Podcast appearances and mentions of Philip Glass

Christine Khariv is Business Development Manager at DLF attorneys-at-law Ukraine. Christine writes eloquently and passionately about Ukraine on LinkedIn and Twitter, exposing Russian falsehoods, and advocating for Ukraine's cause.----------LINKS:https://www.linkedin.com/in/christine-khariv-qris/https://twitter.com/2QriShttps://pen.org.ua/en/100-knyzhok-yaki-dopomozhut-zrozumity-ukrayinu/https://chapterukraine.com/----------The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------WORKS NOMINATED BY: Christine Khariv BOOKSArtem Chapeye - Ordinary People Don't Carry Machine Guns (2025)Lesia Ukrainka - Cassandra: A Dramatic PoemLesia Ukrainka - The Forest Song: A Fairy PlayFILMSSergei Parajanov - Shadows of Forgotten Ancestors (1965)Pavlo Ostrikov - U Are the Universe (2024)WORKS OF ARTIvan Marchuk----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------PLATFORMS:Twitter: https://twitter.com/CurtainSiliconInstagram: https://www.instagram.com/siliconcurtain/Podcast: https://open.spotify.com/show/4thRZj6NO7y93zG11JMtqmLinkedin: https://www.linkedin.com/in/finkjonathan/Patreon: https://www.patreon.com/siliconcurtain----------Welcome to the Silicon Curtain podcast. Please like and subscribe if you like the content we produce. It will really help to increase the popularity of our content in YouTube's algorithm. Our material is now being made available on popular podcasting platforms as well, such as Spotify and Apple Podcasts.

Jim Keller started in the music industry as part of Tommy Tutone, writing the hit '867-5309/Jenny', then the bands career sank and he left performing, landing as an assistant and then manager for Phillip Glass, Nico Muhly, Ravi Shankar, and others, before 'retiring' and returning to making music by hosting jam sessions with members of The Black Crowes, Levon Helm's band, The Beach Boys, The Wallflowers, The Lumineers, and more. We talk to Jim about the realities of 'crashing and burning', the business and creative divide, the power of honesty, knowing your role, showing up, and a whole lot more.Get more access and support this show by subscribing to our Patreon, right here.Links:Jim KellerTommy TuToneAdam MinkoffTony LeoneNonesuch RecordsEp 46 - Mary Chapin CarpenterEp 16 - Rodney CrowellPhilip GlassByron IsaacsChris MastersonNico MuhlyRachel PortmanAudley FreedLilly WinwoodClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

Olena Kuzhym is a representative of Brussels-based Ukrainian civil society and a member of the Ukrainian–European Civil Society Initiative Frozen Assets Action. Since the start of Russia's full-scale invasion, she has been actively engaged in civic advocacy, public campaigning, and street actions in Brussels in support of Ukraine. An urbanist by training, Olena holds an MSc in Urban Studies from the Free University of Brussels.----------Serhiy Onyshchenko is a Ukrainian civic activist and IT professional, now active within Belgium's civil society in support of Ukraine. His engagement began as a schoolboy during the Orange Revolution and continued through the Euromaidan, where he was attacked in Kharkiv for his activism. After relocating to Lviv in 2015, he helped build and organise his residential community. Following the full-scale invasion in 2022, Serhiy moved to Brussels, where he has co-organised demonstrations and advocates for sustained European support for Ukraine.----------The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------WORKS NOMINATED BY: Olena Kuzhym and Serhiy Onyshchenko BOOKSIvan Bahriany - Tiger Trappers https://en.wikipedia.org/wiki/Tiger_TrappersFILMSDmytro Sukholytkyy-Sobchuk - Pamfirhttps://en.wikipedia.org/wiki/PamfirWORKS OF ARTMykola Pymonenko - Easter morning liturgy or Easter Matinshttps://en.wikipedia.org/wiki/Mykola_Pymonenko(Actually stolen by the Russian army from the Kherson Art Museum)----------LINKS:https://frozen-assets.eu/https://war-sanctions.gur.gov.ua/en/stolen/objects/1764----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------

Ostap Ukrainets was born in 1994 in Kalush, Ivano-Frankivsk in western Ukraine. He graduated from the National Kyiv-Mohyla University with BA and MA degrees in comparative literature. He made his debut as a writer in 2017 with the novel "Malchut", which was hailed the "debut of the year" by Village magazine. Since then, his novels „Trance” and „Crusade Chancellery” were well received by readers. Ostap writes in the genre of historical and peculiar fiction, often referring to cultural heritage and history of anecdotes. He lives in Lviv. Of his four novels, three are dedicated to historical events and explore Ukrainian identity through the prism of postcolonial and trauma studies. A year before the invasion, he opened a publishing house specializing in humanities with his wife and their colleague.----------The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------WORKS NOMINATED BY: Ostap Ukrainets BOOKSMaik Yohansen - Dr. Leonardo's Journey to Sloboda Switzerland with his Future Lover, the Beautiful AlcestaIvan Nechuy-Levytskyi - The CloudsFILMSSergei Parajanov - Shadows of Forgotten Ancestors (1965)Borys Ivchenko - The Lost Letter (1972)Viktor Ivanov - Chasing Two Hares (1961)WORKS OF ARTYakiv Yakovych HnizdovskyDavid Chichkan----------LINKS:https://willadecjusza.pl/en/ostap-ukrainets-ostap-ukrayinets-1https://lareviewofbooks.org/contributor/ostap-ukrainets/https://www.instagram.com/ukrostap/https://bookforum.ua/en/participants/9131https://lareviewofbooks.org/short-takes/dont-touch-my-corner-the-war-from-ivano-frankivsk/----------SILICON CURTAIN LIVE EVENTS - FUNDRAISER CAMPAIGN 12 Events in 12 months - Advocacy for a Ukrainian victory with Silicon Curtainhttps://buymeacoffee.com/siliconcurtain/extrasOur first live events this year in Lviv and Kyiv were a huge success. Now we need to maintain this momentum, and change the tide towards a Ukrainian victory. The Silicon Curtain Roadshow is an ambitious campaign to run 10 events in 10 months (at a minimum). We may add more venues to the program, depending on the success of the fundraising campaign. https://buymeacoffee.com/siliconcurtain/extrasWe need to scale up our support for Ukraine, and these events are designed to have a major impact. Your support in making it happen is greatly appreciated. All events will be recorded professionally and published for free on the Silicon Curtain channel. Where possible, we will also live-stream events.https://buymeacoffee.com/siliconcurtain/extras----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------

