Podcasts about Prepared piano

Greetings! I treated this episode of PTE as if I were filling in required words needed to complete a Mad Libs, a word game that might be categorized as a phrasal template game. In order to create today's playlist, the compositions required the inclusion of an acoustic instrument & a non-instrument such as electronics, tape, digital delay, computer, etc.  Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Blue Sky: https://bsky.app/profile/envpusher1.bsky.social      2-8-25 PTE Playlist: - Mad Libs: acoustic instrument & non-instrument    Kagemusha: for pipa and electronics - Ningxin Zhang - Musicworks #148 - Musicworks (2024) https://www.musicworks.ca/winners-2023-musicworks-electronic-music-composition    Dialogue I for voice and live electronics (2021) - improvisation by Kate Soper & Sam Pluta - The Understanding of All Things - New Focus Recordings (2022) https://newfocusrecordings.bandcamp.com/album/the-understanding-of-all-things   Toccata for percussion and tape - percussion: Beverley Johnston / composer: Gary Kulesha - Alternate Currents - Centredisques (1992) https://beverleyjohnston.com/    Talkback IV for piano and computer - piano: Kathleen Suppove / composer-electronics: Guy Barash - Eye To Ivory - Starkland (2019) https://starkland.org/catalog/st233/    Coeur d'Orr for clarinet and two-channel tape, sculptor  Eric Orr - clarinet: Daniel Goode / tape - composer: Harold Budd - Frog Peak Music (2002) https://frogpeak.org/fpartists/fpgoode.html    Lonesome Dove - a true story, micro-opera for tenor saxophonist, watcher & portable darkness - tenor saxophone: Geoff Landman / watcher: Umber Qureshi / composer: Richard Cameron-Wolfe - Passionate Geometries - New Focus Recordings (2024) https://newfocusrecordings.bandcamp.com/album/passionate-geometries    Another Shore for celesta and digital delay - celesta and digital delay: Philip Schroeder - Cold Blue Two (an original anthology) - Cold Blue Music (2012) https://coldbluemusic.bandcamp.com/album/cold-blue-two-an-original-anthology    Heroin arranged by David Lang for cello, voice & electronics - cello: Maya Beiser / composer: Lou Reed - tranceclassical - Innova (2016) https://www.innova.mu/albums/maya-beiser/tranceclassical    Violin Phase (1967) for violin and pre-recorded tape - violin: Shem Guibbory / composer: Steve Reich - From The Kitchen Archives No. 2: Steve Reich & Musicians, Live 1977 - Orange Mountain Music (2005) https://stevereich.com/composition/violin-phase/    Music for Player Piano (and computer) - James Tenney - Selected Works 1961-1969 - New World Records (2003) https://www.newworldrecords.org/collections/james-tenney/products/james-tenney-selected-works-1961-1969    Lowland Side (excerpt) - M.C. Schmidt - Batu Malablab Suite for Prepared Piano, Flute and Electronics - digital release (2014) https://matmos.bandcamp.com/album/batu-malablab-suite-for-prepared-piano-flute-and-electronics 

EPISODE 118: Volker Bertelmann aka Hauschka is an international acclaimed pianist, composer and experimental musician. In 2023 he was honored with an Academy Award and a BAFTA in the Best Score category for his work on All Quiet on the Western Front (directed by Edward Berger). His score to Garth Davis' Oscar-nominated film Lion, which he composed in collaboration with Dustin O'Halloran, was nominated for multiple awards: Oscar for Best Original Score, Golden Globe for Best Original Score, Best Score at the Critics' Choice Awards, and for Best Film Music at the BAFTAs. Bertelmann has provided music for several leading films and television series. He composed the score for Patrick Melrose, The Old Guard, Stowaway, the episode “Red Book” from Black Mirror, and Life After Life for BBC. He also composed film scores for Adrift, the 2018 romantic drama directed by Baltasa Kormákur, and, again in collaboration with O'Halloran, for Ammonite, which was short-listed for The Academy Awards in 2020. In 2022, he scored War Sailor, which was an official selection at the Toronto International Film Festival. Volker Bertelmann has just worked with Oscar-winning director Edward Berger again on the film Conclave, which was presented at the Toronto Film Festival in 2024. Bertelmann, who in his solo work goes by the name Hauschka, is a uniquely innovative pianist; he is renowned both for his trademark sound, which he achieves by preparing the piano with various small objects, and his ability to improvise entire performances. His output is prodigious: he tours extensively, and has produced over twenty albums and EPs, both solo and in collaboration with others. He has worked, among many others, with the MDR Leipzig Radio Symphony Orchestra, where he was the artist in residence, with Múm, the Icelandic experimental musical group, and with the Grammy-winning violinist Hilary Hahn. hauschka-net.deContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

