Podcasts about rzewski

Jed's Between the Keys episode about Rzewski's monumental masterpiece, with special guest pianist Ursula Oppens: https://soundcloud.com/jeddistler/episode-0032-the-people-united-at-40-2015-11-03?in=jeddistler/sets/between-the-keys-archive

I denne flunkende nye episoden sesongåpner vi med å snakke om en komponist vi i podcasten virkelig digger. Nemlig amerikaneren Frederik Rzewski. Om lyden av Mathias blir svakere gradvis iløpet av de første 10 minuttene, last episoden ned på nytt, feilen er rettet:) Lytteeksempler: Coming together: https://open.spotify.com/track/7LTCVnA21S1zYzb5eaUra0?si=DAiteJxSSduqfXUmDw3Kvg The People united will never be defeated: https://open.spotify.com/album/4pHar6YiC1aVptgFOJ6RPV?si=4TpQQ7WDS1ugwrxKCRG2ow

Synopsis The first performance of the “Liebeslieder” – or the “Love Song” Waltzes – for piano four-hands by Johannes Brahms took place on today's date in 1869. The performers were two distinguished soloists: Clara Schumann, widow of composer Robert Schumann, and Hermann Levi, a famous conductor of his day. But in fact, the “Liebeslieder Waltzes” were intended for amateur musicians to play. These popular scores provided Brahms with some steady income, certainly more than he earned from performances of his symphonies, which some of his contemporaries considered difficult “new” music. Brahms wrote to his publisher: “I must admit that, for the first time, I grinned at the sight of a work of mine in print. Moreover, I gladly risk being called an ass if our ‘Liebeslieder' don't give more than a few people pleasure.” Some much more recent piano music designed for amateur performers was collected into a volume titled “Carnegie Hall Millennium Piano Book.” This volume was conceived by composer Ellen Taaffe Zwilich and the artistic director of Carnegie Hall, Judith Arron. They were concerned about the lack of contemporary piano works that intermediate-level piano students could perform, so commissioned ten composers to write suitable piano pieces from composers ranging from Milton Babbitt and Elliott Carte to Chen Yi and Tan Dun. Music Played in Today's Program Johannes Brahms (1833-1897): Liebeslieder Waltz No. 18, Op.52a –Silke-Thora Matthies and Christian Köhn, piano (Naxos 553140) Frederic Rzewski (1938-2021): The Days Fly By –Ursula Oppens, piano (Companion CD to Boosey and Hawkes "The Carnegie Hall Millennium Piano Book" ASIN: B003AG8IUK)

Krzysztof Tchórzewski mówi o możliwych następcach Michała Dworczyka. Uważa, że Marek Kuchciński mógłby być, jego zdaniem, dobrym kandydatem na objęcie stanowiska szefa KPRM, jednak do tego nie dojdzie. Tłumaczy, że podjęcie decyzji w tej sprawie nie nastąpi w najbliższym czasie. Ponadto, komentuje relacje między premierem Mateuszem Morawieckim a wicepremierem, ministrem aktywów państwowych Jackiem Sasinem. --- Send in a voice message: https://anchor.fm/radiownet/message

Damos la bienvenida, con esta emisión, al año 2022. Tradicionalmente el primer programa de Ars Sonora de cada año ha cobrado una dimensión especial, y de hecho hoy no perderemos esa costumbre. Ahora bien, lejos de acometer una temática festiva, en esta ocasión —dando continuidad al impulso iniciado la pasada semana, en el programa que sonó durante la Nochebuena— hemos preferido plantear esta edición de nuestro espacio como un homenaje a algunos compositores que nos han abandonado durante los últimos doce meses. Un recuerdo dedicado a aquellos músicos y artistas —muy relevantes, en muchos casos— que han fallecido en el año pasado, un periodo en el que además de las consecuencias, de diverso tipo, provocadas por la pandemia del COVID, también otras circunstancias han puesto fin a las respectivas vidas de algunas figuras fundamentales para las prácticas relacionadas con la música experimental y el arte sonoro. Así, retomando el testigo de la emisión anterior de nuestro espacio, continuamos recorriendo el año 2021 en orden cronológico, rememoramos el fallecimiento de los siguientes autores a través de la escucha de algunos fragmentos de su música: Frédéric Rzewski (“De Profundis”); John Hassell (“Time And Place”); Louis Andriessen (“Il Duce”); Jeremy Peyton Jones (“Will I Live Again?”); Ruben Radica (“Per Se II”); Raymond Murray Schafer (“Entrance To The Harbour”); Sylvano Bussotti (“O Lachrimae”); Luis García Núñez —LUGÁN— (“Tres grifos sonoros”); Luis de Pablo (“WE”); Hartmut Geerken (“The Heliopolar Egg”); Mario Lavista (“Plegarias para fagot y sonidos electrónicos”); Alvin Lucier (“The Only Talking Machine of its Kind in the World”); Francisco Kröpfl (“Música para saxo y percusión electrónica”); Jurg Wyttenbach (“D’Hommage oder Freu(n)de nicht…”); Sophie Xeon (“L.O.V.E.”). Escuchar audio