Ben Hodges is a retired United States Army officer, who became commander of United States Army Europe in November 2014, and held that position for three years until retiring from the United States Army in January 2018. Until recently he was the Pershing Chair in Strategic Studies, at the Centre for European Policy Analysis, specialising in NATO, Transatlantic relationship and international security. ----------PLEASE HELP US GROW IN 2026! THANK YOU! This channel happens because of your support - The interviews, the news episodes and live events. And especially the trips to Ukraine that enable me to make videos on the ground, and connections that lead to better and more insightful conversations. We are looking to scale up operations next year, as Putin's aggression is not going away, and authoritarians align to attack democracies and rule-of-law worldwide. We want to take on a Social Media Manager to amplify the impact of the channel, and grow it faster. This role will be recruited in Ukraine, to help the wartime economy.https://buymeacoffee.com/siliconcurtain/extrashttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformationhttps://www.patreon.com/siliconcurtain----------Silicon Curtain is a part of the Christmas Tree Trucks 2025 campaign - an ambitious fundraiser led by a group of our wonderful team of information warriors raising 110,000 EUR for the Ukrainian army. https://car4ukraine.com/campaigns/christmas-tree-trucks-2025-silicon-curtainThe Goal of the Campaign for the Silicon Curtain community:- 1 armoured battle-ready pickupWe are sourcing all vehicles around 2010-2017 or newer, mainly Toyota Hilux or Mitsubishi L200, with low mileage and fully serviced. These are some of the greatest and the most reliable pickups possible to be on the frontline in Ukraine. Who will receive the vehicles?https://car4ukraine.com/campaigns/christmas-tree-trucks-2025-silicon-curtain----------The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------LINKS:https://twitter.com/general_benhttps://en.wikipedia.org/wiki/Ben_Hodges https://cepa.org/author/ben-hodges/ https://warsawsecurityforum.org/speaker/hodges-ben-lt-gen/ https://www.linkedin.com/in/ben-hodges-1674b1172/ ----------

The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------LINKS: https://www.linkedin.com/in/anastasiiagavryliuk/----------WORKS NOMINATED BY: Anastasiia GavryliukBOOKSPavlo Kazarin - The Wild West of Eastern EuropeGarry Kasparov - Winter is comingTimothy Snyder - The Road to unfreedomAnne Applebaum - Red Famine: Stalin's War on UkraineSerhii Plokhy - The Gates of EuropeFILMSMstyslav Chernov - 2000 Meters to Andriivka (2024)Myroslav Slaboshpytskiy - The Tribe (2014)Eduard Nazarov - Once Upon a Dog (1982)WORKS OF ARTOleksandr Murashko----------SILICON CURTAIN LIVE EVENTS - FUNDRAISER CAMPAIGN 12 Events in 12 months - Advocacy for a Ukrainian victory with Silicon Curtainhttps://buymeacoffee.com/siliconcurtain/extrasOur first live events this year in Lviv and Kyiv were a huge success. Now we need to maintain this momentum, and change the tide towards a Ukrainian victory. The Silicon Curtain Roadshow is an ambitious campaign to run 10 events in 10 months (at a minimum). We may add more venues to the program, depending on the success of the fundraising campaign. https://buymeacoffee.com/siliconcurtain/extrasWe need to scale up our support for Ukraine, and these events are designed to have a major impact. Your support in making it happen is greatly appreciated. All events will be recorded professionally and published for free on the Silicon Curtain channel. Where possible, we will also live-stream events.https://buymeacoffee.com/siliconcurtain/extras----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------

In this episode, I talk with legendary timpanist, educator, and musical pioneer Jonathan Haas. Jonathan's journey weaves together St. Louis, Chicago, New York, Juilliard, Frank Zappa, Emerson Lake & Palmer, Philip Glass, and a powerful new project responding to the world we live in today.Jonathan tells the story of how a newspaper clipping from his mom led him to Washington University, where he studied with Rich O'Donnell, John Kasica, Tom Stubbs, and Rick Holmes—often taking four private lessons a week while subbing with the St. Louis Symphony.From there, he describes:Heading to Juilliard to study with Saul GoodmanSubbing with the New York PhilharmonicAuditioning for and touring with Emerson, Lake & Palmer (including opening Bolero in front of 50,000 people at Soldier Field!)A 20-year relationship and collaboration with Frank Zappa, sparked by a handwritten letterThe long road to commissioning the Philip Glass Double Timpani Concerto and why it had to become a double concertoHis work at NYU, including powerful new pieces by Lenny White and Tim Adams, connected to Black Lives Matter and the murder of George FloydJonathan is a phenomenal storyteller, and the combination of history, humor, honesty, and perspective makes this one of the most compelling conversations I've had.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Today I'm speaking with Operator Starsky, a former Ukrainian National Guardian, blogger, and inspiration for everyone who is following the war, and supporting a Ukrainian victory. He has created one of the most popular and original YouTube channels dedicated to the international community. I'm not sure you need an introduction – I'm sure most people watching this channel will have seen your videos! ----------LINKS:https://www.youtube.com/@PropagandaStudyInstitutehttp://psi-eu.org/https://www.youtube.com/@StarskyUA----------The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------Silicon Curtain is a part of the Christmas Tree Trucks 2025 campaign - an ambitious fundraiser led by a group of our wonderful team of information warriors raising 110,000 EUR for the Ukrainian army. https://car4ukraine.com/campaigns/christmas-tree-trucks-2025-silicon-curtainThe Goal of the Campaign for the Silicon Curtain community:- 1 armoured battle-ready pickupWe are sourcing all vehicles around 2010-2017 or newer, mainly Toyota Hilux or Mitsubishi L200, with low mileage and fully serviced. These are some of the greatest and the most reliable pickups possible to be on the frontline in Ukraine. Who will receive the vehicles?https://car4ukraine.com/campaigns/christmas-tree-trucks-2025-silicon-curtain- The 38th Marine Brigade, who alone held Krynki for 124 days, receiving the Military Cross of Honour.- The 1027th Anti-aircraft and artillery regiment. Honoured by NATO as Defender of the Year 2024 and recipient of the Military Cross of Honour.- 104th Separate Brigade, Infantry, who alone held Kherson for 100 days, establishing conditions for the liberation of the city.- 93rd Brigade "Kholodnyi Yar", Black Raven Unmanned Systems Battalion ----------SILICON CURTAIN FILM FUNDRAISERA project to make a documentary film in Ukraine, to raise awareness of Ukraine's struggle and in supporting a team running aid convoys to Ukraine's front-line towns.https://buymeacoffee.com/siliconcurtain/extras----------SILICON CURTAIN LIVE EVENTS - FUNDRAISER CAMPAIGN Events in 2025 - Advocacy for a Ukrainian victory with Silicon Curtainhttps://buymeacoffee.com/siliconcurtain/extrasOur first live events this year in Lviv and Kyiv were a huge success. Now we need to maintain this momentum, and change the tide towards a Ukrainian victory. The Silicon Curtain Roadshow is an ambitious campaign to run a minimum of 12 events in 2025, and potentially many more. We may add more venues to the program, depending on the success of the fundraising campaign. https://buymeacoffee.com/siliconcurtain/extras----------

