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In the first of two episodes on De Materie, we explore Louis Andriessen's groundbreaking masterpiece with biographer Jacqueline Oskamp. We trace the influences behind this pivotal work - from the pressure of Andriessen's earlier successes to the political and musical ideals that shaped his 1980s style. The episode highlights the piece's structure, its bold musical logic, and the key collaborations with Jan van Vlijmen and Robert Wilson that helped form its distinctive character. We end with a preview of Episode Two, featuring a former student offering his own view on Andriessen and his legacy. Music:  Louis Andriessen - De Materie played by Asko|Schönberg and Reinbert de Leeuw  https://www.youtube.com/playlist?list=OLAK5uy_nNB6P-Q3PRGxAlesE6MVMuv0s-JJmc6D8    

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.

Bij de naam Jaap Spaanderman gaat er misschien niet meteen een belletje rinkelen. Toch hebben de volgende bepalende musici allemaal les gehad van deze pedagoog oa.: Hans Vonk, Reinbert de Leeuw, Ed Spanjaard, Guus Janssen, Jaap van Zweden en Edo de Waart.   Gedraaid in de uitzending:   Felix Mendelssohn - 1e pianotrio/scherzo door Het Concertgebouw Trio Alphons Diepenbrock - Marsuyas (dir. Hans Vonk) W.A. Mozart - Ouverture Die Zauberflöte (dir. Hans Vonk) Richard Strauss - September (dir. Edo de Waart/Charlotte Margiono sopraan) Erik Satie - Les Anges (Reinbert de Leeuw/ Barbara Hannigan) Schubert/De Leeuw - Gute Nacht (Reinbert de Leeuw/Barbara Sukowa) Guus Janssen - Taag Henriëtte Bosmans - Sonate voor cello en piano (Ed Spanjaard/Raphael Wallfish) Henriëtte Bosmans - Tweede Celloconcert (Ed Spanjaard/Raphael Wallfish)

Heb je het over moeilijke muziek, dan heb je het over de Franse componist Pierre Boulez (1925-2016). Hoog tijd, vonden Joris en Guido, voor een bijspijkeractie. Niemand minder dan de onverschrokken pianist Ralph van Raat komt te hulp. Heb jij ook Boulezvrees? Geen angst, Ralph weet raad.  Speellijst * Pierre Boulez, Fragment d'une ébauche, Ralph van Raat (piano) * Pierre Boulez, Notations nr. 5, Doux et improvisé, Ralph van Raat (piano) * Pierre Boulez, Sonate nr. 2: deel I, Extrêmement vif, Christopher Taylor (piano) * Pierre Boulez, Structures, Premier livre 1a, Pi-Hsien Chen, Ian Pace (piano) * Pierre Boulez, Rituel, Schönberg Ensemble o.l.v. Reinbert de Leeuw * Pierre Boulez, Une page d'éphéméride, Ralph van Raat (piano)

Na de wolf en de leeuw muzikaal te introduceren transformeren zij in 2 muzikale grootheden: Julia Wolfe en Reinbert de Leeuw. En dan volgt een haast onmogelijke keuze: naar welk concert neem jij je date mee op Valentijnsdag: het eerbetoon aan Reinbert de Leeuw of Steel Hammer van Julia Wolfe?  Ter onderbreking van deze keuzestress duiken we even de Children's Corner in waar we de KinderComponist des Vaderlands, Lize Bastiaens, aan het woord horen over muziek van kersverse Grammy winnares Caroline Shaw. En we drijven de nacht in met een herinnering aan Chick Corea, die vandaag 4 jaar geleden overleed. 

Vijf sterren van Guido in de Volkskrant. Nou, lieve mensen, dat gebeurt echt zélden. En zeker voor zo'n onorthodoxe – zeg maar gerust: rare – plaat. Daar moeten de mannen eens even goed over steggelen, want Joris is 't totaal niet eens met z'n podcastpartner. Een cultalbum noemt Guido het, Orlando van La Tempête, maar hé, wat is dat eigenlijk cult?  Speellijst - Orlando di Lasso, La cortesia, La Tempête o.l.v. Simon-Pierre Bestion - Orlando di Lasso, La nuict froide et sombre, La Tempête o.l.v. Simon-Pierre Bestion - Carlo Gesualdo, Io parto, e non più dissi, Les Arts Florissants o.l.v. Paul Agnew - Carlo Gesualdo / Igor Stravinsky, Da pacem, Domine, uit: Tres sacrae cantiones, Nederlands Kamerkoor o.l.v. Reinbert de Leeuw - Erik Satie, Gnossienne nr. 1, Reinbert de Leeuw (piano) - J.S. Bach, Aria uit: Goldbergvariaties, Glenn Gould (piano) - J. S. Bach, Allegro uit: Klavecimbelconcert BWV 1055, Gustav Leonhardt (klavecimbel), Radiokammerorkestter o.l.v. Mogens Wöldike - Giuseppe Verdi, ‘Addio, del passato bei sogni ridenti', uit: La traviata, Nadezjda Pavlova (sopraan), MusicEterna o.l.v. Teodor Currentzis

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

Annemieke Bosman praat met filmmaker en schrijver Carine Bijlsma over haar boek De Vondel. In dit boek richt Bijlsma, dochter van violiste Vera Beths en cellist Anner Bijlsma, haar blik op het muzikantengezin waarin ze opgroeide. Haar verhalen spelen zich af in en rondom haar ouderlijk huis, dat regelmatig werd bezocht door smaakmakers uit de Nederlandse kunstwereld, zoals dirigent Reinbert de Leeuw, actrice Katja Herbers en schrijver Maarten Biesheuvel. In 1985 koopt een muzikantengezin — bestaande uit een cellist, een violiste en hun peuter — een oude huishoudschool. Vroeger woonden er heel veel meisjes in dat gebouw, dat maar liefst dertien keukens, twaalf wasbakjes, zes douches en twaalf wc's telde. Een groot huis dus, met genoeg ruimte voor het hele muzikantengezin, inclusief de twee oudere kinderen uit eerdere relaties. De cellist en de violiste begonnen langzaam hun leven op te bouwen in het huis, dat ze 'De Vondel' noemden. Dit boek staat vol verhalen over een huis dat leeg begon, maar zich steeds meer vulde met markante karakters en onverwachte situaties. Er ontvouwt zich een bont palet van een avontuurlijke jeugd, waarin niets te gek was en alles mogelijk leek, zo ver als je fantasie kon reiken. De violiste, de cellist, de middelste zus, de oudste broer, de pianist, de vrolijke schrijver, de oppas, Opa Viool, de frêle tante, de moeder van de oudste broer, de broer van de cellist, de vioolbouwer, de gast van de vioolbouwer en de leerling spelen allemaal een belangrijke rol in deze verhalen. Carine Bijlsma is documentairemaker en fotograaf. Ze werkt zowel in Amsterdam als in New York waar ze spraakmakende documentaires maakt over artiesten in de muziek en de kunsten.

Waarempel lijkt het wel een notenbalk, parallel aan de net niet helemaal kaarsrechte weg door een schijnbaar eindeloze polder - maar het is de zingende draad, en zacht zoemend neuriet de hele wereld mee terwijl oh! zo langzaam de stip op de horizon vorm aanneemt. Almaar door, almaar door. 23.04 CD Jacob Obrecht Missa Maria zart (Challenge Records CC 72933) Jacob Obrecht: Missa Maria zart - Kyrie Cappella Pratensis olv Stratton Bull 6'10”  23.13 eigen opname Kate Moore: Ossenlied (fragment) Kate Moore [vieille] 2'00” 23.19 CD Vanishing Point (Ensemble Klang Records nr 19) Maya Verlaak: Roulette Saskia Lankhoorn [piano]; Pete Harden [gitaar] 6'47”  23.28 CD De Staat (Elektra Nonesuch – 7559-79251-2) Louis Andriessen: De Staat (fragment) Schönberg Ensemble olv Reinbert de Leeuw 13'13”  23.45 eigen opname VPRO Vanessa Lann: Distant Trinity Orkest De Ereprijs olv Gregory Charette 7'43”

Als Mozart in 1785 naar Istanboel was gereisd, zou hij dan per koets gegaan zijn? Misschien wel over deze stoffige weg? En wat voor muziek zou hij gehoord hebben? Zouden de composities van sultan Selim III hem hebben geïnspireerd tot iets subtielers dan zijn bekende 'Alla Turca'? Check de podcast > hier! CD Maqam of the Sultan M. Vahdettin Vol.2 (Ati Yapım z.nr.) Sultan M. Vahdettin: Nihavend çello taksim Hünkar Makamı Ensemble 2'32”  CD Maqam of the Sultan III Selim Vol.3 (Ati Yapım z.nr.) Sultan III.Selim: Hüseynî Saz-semâîsi Hünkar Makamı Ensemble 4'40”  CD De materie (Nonesuch Records 7559-79367-2) Louis Andriessen: De Materie pt IV - Asko|Schönberg olv Reinbert de Leeuw - Cindy Oswin [spreekstem]  - Nederlands Kamerkoor 28'02” eigen opname Een Harp Onder de Riem Beate Loonstra; Peter Tiehuis: 0 punt 0 Beate Loonstra, harp Peter Tiehuis, gitaar 11'30” 