a cura di Alessandro Achilli. Musiche: Curved Air, Gong, Faust, Rzewski, Recedents, Dolphy, Chris Abrahams - Mike Cooper, Remote Viewers, Jack Bruce, Fickle Friends, Greta Liisa Grünberg - Laur Pihel, Kappeler-Zumthor, Mimsy, Alessia Elli

a cura di Alessandro Achilli. Musiche: Curved Air, Gong, Faust, Rzewski, Recedents, Dolphy, Chris Abrahams - Mike Cooper, Remote Viewers, Jack Bruce, Fickle Friends, Greta Liisa Grünberg - Laur Pihel, Kappeler-Zumthor, Mimsy, Alessia Elli

Op 26 juni jongstleden overleed de Amerikaanse componist en pianist Frederic Rzewski (geboren in 1938). Sociaal-historische en politieke thema's zijn kenmerkend voor vrijwel al zijn werk. Bijvoorbeeld voor zijn vermoedelijk bekendste werk, voor piano solo, The People United Will Never Be Defeated!, 36 variaties op het lied 'El pubeblo unido jamás será vencido' van de Chileense componist en activist Sergio Ortega, geschreven als muzikale pendant van Beethovens Diabelli-variaties. Het vlammende Coming Together is gebaseerd op brieven van een gevangene van Attica State Prison ten tijde van de beruchte rellen in die gevangenis (1971). Critici beschouwen Rzewski als een van de belangrijkste pianocomponisten van de laatste tijd, en prijzen de fabuleuze speeltechniek die Rzewski bij leven liet horen. 23:04:20 CD Distant Light (Challenge Classics CC 72830) Peteris Vasks: Vioolconcert ‘Distant Light' - Andante 2 Daniel Rowland [viool]; Stift Festival Orchestra 7'17” 23.13 eigen opname musici Beate Loonstra; Vincent Veneman: Onbesliste Tweestrijd Beate Loonstra [harp]; Vincent Veneman [trombone] 4'04” 23.20 CD The People United Will Never Be Defeated ( Frederic Rzewski: The People United Will Never Be Defeated (I-X) Marc-André Hamelin [piano] 10'18” 23.32 LP Hoketus (Hoketus 01 - 6814090) Frederic Rzewski: Coming Together Hoketus; Roberta Alexander [stem] 19'46”

Saturday 3 July: Remembering Frederic Rzewski and Louis Andriessen, Richard Piper on Bartók, and Wiradjuri and Gadigal singer Akala Newman

Krzysztof Tchórzewski opowiada o transformacji energetycznej w Polsce. --- Send in a voice message: https://anchor.fm/radiownet/message

Krzysztof Tchórzewski komentuje nowoczesną technologię wytwarzania energii poprzez gazowanie odpadów. Sądzi, że należy przyglądać się nowemu pomysłowi. Ocenia także przyjęty nowy dokument strategiczny, wyznaczający kierunki rozwoju sektora energetycznego – „Politykę energetyczną Polski do 2040 r.”. Przyszła gospodarka energetyczna będzie bardzo droga. Według Tchórzewskiego Polska powinna implementować dwa modele polityki energetycznej: politykę OZE oraz konwencjonalną. Przewiduje, że po założonym unijnym Nowym Zielonym Ładzie Niemcy będą miały większe kłopoty energetyczne niż Polska. --- Send in a voice message: https://anchor.fm/radiownet/message