Born in Taiwan, raised in Austria, and educated in Europe and America, Pianist Jenny Lin has built a vibrant international career, notable for innovative collaborations with a range of artists and creators. In recent seasons, Jenny has performances – both digital, and in person – for Washington Performing Arts; at Hudson Hall performing the American premiere of William Bolcom's Suite of Preludes; at Boston Conservatory's piano series; at Little Island in NYC; and at Winnipeg New Music Festival. She now serves as director of music for The Phillips Collection in Washington, DC.Recently, she performed a recital of Philip Glass's music for the Morris Museum – a continuation of a close collaboration with Glass, with whom she has appeared regularly since 2014.  This experience has inspired the creation of her own commissioning initiative, The Etudes Project, in which she works with a range of living composers to create new technical piano etudes, pairing each new piece with an existing etude from the classical canon.  Her catalogue includes more than 50 albums.A passionate advocate for education, Jenny created “Melody's Mostly Musical Day“, a musical album and picture book for children, following the adventures of an imaginative little girl from breakfast to bedtime, told in a collection of 26 classical piano works from Mozart to Gershwin.  We'll hear some of these in this episode.Fluent in English, German, Mandarin, and French, Jenny Lin studied Noel Flores at the Hochschule für Musik in Vienna, with Julian Martin at the Peabody Conservatory in Baltimore, and with Dominique Weber in Geneva. She has also worked with Leon Fleisher, Richard Goode, and Blanca Uribe, and at Italy's Fondazione Internazionale per il pianoforte with Dimitri Bashkirov and Andreas Staier. In addition to her musical studies, Lin holds a bachelor's degree in German Literature from The Johns Hopkins University. Jenny Lin currently resides with her family in New York City and serves on the faculty of Mannes College The New School for Music.

Twyla Tharp is a world-renowned dancer, choreographer and expert on the creative process. She explains how to achieve creative success by keeping a highly disciplined routine that ultimately allows you to bring your creative visions to life. She explains how to establish a central message for each project, how to think about your audience, navigate criticism and continually elevate your standards with daily actions. We discuss how one's view of hard work, competition and even your name can shape what you think you're capable of and ultimately achieve. This episode offers direct, practical advice from a world-class creator on how to access your inner vision, build a strong body and mind, and do your best work. Show notes: https://go.hubermanlab.com/Yx57rWq Thank you to our sponsors AG1: https://drinkag1.com/huberman Our Place: https://fromourplace.com/huberman Eight Sleep: https://eightsleep.com/huberman LMNT: https://drinklmnt.com/huberman Mateina: https://drinkmateina.com/huberman Timestamps (00:00:00) Twyla Tharp (00:03:28) Focus & Creative Work, Tool: "Spine" of Creative Work (00:06:22) Creator & Audience Dynamic; Intention, Finances (00:11:57) Early vs Late Works, Learning & Selectivity throughout Career (00:15:59) Sponsors: Our Place & Eight Sleep (00:19:09) "Cubby-Holing", Career Change & Reputation (00:21:48) Creator Community & Selectivity; Success & Useful Failure (00:27:42) Work Process, Schedule; Selecting Dancers, Supporting the Arts, Expectations (00:32:36) Successful Performance; Beauty, Arts Compensation (00:36:22) Mikhail Baryshnikov, Ballet & Invention; Philip Glass, Minimalism (00:43:18) Knowledge vs Instinct, Taste; Avant Garde; Classical Training (00:47:05) Kirov Ballet, Kids, Uniformity; Body Types (00:52:13) Sponsor: AG1 (00:53:36) Movement, Body Frequency, Power (01:00:18) Creative Process, Spine; Idea, Habit (01:04:15) Rituals, Gym, Discipline; Farming, Quaker & Community; Communication (01:12:16) Communication, Signaling & Distance; Feeling Emotion (01:18:11) Boxing, Strength Training (01:21:41) Sponsors: LMNT (01:23:01) Ballet Barre Work, Fundamentals (01:29:09) Body's Knowledge, Honoring the Body, Kids & Movement (01:35:42) High Standards & Childhood; Wordlessness & Movement, Twins (01:41:31) Translator, Objectivity; Critics, Creator Honesty (01:46:50) Sponsor: Mateina (01:47:50) Evolution & Learning; Amadeus Film & Research (01:53:53) Medicine, Keto Diet; Ballet Training & Performance, Desire (02:00:50) Young Dancers & Competition, Intrinsic vs Extrinsic Reward, Hard Work (02:08:47) Tool: "The Box"; Ritual, Practice vs Habit; Honorary Degrees (02:13:37) Tool: Idea "Scratching"; Movement & Longevity, Apprentice (02:19:46) Aging & Less Movement, Fearlessness; Taking Up Space, Names (02:25:42) Acknowledgements (02:27:18) Zero-Cost Support, YouTube, Spotify & Apple Follow, Reviews & Feedback, Sponsors, Protocols Book, Social Media, Neural Network Newsletter Disclaimer & Disclosures Learn more about your ad choices. Visit megaphone.fm/adchoices

This video is part of a Ukrainian Advert series, celebrating Ukrainian voices, culture and resilience, ahead of Christmas Day. The project is kindly supported by maker of the film: The Steel Porcupine.#ONE: Andrew Chakhoyan is a Ukrainian American based in the Netherlands and is a vocal and articulate champion of Ukraine and its cause. ----------The Steel Porcupine https://www.thesteelporcupine.com/I'm proud to say that this series of ‘Ukrainian advent' interviews is supported by The Steel Porcupine – a unique and powerful film about a country that refuses to lie down, a people who turned themselves into a fortress of needles when Russian tanks rolled in. The Steel Porcupine is an unforgettable cinematic experience that exposes Russia's campaign of extermination in Ukraine, and the Ukrainian people's spirit to resist and prevail. It follows soldiers, volunteers and people who decided that survival meant resistance, not submission.Created by the makers of the acclaimed To the Zero Line, this is another film about humanity, that clearly states there is no such thing as neutrality when war crimes are being committed systematically by Russia, and on a scale in Europe only comparable to World War Two. Set to a haunting soundtrack featuring music by Philip Glass, and blending rare archival footage with original material, it is an impactful work of art and storytelling, as well as being informative.----------LINKS:https://x.com/ChakhoyanAndrewhttps://www.weforum.org/agenda/authors/andrew-chakhoyan/https://www.politico.eu/article/ukraine-incrementalism-russia-war-president-volodymyr-zelenskyy-truth/ ----------SILICON CURTAIN LIVE EVENTS - FUNDRAISER CAMPAIGN 12 Events in 12 months - Advocacy for a Ukrainian victory with Silicon Curtainhttps://buymeacoffee.com/siliconcurtain/extrasOur first live events this year in Lviv and Kyiv were a huge success. Now we need to maintain this momentum, and change the tide towards a Ukrainian victory. The Silicon Curtain Roadshow is an ambitious campaign to run 10 events in 10 months (at a minimum). We may add more venues to the program, depending on the success of the fundraising campaign. https://buymeacoffee.com/siliconcurtain/extrasWe need to scale up our support for Ukraine, and these events are designed to have a major impact. Your support in making it happen is greatly appreciated. All events will be recorded professionally and published for free on the Silicon Curtain channel. Where possible, we will also live-stream events.https://buymeacoffee.com/siliconcurtain/extras----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------TRUSTED CHARITIES ON THE GROUND:Save Ukrainehttps://www.saveukraineua.org/Superhumans - Hospital for war traumashttps://superhumans.com/en/UNBROKEN - Treatment. Prosthesis. Rehabilitation for Ukrainians in Ukrainehttps://unbroken.org.ua/Come Back Alivehttps://savelife.in.ua/en/Chefs For Ukraine - World Central Kitchenhttps://wck.org/relief/activation-chefs-for-ukraineUNITED24 - An initiative of President Zelenskyyhttps://u24.gov.ua/Serhiy Prytula Charity Foundationhttps://prytulafoundation.orgNGO “Herojam Slava”https://heroiamslava.org/kharpp - Reconstruction project supporting communities in Kharkiv and Przemyślhttps://kharpp.com/NOR DOG Animal Rescuehttps://www.nor-dog.org/home/----------