Zo laag hangen de wolken dat de toppen van de bergen aan het zicht onttrokken zijn - je weet dat je als onder een deken door tussen de steile wanden het dal gaat volgen - en dat hoog boven je, waar een frisse bries een wak in het wolkendek slaat, de lucht helder blauw is, bijna verblindend als een visioen. 23.04 eigen opname Een Harp Onder De Riem Hans Vroomans; Beate Loonstra: Vier handen moeten het doen Hans Vroomans [piano]; Beate Loonstra [harp] 9'08”  23.15 CD De materie (Nonesuch Records 7559-79367-2) Louis Andriessen: De Materie pt 2: Hadewych  - Asko|Schönberg olv Leeuw, Reinbert de - Narucki, Susan [sopraan]  - Nederlands Kamerkoor 28'40” 23.47 CD Ochre (Navona NV 6643) Caroline Shaw: Ochre - I Siderite - II Limonite - III Maghemite The Crossing olv Donald Nally 11'29”

Uitgehakt door keiharde rotsen, een weg die half grot, half richel is, het ravijn aan de ene zijde, de schijnbaar ondoordringbare bergwand naast en boven je. Onmogelijk te zien wat er op je afkomt, of waar je uitkomt. Uitgebroken en tegelijk ingekapseld, vrij maar ook onlosmakelijk verbonden. Muziek van het heden, nooit los van het verleden. 23.04 opname Een Harp Onder De Riem 6 juli 2024 Kika Sprangers, Mike del Ferro: Ardennen Mike del Ferro [piano]; Kika Sprangers [altsaxofoon] 7'32”  23.12 CD De materie (Nonesuch Records 7559-79367-2) Louis Andriessen: De Materie pt 1  Doing, James [tenor] Asko|Schönberg olv Reinbert de Leeuw 25'35” 23.40 opname Een Harp Onder De Riem 11 juli  Beate Loonstra; Eef van Breen: In jouw schoenen Eef van Breen [keys, slagwerk, bromtol, bugel, trompet, stem] Beate Loonstra [harp, klankschalen, stem] 7'53”  23.52 CD Still, Glowing (BBC Symphony Orchestra z.nr. ) Judith Weir: Still, Glowing BBC Symphony Orchestra olv Dalia Stasevska 5'00”

Soms zie je de weg voor je, onweerstaanbaar en afschrikwekkend, naar een punt in de diepte waarvan je niet weet hoe je er ooit weer uit kan gaan komen, een kloof zo diep dat als het een inzicht was, een plotseling helder begrijpen, een lumineuze gedachte, een doorwrocht en eindelijk begrijpen, je haast bang zou worden te zullen gaan denken: had ik dit maar nooit gedacht. Oh, mateloze paradox! 23.04 eigen opname Jan Willem Troost; Erica Roozendaal: Teeth & Love Jan Willem Troost: cello Erica Roozendaal: accordeon 6'12” 23.10 CD De Staat (Elektra Nonesuch – 7559-79251-2) Louis Andriessen: De Staat Schönberg Ensemble olv Reinbert de Leeuw 35'25” 23.50 CD Wit in wit (Antarctica Records AR012) Johann Sebastian Bach, George De Decker: Wit in wit, Goldberg Variations revisited (fragmenten) Geert Callaert; Thomas Frühauf; Bart Maris 6'00”

Het is goed om te kijken waar je heen gaat, maar soms is het juist goed om te kijken - of nog beter: je voor te stellen - waar je vandaan komt. Check het interview met Monica Germino, Heleen Hulst en Gerard Bouwhuis >> hier! 23.04 CD The Memory of Roses (Eigenwijs EW9304) Louis Andriessen: Berceuse voor Annie van Os Ronald Brautigam 2'09” 23.09 CD Trilogie van de Laatste Dag (Donemus Composers' Voice CV 79) Louis Andriessen: Trilogie van de laatste dag - III Dancing on the bones ASKO Ensemble & Schönberg Ensemble olv Reinbert de Leeuw; kinderkoor De Kickers; Tomoko Mukaiyama; Ferco Bol 12'31” 23.27 Eigen opname Louis Andriessen: Letter from Cathy Cristina Zavalloni; Nieuw Amsterdams Peil 7'02” 23.38 CD Remgewogen (TRPTK) Louis Andriessen: Triplum Martin van Hees 5'44” 23.47 CD Warm to the touch (Kepera Records Kepera 74727) Vinsent Planjer: The Western Lands Vinsent Planjer; Hermine Deurloo 5'41”

Gepresenteerd door: Leonard Evers A.Radio Filharmonisch Orkest Mark Elder, dirigent Nicholas Daniel, hobo Richard Strauss - Don Juan, op.20 Ralph Vaughan Williams - Hoboconcert in a Opname van 5 februari 2010 vanuit Vredenburg Leidsche Rijn in Utrecht. B. Radio Filharmonisch Orkest Groot Omroepkoor Nationaal Kinderkoor Jaap van Zweden, dirigent Reinbert de Leeuw, dirigent (kamerorkest) Evelina Dobracheva, sopraan Anthony Dean Griffey, tenor Mark Stone, bariton Benjamin Britten - War Requiem Opname van 28 mei 2010 vanuit Vredenburg Leidsche Rijn in Utrecht.

Kun je de wereld veranderen met muziek? Joris en Guido trekken op onderzoek uit. Ze duiken in de historie van klassiek muzikaal protest, van het 17de-eeuwse geuzenlied tot de provocaties van de zwarte Amerikaanse queer-componist Julius Eastman. De kracht van klassiek verandert de mens. En ook de maatschappij? Gedraaide muziek: * repetitiefragment uit Reconstructie (1969), een opera van het collectief Louis Andriessen, Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, Hugo Claus en Harry Mulisch * Alweer geen deegh de kuyp is leegh, Camerata Trajectina * Joseph Haydn, deel vier (Finale) uit: Symfonie nr. 45 in f-klein, Il Giardino Armonico o.l.v. Giovanni Antonini * Jean Sibelius, Finlandia, Minnesota Orchestra, YL Male Voice Choir o.l.v. Osmo Vänskä * Ethel Smyth, The March of the Women, Chorus of the Plymouth Music Series * Kurt Weill, Die Mortitat von Mackie Messer, uit: Die Dreigroschenoper, Wolfgang Neuss, Wilhelm Brückner-Rüggeberg * Julius Eastman, Evil Nigger, Wild-Up

durée : 00:59:39 - En pistes, contemporains ! du dimanche 03 décembre 2023 - par : Emilie Munera - En Pistes Contemporains ! contemple la nuit avec un Nocturne pour piano de Thierry Pécou ainsi qu'avec les Three Nocturnal Movements de Per Norgards, envoutante partition de 2015. Maître dans l'art orchestral, le compositeur né en 1932 fait ce soir la une de l'actualité discographique. - réalisé par : Céline Parfenoff

Vraag van een trouwe luisteraar: wat maakt een werk tot een meesterwerk? Simpel, dachten Guido en Joris. Maar een sluitend antwoord formuleren bleek nog niet zo makkelijk. De klassieke kletsers gaan daarom te rade bij een paar persoonlijke favorieten. En nee, niet de Matthäus! Via bejubelde muziek en vergeten noten bereiken ze een soort van conclusie. Speellijst* Claudio Monteverdi, ‘Possente spirto, e formidabil nume', uit L'Orfeo. Valerio Contaldo (tenor), Cappella Mediterranea o.l.v. Leonardo Garcia-Alarcón* Jean Gilles, Graduel, uit Requiem. La Chapelle Royale o.l.v. Philippe Hereweghe* Joseph Haydn, Kyrie, uit Nelsonmis. The English Concert and Choir o.l.v. Trevor Pinnock* Franz Schubert, Adagio, uit Strijkkwintet. Alban Berg Quartett, Heinrich Schiff (cello)* Arvo Pärt, Ode III, uit Kanon Pokajanen. Cappella Amsterdam o.lv. Daniel Reuss* Louis Andriessen, uit De Staat.  Los Angeles Philharmonic Orchestra, Synergy Vocals o.l.v. Reinbert de Leeuw

