Martenot) 42:40    Christine Ott - Sexy Moon (Only Silence Remains 2016) 47:25    Christine Ott - Tempête / the Tabu (Tabu 2016) 53:30    Sylvette Allart ­- Nana(Falla) (Magie Des Ondes Martenot 1970) 55:22    Olivier Messiaen - Oraison (1937) 57:22    end

Synopsis Today's date in 1910 marks the birthday in Paris of a French composer you perhaps have never heard of, but Elsa Barraine is well-deserving of your attention. Barraine's father was a cellist at the Paris Opera, and as a teen Elsa attended the Paris Conservatory, studying composition with Paul Dukas. Olivier Messiaen was her classmate and remained a life-long friend. Barraine won several prizes for her compositions, including the prestigious Prix de Rome in 1929 when she was just 19.She worked at the French National Radio from 1936 to 1940. During World War II, Barraine was heavily involved in the French Resistance, and from 1944 to 1947 was the Recording Director of the French record label Le Chant du Monde. In 1953 she joined the faculty at the Paris Conservatoire, where she taught until 1972, the year the French Ministry of Culture named her Director of Music. She died in 1999. Elsa Barraine's catalog of works includes a variety of vocal and instrumental works, an opera, ballets, and two symphonies, but her music is seldom performed today. We're sampling one of her chamber works, a piece for French horn and piano entitled Crépuscules, or Twilights. Music Played in Today's Program Elsa Barraine (1910-1999): Crépuscules Lin Foulk Baird, fh; Martha Fischer, p. Centaur CRC-3857

Our Christmas gift to you is one of the most special interviews we've yet had the opportunity to present on this podcast. Naji Hakim joins us to discuss the impact of the sounds of his youth on his musical imagination, his training as a young musician, his study with Jean Langlais, succeeding to Olivier Messiaen's post at La Trinité, and his own work as an improviser and composer.  Learn more about Mr. Hakim here: https://www.najihakim.com/ And be sure to tune in to his excellent YouTube channel here: https://www.youtube.com/user/uyiai Keep in touch with Dr. Donelson-Nowicka here: https://jenniferdonelson.com https://www.stpsu.edu/

There is one composer who I've never devoted a full show to that fills me with the same devotion and ecstasy as the people who claim that Wagner almost immediately dissolves them into tears. His music is widely played, but it has never been totally embraced by the wider classical music audience. There are a variety of reasons for this, but his uniquely 20th century language of tonality mixed with atonality mixed with something completely different from anyone who has ever written music makes it sometimes difficult to pin down his vast contribution to the world of music. His music is as deeply connected to his religious faith as any composer in history, and yes, that includes Bach. His music is as deeply connected to Nature as any composer who ever lived, and his music is tied directly to the colors he saw as he played and listened to it. His name is Olivier Messiaen, and he is one of the greatest composers of the 20th century. I wish I could describe to you the otherworldly feeling I get when I listen to his music, but for a very long time, I shied away from it.  Perhaps the reason is that it's extremely hard to talk about Messiaen's musical outlook without talking about his religious faith. I'm a non-religious Jewish person, so the depths of devotion that Messiaen describes regularly as his inspirations were and are foreign to me. And yet, the first time I heard his L'Ascension, every single hair on my body seemed to stand on end. I was completely blown away by these ravishing harmonies, how light seemed to shine off of them, how Messiaen translated his religious devotion into sound. I've not talked about Messiaen's music on the show because it's not easy to grapple with, but I can't wait any longer. Today I'll tell you a bit about Messiaen's life, his upbringing, his musical and religious revelations, and then I'll discuss some of his greatest pieces using three frameworks - religion, nature and specifically birdsong, and color. Join us!