This week we headed back online to chat to internationally acclaimed concert pianist and film star Clare Hammond (ok, ok, maybe it was one film but she was playing a young Dame Maggie Smith so come on!)We chatted to Clare ahead of her concerts at this year's Cheltenham Festival - thanks to the wonderful Dan Hartland for setting up this conversation. Clare talks about the exciting programme for her solo concert, centering around a new commission by Sun Keting.She talks about the dos and don'ts of prepared pianos, top venues, music for left hand piano and the joys in discovering some great yet little known composers - have you heard of Hélène de Montgeroult? We certainly hadn't but Clare tells us about her unbelievable background…We also discuss recent Clare's foray into acting - and try to talk her into a Netflix series. We were definitely more into this idea than she was!To book tickets for Clare's concerts at the Cheltenham Festival and check what else is going on, click here; https://www.cheltenhamfestivals.org/events/clare-hammondTo find out more about Clare, you can visit her website; https://clarehammond.com/SUPPORT THREE IN A BAR ON PATREONJoin our Members' Club for a bonus podcast feed plus many more rewards.Click here: https://www.patreon.com/threeinabarInstagram @threeinabarpodTiktok @threeinabarpodThree In A Bar on YoutubeAnything you'd like to share with us? Any guests you'd love to hear or anything you'd like us to do better? Drop us a line at hello@threeinabar.com Click here to join the Members' Club on Patreon! Hosted on Acast. See acast.com/privacy for more information.

Auf ihrem neuen Album “Bach UnCaged” kombinieren die Pianistin Mina Cajić und der Violinist Zachary Carrettin Johann Sebastian Bachs Violinsonate in G-Moll mit John Cages „Sonatas and Interludes for Prepared Piano“ – und erschaffen einen neuen Hör-Raum, in dem das Altbekannte ganz ungewohnt klingen darf. Hannah Schmidt hat sich die CD angehört.

Episode: 2053 A reflection on John Cage and his silences.  Today, guest scientist Andrew Boyd goes silent.

Compositor, teórico musical, artista, filósofo, ensayista y poeta, es un nombre crucial en la renovación musical de la segunda mitad del siglo XX, aparte de una de las claves culturales de la era moderna. Su música está estrecha mente unida a sus ideas; su presencia, al happening._____Has escuchadoIn a Landscape. Dream (1948). Stephen Drury, piano. Catalyst (1994)In a Landscape. In a Landscape (1948). Stephen Drury, piano. Catalyst (1994)Sonatas and Interludes for Prepared Piano (1946-48). Boris Berman, piano. Naxos (1999)The Choral Works I. Living Room Music for Percussion and Speech Quartet (1940). Ars Nova, coro; Tamás Vetö, director. Mode (1998)_____Selección bibliográficaBARBER, Llorenç, John Cage. Círculo de Bellas Artes, 2018*BROWN, Richard H., Through the Looking Glass: John Cage and Avant-Garde Film. Oxford University Press, 2019CAGE, John, Silencio. Árdora, 2012*—, Escribir en el agua: Cartas (1930-1992). Editado por Laura Kuhn. Caja Negra, 2021*CHARLES, Daniel, Gloses sur John Cage. Desclée de Brouwer, 2002CROSS, Lowell, “Reunion: John Cage, Marcel Duchamp, Electronic Music and Chess”. Leonardo Music Journal, n.º 9 (1999), pp. 35-42*DICKINSON, Peter, CageTalk. Dialogues with and about John Cage. University of Rochester Press, 2014FETTERMAN, William, John Cage's Theatre Pieces: Notations and Performances. Routledge, 2010*FORNEL, Anne de, John Cage. Fayard, 2019GRUBBS, David, Les disques gâchent le paysage: John Cage, les années 1960 et l'enregistrement sonore. Les Presses du Réel, 2015*HAEFELI, Sara, John Cage: A Research and Information Guide. Routledge, 2017IDDON, Martin, John Cage and David Tudor: Correspondence on Interpretation and Performance. Cambridge University Press, 2015JOSEPH, Branden W., “John Cage and the Architecture of Silence”. October, vol. 81 (1997), pp. 81-104*—, Beyond the Dream Syndicate: Tony Conrad and the Arts After Cage. Zone, 2011*KAHN, Douglas, “John Cage: Silence and Silencing”. The Musical Quarterly, vol. 81, n.º 4 (1997), pp. 556-598*KOSTELANETZ, Richard, Conversations avec John Cage. Syrtes, 2000NICHOLLS, David, John Cage. Turner, 2009NICHOLLS, David (ed.), The Cambridge Companion to John Cage. Cambridge University Press, 2002PARDO, Carmen, “De la partitura gráfica al paisaje sonoro de John Cage”. Música y Educación: Revista Trimestral de Pedagogía Musical, año 10, n.º 32 (1997), pp. 31-40*—, La escucha oblicua: una invitación a John Cage. Sexto Piso, 2014*PRITCHETT, James, The Music of John Cage. Cambridge University Press, 1993RETALLACK, Joan, Music: John Cage en conversación con Joan Retallack. Metales Pesados, 2013ROBINSON, Julia, La anarquía del silencio: John Cage y el arte experimental. Museu d'Art Contemporani de Barcelona, 2009*—, John Cage. The MIT Press, 2011TONE, Yasunao, “John Cage and Recording”. Leonardo Music Journal, n.º 13 (2003), pp. 11-15* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