Welcome to Episode Four, Season Ten of the Thoth-Hermes podcast. Today, Rudolf meets with Charlotte Cowell, translator of The Solar Way (Silver Age Russian Occult Rosicrucian Schools) and author of multiple other titles. Charlotte is the founder, owner and editor of Shin Publications. Charlotte is a delightful guest, simultaneously a fierce, warm and self-effacing intellectual presence in the conversation. A graduate of Oxford University (MA in Ancient and Modern History), Charlotte has pursued the Mysteries for several decades after receiving solo and spontaneous esoteric Christian rebirth in college. Charlotte cites The Meditations on the Tarot (Anonymous) as a cornerstone text for her during her initiatory unfolding. She is also refreshingly frank, in moments, around reconciling the dual paths of Christian… Esotericism. An example being, reading “Meditations” as distinct from using the Cards directly. Listeners on a similar trajectory may well relate to these personal processes. Charlotte brings us into the stark and resilient journeys of Valentin Tomberg, Vladimir Shmakov, Nina Roudnikova and G.O. Mebes (the last, Swedish). These thinkers faced true and visceral danger from Russian political turmoil, in the face of this making many strategic decisions to preserve their body of work for future seekers. Alongside this important history, Charlotte and Rudolph explore the significance of “Shin”. The conversation re-examines “neutralization of the binary” (a term from last week's interview) and the interplay with triangular transcendental synthesis. Charlotte emphasizes her respect for the pragmatic effort made by the persecuted initiates, analogizing her work to laying a memorial wreath in their honor. Charlotte writes in one of her publications that her intention is “…a tribute to the Masters, from time immemorial until the present day, who've served to inspire and shine light on the otherwise solitary path of the seeker; a gift for those who find themselves peering across the abyss for such lights, or stand looking back at the ocean from the refuge of safe shores, searching the distant horizon for memories of the crossing…” from whatever personal vantage point, may this conversation inspire listeners. ABOVE: The cover of those four highly interesting books we speak about in the episode. Click anywhere on them to be brought to Shin Publications website to learn more and order them BELOW: The original painting that inspired the cover of the Shmakov book. It is by artist ArtTheurg, who also created the wonderful illustrations in The Holy Book of Thoth. Click here for Charlotte Cowell's homepage Find the books on Amazon Charlotte's YouTube Channel Music played in this episode The Gnossiennes are several piano compositions by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form as well as the term was invented by Satie. Satie himself was for some time part of Joseph Paladan's Rosicrucian group in Paris, for which he also wrote ritual music. The pieces are performed by Reinbert de Leeuw 1) GNOSSIENNE 1 (Track starts at 9:22)

Joris en Guido duiken in hun eigen vak: de muziekkritiek. Ze behandelen gevoelige kwesties. Hoe ver mag je gaan in het formuleren van je mening? En schreven recensenten vroeger niet veel gemener? Ze halen er meteen maar een tijdgeestexpert bij: Han van Bree. Hij verzorgde vier decennia lang de boekenserie Het aanzien van…, met foto's en korte verhalen over het voorbije jaar. Van muziek houdt hij toevallig ook, en dat merken de kletsers. Vanwaar in het klassieke wereldje toch die minachting voor Andrew Lloyd Webber? En waarom krampachtig vasthouden aan de verdeling in genres? Er bestaat toch alleen muziek die je wel of niet raakt?   Speellijst • Rufus Wainwright, Amsterdam Sinfonietta, Who By Fire • Anton Bruckner, Derde symfonie, deel 1, Gemässigt, mehr bewegt, misterioso, Wiener Philharmoniker o.l.v. Bernard Haitink • Matthijs Vermeulen, Vijfde symfonie, deel 1, Adagio, Radio Filharmonisch Orkest o.l.v. Roelof van Driesten • Gregoriaans, Coro de Monjes del Monasterio Benedictino de Santo Domingo de Silos • Henryk Górecki, Kleines Requiem für eine Polka, deel 1, Tranquillo, Schönberg Ensemble o.l.v. Reinbert de Leeuw

Posting a few days early in celebration of the Fourth of July and in further recognition of the beloved American soprano Roberta Alexander, whose birthday we celebrated on Countermelody last March. Ms. Alexander has made a number of exquisite recordings over the years, many of them for the small Dutch label Etcetera. Many of these releases feature songs by the greatest American composers: Charles Ives, Aaron Copland, Leonard Bernstein, and Samuel Barber, as well as two releases featuring light classical and Broadway songs. The recordings range in date from 1976 (a live performance of Ives at the Holland Festival, in honor of the American Bicentennial) through 2009 (a live performance of Roberta as Maria in Porgy and Bess conducted by Nikolaus Harnoncourt). We also hear material by Berlin, Sondheim, Kander and Ebb, Alec Wilder, Bock and Harnick, John Jacob Niles, and Tom Lehrer, accompanied by pianists Reinbert de Leeuw, Roger Vignoles, Alfred Heller, Brian Masuda, Tan Crone, and David Triestram and conductors Kees Bakels and Edo de Waart. Throughout, Roberta Alexander's approach to this material is perfectly on target, revealing both pathos and a crackling sense of (often sardonic) humor, all grounded in a love of the music of her native country and wrapped in a red, white, and blue bow. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Oude muziek, nieuwe vormen. Trompettist Jean-Paul Estiévenart improviseert over Bach, en het Maat Saxophone Quartet hervond roots in de fado. Een ingetogen uurtje Vrije Geluiden! 23.04 CD For the unseen (Ambitus AMBI015) Robin Scherpen: Still Robin Scherpen [gitaar] 3'19” 23.10 CD Narcosis (Original Motion Picture Soundtrack) (eigen uitgave z.nr.) Jorrit Kleijnen; Jacob Meijer: A Fatal Descent Jorrit Kleijnen; Jacob Meijer 2'55” CD Narcosis (Original Motion Picture Soundtrack) (eigen uitgave z.nr.) Jorrit Kleijnen; Jacob Meijer: Imagining a new life Jorrit Kleijnen; Jacob Meijer 1'58” 23.19 CD Renascer (7 Mountain Records 7MNTN-042) António Carlos Costa (arr. Daniel Ferreira): Renascer Maat Saxophone Quartet & António Carlos Costa [gitaar] 3'31” CD Renascer (7 Mountain Records 7MNTN-042) António Carlos Costa (arr. Daniel Ferreira): Moinho Maat Saxophone Quartet & António Carlos Costa [gitaar] 5'50” 23.30 CD György Kurtág Complete Works for Ensemble and Choir (ECM New Series 2505-07) György Kurtág: … quasi una fantasia… Opus 27 nr 1 Tamara Stefanovich [piano]; ASKO|Schönberg olv Reinbert de Leeuw 8'56” 23.40 CD Tryptique (Fuga Libera FUG 804) Jean-Paul Estiévenart: Transition pt 1 en 2 Jean-Paul Estiévenart [trompet]; Marcel Ponseele [hobo]; Anthony Romaniuk [piano]; Il Gardellino 7'45” 23.48 CD Carnet Imaginaire (Challenge Records CR73538) Guillermo Celano: Choral Works in Titan Celano - Badenhorst - Baggiani - Brederode 6'28” Guillermo Celano [gitaar]; Joachim Badenhorst [rieten]; Marcos Baggiani [drums]; Wolfert Brederode [piano]

We gaan vandaag posten bij de Willem III kazerne in Amersfoort. Waaom daar, houden we nog even voor ons. Wat zoal aan de orde komt. Twee tragedies, die van de groene onderbroek en die van het blauwe overhemd. Als je naar de hemel kijkt, gaat je brein freewheelen. De dienstplicht is nooit afgeschaft, defensie roept alleen geen dienstplichtigen op. Zonder bullebak gaat het altijd en overal beter. Burnout is een ander woord voor depressie.    -GPS 52.15457, 5.39939 -John Cage 4'33” gespeeld door Reinbert de Leeuw (vanaf 1'39”) -Foto's Willem III kazerne / Beeldbank Archief Eemland -Donovan, Universal Soldier (1965)

durée : 00:06:00 - Classic & Co - par : Anna Sigalevitch - Le Chant de la terre » de Gustav Mahler se jouera mercredi et jeudi prochain au Théâtre du Châtelet à Paris en coréalisation avec le Festival d'Automne, dans la version de chambre de l'œuvre transcrite par Reinbert de Leeuw et mise en scène par Philippe Quesne.

In a crowded field that sees many gifted performers struggle to stand out at the top, Barbara Hannigan distinguishes herself absolutely and effortlessly—by being herself. "I have to be absolutely authentic," she explains. "I cannot try to be a good girl, I cannot try to be a good conductor, I cannot try to follow the rules—because there are no rules, except to be authentic to oneself. And then, if I'm authentic to myself, 95% of the time the orchestra understands completely.” A true original whose soaring, astonishingly agile soprano voice has adorned many a world premiere, and the extremely rare singer of her calibre who has also become one of the best conductors in the world, Hannigan speaks with Gramophone's James Jolly about the inadequacy of labels; the challenges and delights of working closely with contemporary composers; catching the conducting bug in 2012; her love for Haydn and her late, longtime collaborator Reinbert de Leeuw; the importance of eating well on the road; jumping in ice baths after taxing performances of Lulu; and plenty more. Presented with the generous support of Madame Aline Foriel-Destezet.