Avui ,el músic i escriptor de Deltebre Miquel Àngel Marín ha compartit amb nosaltres una llauna de Conserves Musicals d'aquelles selectes de debò. Contenia peces de Nico Roig, Manu Louis i el mestre de tots dos, Rzewski. Una sèrie de delicatessen que esperem que disfruteu tant com ho he fet nosaltres. Foto: https://www.elprat.cat/la-ciutat/guia-agenda/concert-nico-roig

Coders Lab to szkoła programowania, która ma wielomilionowe przychody oraz kilka franczyzowych oddziałów na świecie. To pierwsza szkoła programowania tego typu w Polsce.Tematy poruszane w odcinku:

Kolejnym gościem Przeprogramowanych jest Marcin Tchórzewski - założyciel oraz CEO Coders Lab - największej w Polsce szkoły programowania. Coders Lab to szkoła, której kursy ukończyło już ponad pięć tysięcy osób, a zgodnie z ich materiałami informacyjnymi - ponad 82% tego grona znalazło pracę w IT. Wiemy jak gorącym tematem są takie szkoły, więc na pewno nie obejdzie się bez trudnych pytań związanych z przygotowaniem uczestników do rzeczywistych wyzwań rynku pracy, zawartości każdego kursu oraz historii absolwentów, którzy przez Coders Lab "przeszli". Korzystając z doświadczenia Marcina porozmawiamy również o zakładaniu tego rodzaju biznesu w Polsce, reakcji społeczności na kolejne pomysły Coders Lab oraz o codzienności i obowiązkach CEO

W 2013 roku bracia Marcin i Jacek Tchórzewscy założyli pierwszy w Polsce bootcamp programistyczny. Dziś szkoła IT Coders Lab pochwalić się może ponad 6 tysiącami wykształconych specjalistów. Między innymi o tym, czy każdy może zostać programistą Marcin Tchórzewski opowiada Rafałowi Kergerowi.

We talk with pianist Marc-André Hamelin, whose repertoire, in more than 60 recordings, covers many little-known composers, as well as a number of twentieth-century works, by composers such as Ives, Rzewski, and Feldman. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Support The Next Track (https://www.patreon.com/thenexttrack). Guest: Marc-André Hamelin (https://www.marcandrehamelin.com) Show notes: Marc-André Hamelin on Hyperion Records (https://www.hyperion-records.co.uk/a.asp?a=A49) Marc-André Hamelin stream for the 92nd Street Y (https://www.92y.org/archives/marc-andre-hamelin-piano) Rockport Music's Virtual Gala 2020 (https://rockportmusic.org/rockport-musics-virtual-gala-2020/) Cathy Fuller (https://www.classicalwcrb.org/people/cathy-fuller#stream/0) Catoire: Piano Music (https://www.hyperion-records.co.uk/dc.asp?dc=D_CDH55425) Ives & Barber: Piano Sonatas (https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67469) Ives: Three Places in New England, Ruggles: Sun Treader, Boston Symphony Orchestra, Michael Tilson Thomas (https://amzn.to/2zmdv8w) Charles Ives: Essays Before a Sonata (https://www.gutenberg.org/files/3673/3673-h/3673-h.htm) Ives: Concord Sonata, John Kirkpatrick (https://www.discogs.com/Charles-Ives-John-Kirkpatrick-The-Concord-Sonata/release/3771682) Rzewski: The People United Will Never Be Defeated! (https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67077) Feldman: For Bunita Marcus (https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68048) Our next tracks: Morton Feldman: For Philip Guston (https://amzn.to/2xXnqB3) The Andrew Oldham Orchestra: The Rolling Stones Songbook (https://amzn.to/3cMGot9) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast. Special Guest: Marc-André Hamelin.

Krzysztof Tchórzewski mówi o stratach w polskiej gospodarce przez koronawirusa. Można to wykazać na podstawie zużycia prądu. W porównaniu do marca 2019 r. w analogicznym miesiącu w tym roku można zaobserwować ogólne zmniejszone zużycie prądu o cztery procent (w przemyśle o pięć procent). „Te straty nie są takie, żeby powalić nasz kraj [...] Gospodarka będzie osłabiona, ale mniej osłabiona niż w innych państw” – mówi Tchórzewski. Podkreśla, że należy odmrażać gospodarkę, aby kraj mógł normalnie funkcjonować. Ujawnia, że restrykcje rządowe w strefie publicznej będą etapowo usuwane. „Nie widać” również, aby były wprowadzone nowe ograniczenia. --- Send in a voice message: https://anchor.fm/radiownet/message