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

Greetings! Phase One of the program features some new music and an extended piece from M.C. Schmidt (one half of Baltimore favorites, Matmos), while Phase Two extols the glories of music composed for and made with toy pianos! (I've got two of them myself.) Enjoy Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1     3-4-23 PTE Playlist   Condition Safety - Imrryr - The Black Corridor - digital album (2022) https://imrryr.bandcamp.com/album/the-black-corridor     Bach Strips - David Currington - Canon Chops - Difficult Art & Music (2023) https://difficultartandmusic.bandcamp.com/album/canon-chops    Cheat Codes - Autumna - Secret Radio - Werra Foxma (2022) https://autumna.bandcamp.com/album/secret-radio    Piano (1964) - Tremolo Audio - States - Facade Electronics (2022) https://facadelectronics.bandcamp.com/album/states    Mountain Side - M.C. Schmidt - Batu Malablab Suite for Prepared Piano, Flute and Electronics - digital album (2014) https://matmos.bandcamp.com/album/batu-malablab-suite-for-prepared-piano-flute-and-electronics    Part VI - George Winstone w/ Ben Monder - Odysseus- digital self-release (2023) https://georgewinstone.bandcamp.com/album/odysseus    Shapard's Pi - toy piano: Genevieve Feiwen Lee / composer - electronics: Tom Flaherty - Mixed Messages - New Focus Recordings (2022) https://tomflaherty.bandcamp.com/album/mixed-messages    Many Little Dyings - sampling keyboard/composer: Kyle Gann / voice: Kenneth Patchen - Custer and Sitting Bull - New World Records (2018) https://www.newworldrecords.org/products/kyle-gann-custer-and-sitting-bull?_pos=2&_sid=cad1e7cfc&_ss=r&variant=31809796243535    Suite for Toy Piano - toy piano: Stephen Drury / composer: John Cage - In a Landscape - Catalyst (1994)   Toy Piano Jump - Johnny Messner And His Hotel McAlpin Orchestra - The Uncollected 1939 - Hindsight Records (1982) https://www.hindsightrecords.com/uncollected-collections    Disaster - The Residents feat. Snakefinger - Diskomo 2000 - East Side Digital (2000) https://meettheresidents.fandom.com/wiki/Diskomo_2000    Frankentoy - Twink The Toy Piano Band - Happy Houses - digital album (2014) https://toypianoband.bandcamp.com/album/happy-houses    An Wem: Notes From Underground - toy piano:  Xenia Pestova / composer - electronics: Derek Hurst - Shadow Piano - Innova (2013) https://www.innova.mu/albums/xenia-pestova/shadow-piano    Modern Love Waltz - toy piano: Margaret Leng Tan / composer: Philip Glass - The Art of the Toy Piano - Point Music (1997) https://www.margaretlengtan.com/pages/recordings.html   Three Landscapes for Peter Wyer - toy piano: Margaret Leng Tan / composer: Jed Distler - The Art of the Toy Piano - Point Music (1997) https://www.margaretlengtan.com/pages/recordings.html           

"Hauschka" is the solo project of German pianist, composer and producer Volker Bertelmann.Volker's approach to music is described as "Prepared Piano", a technique which sees him experiment with the piano by placing objects between the strings to create new and unique sounds. It is a technique which he discovered completely by accident, before he found that other pianists have been doing the same thing, going back as far as the 1940's, and that there was a name for it.Join Jay and Jesse as they discuss Volker's history and approach to music. Plus hear some choice selects, as well as possibly some embarrassing old material from Volker's early days in music."Roots to Grooves" is a production of SIGNL.https://www.signlradio.comhttps://www.instagram.com/signlradiohttps://www.twitter.com/signlradiohttps://www.facebook.com/signlradiohttps://www.mixcloud.com/signlhttps://open.spotify.com/user/96mhz6qfjoztxbl2dpm0uj903?si=aAZpsoEnRAKdx85kr1QWhg

Doug and Kirk both have large music libraries. They discuss some of the problems of having too much music, and how to wrangle a large library of music files. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Support The Next Track (https://www.patreon.com/thenexttrack). ‌Show notes: Cull (https://www.merriam-webster.com/dictionary/cull) Take Control of macOS Media Apps (https://www.takecontrolbooks.com/media-apps/) Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists, Kay Larson (https://amzn.to/3r2ahQx) Episode #130 - Desert Island Discs, Part 1 (https://www.thenexttrack.com/133) Episode #133 - Desert Island Discs, Part 2 (https://www.thenexttrack.com/136) Episode #69 – Brian Brandt of Mode Records on John Cage, Morton Feldman, and the Music Business (https://www.thenexttrack.com/72) Our next tracks: John Cage: Sonatas & Interludes for Prepared Piano, Philip Vandré (https://amzn.to/3FIHoN9) The Dickies - Dawn of The Dickies (https://amzn.to/3xhd3Cy) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

DescriptionJohn Cage's music is loved by many and hated by some. After him, no one could look at a painting, book, or person without considering how they might sound if you listened closely. Join me, as we take a minute to get the scoop!Fun FactIn the 1970s, with inspirations like Thoreau and Joyce, Cage began to take literary texts and transform them into music. “Roratorio, an Irish Circus on Finnegan's Wake” (1979), was an outline for transforming any work of literature into a work of music.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

Saturday 21 August: Irish muso Conor O'Brien aka Villagers, preparing the piano for Tabula Rasa, and R Murray Schafer remembered