Discovering the building stones of Sycorax, the new opera by Georg Friedrich Haas. We hear some Haas, some Grisey, some Vivier, some Tibetan throat singers, and a wonderful Jubilate.    G.F. Haas - Limited Approximations - SWR Sinfonieorchester and Sylvain Cambreling  https://www.youtube.com/watch?v=BoqvGLdjUhE&t=1540s Gérard Grisey - Partiels - Asko Ensemble and Stefan Asbury https://www.youtube.com/watch?v=1v7onrjN6RE&t=30s Claude Vivier - Lonely Child - AskoSchoenberg and Reinbert de Leeuw  https://www.youtube.com/watch?v=nP23EnBQjw8 G.F. Haas - String Quartet no 9 - Jack Quartet  https://www.youtube.com/watch?v=dk_2bg3utv8&t=409s W.A. Mozart - Exsultate, Jubilate - Julia Lezhneva and Helsinki Baroque Orchestra https://www.youtube.com/watch?v=RLan_H8w8S4 W.A. Mozart - Ach, ich fühl's by - Christiane Oelze, English Baroque Soloists, John Eliot Gardiner https://www.youtube.com/watch?v=Jg96zrTe_jY              

Het afgelopen jaar was hij stadscomponist van Den Bosch: Bart de Vrees. Wat doet een stadscomponist? Hoe verging het hem in de door corona geteisterde periode? Nieuw werk van hem is vrijdag 4 maart te horen in het Orgelpark, en de dag erna speelt hij een thuiswedstrijd in Splendor in Amsterdam - twee concerten in het kader van het Basklarinet Festijn. Alle reden voor een nadere kennismaking. 23.04 CD Nut (Trytone TT559-088) Hanna Kulenty: Tap-Blow-Dance (fragment) Fie Schouten, Jelet Althuis [bkl]; Eva van de Poll [cello]; Tatiana Koleva [vibrafoon] 5'00” 23.10 Bart de Vrees: Augustus '21 Bart de Vrees 23.15 Bart de Vrees: Februari '21 + Maart '21 Bart de Vrees 23.25 Bart de Vrees: Ontwar(r)en ASKO|Schönberg olv Reinbert de Leeuw 23.40 Bart de Vrees: Wakker Slaapwandelen Florian de Backere [stem]; Annie Tangberg [cello]; Miriam Overlach [harp]; Bart de Vrees [slagwerk] 23.50 CD In (Sympathetic Vibrations Records SVR03) Jeroen van Vliet: Source Jeroen van Vliet [piano]; Mete Erker [saxofoon]

I am going to go out on a limb and say that this is possibly my favourite interview so far! Robert (or is that Bob?!) Spano was everything one could hope for - wise, open, honest, and very funny. We found out that we shared a bad habit when we were students, we discussed how an assistant conductor "should" observe a rehearsal, we get very geeky looking at the scores on my shelves and he tells a funny story about score marking involving Oliver Knussen, Reinbert de Leeuw and himself, as well as many other funny stories! If you would like to hear the Patreon exclusive bonus mini-episode that comes attached to this episode, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 14th June 2021 via Zoom.

De stilstaande eeuwigheid, en de nimmer stilstaande tijd. Kerkvader Augustinus toonde aan dat die twee logisch niet te verenigen zijn. De tekst werd, eeuwen later, door Louis Andriessen gebruikt voor zijn meesterwerk De Tijd (1981). Vanavond in Vrije Geluiden de live-opname van 1 juni 2005, Concertgebouw Amsterdam, opening Holland Festival, ASKO en Schönberg Ensemble onder leiding van Reinbert de Leeuw. 23.04 eigen opname musici Louis Andriessen: Fanfare Jacqueline Smit [piano] 1'58” 23.06 CD In Blue and White (Odradek Records – ODRCD343) Calliope Tsoupaki: Lasting Sounds of the Deep Sea Erato Alakiozidou [piano] 5'19” 23.12 CD Schönberg Edition #20 (Etcetera Records KTC 9000) Louis Andriessen: De Tijd ASKO Schönberg Ensemble olv Reinbert de Leeuw 39'30” 23.55 Wie is deze componist? Matt Haimovitz [cello]; Mari Kodama [piano] 3'03”

Te gast zijn musicoloog Saskia Törnqvist en historicus/journalist Luc Panhuysen. Ze vertellen over componist Arnold Schönberg (1874-1951) en zijn werk, maar ook over de politiek en kunst in zijn tijd. Aan de hand van bijzondere muziekfragmenten is zijn ontwikkeling te volgen en zijn belang voor de muziek in de 20ste eeuw.Precies een jaar geleden overleed Reinbert de Leeuw, ambassadeur van de muziek van Schönberg in ons land. Hij dirigeerde de groots opgezette cantate Gurrelieder van Schönberg tien jaar geleden in de Doelen in Rotterdam. Deze opname is vanaf 20.00 uur te horen in het NTR Avondconcert op NPO Radio 4.

Vandaag is mijn gast klassiek zangeres Wendy Roobol. Ze zingt kamermuziek, opera en is lid van het ensemble Le Nuove Musiche dat zich toelegt op het werk van Claudio Monteverdi. Ze soleerde onder dirigenten als Jaap van Zweden, Reinbert de Leeuw, Ed Spanjaard en Vince Mendoza en nam recent haar eerste solocd op met 17e eeuwse muziek, Maria Dolce Maria. Ze beoefent zen bij Marc Brookhuis én mediteert bij het Boeddhistisch Centrum Haaglanden. Daarnaast heeft ze een grote liefde voor lange wandeltochten als de Camino van Santiago de Compostella. Hoe gaat zij om met deze corona periode zonder concerten en helpt haar meditatie beoefening haar daarbij? Als je het een fijn gesprek vond geef dan zoveel mogelijk sterretjes in je podcastapp en als je een kleine bijdrage in de kosten wilt geven is er een doneerknop voor Zen&Zo bij Petje af. Mailen kan naar info@marlouslazal.nl Voor mijn muziek kun je terecht op mijn Spotify pagina of op mijn website: www.marlouslazal.nl

Aan de vooravond van wat toch waarempel een echte - zij het korte - winter lijkt te worden, een paar ijzingwekkende muziekstukken vol ijs en sneeuw, letterlijk en/of figuurlijk. Klas Torstensson, die al lang geleden het indrukwekkende geluid van barstend ijs benutte, schreef eind vorige eeuw een aangrijpende opera over een pooltocht, The Expedition. Schuberts Winterreise gaat over de liefde, dat is waar, maar hoe koud is het in het hart van de aanbedene èn buiten, als je tranen bevriezen... En in Goebaidoelina's Jetzt Immer Schnee is sneeuw geen sneeuw meer, maar identiek geworden met ziel en licht. 23.04 Spezl (7 Mountain Records 7MNTN-025) Richard Strauss: An einsamer Quelle (ar.. Wilhelm Jeral) Floris Mijnders [cello] & Jelger Blanken [piano] 3'38” 23.09 CD Schubert Winterreise D.911 (harmonia mundi HMC 902107) Franz Schubert: Gefrorne Tränen Matthias Goerne [bariton] & Christoph Eschenbach [piano] 2'42” 23.12 CD Winterreise (Oehms Classics OC1898) Franz Schubert, arr. Hunstein, Siegmeth, Wolf: Gefrorne Tränen, Erstarrung, Der Lindenbaum Stefan Hunstein [verteller] & Hugo Siegmeth [saxofoon, basklarinet] & Axel Wolf [luit, theorbe] 7'55” 23.22 CD The Expedition [Composers' Voice CV100) Klas Torstensson: Northern Lights solisten en Radio Filharmonisch Orkest olv Peter Eötvös Göran Eliasson [tenor] & Olle Persson [bariton] & Mats Persson [bariton] 5'50” CD The Expedition [Composers' Voice CV100) Klas Torstensson: Epiloog solisten en Radio Filharmonisch Orkest olv Peter Eötvös Charlotte Riedijk [sopraan] 11'13” 23.44 CD Sofia Gubaidulina (Etcetera KTC 9000 - CD 17) Sofia Goebaidoelina: Jetzt Immer Schnee Nederlands Kamerkoor & Schönberg Ensemble olv Reinbert de Leeuw & Leonid Vlasov [stem] 10'23” CD Angel of Light (BIS CD 1038) Einojuhani Rautavaara: Cantus Arcticus (deel 1 en 2) Lahti Symphony Orchestra olv Osmo Vänska 10'33”

Winner of the 2018 Pulitzer Prize for Drama, Martyna Majok's story is fascinating. From a non English speaking Polish immigrant whose mother was a house cleaner, to the very top of the artistic mountain. Martyna has shone a spotlight on the working class immigrants that helped create America by putting them centre stage and imbuing them with the pride, intelligence, warmth, toughness, dedication, resilience, love and compassion that they deserved and that had hitherto been missing from the stage. Equally her insistence on disabled actors playing the disabled characters she created broke new ground. The results are moving and profound.Martyna Majok saw her first theatre show at 17 after buying a ticket with the money she won hustling pool. That experience changed her life.Have a listen to the story of this extraordinary woman and her journey to becoming one of the most recognised playwrights in the world. My only concern is that, during our conversation, I may or may not have challenged her undisputed pool champion's crown. I think I can kiss that money goodbye. Dramatic excerpt is from Manhattan Theatre Club's New York premiere of Cost of Living. Directed by Jo Bonney, featuring Jolly Abraham, Gregg Mozgala, Katy Sullivan, Victor Williams (excerpt from playbill.com, supplied by Martyna Majok)Musical excerpt is from Gnossienne No. 1, Erik Satie by Reinbert de Leeuw (Decca Records, clip supplied by Martyna Majok)#reallyinterestingwomen #riw #martynamajok #pulitzerprize #pulitzer #costofliving #theater #theatre #broadway #manhattantheaterclub #newyorkcity #ironbound #sanctuarycity #disabledactors #jollyabraham #greggmozgala #katysullivan #victorwilliams #richardinstagraham

durée : 00:10:18 - La Discothèque idéale de France Musique : Reinbert de Leeuw joue les Gymnopédies d'Erik Satie - Le pianiste et chef d'orchestre hollandais Reinbert de Leeuw enregistre en 1995 les Gymnopédies et Gnossiennes d'Erik Satie, pour le label Philips. "D'une lenteur inhabituelle, son jeu projette une lumière sensible sur la singularité intemporelle de la musique d'Erik Satie", écrit François Bonnet.