In this episode, I get to sit down with Peter Martin of Third Coast Percussion, an ensemble I have admired for years. Peter and I dive into the inner world of a percussion quartet that tours the globe, creates new music, commissions major composers, collaborates with artists across genres, and somehow still manages to pack an unbelievable amount of gear into checked luggage.Peter had just returned from Paris, where the ensemble performed Philip Glass's August Amazonia Suite alongside a live painter, something they had never done before. From there, we talk about what it truly takes to tour as a percussion group, how they travel with twelve checked bags of instruments, how backlining works, what happens when a vibraphone arrives broken, and why they think about portability and footprint even before a new piece is written.Peter shares his personal journey from military-kid piano lessons to discovering the drum set, jazz vibraphone, and eventually falling in love with the marimba. We talk about his time studying with Michael Burritt at Northwestern, crossing paths with Brett Dietz and William James, and the surreal experience of watching his classmates become lifelong colleagues in orchestras, universities, and ensembles across the world.We also talk about the remarkable story of Third Coast Percussion itself, from its beginnings in the Civic Orchestra of Chicago to becoming a full-time, artist-run organization. Peter explains what it really means to run a chamber group from the ground up, how he unexpectedly became the ensemble's finance director, and why having control of the administrative side gives them total artistic freedom.Then we dig into the ensemble's Grammy win for their Steve Reich album, including the thrill of performing on the telecast and the artistic decisions behind putting their own interpretive stamp on such iconic repertoire. Peter describes what it was like working with producer Jesse Lewis and why that collaboration changed how they approached recording forever.Peter also talks about the emotional experience of recording Murmurs in Time with the legendary Zakir Hussain, who passed away shortly after the sessions. Hearing Peter reflect on Zakir's musicianship, generosity, and spirit is profoundly moving.We wrap with a look at what lies ahead for Third Coast Percussion, from new commissions to international touring to upcoming collaborations, including the premiere of a new work with Jlin. As Peter says, there is never a month when the ensemble is not creating something new, and their passion for pushing percussion forward is unmistakable.It was an honor to talk with Peter and get an inside look at the ensemble's artistry, work ethic, creativity, and humanity. Third Coast Percussion continues to redefine what chamber music can be, and I am grateful to share their story with you.To learn more about Third Coast Percussion, visit their website. Music from the Episode:Philip GlassAguas da Amazonia- Japurá River (Third Coast Percussion feat. Constance Volk)Steve Reich: Sextet- V: Fast (Third Coast Percussion)Zakir Hussain: Murmurs in Time: II: - (Third Coast Percussion with Zakir Hussain)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

For 25 years Michael Cathcart has been presenting arts and culture shows on Radio National, bringing listeners stories and conversations with writers, performers, musicians, poets and playwrights, from across Australia and the world. On our second-final ever Stage Show, Michael revisits some of his most memorable interviews. From authors Salman Rushdie and Esther Freud, to playing the organ at the Melbourne Town Hall, Philip Glass, Genevive Lacey, Audra McDonald, a special performance of Macbeth in Noongar language. And an encounter with horse riding mother-and-daughter Gladys and Quitta Docking, on the road for Bush Telegraph.

durée : 00:48:56 - La 20e heure - par : Eva Bester - Après un retour attendu à “Piano aux Jacobins” à Toulouse, précédé par le Festival du Comminges, la pianiste Vanessa Wagner, qui apprécie le mélange des genres et les croisements de répertoire, a interprété des Études de Philip Glass dont l'enregistrement intégral est paru le 10 octobre dernier. - invités : Vanessa Wagner - Vanessa Wagner : Pianiste française née à Rennes en 1973 - réalisé par : Lola COSTANTINI Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Mick Rossi has had a burgeoning career spanning decades, genres and artists. We attempt in an hour to cover some decent ground on that amazing career, including Mick’s work with Philip Glass, The Philip Glass Ensemble, Paul Simon, Carly Simon and Hall & Oates to name just a few. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   Mick’s recent and (8th or 9th) tour with Paul Simon Mick in action in 2025 with Paul Simon – The Sacred Harp Mick in action with Paul Simon – Wristband Recent work with the Philip Glass and the Philip Glass Ensemble – Floe (Glassworks) Mick with the Philip Glass Ensemble in 2024 – The Grid The late and great Dennis Sandole Touring with Angela Bofill Being approached to play with Philip Glass Philip Glass – La Belle et la Bête Michael Riesman Mick’s keyboard rig with The Philip Glass Ensemble Philip Glass – Orion Philip Glass & Leonard Cohen – Book of Longing On playing Philip Glass’ Music in 12 Parts On conducting a Philip Glass Ensemble show with a couple of hours notice On recording with, and joining, Paul Simon’s band Mick in action with Paul Simon on Cool, Cool River Mick’s keyboard rig with Paul Simon New York’s The Knitting Factory Mick’s prolific solo output including 160 (and why it should have been titled something different) Mick Rossi’s Anti-Matter Live at Barbes Mick with Caleb Wheeler Curtis – Runt Desert Island Discs: Facing You – Keith Jarrett, Symphonies Nos 1-15 – Shostakovich, Self-Titled – Led Zeppelin, Music for Strings, Percussion & Celesta, Five Pieces for Orchestra – Webern Key links: Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our listener survey to help us improve the show, it only takes 90 seconds. Support us on Patreon and receive bonus content Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post Mick Rossi, Paul Simon / Philip Glass / Solo Artist appeared first on The Keyboard Chronicles.

Flo is in the polytunnel today with venerated British musician, producer and composer Dev Hynes. Previously part of dance punk outfit Test Icicles, he ventured into solo music as Lightspeed Champion before evolving into Blood Orange, which he releases music under today. As Flo and Dev plant out spring bulbs, they discuss the British county of Essex and its complicated reputation, as well as how his early life on the edge of London and the recent death of Dev's mother fed into the creation of his most recent celebrated studio album, Essex Honey. Musical and football icons including Philip Glass and Paul Ince form part of this ranging conversation as Flo & Dev dwell on grief and the cycle of life, along with the impact that teenage music and memories have in processing these powerful feelings. This episode of Digging is sponsored by Niwaki: the go to destination for functional, durable Japanese gardening gear. For 10% off your Niwaki purchase, head to Niwaki.com and enter the code DIGGINGWITHFLO at the checkout. Presenter - Flo Dill, Producer - Lizzy King, Editing - Chantal Adams, Sound Recording - Connor Gani, Mastering - Sophie EllisonA video version of this episode is also available on YouTube.Music - Cleaners from Venus - The Artichoke That Loved Me, courtesy of Martin Newell & Captured Tracks. Hosted on Acast. See acast.com/privacy for more information.