Proseguimos en nuestra serie de cinco emisiones dedicadas a celebrar la aparición de “Ólobo”, un volumen de excepcional importancia en el ámbito editorial vinculado al arte sonoro y las músicas experimentales. Con el artista, investigador y profesor José Antonio Sarmiento como artífice, esta gruesa publicación compila en formato libro todos los contenidos aparecidos originalmente en la revista digital de arte sonoro del mismo título, que a partir del año 2000 se dedicó a estudiar el trabajo experimental de artistas que trabajan con la voz, el ruido, la acción musical o el radioarte, entre otras muchas posibilidades. Cada programa de esta serie radiofónica glosará los contenidos de uno de los cinco números de la revista reunidos en el libro que presentamos. Este volumen, ya disponible en librerías, ha sido recientemente publicado por la Universidad de Castilla – La Mancha, concretamente a través de su prestigioso Centro de Creación Experimental, vinculado a la Facultad de Bellas Artes (ubicada en la ciudad de Cuenca) y dirigido por José Antonio Sarmiento, que ha desempeñado allí desde hace décadas una fundamental labor magistral. El cuarto de los números de la revista “Ólobo” (aparecido originalmente en el año 2003) contiene los textos titulados: “Ver; oír: Fluxus” y “Nam June Paik, compositor”, ambos de Michael Nyman; una entrevista con Allan Kaprow, de Joan Marter; “La instalación sonora”, de Manuel Rocha Iturbide y “Estética post-cageana y la partitura ‘evento’”, de Liz Kotz. En esta emisión leemos algunos extractos de esos textos, que escuchamos junto a una serie de audiciones vinculadas a ellos: “Prepared Piano for Merce Cunningham”, “Duett Paik/Takis” y “Hommage à John Cage”, todas ellas compuestas e interpretadas por Nam June Paik. En el inicio de cada uno de los programas de esta serie escuchamos, además, una versión del poema fonético “Karawane”, compuesto por el dadaísta Hugo Ball en 1916 y presentado en el contexto del Cabaret Voltaire. Ese poema incluye una palabra sin significado (o con todos los significados), “ólobo”, que José Antonio Sarmiento escogió para dar nombre a esta revista/libro. En este cuarto episodio de nuestra serie, la interpretación de “Karawane” que escuchamos al inicio corresponde a Anat Pick. Escuchar audio

Porest - "Zone de Silence" Porest - "The Water" Ergo Phizmiz - "Smallpox Baby" Buttress O’Kneel - "Optimize or Die (full piece here https://wfmu.org/playlists/shows/66365)" Svantana - "Pink - Get The Party Started (Svantana's Party Mix)" Svantana - "Hall Oates Go For Shuffle" Robert Ashley - "The Bar (Side B)" Stereolab - "Wow And Flutter (7 EP Version - Alternative Mix)" Optiganally Yours - "Tipsy Remix" Matmos - "Action at a Distance" Matmos - "For The Trees (Return)" Music behind DJ: 101 Strings - "Theme From A Summer Place" Music behind DJ: Matmos Interview [https://matmos.bandcamp.com/] Matmos - "Friendsylum" Music behind DJ: Matmos Interview Music behind DJ: Matmos Interview Matmos - "Cold Open" Music behind DJ: Matmos Interview Matmos - "Cocktail Party How Glad Am I" Music behind DJ: Matmos Interview Matmos - "All of the Powers Lie Quiet" Music behind DJ: Matmos Interview Matmos - "Excerpt from ON THE TEAM CD2 from The Consuming Flame" Music behind DJ: Matmos Interview Soft Pink Truth - "In School" [https://accidentalrecords.bandcamp.com/album/do-you-want-new-wave-or-do-you-want-the-soft-pink-truth] Soft Pink Truth - "Kitchen" Matmos - "I'm Fine I'm Fine" Matmos - "Boomchicka" Music behind DJ: Matmos Interview M.C.Schmidt - "Lowland Side from Batu Malablab Suite for Prepared Piano, Flute and Electronics" [https://matmos.bandcamp.com/album/batu-malablab-suite-for-prepared-piano-flute-and-electronics] Music behind DJ: Matmos Interview Mighty-Mike - "Imagine A Jump Van Halen vs. John Lennon" Go Home Productions - "Imagine The Game" Go Home Productions - "Imagine The Thriller (remix)" Music behind DJ: Matmos Interview Music behind DJ: Matmos Interview Music behind DJ: Matmos Interview The Soft Pink Truth - "We from Shall We Go On Sinning So That Grace May Increase" [https://thesoftpinktruth.bandcamp.com/album/shall-we-go-on-sinning-so-that-grace-may-increase] Music behind DJ: Matmos Interview Music behind DJ: Matmos Interview [https://www.ableton.com/en/blog/matmos-making-their-free-sample-pack/] Porest - "Zone de Silence" Yann Tomita and the Doopees - "Doopee Time" Polo & Pan - "Nana" Domenique Dumont - "Arrival" Carl Stone - "Jugged Hare" Music behind DJ: Percy Faith - "Theme From A Summer Place" Buttress O'Kneel - "Live Forever" Poj Masta - "Socialist Catholic Mutilation" Melania Trump - "RNC RICKROLL" Flashlight - "RickRoll'd but the vocals keep getting higher" Susboy - "Never Gonna Hit Those Notes" MMM - "Don't You Ever Give Up Wanting Me Baby" Lockarm then Svantana with Vicki "helping" on Shittyflute - "Workin' In A Cocktail Bar" Wobbly - "Shipping Forecast White Falling" Music behind DJ: Percy Faith - "Summer Place '76 [Theme from 'A Summer Place']" PEOPLE LIKE US ON SHEENA'S JUNGLE ROOM STREAM 1 JAN [https://wfmu.org/playlists/AY] The Muppets - "All Together Now" ELO and Olivia Newton-John - "Xanadu" https://www.wfmu.org/playlists/shows/99330