durée : 01:58:02 - Portrait de la mezzo-soprano Janet Baker - par : Lionel Esparza - Au sommaire, un portrait de la grande mezzo-soprano britannique Janet Baker, les Gnossiennes et Gymnopédies d'Erik Satie par Reinbert de Leeuw en disque de légende, et on termine avec la Fantaisie pour piano de Robert Schumann, interprétée par Leif Ove Andsnes. - réalisé par : Antoine Courtin

De eerste 20% van de 21e eeuw zit er zowat op. Hebben we al een idee over wat deze eeuw aan muziek met eeuwigheidswaarde heeft opgeleverd? De Volkomen Ongeordende Tip 400 Van De 21e Eeuw geeft geen antwoorden, maar geeft vragenderwijs wel een paar goed gemikte voorbeelden, van muziek die onze achter-achter-achter-kleinkinderen nog steeds zal ontroeren. Kom maar op met je tips. 23.04 CD Death speaks (Cantaloupe CA 21092) David Lang: Death speaks pt 1: You will return + pt 5: I am walking Shara Worden [zang], Bryce Dessner [gitaar], Nico Muhly [piano], Owen Pallett [viool] 9'01” 23.15 CD Todos Los Fuegos El Fuego (TRPTK) Maxim Shalygin: Todos Los Fuegos El Fuego, fragmenten Keuris Quartet & Amstel Quartet 10'42” 23.25 CD Doctor Atomic (Nonesuch Records 7559-79310-7) John Adams: Batter my heart Gerald Finley [bariton] & BBC Symphony Orchestra olv John Adams 7'34” 23.35 CD Harmony of the Spheres (Composers' Voice CV 133) Joep Franssens: Harmony of the Spheres pt 1 Nederlands Kamerkoor & Tallinn Kamerorkest olv Tonu Kaljuste 10'10” 23.45 CD Im Wunderschönen Monat Mai (Winter & Winter 910 132-2) Frans Schubert / Reinbert de Leeuw: Der Leiermann Barbara Sukowa & Schönberg Ensemble olv Reinbert de Leeuw 4'57” 23.50 CD Storyteller (Bromo 005) Niels Brouwer & Monica Akihary: Mahina Boi Akih 3'35” CD Storyteller (Bromo 005) Niels Brouwer & Monica Akihary: Lost souls Boi Akih 4'45”

Een vergeten kerstlied? Een resterende stol, of gestolde resten? Blij dat het voorbij is? Of red je het wel, ondanks alle beperkende maatregelen? Een uurtje muziek die wijst naar verderop, waar het licht gloort, waar je op mag hopen of naar wat we er misschien, in weerwil van de absurditeit van het bestaan, van kunnen maken. 23.04 digitale release Urchin Collective https://soundcloud.com/urchincollective/riu-riu-chiu-by-justin-grounds Mateo Flacha & Justin Grounds: Riu Riu Chiu Justin Grounds 8'23” 23.15 CD Bela Bartok (Philips 442016-2) Bela Bartok: Colinde, reeks II Zoltan Kocsis [piano] 6'06” 23.23 CD The Last Recording ( Decca 458 929-2) Bela Bartok: Cantata Profana pt 3 Hongaars Omroepkoor, Budapest Festival Orkest olv Georg Solti 4'19” 23.30 CD Complete Works for Ensemble and Choir (ECM New Series 2505-07) György Kurtág: Colinda-Balada opus 46 Yves Saelens [tenor] & ASKO|Schönberg & Groot Omroepkoor olv Reinbert de Leeuw 17'14” 23.49 eigen opname VPRO Boi Akih: Design of Stars and Clouds / Deja Vu Boi Akih 6'13”

Op 31 januari 1998 dirigeerde Reinbert de Leeuw (https://www.npoklassiek.nl/overzicht/reinbert-de-leeuw) (1938-2020) de duizendste Matinee op de Vrije Zaterdag. Samen met Ingrid Geerlings, solofluitist van het Radio Filharmonisch Orkest en fluitist in ‘zijn' Schönberg Ensemble (nu ASKO|Schönberg), haalt Hans Haffmans herinneringen op aan de in februari 2020 overleden (https://www.npoklassiek.nl/klassiek/actueel/a8e7fdfb-3e4f-4b91-b156-db97210bd933/in-memoriam-reinbert-de-leeuw) pianist, dirigent en componist.

Op 31 januari 1998 dirigeerde Reinbert de Leeuw (1938-2020) de duizendste Matinee op de Vrije Zaterdag. Samen met Ingrid Geerlings, solofluitist van het Radio Filharmonisch Orkest en fluitist in ‘zijn' Schönberg Ensemble (nu ASKO|Schönberg), haalt Hans Haffmans herinneringen op aan de in februari 2020 overleden pianist, dirigent en componist.

Guest presenter Jules Buckley stands in for Clemmie Burton-Hill in a new series of Classical fix, mixing bespoke classical playlists for music-loving guests. This week, Jules is joined by musician and producer Marie Davidson. Marie's playlist: Franz Liszt: Three Concert Studies: no.3 ‘Un sospiro’ Ellen Fullman: Blue Tunnel Fields Robert Schumann: Wehmut (from Liederkreis, arranged by Reinbert de Leeuw) Missy Mazzoli: Death Valley Junction Alonso Lobo: Versa set in luctum Percy Grainger: Shallow Brown Classical Fix is a podcast aimed at opening up the world of classical music to anyone who fancies giving it a go. Jules Buckley is a Grammy-winning conductor, arranger and composer who pushes the boundaries of almost all musical genres by placing them in an orchestral context, and has earned himself a reputation as a 'pioneering genre alchemist' and 'agitator of musical convention'. He leads two of the world’s most versatile and in-demand orchestras - the Heritage Orchestra and the Metropole Orkest - and over the past nine years he has been responsible for some of the most groundbreaking BBC Proms, including the Ibiza Prom, 1Xtra's Grime Symphony, The Songs of Scott Walker, Jacob Collier and Friends, and tributes to Quincy Jones, Nina Simone and Charles Mingus. In 2019, Jules joined the BBC Symphony Orchestra as Creative Artist in Association.

Pas net uitgebracht, de laatste studio-opname van Reinbert de Leeuw: zijn eigen transcriptie van Das Lied von der Erde van Gustav Mahler. De bewerking die Reinbert de Leeuw maakte is voor fluit, hobo, klarinet, basklarinet, hoorn, twee violen, een altviool, cello, contrabas, harp, harmonium, piano en slagwerk, dus 15 musici, en da's toch een hap minder dan een symfonie-orkest. Je mist natuurlijk de power en het volume van een heel symfonie-orkest maar het wordt wel heel mooi subtiel. En verder: een vooruitblik op de Vrije Geluiden Sessie met Wim van Hasselt (trompet) en Koen Plaetinck (slagwerk) met hun wonderschone versie van Spiegel im Spiegel van Arvo Pärt; en we beginnen met de Tip 400 Van De 21e Eeuw, waarin we tips van ècht recente muziek geven voor wie daarmee wil stemmen voor de Klassieke Top 400. 23.05 CD Mahler Das Lied von der Erde (Alpha-Classics 633) Gustav Mahler, arr. Reinbert de Leeuw: Der Einsame im Herbst Lucile Richardot [mezzosopraan] & Het Collectief olv Reinbert de Leeuw 10'12” 23.16 CD Das Lied von der Erde (Cantonese Text) [BIS 1547] Gustav Mahler: How Gu Chau Ye Cheung (Der Einsame im Herbst) Ning Liang & Singapore Symphony Orchestra olv Lan Shui 10'11” 23.27 Eigen opname VPRO Arvo Pärt, arr. Koen Plaetinck: Spiegel im Spiegel Wim van Hasselt [trompet], Koen Plaetinck [slagwerk, elektronica] 9'29” 23.38 CD Musica Viva, Vol. 28 (NEOS 11728) Georges Aperghis: Concerto pour accordéon Teodoro Anzelotti [accordeon] & Orkest van de Bayrischen Rundfunk olv Emilio Pomárico 10'01” 23.51 CD The Become Trilogy (Cantaloupe Music CA21161) John Luther Adams: Become River Seattle Symphony olv Ludovic Morlot 6'54”

De tijd tot 1966; waarin het podium voor Nieuwe Muziek tot de gevestigde orde lijkt te gaan horen precies in een tijd waarin juist de jongerengeneratie zich onbehaaglijk begint te voelen bij alles wat gevestigd is. Met fragmenten uit: - Pauline Oliveros: Sound Patterns (Vocal Constructivists olv Jane Alden) - Ton de Kruyf: Sgrafitti (Ananda Sukarlan (pno)) - György Ligeti: Volumina (Gerd Zacher (orgel)) - Schubert, Franz: String Quintet in C Major, D. 956: II. Adagio (Isaac Stern & Franz Schubert Kwartet) - Maki Ishii: Prelude & Variations (Bruno Maderna (dirigent) & International Kranichstein Chamber Ensemble) - Webern, Anton: Fünf Lieder nach Gedichten von Richard Dehmel: Himmelfahrt (Barbara Hannigan & Reinbert de Leeuw (pno)) - György Ligeti: Poème symphonique for 100 metronomes (Aurora Orchestra) - Peter Schat: Dansen uit het Labyrint (Dances from the Labyrinth) Op. 15a (Netherlands Ballet Orchestra olv Thierry Fischer)

Cet enregistrement du Chant de la Terre a été réalisé en décembre 2019, sous la direction de Reinbert de Leeuw, deux mois avant sa mort. Quelques semaines auparavant, il avait appelé Thomas Dieltjens, directeur artistique de l'ensemble Het Collectief pour lui dire : « Depuis notre concert de mi-juillet 2019 au Festival de Saintes, Das Lied von der Erde ne me quitte plus. Je suis totalement sous le charme de la pièce et chaque jour je découvre de nouvelles choses dans ce chef-d'œuvre de Mahler. Ne serait-ce pas un rêve si on pouvait enregistrer cette musique avec le groupe exceptionnel de musiciens et de solistes que nous avions à Saintes ? Et de préférence le plus vite possible ? » Reinbert a signé l'arrangement pour 15 instrumentistes et deux solistes et a mis ses dernières forces dans l'enregistrement de cette musique qui englobe la vie entière, depuis la fraîcheur de la naissance jusqu'au moment de l'adieu... Un album testament, avec la bouleversante mezzo-soprano Lucile Richardot, qui nous permet de rendre hommage à l'un des plus importants ambassadeurs de la musique du 20ème siècle.