In the third episode of Ghost Echoes, the secret rules direct us towards a reluctant radical in Robert Wyatt. The eclectic English musician is in good company, though, and you'll find out why as we twist and turn through a number of historical similarities and coincidences. Along the way, we'll also learn that a revolution is not a dinner party. Music and Sound Notes: - The music in the first section about Robert Wyatt includes “Marchides” by Matching Mole, and “Alifib” by Robert Wyatt. - The following section about Cornelius Cardew includes the first movement from Haydn's String Quartet Op. 54, No. 1 performed by Marlburo Music. - “Brandy As In Benj” by Matching Mole starts the next section about Wyatt. Three more songs from Little Red Record close out the section: “Righteous Rhumba,” “Gloria Gloom,” and “Starting in the Middle of the Day We Can Drink Our Politics Away.” - The next Cardew section contains "Paragraph 7" of The Great Learning performed by the Scratch Orchestra, a repeat engagement by AMMMusic, and Karlheinz Stockhausen's Kontakte. The recordings of Cardew's propaganda songs appear on the CD Consciously: “Song for the British Working Class,” “Founding of the Party” and “The Workers of Ontario.” - The following sections contain “Foxy Lady” from a Jimi Hendrix bootleg from a 1967 show in Stockholm. And a recording of Cardew's Thälmann Variations by Frederic Rzewski. (This recording is all the more poignant considering that Rzewski was a friend of Cardew's, and a colleague in radical politics, though he did not escape censure by Cardew in Stockhausen Serves Imperialism). - Finally, the ending is set to two Robert Wyatt songs: “Sea Song” and “Shipbuilding.” Further reading, listening: - My two main sources for biographical information were Cornelius Cardew: A Life Unfinished by John Tilbury and Different Every Time: The Authorized Biography of Robert Wyatt by Marcus O'Dair. This piece by Edward Fox was useful for some details surrounding Cardew's death. -Clips of Wyatt speaking come from the BBC's The Voices Of… and the short clip of John Tilbury comes from this video.

Shai Wosner alternates sonatas by Rzewski and Scarlatti in a brilliant and colorful sequence as recorded in January 2020 for the Grand Piano Series. He discussed his programming with our producer, Mark Travis, who hosts the podcast. You'll also hear a brief excerpt of Schubert's B-flat major sonata, which Mr. Wosner has recently recorded and released commercially.

Gościem 35 odcinka jest Marcin Tchórzewski! Marcin Tchórzewski jest współzałożycielem i CEO szkoły IT Coders Lab. Widząc rozdźwięk między potrzebami rynku pracy a możliwościami krajowego systemu edukacji, założył z bratem Jackiem Tchórzewskim (programistą, absolwentem informatyki na Politechnice Warszawskiej) pierwszą polską szkołę programowania. Do maja 2019 roku wykształciła ponad 3 500 programistów, testerów i UX designerów oraz połączyła ich z firmami poszukującymi talentów IT. W 2018 roku w szkołę zainwestowała Grupa Pracuj.

Marcin Tchórzewski - w 2013 roku wraz z bratem stworzyli CodersLab, nowoczesną szkołę zawodową, która uczy specjalistów IT. Do dziś przeszkolili ponad 3300 osób, zatrudniają ok. 280 pracowników i trenerów, a inwestorem w CL została Grupa Pracuj. Na bazie doświadczeń komercyjnych zbudowali fundację Możesz IT, która pomaga podnosić kompetencje zawodowe osobom potrzebującym.Z rozmowy dowiesz się:- co jest nie tak w edukacji- jak pozyskać inwestora- jak zarządzać swoim czasem i skutecznie się uczyćTranskrypcję i wideo znajdziesz na:www.gregalbrecht.io/marcintchorzewskiDołącz do bezpłatnego klubu Greg Albrecht Podcast:www.gregalbrecht.io/klub