Ep. 141: David Korevaar, "You can access the world, it's not easy to reach the world..." Let's Talk Off The Podium with Tigran Arakelyan. In this episode Korevaar talks about his studies with Earl Wild and David Diamond, recordings, teachings and much more. Hailed for his “wonderfully warm, pliant, spontaneous playing” by the Washington Post, award winning pianist David Korevaar is in demand as a soloist, chamber musician and collaborator. Korevaar has performed and given master classes throughout the United States, Europe, Asia, and Central and South America. Recent highlights include recitals and master classes in Taipei, and a tour of Brazil, with recitals and master classes in São Paulo, Porto Alegre, Rio de Janeiro, João Pessoa, Recife and Natal. He has also concertized and given master classes in Kazakhstan and Tajikistan as part of the U.S. State Department’s Cultural Envoy program and taught at the Afghanistan National Institute of Music (ANIM) in Kabul. Korevaar’s active career includes solo performances with the Rochester Philharmonic, Colorado Symphony, Louisville Orchestra, Japan’s Shonan Chamber Orchestra, Brazil’s Goiania Symphony, and with acclaimed conductors Guillermo Figueroa, Per Brevig, Stanislaw Skrowaczewski and Jorge Mester. His performance of John Cage’s Concerto for Prepared Piano and Chamber Orchestra under the direction of Paul Zukofsky was praised by the New York Times “as admirably projected in the devoted and lovely performance of David Korevaar.” David was honored to work with Cage to prepare the concerto. © Let's Talk Off The Podium, 2020  

Dr. Sophia Tegart returns for a fascinating conversation about the life and times of composer John Cage.Prepared piano performance is from Richard Bunger’s performance, and can be found here: https://archive.org/details/AM_1973_05_17Usage of this recording is through the Creative Commons license found here: https://creativecommons.org/licenses/by-nc-nd/3.0/Support the show (http://www.patreon.com/caseybozell)

12-Stunden-Lesung des „Gesetzes über die Bildung einer neuen Stadtgemeinde Berlin“, == Modell Berlin „Erste Lesung GBG“ 12-Stunden-Lesung des „Gesetzes über die Bildung einer neuen Stadtgemeinde Berlin“, gesammelter Mauer-Inschriften und des „Passagenwerks“ von Walter Benjamin mit Autoren der Kolumne „Modell Berlin“ und Anrainern des Kulturforums Konzert für Prepared Piano und E-Gitarre und Zuspielband „Berliner Skizzenbuch” UA von und mit Michael Busch == Radio Woltersdorf: Modell Berlin Eine zweistündige Liveübertragung aus Woltersdorf.

Artists and musicians can inspire each other's work, even though they use different materials and techniques! We’ll learn about some of the ways that art and music intersects, and we’ll take a turn being inspired ourselves. *** Featured musical excerpts: George Gershwin: An American in Paris, New York Philharmonic conducted by Leonard Bernstein Jane Ira Bloom: Jackson Pollack, from Chasing Paint: Jane Ira Bloom Meets Jackson Pollack John Cage: Sonata V, from Sonatas and Interludes for Prepared Piano, performed by Giancarlo Cardini *** National Standards incorporated: Understanding relationships between music, the other arts, and disciplines outside the arts Understanding music in relation to history and culture *** Additional resources: Wassily Kandinsky: 100 Famous Paintings Analysis and Biography Jackson Pollock: 100 Famous Paintings Analysis and Biography Pablo Picasso: 150 Famous Paintings, Bio & Quotes by Picasso A Sunday Afternoon on the Island of La Grande Jatte *** Donate to support this and future seasons of The Music Box.

Wherein: Steve and Adrienne discuss the danceable Dada of Mission Of Burma Scroll down to play podcast.           Academy Fight Song at Discogs                         Academy Fight Song Live 2008 from You Tube                       Ace Of Hearts Records Site             Max Ernst at MoMA               Roger Miller  Site                       DePaul University Page on Prepared Piano             Greenville County Museum Of Art                       The 5000 Fingers of Dr. T at Letterboxd                             Birdsongs Of The Mesozoic Site             Dada Art Movement at the Tate Gallery                   Volcano Suns Page at Merge Records               Ackland Museum, UNC   Black Mountain College Museum, Asheville NC             Mission Of Burma VS. LP at Discogs                                    

"Well Prepared Piano" heißt das aktuelle Album von Mathias Halvorsen: Bach mit vier Mal anders präpariertem Klavier. Ein modernes Hörerlebnis, bei dem Musiker und Instrument großartig verschmelzen. Wie man sowas dann aufnimmt? Tonmeister Johann Günther erzählt es im SWEET SPOT-Studio.