The now London-based Polish pianist and composer Hania Rani quickly attracted fans with her 2019 album of solo piano works in the post-classical style, a blend of classical lyricism and minimalist patterns. Her later albums expanded to include electronics, and her voice; she is equally versed in the music of composers like Philip Glass and bands like Radiohead. But her new record is something different – a four part piano concerto with orchestra, called Non Fiction, which is a reflection on the human cost of war. The work was recorded at Abbey Road Studios, with a 45-piece orchestra and experimental instrumentalists Rakhi Singh (Manchester Collective), Jack Wylie (Portico Quartet), and percussionist/composer Valentina Magaletti. Hania Rani performs the piano part of the opening movement of the piece Non Fiction, and other original works, in-studio. Set list: 1. Non-Fiction I - Sonore 2. Nostalgia 3. F Major

A Wanted podcast adása az NKA Hangfoglaló program támogatásával készült.Amennyiben hozzá tudsz járulni a podcast jövőbeni működéséhez, a Donably felületén itt megteheted. ⁠⁠⁠⁠⁠⁠⁠https://www.donably.com/wanted-podcast⁠2025 második felében magyarul is megjelent a jobb híján kortárs zeneszerzőként aposztrofált Philip Glass önéletrajzi kötete Szöveg zene nélkül címmel a & kiadó gondozásában. Ebből az alkalomból el is hívtuk talán a legnagyobb hazai Philip Glass-szakértőt, Fekete Lászlót, aki egyben a szöveg fordítója, illetve volt wantedos-szigetes svájcibicska-kollégánkat, aki a könyv lektora, Németh Marcellt, hogy áttekintsük, hogyan vált egy baltimore-i lemezboltos fiából a kortárs zene egyik legmeghatározóbb alakja, hogyan jutott el vasgyári munkától, vízvezeték-szereléstől és a taxizáson keresztül az áttörést hozó Einstein a tengerparton, valamint a Szatjágraha opera bemutatásáig vagy a Koyaanisqatsi filmzenéjének megkomponálásáig. Másfél órás adásunkban körbejárjuk a hatvanas-hetvenes évek kulturális közegét, miért tekintették árulónak a minimalisták, mi köze volt Ravi Shankarhoz, mennyire zárvány Glass munkássága a kortárs zenén belül, hogyan fogadták a magyar kritikusok először Glass műveit, milyen popkulturális vonatkozásai vannak és természetesen beszélünk magáról a könyvről is.Műsorvezető: Bihari Balázs és Németh Róbert

durée : 01:07:23 - Club Jazzafip - À l'occasion de la sortie de son intégrale des Etudes de Philip Glass, nous recevons la très éclectique pianiste rennaise et directrice artistique du Festival de Chambord, qui prend les rênes de notre programmation musicale. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Few classical singers embrace movement as vividly as the star countertenor Anthony Roth Costanzo. He explores all the possibilities of a performing career, from opera to cabaret. His captivating high tones specialise in both early and modern operas: famously, in the testing title role of Philip Glass' Akhnaten. Recent audacious projects include playing Maria Callas, and a solo Marriage of Figaro where he sang all the roles. As director of Opera Philadelphia he has attracted new audiences with a successful Pick Your Price ticket scheme. He's an astonishing, eloquent advocate for the arts – including dance.Anthony Roth Costanzo began performing professionally aged 11 and has appeared in opera, concert, recital, film and on Broadway. In 2024, he became the General Director and President of Opera Philadelphia. He has appeared with many of the world's leading opera houses and at a venues ranging from Carnegie Hall to Madison Square Garden. His most recent album is Anthony Roth Costanzo & Justin Vivian Bond: Only an Octave Apart, and he stars on the Metropolitan Opera's Grammy award-winning recording of Akhnaten.Anthony's website https://anthonyrothcostanzo.com/Opera Philadelphia https://www.operaphila.org/Why Dance Matters is a dance podcast featuring inspiring conversations with extraordinary people from the world of dance and beyond. Hosted by David Jays, editor of Dance Gazette, this podcast explores how dance shapes lives and why it matters to us all. Brought to you by the RAD, which inspires the world to dance, these insightful stories will surprise and delight. Tune in and discover more on our website. Hosted on Acast. See acast.com/privacy for more information.

Andakterna den här veckan tar avstamp i de fem världsreligionerna och har Barnet som tema. Idag hör du Karin Brygger som utgår från sin judiska tro. Lyssna på alla avsnitt i Sveriges Radio Play. Ur andakten:När vi upplever stark kärlek till en annan människa, passion, är det en så stark kroppslig upplevelse att vi kan tro att vi blivit tokiga. Det har vi i regel också. På det bästa sättet.Jag har haft turen att erfara passion och jag har också haft lyckan att uppleva hur längtan efter ett barn varit en storm i min kropp. Den längtan – eller habegäret - är också kärlek: för ja, det går att älska någon innan den finns, det går att älska den som skulle kunna finnas.När Moses, övergiven som baby, men sedermera vår störste profet, skulle dö hade han inte korsat Jordan och han fick aldrig komma in i det förlovade landet. Han vittnar om att allt kanske man inte får. Eller så är också den frågan felställd: vad har jag fått är helt enkelt en bättre fråga sig än vad fick jag inte?Text:Välsignelsen över barnenMusik:The Poet acts av Philip Glass med John LenehanProducent:Susanna Némethliv@sverigesradio.se

The raw ingredients of this week's news gently diced, simmered and served as a nutritious broth. And flavoured with the following … … why Lily Allen's divorce album doubled the value of her house … how can you play real living people as fundamentally bad after Steve Coogan's ‘Lost King' court case? … the cowbell on Honky Tonk Women, the guiro on Gimme Shelter, the tambourine on classic Motown: Richard Pite gives a percussion demo … Kraftwerk, 10cc, Coolio, George McCrae – more records that sound unique … music used in movies to say ‘we're flying East!' … You Have Selected Regicide, Kill Wealthy Dowager: Morrissey song or line from the Simpsons? … Woodbines, potted herrings, Paris buns: things we expect to find in Van Morrison's soon-to-open childhood home ... why it's worth hearing Mishima by Philip Glass and John the Revelator by Son House … the time Jack Ashford was flown across America just to add a tambourine … people who found they had a famous father … and Mick ‘Two Pairs of Maracas' Jagger and what Eno predicted about I Feel Love.Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The raw ingredients of this week's news gently diced, simmered and served as a nutritious broth. And flavoured with the following … … why Lily Allen's divorce album doubled the value of her house … how can you play real living people as fundamentally bad after Steve Coogan's ‘Lost King' court case? … the cowbell on Honky Tonk Women, the guiro on Gimme Shelter, the tambourine on classic Motown: Richard Pite gives a percussion demo … Kraftwerk, 10cc, Coolio, George McCrae – more records that sound unique … music used in movies to say ‘we're flying East!' … You Have Selected Regicide, Kill Wealthy Dowager: Morrissey song or line from the Simpsons? … Woodbines, potted herrings, Paris buns: things we expect to find in Van Morrison's soon-to-open childhood home ... why it's worth hearing Mishima by Philip Glass and John the Revelator by Son House … the time Jack Ashford was flown across America just to add a tambourine … people who found they had a famous father … and Mick ‘Two Pairs of Maracas' Jagger and what Eno predicted about I Feel Love.Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