20.05 uur: LUDWIG Katharine Dain, sopraan 1. Franz Schubert - Nacht und Träume (arr. Max Knigge) 2. Alban Berg - uit: Sieben frühe Lieder: nrs. 1+2+3 (arr. Reinbert de Leeuw) 3. Gustav Mahler - Vierde symfonie in G gr.t. (arr. Erwin Stein) (Rechtstreekse uitzending vanuit TivoliVredenburg in Utrecht) ca. 21.30 uur: 75 jaar Groot Omroepkoor Groot Omroepkoor Benjamin Goodson, dirigent 1. Johannes Brahms - Fest- und Gedenksprüche 2. Johannes Brahms - Intermezzo, op.117 nr.1 3. Daan Manneke - Psalm 121 4. Jonathan Dove - The Passing of the Year 5. Eric Whitacre - Sleep (Opname van het jubileumconcert van zaterdag 12 september jl. in TivoliVredenburg in Utrecht)

durée : 01:59:19 - Musique matin du lundi 07 septembre 2020 - par : Jean-Baptiste Urbain - Après "Les plaisirs du Louvre", paru le 20 mars et l'opéra Semele d'Haendel le 26 juin dernier, la chanteuse Lucile Richardot s'adonne désormais aux lieder de Mahler aux côtés du ténor Yves Saelens et de l'ensemble Het Collectief, dirigé par Reinbert de Leeuw, récemment disparu. - réalisé par : Yassine Bouzar

Vogelgeluiden.   Kate Moore. (foto) Spin bird. Saskia Lankhoorn, piano Olivier Messiaen. Oiseaux exotiques. Nederlands Blazersensemble olv. Reinbert de Leeuw met Peter Donohoe, piano Olivier Messiaen. Sept Haïkaï. Nederlands Blazersensemble olv. Reinbert de Leeuw met Peter Donohoe, piano  Olivier Messiaen. Un vitrail et des oiseaux. Nederlands Blazersensemble olv. Reinbert de Leeuw met Peter Donohoe, piano […]

Voor de NTR ZaterdagMatinee was componist en dirigent John Adams te gast in Nederland. Met zijn geliefde Radio Filharmonisch Orkest dirigeerde hij zijn eigen werk. Tijdens de Pauze schoof hij even aan bij bassist Wilmar de Visser en violist Nadia Wijzenbeek. Zij spraken over engagement in de muziek, tonaliteit en zijn bijzondere band met Reinbert de Leeuw én met Nederland.

durée : 01:58:41 - Relax ! du mercredi 24 juin 2020 - par : Lionel Esparza - Au programme, un portrait du chef néerlandais Reinbert de Leeuw, un petit détour par la musique du compositeur italien Giovanni Bononcini, et notre disque de légende : la Symphonie fantastique d'Hector Berlioz par l'Orchestre symphonique de Boston et Charles Munch. - réalisé par : Antoine Courtin

录制时间：2020年5月17日主持人&出品人：Charles，广州，微信 2169396本期简介：5月17日是法国作曲家埃里克 萨蒂（Erik Satie）154岁诞辰，本期分享大家一定听过但不一定知道名字的一首作品，裸体舞曲（les trois gymnopedies），体验一种不同的法式美感。本期分享的三个版本演奏者分别是法国钢琴家Phillipe Entremont美国指挥家Maurice Abravanel指挥，犹他交响乐团演奏荷兰著名指挥家 钢琴家Reinbert de Leeuw本期文案部分内容引自知乎作者Amorosa相关文章，在此致谢

录制时间：2020年5月17日主持人&出品人：Charles，广州，微信 2169396本期简介：5月17日是法国作曲家埃里克 萨蒂（Erik Satie）154岁诞辰，本期分享大家一定听过但不一定知道名字的一首作品，裸体舞曲（les trois gymnopedies），体验一种不同的法式美感。本期分享的三个版本演奏者分别是法国钢琴家Phillipe Entremont美国指挥家Maurice Abravanel指挥，犹他交响乐团演奏荷兰著名指挥家 钢琴家Reinbert de Leeuw本期文案部分内容引自知乎作者Amorosa相关文章，在此致谢

In deze laatste aflevering ga ik op bezoek bij mijn vader Frans (1945). In 1997 werd zijn vrouw, mijn moeder, ziek, en anderhalf jaar later overleed ze. Mijn vader en ik zijn ontzettend close, en samen met mijn zusje Barbara vormen we een onverslaanbaar sterk trio. Ondanks dat mijn moeder overleed wist mijn vader het leven voor ons leuk te houden, alhoewel die jaren na haar dood natuurlijk heus niet altijd even makkelijk waren. Mama is altijd veel besproken, ze blijft leven door de enorme hoeveelheid foto's en verhalen die er over haar zijn, en de verschillende monumenten die mijn vader voor haar heeft gemaakt. Daar hebben we het over, maar ook over hoe het voor hém was om de liefde van zijn leven te verliezen. Hoe het was om daarna opeens achter te blijven met twee jonge dochters van 5 en 10 jaar oud, of hij wel genoeg ruimte heeft gegeven aan zijn eigen rouwproces, en hoe vandaag de dag zijn geliefde nog altijd dagelijks bij zijn leven betrekt.---- Deze podcast is mede tot stand gekomen dankzij een subsidie van de Stichting Stimuleringsfonds Rouw. Het omslag is gemaakt door Jasmijn Solange Evans. De openingsmuziek is The Wisp Sings van Winter Aid. De muziek in het midden en aan het eind draaiden we tijdens de begrafenis van mijn moeder, en is van de film An Bloem, gecomponeerd door Rob Zimmerman, uitgevoerd door Het Schönberg Ensemble, dirigent Reinbert de Leeuw. Extra dank voor Hendrik-Jan Derksen voor het digitaliseren van de LP. ---- See acast.com/privacy for privacy and opt-out information.

Voor de NTR ZaterdagMatinee was componist en dirigent John Adams te gast in Nederland. Met zijn geliefde Radio Filharmonisch Orkest dirigeerde hij zijn eigen werk. Tijdens de Pauze schoof hij even aan bij bassist Wilmar de Visser en violist Nadia Wijzenbeek. Zij spraken over engagement in de muziek, tonaliteit en zijn bijzondere band met Reinbert de Leeuw én met Nederland.

Op 14 februari 2020 overleed Reinbert de Leeuw, pianist, componist, dirigent en onvermoeibaar voorvechter van moderne muziek, over wie ik in 2014 de biografie Reinbert de Leeuw: mens of melodie publiceerde. Hans Haffmans interviewde mij hierover aan de hand van muziek die ik dankzij Reinbert heb leren kennen, voor het Matineecafé van de NTRZaterdagMatinee van 22-2-2020. We blikten tevens vooruit op het concert rond Claude Vivier op 28 februari en de verschijning van de derde druk van mijn biografie in april 2020. --- Send in a voice message: https://anchor.fm/thea-derks/message

durée : 00:05:06 - Classique info du lundi 17 février 2020 - par : Sofia Anastasio - Graeme Allwright et Reinbert de Leeuw nous ont quittés, Laurent Joyeux dévoile la nouvelle programmation de l'Opéra de Dijon et la chanson du prochain James Bond dévoilée.

Een uur grotendeels gewijd aan muziek van en vooral mét Reinbert de Leeuw, die zich in de afgelopen decennia ontwikkelde tot de onbetwiste nestor van de nieuwe muziek in Nederland. Met muziek van Tommaso Marchetti, Giovanni Girolamo Kapsberger, Simone Vallerotonda, Reinbert de Leeuw, Olivier Messiaen en Galina Oestvolskaja.

In Diskotabel vandaag een 'in memoriam' Reinbert de Leeuw. Met aan tafel pianiste Pauline Post, emeritus hoogleraar Frans de Ruiter en muziekjournalist Guido van Oorschot.