Another world-spinning episode of Blistering Listens & Strange Sounds! Tracklist 1. Oneohtrix Point Never - "The Station" 2. Sun Ra & His Arkestra - "Nuclear War (Improvisation)" 3. Colin Newman - "Life on Deck" 4. Boys Ride Bikes - "Somagwaza II" 5. Men I Trust - "Show Me How" 6. Sudan Archives - "Nont For Sale" 7. Nick Hakim - "Green Twins" 8. Kelly Moran - "Nyght Spel" 9. Tanukichan - "Lazy Love" 10. Jay Som - "Remain" 11. The Microphones - "The Moon" 12. Mdou Moctar - "Sibelou" 13. Miharu Koshi & Haruomi Hosono - "Hotel Etoiles" 14. Mika Vainio + Ryoji Ikeda + Alva Noto - "Movement 4"

Today we’re getting to speak with someone we’ve been hearing about for years, Forrest Kinney. He’s the author of the Pattern Play series of piano books which you might remember past guests Natalie Weber and Sara Campbell both mentioned as being fantastic for helping students get “off the page” and start to be more creative in their music-making.   He’s actually the author of 35 music learning books. He’s also a highly in-demand speaker, giving presentations on all the interesting things we’ll be talking about today, and still regularly performs, including dozens of private appearances at a certain billionaire’s house - stay tuned to hear about that.   In this conversation we talk about: • Forrest’s own musical beginnings and whether such a creative musician as himself credits talent for that creative success • The 4 Arts of Music that you can pick from and blend to find your own true identity as a musician • A creative way to think about music theory - and his opinion on scales that often gets him in trouble!   If you’ve ever felt like learning to play sheet music note by note just wasn’t the right fit for you as a musician, or you’ve felt the urge to create even though you don’t consider yourself “a creative”, you’re going to love this episode.   We should mention there were a couple of bits here where our connection got a bit patchy and you might hear a few short cut-outs - stick with it, they were very short sections and we don’t think they’ll affect how much you’ll get out of listening to this.   Subscribe For Future Episodes! Apple Podcasts | Android | Stitcher | RSS   Full Show Notes and Transcript: Episode 066   Links and Resources • Forrest Kinney’s website • Forrest’s books - including Pattern Play    • Interview with Natalie Weber • Interview with Sara Campbell • Creating a Prepared Piano for the piece “Persia”   Enjoying the show? Please consider rating and reviewing it! Click here to rate and review

Jeannette sits down with composer, teacher, and music observer Garrett Schumann. Garrett is someone who’s constantly thinking about music and its place in society and culture, and conversation with him is always interesting and thought provoking as a result. They … Continued

We welcome Laura Kuhn, executive director of the John Cage Trust, to discuss the life and legacy of composer John Cage. “I am most interested in music that doesn't say anything.” John Cage, 1991 This week’s guest: Laura Kuhn, executive director of the John Cage Trust Show notes: The Selected Letters of John Cage John Cage Unbound: A Living Archive (New York Public Library) Episode #69 – Brian Brandt of Mode Records on John Cage, Morton Feldman, and the Music Business Diary: How To Improve The World (You Will Only Make Matters Worse) (1991) John Cage / Morton Feldman: Radio Happenings I – V John Cage & Morton Feldman Radio Happenings (book and DVD) John Cage performing Water Walk on I’ve Got a Secret (1960): John Cale on I’ve Got a Secret (1963): Mesostics Begin Again: A Biography of John Cage 4’33” (Wikipedia) No Such Thing as Silence: John Cage’s 4’33” The Curious Score for John Cage's “Silent” Zen Composition 4'33” 4’33” score Freeman Etudes (Books One & Two), Freeman Etudes (Books Three & Four) Number Pieces (Wikipedia) Ryoanji Drawings Recommended pieces; Apple Music links: String Quartet in Four Parts, Lasalle Quartet Sonatas & Interludes for Prepared Piano (first recording by Maro Ajemian) 74 Third Construction Cheap Imitation Ryoanji Our next tracks: Kirk: ECM playlist Doug: Ben Waters: Boogie 4 Stu – A Tribute to Ian Stewart If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast. Special Guest: Laura Kuhn.