Marcin Tchórzewski - w 2013 roku wraz z bratem stworzyli CodersLab, nowoczesną szkołę zawodową, która uczy specjalistów IT. Do dziś przeszkolili ponad 3300 osób, zatrudniają ok. 280 pracowników i trenerów, a inwestorem w CL została Grupa Pracuj. Na bazie doświadczeń komercyjnych zbudowali fundację Możesz IT, która pomaga podnosić kompetencje zawodowe osobom potrzebującym.Z rozmowy dowiesz się:- co jest nie tak w edukacji- jak pozyskać inwestora- jak zarządzać swoim czasem i skutecznie się uczyćTranskrypcję i wideo znajdziesz na:www.gregalbrecht.io/marcintchorzewskiDołącz do bezpłatnego klubu Greg Albrecht Podcast:www.gregalbrecht.io/klub

Jak zostać programistą? Czy rzeczywiście do programowania konieczne są studia na Politechnice? Czy może programowania można nauczyć się podczas kilutygodniowego bootcampu? Na te i inne pytania staram się znaleźć odpowiedź rozmawiając z Marcinem Tchórzewskim - cofounderem Szkoły Programowania Coders Lab.

Jak zostać programistą? Czy rzeczywiście do programowania konieczne są studia na Politechnice? Czy może programowania można nauczyć się podczas kilutygodniowego bootcampu? Na te i inne pytania staram się znaleźć odpowiedź rozmawiając z Marcinem Tchórzewskim - cofounderem Szkoły Programowania Coders Lab.

Marcin Tchórzewski to współzałożyciel największej szkoły IT w Polsce, czyli Coders Lab. Do końca 2018 roku wykształciła ona ponad 2 700 programistów, testerów i UX designerów oraz połączyła ich z firmami poszukującymi talentów IT. W 2018 roku w szkołę zainwestowała Grupa Pracuj. Z Marcinem rozmawialiśmy o przyszłości edukacji, reformie systemu nauczania w Polsce, wolność jaką daje wykształcenie IT oraz o planach na rozwój Coders Lab. Miłego słuchania :) O.