durée : 00:27:37 - Les Midis de Culture - par : Marie Labory - Au menu de notre débat critique, pour bien commencer la semaine, on parle d'Opéra et de disque avec "Iphigénie en Tauride" de Gluck mis en scène par Wajdi Mouawad & le disque "Philip Glass : The Complete Piano Études" par Vanessa Wagner - réalisation : Laurence Malonda - invités : Anna Sigalevitch Journaliste et auteure; Emmanuelle Giuliani Journaliste à La Croix

durée : 00:16:46 - Les Midis de Culture - par : Marie Labory - La pianiste Vanessa Wagner interprète l'intégrale des "Études pour piano" de Philip Glass, révélant toute la richesse émotionnelle et la rigueur du compositeur américain. Un voyage sensible, entre virtuosité, méditation et lumière. - réalisation : Laurence Malonda - invités : Anna Sigalevitch Journaliste et auteure; Emmanuelle Giuliani Journaliste à La Croix

The raw ingredients of this week's news gently diced, simmered and served as a nutritious broth. And flavoured with the following … … why Lily Allen's divorce album doubled the value of her house … how can you play real living people as fundamentally bad after Steve Coogan's ‘Lost King' court case? … the cowbell on Honky Tonk Women, the guiro on Gimme Shelter, the tambourine on classic Motown: Richard Pite gives a percussion demo … Kraftwerk, 10cc, Coolio, George McCrae – more records that sound unique … music used in movies to say ‘we're flying East!' … You Have Selected Regicide, Kill Wealthy Dowager: Morrissey song or line from the Simpsons? … Woodbines, potted herrings, Paris buns: things we expect to find in Van Morrison's soon-to-open childhood home ... why it's worth hearing Mishima by Philip Glass and John the Revelator by Son House … the time Jack Ashford was flown across America just to add a tambourine … people who found they had a famous father … and Mick ‘Two Pairs of Maracas' Jagger and what Eno predicted about I Feel Love.Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Jim Keller has lived more than one musical life. He first made his mark as a guitarist and co-writer in Tommy Tutone — yes, the band behind “867-5309/Jenny.” But that was just the beginning. After years on the road, Jim shifted gears and built a remarkable career behind the scenes, managing artists like Philip Glass and helping shape the business side of some of modern music's most distinctive voices. Now, he's returned to his own songwriting roots with End of the World — an album that blends grit, humor, and heart in equal measure. In this episode, Jim talks about what it's like to reinvent yourself in the music world, how his time with Glass changed the way he thinks about creativity, and the stories behind his new record. Listen in for a conversation that spans decades — from the neon glow of early ‘80s pop to the quiet persistence of an artist still chasing great songs. Enjoying the show? Please leave us a 5-star review on ⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Goodpods⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠! Connect with us on ⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠X (Twitter)⁠⁠⁠⁠⁠. For the stories behind the songs, go to ⁠⁠⁠⁠⁠⁠Songfacts.com⁠⁠⁠⁠⁠⁠. Proud member of ⁠⁠⁠⁠⁠Pantheon Podcasts⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim Keller has lived more than one musical life. He first made his mark as a guitarist and co-writer in Tommy Tutone — yes, the band behind “867-5309/Jenny.” But that was just the beginning. After years on the road, Jim shifted gears and built a remarkable career behind the scenes, managing artists like Philip Glass and helping shape the business side of some of modern music's most distinctive voices. Now, he's returned to his own songwriting roots with End of the World — an album that blends grit, humor, and heart in equal measure. In this episode, Jim talks about what it's like to reinvent yourself in the music world, how his time with Glass changed the way he thinks about creativity, and the stories behind his new record. Listen in for a conversation that spans decades — from the neon glow of early ‘80s pop to the quiet persistence of an artist still chasing great songs. Enjoying the show? Please leave us a 5-star review on ⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Goodpods⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠! Connect with us on ⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠X (Twitter)⁠⁠⁠⁠⁠. For the stories behind the songs, go to ⁠⁠⁠⁠⁠Songfacts.com⁠⁠⁠⁠⁠. Proud member of ⁠⁠⁠⁠⁠Pantheon Podcasts⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, the Spotlight shines On David Harrington, founder and violinist of Kronos Quartet.For fifty years, David has led one of the most adventurous musical ensembles on the planet. Kronos has commissioned over 1,100 works, collaborated with everyone from Philip Glass to Nine Inch Nails, and earned three Grammys along the way. Their recent "Hard Rain" project brought together nearly fifty artists worldwide to reimagine Bob Dylan's nuclear-age anthem, while the Library of Congress has just acquired David's archive.David shares stories from five decades of musical exploration and why he believes musicians must listen to the world and respond with purpose.If you enjoyed this episode, check out my discussions with Dorothy Lawson, Philip Golub, and Lisa Pegher. All three are available on spotlightonpodcast.com.(The musical excerpts heard in the interview are from Kronos Quartet + The Hard Rain Collective's Hard Rain EP)–Dig DeeperVisit Kronos Quartet at kronosquartet.org and follow them Instagram, Facebook, and YouTubePurchase Kronos Quartet + The Hard Rain Collective's Hard Rain EP from Bandcamp or Qobuz and listen on your streaming platform of choice.Dig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On David Harrington, founder and violinist of Kronos Quartet.For fifty years, David has led one of the most adventurous musical ensembles on the planet. Kronos has commissioned over 1,100 works, collaborated with everyone from Philip Glass to Nine Inch Nails, and earned three Grammys along the way. Their recent "Hard Rain" project brought together nearly fifty artists worldwide to reimagine Bob Dylan's nuclear-age anthem, while the Library of Congress has just acquired David's archive.David shares stories from five decades of musical exploration and why he believes musicians must listen to the world and respond with purpose.If you enjoyed this episode, check out my discussions with Dorothy Lawson, Philip Golub, and Lisa Pegher. All three are available on spotlightonpodcast.com.(The musical excerpts heard in the interview are from Kronos Quartet + The Hard Rain Collective's Hard Rain EP)–Dig DeeperVisit Kronos Quartet at kronosquartet.org and follow them Instagram, Facebook, and YouTubePurchase Kronos Quartet + The Hard Rain Collective's Hard Rain EP from Bandcamp or Qobuz and listen on your streaming platform of choice.Dig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Diane and Sean discuss the flagship film of the classic hollywood monsters, Dracula. Episode music is, "The Storm", by Philip Glass performed by the Kronos Quartet from the 1999 re-release OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

durée : 01:47:46 - Comme un samedi - par : Arnaud Laporte - Vanessa Wagner est une pianiste libre. Elle suit ses goûts, de la musique électronique, en passant par Mozart, jusqu'à Philip Glass, qu'elle a découvert étudiante avec "Einstein on the beach" (un choc). Pour cette carte blanche, Vanessa Wagner convoque ses passions, et il en fait bien sûr partie. - réalisation : Alexandre Fougeron - invités : Vanessa Wagner Pianiste; Riad Sattouf Auteur-dessinateur de BD et réalisateur; Léonie Pernet Musicienne et chanteuse française; Lionel Sabatté Plasticien