As this visit to the festival draws to a close, Frank reflects on how the variety of offerings at the Spoleto Festival USA enhances the experience of attending events. Read the Full Dispatch > Several of the people from the Spoleto Festival USA I’ve interviewed for this series have expressed the same idea: that attending these varied events in close proximity to each other gives you an enhanced appreciation for each event that you might not have otherwise. As the end of my latest visit to the festival draws near, I can heartily confirm that’s true. Some of the concerts I’ve attended have distilled that concept to its most basic. For example, the Dialogues recital given by the brilliant pianist Pedja Muzejevich as part of the Music in Time series. He gave a performance at the Simons Center Recital Hall at the College of Charleston that juxtaposed the familiar language of Haydn piano sonatas with much more unusual works, such as John Cage’s Bacchanal for Prepared Piano, which at times makes the piano sound like a rhythmic machine, and in slower passages like an exotic Asian instrument. Having that type of sound experience gives you fresh perspective on how Haydn sounds now, and how his music might have sounded when it was first heard. Other combinations aren’t as stark in contrast, but just as meaningful. My favorite was the coupling of two works for chorus and orchestra by Ralph Vaughan Williams in one part of a concert, with the Mozart Great Mass in the other. Comparing Mozart’s stately yet profound religious expression with the lush and rapturous writing of Vaughan Williams made the qualities of each composer’s work stand out all the more. Of course, I would have enjoyed that program in any event since it featured one of my all-time favorite pieces. The Serenade to Music by Vaughan Williams featured exquisite solo violin work by the uncredited concertmaster, as well as beautiful vocal solos from soprano Sherezade Panthaki and tenor Jamez McCorkle (who also stood out during this festival for his moving rendition of Lensky’s aria in Tchaikovsky’s opera Eugene Onegin ). The pairing of Mahler’s 4 th Symphony with a contemporary orchestral piece was another concert program which worked wonderfully well. Anna Thorvaldsdottir’s atmospheric Dreaming (with its rumblings, chirps, groans, cracks and other sonic effects) brought to my mind images of great whales swimming in frozen seas, and majestic glaciers drifting in icy flows. Its introspective quality was offset nicely by the exuberant Mahler, which under John Kennedy’s direction was everything music by that composer can be. Imaginative, quirky, mercurial and sublime, the score frequently built to spine-tingling explosions of orchestral color perfectly modulated by the Spoleto Festival USA orchestra. Similarly, the contrast between the three opera productions made each more memorable. After the mannered Baroque approach of Vivaldi’s Farnace, and the austere modernity of Quartett by Luca Francesconi, Tchaikovsky’s Eugene Onegin seemed the pinnacle of lush Romanticism. It was also distinguished by the cinematic staging of director Chen Shi-Zheng, which used projected film of the striking soprano Natalia Pavlova (in close-up as well as silhouette) to take us into the inner life of her character, Tatyana. I also admired the forest of stylized birch trees that formed the main feature of the set (though they did cramp the choreography a bit in the ball scene that features some of Tchaikovsky’s most familiar opera music, the famous waltz and polonaise from the score which have become concert staples). The staging of Lensky’s aria was stunningly beautiful yet simple: the stage stripped bare all the way back to the walls of the backstage area, with both real and projected snowflakes swirling against the black background conveying Lensky’s desolation as he awaits the duel which he may not survive. Despite the embarrassment of artistic riches I’ve enjoyed over the past couple of weeks, there’s so much I didn’t have a chance to catch, so I guess a return visit for a future season is in order. After this experience, I certainly won’t hesitate to come back.

Composer and Princeton professor Dan Trueman is the inventor of a new instrument combining man and machine: the prepared digital piano. His Nostalgic Synchronic is a series of etudes that showcase the interactive instrument's capabilities, combining old-fashioned composition with responsive elements that anticipate the future of music performance. Like John Cage's Sonatas & Interludes for Prepared Piano, Nostalgic Synchronic is at once pleasantly familiar – drawing on traditions of Bach, and as Trueman notes, the Hungarian composer György Ligeti – and charged with unexpected colors and nuances. Last October, we joined Trueman and Sō Percussion's Adam Sliwinski (for whom the pieces were written) backstage at Le Poisson Rouge for conversation and musical demonstration followed by a live performance of Nostalgic Synchronic. Download Dan Trueman's Nostalgic Synchronic as part of Season Two of LPR Live, with host John Schaefer. Listen to trailblazing new music performed live at Le Poisson Rouge, and enjoy interactions with artists and audience members. Subscribe to LPR Live on iTunes or wherever you get your podcasts. 

That’s not a violin – it’s a woodbox! Daniel Bernard Roumain talks about creative appropriation in classical music. The Haitian-American composer’s creative world was cracked open when he realized that everything – including the definition of “violin” – was ripe for reinterpretation. As a kid in garage bands, he took the decidedly uncool violin and made it his own. As a classically trained musician, he brings classical music together with hip hop, rock, bluegrass, and other genres to create his signature sound. We talk about DBR’s creative journey and about how innovators like John Cage have changed classical music by adding an important ingredient to the genre: imagination. Audio production by Todd “T-Dawg” Hulslander with super disco breaking by Dacia Clay. Music in this episode: Lots of woodbox improvisation by Daniel Bernard Roumain “Sonata No. 2” from Sonatas and Interludes for Prepared Piano by John Cage, played by Boris Berman “Sonata for Violin and Turntables, Part 1” from Woodbox Beats & Balladryby Daniel Bernard Roumain To see DBR perform in our studios on Skyline Sessions, go here. Daniel Roumain is an artist in residence with the Cynthia Woods Mitchell Center for the Arts, which is dedicated to interdisciplinary collaboration across the performing, visual, and literary arts. Based at the University of Houston, the Mitchell Center commissions and produces new works, presents public performances and exhibitions, offers curriculum and scholarships, and hosts residencies with renowned visiting artists from throughout the world. The Center is home to the Mitchell Artist Lecture, an annual event featuring a pioneer in contemporary art-making, as well as CounterCurrent, an annual spring festival of new performance. The Mitchell Center forms an alliance among five departments at UH: the School of Art, Moores School of Music, School of Theatre & Dance, Creative Writing Program, and Blaffer Art Museum. For more information visit www.mitchellcenterforarts.org.