  Today, I'm really excited to have Canadian pianist David Jalbert on the show!  David is an extraordinary person, a brilliant artist, and a very dear friend!   We have a great conversation and cover many topics, from finding yourself as an artist, to the importance of confidence in our progress, and how to learn and memorize music.  David is incredible (and hilarious!) and I know you will really enjoy his approach to all things music and find tons of value in this episode!  In this episode, David talks about: His musical journey, from a small town in the province of Quebec studying at the Conservatoire, the University of Montreal, the Toronto Royal Conservatory in Toronto, and Juilliard, leading to his professional career The wonderful musical program he took part in at the Conservatoire de Musique du Quebec The Canadian Music Competition and how competitions were a source of motivation for him How his curiosity and the fact that he “thrived on the forbidden” really helped him develop his technical skills How having many teachers taught him so much, but left him somewhat confused How he found himself back His learning process and how he realized that he could learn faster The importance of confidence in the learning process Memorizing music The importance of being organized How being interested in expanding our cultural horizon can positively affect our growth as an artist and give us “a leg up”   En français, nous discutons de : Son parcours musical, des débuts à aujourd'hui, en touchant à ses moments au Conservatoire de Musique de Rimouski, ses expériences au Concours de Musique du Canada, et ses études à l'Université de Montréal, la Glenn Gould School, et à Juilliard La motivation et l'inspiration qu'il a retiré de sa participation au Concours de Musique du Canada L'approche de la technique de Marc Durand qui a eu une grande influence dans sa vie Sa période à la Glenn Gould School et l'impact d'étudier avec plusieurs professeurs Son expérience avec Jérome Lowenthal et comment il a développé sa voix authentique À quoi sa pratique ressemble o   L'importance de la précondition – de se mettre dans le bon « espace mental » o   L'importance d'avoir un plan Son processus d'apprentissage et de mémorisation du répertoire   More Information about David Jalbert: Website: http://davidjalbert.com/ YouTube channel: https://www.youtube.com/user/davidjalbertpiano/videos Johannes Brahms: A Biography by Jan Swafford   Biography A virtuoso with a warm and elegant style and a wide-ranging repertoire, pianist David Jalbert has established himself among the elite of a new generation of classical musicians, and was named by the CBC among the 15 best Canadian pianists of all time. With his personal style, incomparable stage presence, and refined ear, he has wowed audiences and critics everywhere: “a deeply musical pianist” (Cleveland Plain Dealer), “a virtuoso in the best sense of the word” (La Presse), “…wide-ranging musical imagination, phenomenal technique, and an unerring lightness of being” (The Toronto Star). His first solo disc, dedicated to the works of Corigliano and Rzewski (in preparation for which he worked with both composers), was launched to great applause on Endeavor in 2004 and was followed in 2006 by a recording of Fauré's complete Nocturnes (a winning selection on La Tribune des Critiques de Disques, France-Culture). His 2008 release on the ATMA label, Shostakovich: 24 Preludes and Fugues opus 87, drew rave reviews, won an Opus Award, and was nominated for a Juno Award. He followed it up with an album dedicated to works by minimalist greats John Adams and Philip Glass (2010), and his 2012 recording of Bach's Goldberg Variations was met with unanimous praise. He recorded works by Poulenc and Satie on “Le Comble de la Distinction” (2015) and virtuosic transcriptions of Russian ballets by Stravinsky and Prokofiev in 2017, which earned him another Juno nomination. An accomplished chamber musician in both the hall and the studio, his releases include Poulenc's music for winds and piano (with the woodwind quintet Pentaèdre) as well as the Rachmaninov and Chopin Cello Sonatas with his long-standing musical partner Denise Djokic. With violinist Jasper Wood and cellist Denise Djokic, he is also a member of Triple Forte, a piano trio whose first recording was awarded a 2014 Prix Opus (Album of the Year). Jalbert has also collaborated with violinist Rachel Barton Pine, the Cecilia and Alcan string quartets, double-bassist Joel Quarrington (on another Opus-winning collaboration, the album Brothers in Brahms as well as a Schubert album) and with pianists Anton Kuerti, Wonny Song and Jean-Philippe Collard. As guest soloist, Jalbert has appeared with many orchestras, including the Montreal Symphony Orchestra, Vancouver Symphony Orchestra, Toronto Symphony Orchestra, Calgary Philharmonic, Orchestre Métropolitain, Winnipeg Symphony Orchestra, National Arts Centre Orchestra, CBC Radio Orchestra, Bielefelder Philharmoniker, Gauteng Philarmonic and National Symphony of Ireland and others. He has collaborated with conductors Yannick Nézet-Séguin, Christoph Campestrini, Skitch Henderson, Jacques Lacombe, Bramwell Tovey, Mario Bernardi, Peter Kuhn, David Currie, Marc David, Dinuk Wijeratne and others and has performed in Canada, the United States, Mexico, South Africa and Europe. Jalbert's repertoire is expansive, and he plays Bach, Brahms, Stravinsky or Ligeti with equal pleasure. David Jalbert can be heard regularly on CBC Radio and Radio-Canada broadcasts, not only as a pianist, but also as a guest commentator. A national and international prize-winner, David Jalbert was the 2007 winner of the prestigious Virginia Parker Prize of the Canada Council for the Arts, has been awarded five Prix Opus by the Conseil Québécois de la Musique, was nominated for four Juno Awards, and is now an Associate Professor of piano at the University of Ottawa. He holds two Artist Diplomas: one from the Juilliard School in New York, the other from the Glenn Gould Professional School (Toronto). He received his Master's Degree from the Université de Montréal at age 21, winning the Governor General's Gold Medal (awarded yearly to the top graduate student of the University). His main teachers have been Jerome Lowenthal, Marc Durand, André Laplante, and Pauline Charron. He has also worked with Leon Fleisher, John Perry, Claude Frank, Gilbert Kalish, and Marylin Engle.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfingertribe/

Jonathan sits down with Dr. Brendan Kinsella to talk about their experiences through one half of the Chloé Trevor Music Academy 2018, new music, and forming connections through school that continue through one's musical career. They end with a rousing game of "Serial or Aleatoric" that gets cut off because of SD storage issues. Musical Bumper: Messiaen - Regard de l'Onction terrible

durée : 01:00:09 - Philippe Eidel / Jan Rzewski - par : Bruno Letort - Ce soir, nous rendons hommage au compositeur Philippe Eidel, puis le saxophoniste Jan Rzewski nous rendra visite, pour nous faire son "Tapage nocturne".... - réalisé par : Bruno Riou-Maillard