On this episode of Remainders we watch the 1986 horror classic The Fly. The second installment in our 80s Horror Remake Marathon, The Fly updates the 50s B-movie with far more devastation, tragedy, and Academy Award winning special effects, making it a staple in 80s horror practical effects. Jeff Goldblum plays Seth Brundle, an awkward scientist and inventor of a teleportation device. When he transports himself with a fly, he begins a slow, painful transformation into the Fly that mirrors the descent into sickness of a loved one. A Cronenberg and body horror classic.Other topics include Cronenberg's filmography, special effects lead Chris Walas, the Fly II, October horror classics we're watching, Carpenter and Escape From L.A. vs. Escape from New York, independent theaters, the House of Wax franchise, the Music Box of Horrors and Jason X, Terrifier and 80s horror icons, Philip Glass and horror scores, and the movie poster art of Drew Struzan.Songs of the WeekVampira by The MisfitsHuman Fly by The CrampsIt Was Always You, Helen by Philip GlassRemainders Jukebox PlaylistWebsiteFacebookInstagramYouTubeTwitter

durée : 00:09:55 - Philip Glass : Les Enfants Terribles - Katia & Marielle Labèque - Après avoir travaillé avec Olivier Messiaen, Luciano Berio, Gyorgy Ligeti, Pierre Boulez, Katia & Marielle Labèque ont continué à créer des pièces écrites spécialement pour elles par Louis Andriessen, Bryce Dessner, Thom Yorke et Philip Glass. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:05:19 - Classic & Co - par : Anna Sigalevitch - Ce matin, Anna Sigalevitch de l'intégrale des "Études" de Philip Glass par Vanessa Wagner, double album qui vient de paraître chez InFiné. Elle sera en concert le 14 octobre à la Philharmonie de Paris, le 7 novembre au Lieu Unique à Nantes, puis à Grenoble, Lyon, Marseille et Le Havre. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Sam Sadigursky is a renowned clarinetist, composer, and member of the Philip Glass Ensemble. In this episode, we explore his latest project The Solomon Diaries with Nathan Koci, his work on Broadway in The Band's Visit, and his career spanning jazz, classical, and contemporary music. Sam shares stories from touring with Philip Glass, mentors Brad Mehldau and Lee Konitz, and his upbringing in a musical immigrant family.We also dive into improvisation beyond music, the impact of streaming algorithms, and the cultural legacy of the Borscht Belt. Listen to insights into Sam's unique voice as a composer and performer, and hear excerpts from some of his wonderful creative output. Sam Sadigursky's websitePodcast website: episode page with YouTube, TranscriptNewsletter sign-up Podcast merch Buy me a coffee?Other episodes you'll love: Meg Okura Tasha Warren Yale Strom Colleen Allen Rachel Eckroth and John Hadfield(00:00) Intro(02:11)Sam's musical family and early influences(08:02) jazz, hearing heroes play teen years in L.A.(10:12) Isaac Sadigursky, VNP Hora with clip(14:26) move out to New York(17:05) about Six Miles at Midnight with clip, Nathan Koci, Satie influence (21:07) Touring with Philip Glass Ensemble(25:23) influence of Glass, Migrations Vol. 5 Solomon Diaries(28:59) clarinet music, Eleven from 24 Rhythmic Duets for Clarinet, teaching, Vince Trombetta(33:54) other linked episodes you'll love and ways to spread the word!(34:33) about “Lucky” vol. V The Solomon Diaries, wife Sarah, Danny Fox(40:10) early jazz mentors and opportunities, Brad Mehldau, Bill Berry(42:31) parenting, streaming and music industry challenges(45:44) Broadway: The Band's Visit and beyond(51:18) solo piano music, Incidentalee dedicated to Lee Konitz, from Figures/Broken Pieces performed Nick Sanders(54:39) many instruments, decision to focus on clarinet(57:38) Borsht Belt history, Marisa Scheinfeld, The Solomon Diaries(01:03:24) Guy Klucevsek, “Secondhand” The Solomon Diaries Vol. IV by Nathan Koci(01:08:17) creative output, music industry challenges, Words Project, upcoming projects

durée : 01:28:19 - Relax ! du jeudi 09 octobre 2025 - par : Lionel Esparza - Pour son nouveau projet, Vanessa Wagner s'attaque à l'un des pionniers de la musique minimaliste : Philip Glass, dont l'œuvre est ici développée de manière maximaliste avec une intégrale de ses "Études pour piano". Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Today on the Conversations on Dance podcast we are thrilled to have two fabulous guests: Maria Calegari and Bart Cook. We have have both Maria and Bart on the podcast before, but this married couple danced together and now sets ballets together, so we knew we had to get them on the podcast together to hear more about their careers and their work as repetiteurs for the Balanchine Trust and for the Robbins Trust. We talk through their experiences dancing together, then some of the specific ballets that they have set together: basically it's just an hour and a half of bunhead time. Maria & Bart are currently offering virtual and in-person private lessons for pre-professional and professional ballet dancers ages 15 and up. Lessons are structured to focus on your specific artistic goals to identify the stylistic and technical nuances that you can use to improve your movement quality, advice that goes beyond the typical class format. For more information visit: https://calegariteacher.com/.Announcement:We are thrilled to announce that we will be returning to Miami City Ballet October 17th-19th to host live pre-performance talks for the opening weekend of the company's 40th anniversary season. For each talk, we will be joined by Gonzalo Garcia as he ushers the company into its first season under his direction. Full details below. This program is truly not to be missed: the all Peck program includes ‘Year of the Rabbit', ‘Chutes and Ladders', and ‘Heatscape.' If you are in the Miami area come join us. And if you aren't, time to look for flights! DETAILS:FRI October 17 with Gonzalo Garcia at 6:30pmSAT October 18 with Gonzalo and Justin Peck at 6:30pmSUN October 19 with Gonzalo and Patricia Delgado at 1pmAdmission to pre-performance talks at the Arsht Center is complimentary with ticket purchase. Tickets available here: https://www.miamicityballet.org/tickets-and-events/202526-season/peck/. If you are unable to join us in person, subscribe to the Conversations on Dance podcast feed through your favorite podcast app, where we will be publishing recordings of the events.SPONSOR:Friday through Sunday, November 7th through 9th, join Amanda Treiber and Company for their debut performances at the Mark O'Donnell Theater in Brooklyn! Featuring a cast of international artists, including dancers and musicians from New York City Ballet, and a world premiere to music by Philip Glass, these performances showcase NYC-based choreographer and dancer Amanda Treiber's ability to create worlds through unique movement vocabularies and her deep collaborations with dancers, musicians, and visual artists. You won't want to miss it! Reserve your tickets today at amandatreiber.com.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceCOD MerchListen to COD on YouTubeJoin our email listSponsorship information Hosted on Acast. See acast.com/privacy for more information.