On paper John Cage and Domenico Scarlatti—the experimental American composer and the late-Baroque keyboard maverick—make for an odd juxtaposition. But where some might hear contrast in the sonatas of this unlikely couple, pianist David Greilsammer hears complement. This episode of LPR Live features the Israeli virtuoso live in performance of four sonatas, two each by Cage and Scarlatti. These performances are extracted from a larger recital by Greilsammer at (Le) Poisson Rouge that mirrors his 2014 Sony Classical release, “Scarlatti : Cage”. The most jarring feature of these pieces is that their sound worlds are completely different, something that Greilsammer exploits in performance by swiveling quickly between two pianos: one for Scarlatti, a traditional, unadulterated instrument; the other for Cage, which is prepared with nuts, bolts, plastic, and rubber according to specifications by the composer. Greilsammer discusses this peculiar treatment of the piano, the unlikely similarities between these two composers, and their shared reverence of folk music. He’s joined “from the archives” by Cage himself, who philosophizes on the nature of music and the power of listening to nothing at all. This episode features Dominico Scarlatti's A-minor Piano Sonata K.175, A-Major Piano Sonata K.492, and John Cage's Cage Prepared Piano Sonatas 5 & 12 performed by David Greilsammer on pianos, with interviews from pianist David Greilsammer, and archival WNYC interviews from composer John Cage. This concert was recorded live at at Le Poisson Rouge in New York City on May 27, 2014. Listen to the complete show here. John Cage’s Sonatas for Prepared Piano were featured by permission of C.F. Peters Corp, all rights reserved.

The rich and colourful sound world of Erik Griswold's prepared piano.

The rich and colourful sound world of Erik Griswold's prepared piano.

Greetings!  Remember me? While “Pushing The Envelope” has continued with its radio presence, airing on Saturday mornings from 10 – Noon EST on WHUS / Storrs, CT (tune in: http://www.whus.org/listen-live ).  The podcast, on the other hand, has had to take a back seat to grad school.  That being said, it’s not every day we have the opportunity celebrate John Cage’s 100th birthday. Enjoy! Joel Episode 16: John Cage 100th Birthday PTE Podcast (9-8-12) Dream / A Room         composer: John Cage / piano: Bruce Brubaker           Glass Cage Arabesque Recordings (2000) The Seasons    composer: John Cage / American Composers Orchestra, cond. Dennis Russell Davies            The Seasons    ECM New Series (2000) Five / Songbooks        Singer Pur       Electric Seraphim       KuK (1998) 4'33" - live radio performance            composer: John Cage Suite for Toy Piano     composer: John Cage / toy piano: Stephen Drury                 In A Landscape       Catalyst (1994) Williams Mix (1952)  John Cage        OHM: the early gurus of electronic music Ellipsis Arts (1999) Six (1991)       composer: John Cage / percussion: Glenn Freeman    Three2 / Twenty-Three / Six / Twenty-Six         Ogre Ogress (1999) http://ogreogress.com/ One6 A (1990)            composer: John Cage / violin: Christina Fong       ONEviolin            Ogre Ogress (1998) http://ogreogress.com/ In A Landscape           composer: John Cage / piano: Margaret Leng Tan Musicworks #52      Musicworks (1992)   http://www.musicworks.ca/ Sonatas I - IV for prepared piano        composer: John Cage / prepared piano: Boris Berman            Sonatas and Interludes for Prepared Piano      Naxos (1999) http://www.naxos.com

SF Brownrigg - "Don't Look in the Basement" - video clip Synthesizers Unlimited - "Toytown Carousel" - Electric Bazaar Helen & Dick Bouchard - "Nobody Wears A Frown In Tweekertown" - Introducing the Unique Keyboard Sounds of Helen & Dick Bouchard Luciano Berio - "Fa-Si" - Works for Solo Instruments Unknown Bollywood Movie Ornette Coleman - "Rock the Clock" - Complete Science Fiction Sessions François Dufrêne - "Paris-Stockholm" - Text-Sound Compositions Juan Carlos Calderón - "Vengeance of the Zombies" - Soundtrack Forty Pizza Roll Challenge Douglas Quinn - "Weddel Seals" - Antarctica Commode Minstrels In Bullface - "Side 1 Excerpt" - Fantastic Picnic Singapore Sling - "Electrocuting Singapore Sling" Tom Dissevelt - "Vibration" - Early Dutch Electronic Music Kryzstof Penderecki - "Allegro Molerato" - Clarinet Quintet/Sextet Broken Penis Orchestra - "Pulling it Out" - Oral Copulation Arnold Schoenberg - "Die Kreuze" - Pierrot Lunaire [(Jan DeGaetani with the Contemporary Chamber Orchestra)] Tony Schwartz - "Sound Snapshots" - The Sound of Children Sparks - "Tryouts for the Human Race" - #1 in Heaven John Cage - "First Interlude" - Sonatas and Interludes for Prepared Piano [(piano: Boris Berman)] Jackson Mac Low - "Piece for Sari Dienes" - Tellus #24: Fluxtellus Wm. Berger - "rat this rat room is my rat castle of rat quiet" - Castle of Quiet Ikhou Van Holland - "Da Arabier" - Famous Dutch Street Organs 0th - "Germany" - Tammy Enzo Minarelli - "Oscibil" - V/A: Babble Gluttony - "Marius Engages the Teutons" - Collapse of the Roman Empire The Fibonaccis - "Somnambulist" - (fi-bo-na-chez) https://www.wfmu.org/playlists/shows/31188