Een kort IM voor de vrijdag overleden Reinbert de Leeuw. En verder: Arno Bornkamp presenteert op 22 februari zijn nieuwe CD met Bach-interpretaties, in het Orgelpark in Amsterdam. De Tweede Cellosuite, de Fluitpartita in a, en de Vioolpartita nr 2 in D, maar dan op saxofoon. Met werk van Anton Webern, György Kurtág, Johann Sebastian Bach, Simone Vallerotonda, Giovanni Girolamo Kapsberger, Tommaso Marchetti en Claude Vivier.

Reinbert de Leeuw leek met het grootse orkestwerk Abschied in 1974 het componeren vaarwel te zeggen, daarna componeerde hij slechts mondjesmaat. In 2013 presenteerde De Leeuw onverwacht opnieuw een uitgebreid werk voor orkest: Der Nächtliche Wanderer, dat in 2013 in The Londense Proms in première ging. In 2014 was het in de NTR ZaterdagMatinee te horen en de reacties waren ook hier uitzinnig. De Leeuw vond inspiratie in Hölderins gedicht: Der Nächtliche Wanderer. Een onheilspellende nacht waarin de uil op jacht gaat naar zijn prooi.

Panorama de Leeuw L: Abschied. Lees hier het persoonlijke bericht van Thea Derks dat zij schreef n.a.v. het overlijden van Reinbert de Leeuw: Reinbert is dood, leve Reinbert! Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie. Slot. In de vorige aflevering stonden […]

Aad van Nieuwkerk verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Met vanavond muziek van El Periquin, Max Reger, Reinbert de Leeuw, George Crumb en Michael Gordon.

Panorama de Leeuw XLIX, 2 januari 2019: Reinbert de Leeuw en de opera’s van Louis Andriessen   Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie In de vorige aflevering stonden we voor de tweede keer stil bij Reinbert de Leeuws programmering van […]

Panelen hör en alltför jättetrevlig Mozarttolkning, funderar över gitarrmusikens väsen och gillar när den virtuosa röstkonstnären Barbara Hannigan är medvetet uttryckslös.   Veckans skivor: MOZART FOR WINDS OCTET Musik för blåsaroktett av W.A. Mozart Oslo Kammerakademi Lawo LWC1141 Betyg: 4 VIENNA: FIN DE SIÉCLE Sånger av bl.a. Arnold Schönberg, Alban Berg och Alexander von Zemlinsky Barbara Hannigan, sopran Reinbert de Leeuw, piano Alpha Classics Alpha 393 Betyg: 4 APASIONADO JOAKIM ANDERSSON/AGUSTIN BARRIOS Musik av Agustin Barrios Joakim Andersson, gitarr SPC Classics SPC1810 Betyg: 4 MAHLER 1 (DVD) Symfoni nr 1 av Gustav Mahler Gewandhausorchester i Leipzig Riccardo Chailly, dirigent Ute Feudel, regissör Accentus Music ACC 20335 Betyg: 4 Veckans val: Sjostakovitjs tragiska krigssymfoni Musikrevyns Johan Korssell berättar om Sjostakovitjs åttonde symfoni i c-moll från 1943. Den har beskrivits som ett rekviem över alla ryssar som dog i kampen mot nazismen under andra världskriget men var för Sjostakovitj lika mycket en sorgesång över Stalinterrorns offer under 1930-talet. Nu har den åttonde symfonin spelats in av Londons symfoniorkester under ledning av Gianandrea Noseda. Referensen: Augustin Barrios spelar sig själv Vi jämför Joakim Anderssons aktuella inspelning av Augustin Barrios gitarrmusik med Barrios egen inspelning av det som brukar betraktas som hans mest kända verk, "La Catedral".

Panorama de Leeuw XLVIII: Reinbert de Leeuw bij het Sydney Symphony Orchestra #2. Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie In de vorige aflevering stonden we stil bij de relatie van Reinbert de Leeuw met het Sydney Symphony Orchestre. Hij dirigeerde […]

Panorama de Leeuw XLVII: Reinbert de Leeuw bij Sydney Symphony Orchestra.   Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie In de vorige aflevering stonden we stil bij de tachtigste verjaardag van Reinbert de Leeuw, die uitgebreid gevierd werd op 8 september […]

Panorama de Leeuw XLVI: Reinbert de Leeuw wordt 80!   Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie Zaterdag acht september 2018 wordt Reinbert de Leeuw 80 jaar oud. Dit heuglijke feit wordt gevierd met een uitgebreide hommage in het Muziekgebouw aan […]

Panorama de Leeuw XXIV: Schönberg Ensemble #4 (herhaling van 2-11-2016).   Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie Vandaag een herhaling van de uitzending van 2 november 2016 over Reinberts relatie met het Schönberg Ensemble. In de jaren tachtig van de […]

Op Radio 4 staat Tom Klaassen dit weekend stil bij… stilstaande muziek - beter bekend als ‘verticale' muziek. Soundscapes, klankschappen, en in het algemeen: muziek die niet een lineair verhaal vertelt, maar een eeuwigdurend moment wil vasthouden.

Tom Klaassen verkent de immer meanderende grenzen van de klassieke muziek, en vanavond laat hij de Via Crucis van Franz Liszt horen in de uitvoering van Reinbert de Leeuw, enkele jaren geleden opgenomen voor Vrije Geluiden TV.

Reinbert spreekt over zijn samenwerking met componist György Kurtág. "Hij is zo ongelooflijk bezeten en bevlogen... Je moet wel ergens tegen bestand zijn"

Reinbert spreekt over zijn langdurige samenwerking met componist Olivier Messiaen.

Na veel aarzelingen en innerlijke strijd componeert Reinbert de Leeuw nog één keer een groots opgezet orkestwerk: Der nächtlige Wanderer. De première in de NTR Zaterdagmatinee was een eclatant succes.

In deze aflevering neemt Reinbert ons mee terug naar zijn beginjaren. Een woelige tijd waarin hij houvast vond bij twee soulmates: Franz Liszt en Charles Ives.

Reinbert De Leeuw spreekt over Bach en het ontdekken van de wonderen in de Mattäus en de Johannes. Hij zegt hierover “… Jongens, vergeet de rest, ik wil me eigenlijk alleen maar hier mee bezig houden. Het is onuitputtelijk.”

Tom Klaassen verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Erghen diado Le Mystère des Voix Bulgares 2'54” Samuel Scheidt: “Das alte Jahr vergangen ist”. Vox Luminis Olivier Messiaen: Quatuor pour la fin du temps - deel VIII, "Louange à l'immortalité de Jésus" Leeuw, Reinbert de [piano] & Beths, Vera [viool] & Bijlsma, Anner [cello] & Pieterson, George [klarinet] 9'30" Maurice Ravel: Mélodies hébraïques (2) - nr.1, "Kaddisj" (Arr.) Stotijn, Christianne [mezzosopraan] & Boekhoorn, Oliver [doedoek] & Stotijn, Rick [contrabas] & Breinl, Joseph [piano] 6'12" Vigil for the feast of the protecting veil of the mother of God in the Monastery of the Caves in Kiev deel IV Russisch Orthodox Patriarchaal Koor olv Anatoly Gridenko Rautavaara, Einojuhani: Symfonie nr.7, ‘Angel of light' (fragment) Helsinki Filharmonisch Orkest olv Leif Segerstam John Tavner: Threnos Natalie Clein - cello 5'50” Gavin Bryars: Jesus' Blood never failed me yet ongeveer 5”

This year it's the 150th anniversary of Erik Satie. So raise your bowler hat to soprano Barbara Hannigan and pianist Reinbert de Leeuw, who have put together one of the most interesting discs of the French composer's music to come out this year so far. Satie's 1919 cantata Socrate is the centrepiece of this programme. Find out more about this unusual masterpiece in this podcast, plus hear extracts from the recording. This episode is presented by acting deputy editor Rebecca Franks and editorial assistant Elinor Cooper. See acast.com/privacy for privacy and opt-out information.

I programmet diskuterar panelen bl.a. Argerich och Barenboims pianosamarbete samt James Rutherfords tolkning av Schwanengesang. Johan Korssell botaniserar i och väljer ur Ferruccio Busonis diskografi. I panelen Bodil Asketorp, Niklas Lindblad och Tony Lundman som tillsammans med programledaren Johan Korssell betygsätter följande skivor: LIVE FROM BUENOS AIRES Musik av Schumann, Debussy och Bartók Martha Argerich och Daniel Barenboim, pianon DGG 479 5563 WITOLD LUTOSLAWSKI Konsert för orkester, Liten svit, Symfoni nr 4 Nordtyska radions symfoniorkester Krzysztof Urbanski, dirigent Alpha Classics ALPHA 232FRANZ SCHUBERT Schwanengesang James Rutherford, baryton Eugene Asti, piano Bis SACD 2180JOHANN BAPTIST VANHAL IGNAZ PLEYEL Symfoni G-dur Symfoni F-dur, Violinkonsert D-dur Sebastian Bohren, violin Orchestra di Padova e del Veneto Luca Bizzozero, dirigent Sony 88843040932 Johans val Johan Korssell väljer ut godbitar ur 150-års-jubilaren Ferruccio Busonis produktion och tipsar om rekommenderade inspelningar. Andra i programmet nämnda eller rekommenderade inspelningar Schuberts Schwanengesang med tenoren Ian Bostridge och Antonio Pappano vid flygeln, inspelad på EMI. Lutoslawskis Konsert för orkester med Chicagos symfoniorkester under Seiji Ozawa inspelad på Warner Classics samt med Cleveland-orkestern dirigerad av Christoph von Dohnanyi på Decca. Lutoslawskis symfonier med Los Angeles symfoniorkester ledd av Esa-Pekka Salonen på Sony; BBC:s symfoniorkester under Edward Gardner på Chandos samt med Polska radions symfoniorkester dirigerad av Antoni Wit på Naxos.  Svepet Johan sveper över en utgåva på Winter & Winter, Socrate, där sopranen Barbara Hannigan  sjunger sånger av Erik Satie med ackompanjemang av Reinbert de Leeuw. I år är det 150 år sedan Erik Satie föddes.    