The Tragedy, Terror, and Legacy of CandymanIn this 60 Nights of Fright entry, we step into the mirror and confront one of horror's most haunting legends. Candyman(1992). Directed by Bernard Rose and Starring Tony Todd and Virginia Madsen, this isn't just another slasher; it's a gothic tale of vengeance, tragedy, and the power of belief.In this episode of JayMovieTalk:*My thoughts on Candyman's urban legend roots and real-world social commentary.*Exploring the dynamic performances of Tony Todd & Virginia Madsen*The eerie beauty of Philip Glass's score.Side Topics:-Tony Todd's place among horror's elite-Horror as social reflection(CandyMan, Get Out, and US)-The power of atmosphere and sound in building fear.

Ein neues Album von Vanessa Wagner - vorgestellt auf NDR Kultur.

C'est l'une des œuvres les plus engagées de l'art lyrique. À la fois politique et spirituel, Satyagraha de Philip Glass s'inscrit dans un contexte de lutte contre l'apartheid en Afrique du Sud, tout en puisant son inspiration en Inde, à travers la vie de Mahatma Gandhi et sa philosophie de résistance non violente. Composé en 1979 et chanté en sanskrit, cet opéra est présenté pour la première fois en France, à Nice, dans le sud de l'Hexagone. La mise en scène de la chorégraphe Lucinda Childs, compatriote et amie de longue date du compositeur américain, s'accompagne de projections vidéo à 360°, faisant de cette création le premier opéra immersif présenté en France.

On this episode of Remainders we watch the classic John Carpenter film, The Thing. To start our 80s Horror Remake marathon, we begin with John Carpenter's remake about a group of researchers facing off against an alien lifeform capable of imitating any life form. A classic study of paranoia, The Thing has gone from box-office bomb to all-time classic. We get into the practical effects, horror themes, and masterful direction, the legendary careers of John Carpenter and Kurt Russell, and the legacy it's had on Tarantino's career and horror movies overall.Other topics include the role of 80s horror in film history, Ennio Morricone and the Razzies, One Battle After Another and VistaVision, Jaws 50th anniversary, and revisiting the 2010 Wolfman.Songs of the WeekDracula by Philip Glass & Kronos QuartetDead Sound by The RaveonettesRemainders Podcast Jukebox PlaylistWebsiteFacebookInstagramYouTubeTwitter

On today's episode of "Conversations On Dance", we are joined by Dante Puleio, Artistic Director of the Limón Dance Company, and esteemed choreographer Diego Vega Solorza, whose work for the company will premiere in the company's upcoming Joyce season. Dante tells us how he became familiar with Diego's work and why it was a natural fit for the company and the season, while Diego dives into his creative process and how the Limón dancers have shaped this particular work. The Limón Dance Company will perform at the storied Joyce theater in New York City from Tuesday, October 14th through Sunday October 19th. To purchase tickets visit joyce.org. SPONSOR:Friday through Sunday, November 7th through 9th, join Amanda Treiber and Company for their debut performances at the Mark O'Donnell Theater in Brooklyn! Featuring a cast of international artists, including dancers and musicians from New York City Ballet, and a world premiere to music by Philip Glass, these performances showcase NYC-based choreographer and dancer Amanda Treiber's ability to create worlds through unique movement vocabularies and her deep collaborations with dancers, musicians, and visual artists. You won't want to miss it! Reserve your tickets today at amandatreiber.com.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceCOD MerchListen to COD on YouTubeJoin our email listSponsorship information Hosted on Acast. See acast.com/privacy for more information.

durée : 00:25:44 - Les Grands entretiens - par : Judith Chaine - Depuis Statea en 2016 avec Murcof, Vanessa Wagner explore un vaste répertoire allant de Mozart à la musique répétitive. Directrice artistique du festival de Chambord, elle publie aujourd'hui l'intégrale des études pour piano de Philip Glass. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Cardiff-based electronic pop artist Ani Glass (aka Ani Saunders) joins Graham Coath to talk craft, culture and the songs behind her much-anticipated second album Phantasmagoria (out 26 September). Singing in Welsh and Cornish, Ani shares how melody guides her writing, why she incorporates warmth into her electronic music with live bass and cello, and how influences ranging from Philip Glass to classic pop shape her sound.Expect a studio-side chat (Ableton, synths and the world's most fashionable glasses), thoughts on authenticity over virtuosity, and a candid take on language in music—why listeners connect with feeling first, words second. We also look back at her acclaimed self-produced debut Mirores (Welsh Album of the Year; Welsh Music Prize shortlist) and what's new this time around.Listen for:Writing via voice notes, then sculpting textures on synthsBalancing electronic sheen with an “organic” hug of harmony and depthWelsh/Cornish/English lyrics and audiences' openness to new soundsTour, records, and release-week realities (yes, lots of vinyl packing)Follow Ani, pre-order Phantasmagoria, and add her tracks to your playlist.

Virtuoso pianist Vicky Chow in musical excerpts and commentary from the artist. Originally from Vancouver, Canada, now in Brooklyn, Chow has put a personal touch on multitudes of contemporary music, engaged commissions, and explored experimental forms expanding the piano repertoire. We hear bits from performances of works by Philip Glass, David Lang, Cassie Wieland, Jane Antonia Cornish, and Tristan Perich whose piece Surface Image the pianist will perform in a free concert in Bryant Park in Manhattan on Sept. 11, 2025 to open Roulette's 47th season.https://roulette.org/

Virtuoso pianist Vicky Chow in musical excerpts and commentary from the artist. Originally from Vancouver, Canada, now in Brooklyn, Chow has put a personal touch on multitudes of contemporary music, engaged commissions, and explored experimental forms expanding the piano repertoire. We hear bits from performances of works by Philip Glass, David Lang, Cassie Wieland, Jane Antonia Cornish, and Tristan Perich whose piece Surface Image the pianist will perform in a free concert in Bryant Park in Manhattan on Sept. 11, 2025 to open Roulette's 47th season. Image: Kaitlin Jane Photography

Vicky Chow is a celebrated Hong Kong-Canadian-American pianist. She plays contemporary classical music, which is quite different from traditional classical. She is the pianist for the Bang On A Can All Stars, a terrific ensemble. The New York Times has described her playing as “brilliant”. She has collaborated and worked with artists like Meredith Monk, Philip Glass, John Zorn, Bill T. Jones and Arnie Zane Dance Company, BBC Orchestra and LA Philharmonic. She has toured in over 40 countries and performed at venues like Carnegie Hall, Disney Concert Hall and the Hong Kong Arts Centre. She has released over 25 solo and chamber music albums. My featured song is “Studio One”, from the album Play by my band Project Grand Slam. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH VICKY:www.vickychow.com____________________ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com