10.12.17 Art and Incarceration: Poetry, Theatre and Music in and about Captivity Concert, Ensemble Pi For this interdisciplinary performance, Ensemble Pi presented music, text, and theater works that focus on the rise of mass incarceration, the racial disparities it reveals, and the emotional toll it takes on inmates and their families. The evening started with the world premiere of Rikers Island by New York composer Eleanor Cory, inspired by the anthology These Are Hard Times for Dreamers. Followed by Rzewski’s minimalist masterpiece, Coming Together, composed in the wake of the 1971 prison riots in upstate New York and powerfully expressing the frustration of life behind bars and anger about injustice. Joseph Assadourian, the narrator for Coming Together, will also perform an excerpt from his tragi-comic play, The Bullpen, based on his own incarceration. The performance closed with the sublime Olivier Messiaen’s Quartet for the End of Time (1941), composed and performed in the prisoner-of-war camp in Gorlitz, Germany, capturing the hardship and sadness of being in prison, while still conveying optimism. About the presenters: Ensemble Pi is a new music collective that uniquely connects pressing social and political issues and the idioms of classical contemporary music. They began a Peace Concerts series 10 years ago in response to the invasion of Iraq, and have since presented annual chamber music concerts giving voice to the struggle for peace. Every concert includes at least one commission, as well as contemporary classical masterpieces to address the historical tradition of “socially conscious” compositions. In the past, the group has collaborated with visual artists, writers, journalists and actors – including South African artist William Kentridge and American journalists Naomi Wolf and Jeremy Scahill – and have featured the music of John Harbison, Frederic Rzewski, Shostakovich and Penderecki. The Peace Concerts series has also protested the censorship of media, fracking, the Apartheid, and more. Performers include: Alexis Gerlach, cello; Moran Katz, clarinet; Idith Meshulam Korman, piano; Airi Yoshioka, violin; and Joseph Assadourian, actor and narrator. The group is joined by local Houston musicians Craig Hauschildt, percussion and Daniel Egan, trumpet.

April 30, 2016. David Plylar interviews composer Frederic Rzewski and violist Charlton Lee of the Del Sol String Quartet about their collaboration at the Library of Congress. Rzewski received a Library of Congress McKim Fund commission for "Satires," a work for violin and piano. The world premiere was given at the Library of Congress with Rzewski on piano and violinist Jennifer Koh on April 30, 2016. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7572

For New Year New Music, Michael Berkeley's guest is the Irish composer Gerald Barry. We tend to think of 'New Music' as something deadly serious and even agonised; Gerald Barry utterly confounds that stereotype. His latest opera, which will be staged at the Barbican this March, transforms The Importance of Being Earnest - with Lady Bracknell sung by a bass in a business suit, and Gwendolyn and Cecily throwing dinner plates at each other. It's Barry's fifth opera; his first, The Intelligence Park from 1990, told the story of an 18th century composer who fell in love with a castrato. As well as the operas there are scores of instrumental pieces, piano concertos and choral works. They have wonderful titles: Humiliated and Insulted; The Destruction of Sodom - a piece for 8 horns and 2 wind machines. In Private Passions, Gerald Barry talks to Michael Berkeley about his childhood in a small village in the West of Ireland. It wasn't a musical household, but as a young boy he heard Clara Butt singing Handel on the radio and that was an awakening for him, 'a visitation'. From then on, he knew he wanted to be a composer, though he didn't even know the word. At the age of 14, he won a medal for composition - by taking a Mozart piano sonata and cutting it up, sticking it together again in random order. Barry went on to study with Stockhausen and the Argentinian composer Mauricio Kagel, and he talks about his struggle to make a living as a church organist in Cologne: he was fired, first for being Catholic, then for being late for 7.30am Mass. He gives a moving account of his mother dying, just as his first opera was performed. And he reflects on the woeful blandness of singing voices in the musical world now, compared with the countertenors and castrati of the past. Gerald Barry's marvellously idiosyncratic choices include Mozart, Alfred Deller, Clara Butt, William Byrd, a hymn setting by Stainer, and Oscar Wilde's letter from Reading Gaol, De Profundis, set by the contemporary composer Rzewski. He ends with a hilarious recording of the Red Army Choir singing 'It's a Long Way to Tipperary'. A Loftus Production for BBC Radio 3 Produced by Elizabeth Burke.