Tom Klaassen belde met pianist, componist en dirigent Reinbert de Leeuw over Erik Satie. Verder zoeken we typische 1 mei-muziek: muziek die de arbeid viert. En we blikken vooruit op het Weeshuis van de Nederlandse Muziek, volgende week zaterdag.

Tom Klaassen belde met pianist, componist en dirigent Reinbert de Leeuw over Erik Satie.

Reinbert de Leeuw maakte in Gent een nieuwe cd met werken van Janacek. De ene topper na de andere, werkelijk. U hoort zondag in Vrije Geluiden op NPO Radio 4 een paar tracks. Ook leuk: Het Noord Nederlands Orkest speelt werk van Anthony Fiumara. As I Opened Fire, heet dat. Buitengwoon geschikt voor een reeks nieuwjaarsconcerten. En over concerten gesproken: De Leo Smit Stichting bestaat 20 jaar en viert dat met een marathonconcert. Vanzelfsprekend is daar een boel muziek bij te horen. U hoort er zondag meer over, naast een keur aan diverse varia en aanverwanten.

Na afloop van het concert van de ZaterdagMatinee ontmoeten Hans Haffmans en zijn gasten elkaar in Diskotabel Café en bespreken opnames van CD, het internet en uit het archief van Radio 4. De nadruk ligt op uitwisseling van persoonlijke smaken, muziekbeleving, voorkeuren en associaties. Live vanuit het Concertgebouwcafé. Gasten: Reze Namavar (componist), Agnes van der Horst (biografe van de familie Andriessen), Mattias Spee (jonge pianist, winnaar Steinway concours) & Reinbert de Leeuw (dirigent, pianist en componist) Inspiratie; de familie Andriessen in het algemeen en Louis Andriessen in het bijzonder

Uit België de wereldfusieband Hijaz; pianist Reinbert de Leeuw; Square Orange, de band rond basgitarist Bob van Luijt “Niko Deman is een jazzpianist met een hekel aan conventies. Met zijn Griekse achtergrond voorziet hij de muziek van een mediterrane frisheid.” “Moufadhel Adhoum maakt de droge toon van de Arabische luit sappig, zijn klank [...]

Liza Ferschtman speelt een van de mooiste openings arpeggio uit de muziek literatuur: het Adagio uit de Sonate nr. 1 van J.S. Bach Barbara Sukowa treedt op met het Asko|Schönberg met Reinbert de Leeuw achter de vleugel. De Leeuw hercomponeerde speciaal voor haar de liederen van Schubert en Schumann: Im Wunder Schöne Monat Mai. [...]

Here's the 2nd installment of the Peace & Quiet series. Some deeper moods betwixt songs played with ease. A breezy finale closes out this collection and it's a reprise. You'll hear more from Thelonious Monk, Claudio Arrau, Art Tatum, Reinbert de Leeuw, Dave McKenna, Andre Previn, Yann Tiersen, Alessandra Celletti, Gonzales, & Sergei Rachmaninov as well as an opening composition by Nico Muhly and introduction of Fred Hersch's virtuosity to this collection. Classical works of Beethoven and Debussy intermingle with Jazz standards like Sweet and Lovely & Night and Day. Not much more to say, other press play and float away. & please remember to play at 1/2 the volume that you are used to. A Hudson Cycle - Nico Muhly Moonlight Sonata - Ludwig Van Beethoven ? So In Love - Fred Hersch Thirteen Preludes Op. 32: No. 5 In G - Sergei Rachmaninoff Antonia - Stefano Bollani Night And Day - Andre Previn Overnight - Gonzales Nocturne No. 17 in B, Op. 62 - Claudio Arrau The Golden Fly Three - Alessandra Celletti C.M. Blues - Gonzales Time On My Hands - Art Tatum Ruby, My dear - Thelonious Monk If I Had You - Benny Weinbeck It's The Talk Of The Town - Art Tatum Chang'an - Alessandra Celletti Comptine D'un Autre Ete L'apres-Midi - Yann Tierson Sweet And Lovely - Dave McKenna Peace & Quiet I http://djqoolmarvsounds.podomatic.com/entry/2008-07-01T13_45_08-07_00 Peace & Quiet III http://djqoolmarvsounds.podomatic.com/entry/2010-08-12T03_16_10-07_00

Among the reasons for compiling these songs are my Mom’s love of the sound of the piano, a serene atmosphere for my resting boy, and the soundtrack for my contemplation during the wee hours of the morning. When you DJ, your musical imagination is full of clever segues. When you love music, you’re never without songs. When you play music for people’s enjoyment, your mind is on how you’ll bring together everybody’s jams, create a vibe and move the crowd. Within crafty DJs, daydreaming in stereo is a constant. With all of that going on in your mind all of the time, and, let’s face it, music’s allure just won’t allow you to turn it off, you need Peace & Quiet. When listening to solo piano music, at last, I’m not thinking about the next mix. My mind relaxes into a mode of appreciation. Piano is an essential musical instrument, a root in the world of sound. Whether at home, the church, or singing America the Beautiful in public school, we’ve all accompanied the piano. The piano has always stuck with me. Over two years, I listened to approximately 1,800 solo piano performances amid the realms of Classical and Jazz music. I’ve loved Jazz since I was a teen, I used to listen to it while hauling lumber or doing landscaping because I never knew when the songs would end and that helped to pass the time quickly. Ten 6-minute long Jazz songs, that’s an hour. I had a tape, the soundtrack to a film called ‘Round Midnight, starring Dexter Gordon, which was with me on the bus, the El (Philadelphia's subway), alone in my room at home, Pop’s car, everywhere all the time and on auto reverse. This 1986 film won the Academy Award for Best Music and Original Score. Herbie Hancock on piano, Dexter Gordon on tenor sax, Ron Carter on bass and Tony Williams on drums, John McLaughlin on guitar, Bobby Hutcherson on vibes, Wayne Shorter on saxes, Freddie Hubbard on trumpet, Cedar Walton on piano, Billy Higgins on drums, Pierre Michelot on bass, and Bobby McFerrin on vocals. Curious about what represents a standard in Jazz as a beautifully human genre featuring master musicians? Commence your exploration with ‘Round Midnight. On that soundtrack, Herbie Hancock and Bobby Hutcherson’s "Minuit Aux Champs-Elysées" was the song that drew my focus toward the musician’s playing. Since only piano and vibes, it was easier to hear Herbie and Bobby’s playing, and I could hear, because I knew that they were improvising, what seemed to me as their brains in motion. Thinking in the present and future while playing at same time is very attractive to my ears. Your ideas begin in your mind, in your imagination, and they are uniquely yours – you unbridled. This combination of Jazz and Classical pianists juxtaposes easy going compositions played to form and played freely. Each pianist is legendary and the performances of standards and their own compositions are exquisite. Play quietly and enjoy the excursions into their minds and yours. Qool DJ Marv presents Peace & Quiet Intersecting Introspective Solo Performances of Classical & Jazz Piano Virtuosos A Beats, Jazz, & Soul Special Relax & Unwind Edition 1. Alessandra Celletti - Gymnopédies n° 1 2. Bill Evans - Peace Piece 3. Reinbert de Leeuw - Gnossiennes: No. 4 4. Alessandra Celletti - The Golden Fly Four 5. Sergei Rachmaninov - Lilacs (Composed in 1902) 6. Herbie Hancock - Harvest Time 7. Dave McKenna - There Will Never Be Another You (Warren-Gordon) 8. Art Tatum - Tenderly 9. Gonzales - The Tourist 10. Gonzales - Basmati 11. Andre Previn - In the Wee Small Hours of the Morning 12. Yann Tiersen - Sur le fil 13. Alessandra Celletti - Danses de Travers n°2 14. Sergei Rachmaninov - «The Swan» 15. George Gershwin - So Am I 16. Benny Weinbeck - Willow Weep for Me 17. Dave McKenna - Lucky to Be Me (Bernstein-Comden-Green) 18. McCoy Tyner - Tivoli 19. Vladimir Ashkenazy - Bagatelle in A Minor, WoO. 59 -"Für Elise" 20. Keith Jarrett - Sand, Part 3 21. Yann Tiersen - La Valse d'Amélie (piano version) 22. Thelonious Monk - Sweet and Lovely (Take 2) 23. Cedar Walton - Final Confession Peace & Quiet II http://djqoolmarvsounds.podomatic.com/entry/2009-07-02T17_23_23-07_00 Peace & Quiet III http://djqoolmarvsounds.podomatic.com/entry/2010-08-12T03_16_10-07_00

Thea Derks volgt het muziekspoor van Reinbert de Leeuw.