Many pianists would be happy to record either Bach's Goldberg Variations or Beethoven's Diabelli Variations. But Igor Levit has plunged in and recorded both, along with Frederic Rzewski's vast variation work from the 1970s, The People United Will Never Be Defeated. Levit's three-disc set the BBC Music Magazine Recording of the Month for the January 2016 issue and you can hear clips from it in this podcast. See acast.com/privacy for privacy and opt-out information.

Artist Marina Abramović – the woman famous for staring into a record-breaking number of people's eyes at the MOMA, letting an audience point a gun at her head, and convincing the public to take performance art seriously – has some opinions about our phones. Namely: They are distracting us, and we need to stop pretending like they aren't.  Her latest project is called "Goldberg," and it is a collaboration with celebrated pianist Igor Levit and the Park Avenue Armory. The team says it's designed to help audiences remember what full attention actually feels, looks, and sounds like. Through a performance of J.S. Bach's notoriously difficult Goldberg Variations, they are attempting "a reimagining of the traditional concert experience," in which attendees first trade their tickets for a key. Each key has a corresponding locker, in which they are instructed to put their phone, watch, computer, and any other personal belongings that tell time or receive a signal from outside. Guests arriving at the Armory, putting their distractions behind lock and key. (James Ewing) Once they've locked the doors, they're given a pair of noise-canceling headphones. For the first thirty minutes of the performance, that's it. The entire audience – and also Levit, the performer – will sit together in complete silence.  The audience sitting in total silence. Yes, mandatory total silence. (James Ewing) Levit then breaks the silence by starting to play his version of the Goldberg Variations.  Legend has it that Bach originally wrote the Goldberg variations to soothe an insomniac Austrian Count through the night. (James Ewing) On this week's show, Abramović explains her "method" for really, truly listening: Marina Abramović: You're taking a taxi, you're concerned you're on time, you're answering [a] last phone call and so on. And you're arriving, and you sit down, and you hear the concert... but you're not ready to hear anything. You're just too busy. So I'm giving this time and space to the public to actually prepare themselves. Manoush Zomorodi: But surely, I mean, we're grown ups right? I'm coming to the concert. Can't we just turn off our phone? Why does it have to be so heavy-handed? Abramović: ...If Igor has enormous discipline to learn by heart the Goldberg variations with 86 minutes, and play [them] in the most incredible magic way, we can have discipline to to honor this. And to just see, to have [a] new experience... the moment you don't have your phone and you don't have the watch to check if you're sitting there for five minutes or ten, it just gives you a completely different state of mind. Zomorodi: I'm concerned that my state of mind won't be one of calm but rather one of agitation. That it's going to be very difficult for me. Abramović: Well this is where you have the real problem then. That you have to address the problem in your life. That is why it is good for you. Listen above or anywhere you get your podcasts. Bonus points if you sit in total silence for 30 minutes first. In this week's episode: "Goldberg" runs from December 7-19 at the Park Avenue Armory. Tickets are available here. Igor Levit, pianist and performer. His newest album is "Bach, Beethoven, Rzewski," and it features the Goldberg Variations you'll hear on today's show. You can purchase on Amazon or iTunes. Alex Poots, Artistic Director of the Park Avenue Armory.  Marina Abramović, visual and performance artist. Marina Abramovic on Rhythm 0 (1974) from Marina Abramovic Institute on Vimeo. Subscribe to Note to Self on iTunes, Stitcher, TuneIn, I Heart Radio, or anywhere else using our RSS feed.

Johann Sebastian Bach: Goldberg-Variationen, BWV 988 | Ludwig van Beethoven: Diabelli-Variationen, op. 120 | Frederic Rzewski: The poeple united will never be defeated | Igor Levit (Klavier)

When does music do socio-culture damage? It isn't a concept we're typically aware of, but the modern advent of newer technology and forms of media combined with its speed of distribution creates a situation where, with a mere roll of the dice, distributed media could actually do socio-cultural harm. What really happened when McDonald's spun out an ad campaign using "Down by the Riverside?" We discuss specific examples of how harm is done both on a socio-cultural basis and on an individual basis, and we also examine the opposite phenomenon: when music can actually fortify a preexisting concept or ideal. Should we be more aware of the implications of our actions with art, or should we work with the understanding that misinterpretations will be better solved down the road? Keep up with the continuing discussion: visit www.perennial-dissonance.tumblr.com And subscribe to us on iTunes!