Podcasts about satie

durée : 00:08:23 - Satie et le jazz - par : Max Dozolme - La très belle biographie, romanesque et fantasque "Satie" de Patrick Roegiers sortie il y a quelques jours aux éditions Grasset a donné envie à Max Dozolme de jouer avec nous en nous faisant écouter une sélection de pièces du compositeur qui partagent quelques points communs avec le jazz…

Support Night Clerk Radio on Patreon You should know that this episode was divinely ordained. The Discogs article below was posted by a listener on our Patreon Discord at the precise moment Birk was listening to a related album and thinking about this episode topic. As a result, you have to listen to us work our way through the landscape of Japanese Ambient in the 80s and 90s. We talk about the music of the time and how it might have arisen from changing material and technological conditions, the importance of funding cool art, and its resurgence in popularity over the past few years. Outro SampleSeiko 3 from Music For Commercials by Yasuaki Shimizu Read these Articles!Exploring Japan's Ambient Music Boom of the '80s and '90sThe Sabukaru Guide to Japanese Ambient MusicHow Japanese Ambient Music Became a Thing in AmericaKankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990Kankyo Ongaku: A Brief History of Japanese Ambient MusicA Beginner's Guide to '80s Japanese Ambient MusicSpace and Certainty: On the Rise of Japanese Ambient Music CreditsMusic by: 2MelloArtwork by: Patsy McDowellNight Clerk Radio on Bluesky

Piše: Marija Švajncer, bereta Sanja Rejc in Igor Velše. Pesniška zbirka Milana Novaka Napišite mi glasbo je pravo pravcato presenečenje. Pesnik je z izbranim besediščem, čudovitimi metaforami in posebno globino ustvaril pesmi, v katerih se izpoveduje o svojem doživljanju glasbe. Pa ne samo to, pričara nam svet zvokov v prostoru, gibanje zraka, tiho vstopanje narave v glasbo, poosebljanje glasbil in melodij ter filozofsko obarvano refleksijo. Potaplja se predvsem v zvočno razkošje klasične glasbe, v nekaterih pesmih pa si prizadeva, da bi prodrl tudi v sporočilnost glasbe sodobnosti. Tako imenuje glasbeno eksperimentiranje, atonalnost in iskanje novih možnosti notnih zapisov in drugačnih partitur. Pomisli, da obdobje neobičajnih razmerij in izkrivljenih odnosov ustvarja izkrivljene zvoke. Dovzeten in odprt je za različnost in nove zvočne podobe. Sprašuje se o ustvarjalnih postopkih skladateljev, zaustavlja se pri posameznih tonih in se predaja zvokom, ki jih zmorejo različni instrumenti. Ker je sam rahločutna pesniška osebnost, sliši zelo veliko in izostreno – vsak odtenek, prehode od tihega h glasnemu, sleherni drs in naraščanje glasbenega motiva. Milan Novak je plesalec in izvajalec performansov, zato glasbo doživlja s celim telesom, zvočna pokrajina pa v njem spodbudi tudi kopičenje misli. Izroča se ji in se ji prepusti, da mu zastavlja vprašanja, in si dovoli, da včasih samo onemi in je eno z glasbo – visoko pesmijo življenja, smrti in večnosti. Pod lestenci drhtijo prvi mogočni takti Also sprach Zarathustra zvok se razlije po telesu čutim, kako polje v vratu neustavljivo drsi vzdolž hrbtenice razsuje se v prste kot val na peščeni obali Milan Novak piše pesmi brez ločil, ohranja le veliko začetnico prvih besed v verzih, tu in tam se mu prikrade vprašaj. V njem se porodi dvom, ali je glasbo sploh mogoče ubesediti, toda pesniku se to vsekakor posreči. Njegova ustvarjalna moč je neustavljiva, polet domišljije ob vsrkavanju zvokov in zanos sta neomejena. Čudež glasbe mu uspe ujeti v prelepe in pomensko večplastne besede, tako opise kot izbiranje in poimenovanje pojmov. Literarno prepričljivo se v njegovih pesmih prepletajo svoboda, žalost, smeh, osuplost nad ubranostjo tonov in začudenost, da ples zvokov nima robov in meja. Osrečuje ga spoznanje, da se v glasbi zgodi toliko različnih zvočnih uresničitev. Potopljen je vanjo in očaran nad njenim razkošjem. Prisluškuje skrivnostim, ki se oglašajo v glasbi, občuti jih na poseben način, morda tudi z bolečino, porojeno v mogočnosti tonov ter novih in novih melodijah. Lepota v njegove oči prikliče tudi solze. Bach ostaja ob njem, Satie je subtilno presenečenje, Šostakovič se oglaša, kakor da bi bila skupaj že od nekdaj, Chopin vstopa v neobstoj in zveni, kot da bi nekdo raztrosil bisere. Glasba je tisto kar navdihne da se loči se oblikuje v oblak deblo stopalo Ko izzveni potem umre preneha povrne se in se pomeša potopi se v veličastno bit Glasbi se pesnik predaja v koncertni dvorani in cerkvi, ob radiu in s pomočjo nosilcev zvoka, prikliče si jo tudi v dogajanju v gozdu, šumenju dreves in valovanju trav. Travnik je zanj vesolje, v bučanju vetra zasluti čistost resnice. Je glasba ki je opoj Ujet si v ledeno gmoto krhkosti brezizhodnosti v ostre robove zmrznjenega obupa Prepustiš se ujetosti potem ko si rečeš nimam več kam v umik Zahoče se mu umirjene, preproste in lahkotne glasbe, toda že v naslednjem hipu bi rad nedoločljivost v neskončni majhnosti, silovitost občutkov in nemir. Note so zlepljene v zaporedje smisla, pesnik se pomika skozi naelektreno nevidnost. Pritegnile so jo strune in vse je tako, kot mora biti. Glasba ga osvobaja, brezčasna je in hkrati zavezujoča, poet se osvobodi celo samega sebe. Zazdi se mu, da ga g-mol poziva k zadnji večerji. Avtor spremne besede, slovenski pesnik in pisatelj Marjan Pungartnik, pravi, da je »umetnost glasbe« zajemala tudi poezijo, kar govori o večnem in nepretrganem sestrstvu teh dveh umetnosti. Milana Novaka vidi kot umetnika, ki izraža željo, da vsako gesto muzike poveže z gibanjem sveta, in to od neposrednih zaznav instrumentov pa vse do primerjav, metafor, metabol in metonimij. V Novakovi poeziji se odpirajo prostori, v katerih je mogoče absolutno bivanje, podobno kot v pesmih. Pogled na glasbo postaja izvir pesniškega postopka. Pungartnik zapiše: »Vračanje v izgubljeno senzibilnost je povratek k čisti vodi izvira poezije.«

Imagine alguém equilibrando uma carreira séria no governo dinamarquês enquanto secretamente compunha trilhas sonoras vibrantes para balés. Esse era Knudåge Riisager,um homem que provou que a arte e a burocracia podem coexistir – mesmo que em mundos paralelos.Nascido em 1897, na Estônia, mas dinamarquês de coração, Riisager começou sua vida acadêmica de um jeito bem tradicional: estudando ciência política. Mas a música sempre chamou mais alto!Após uma viagem a Paris nos anos 1920, ele mergulhou de cabeça nas influências modernistas, absorvendo ideias de Roussel, Satie, Prokofiev e Stravinsky. O resultado? Composições ousadas, repletas de dissonâncias provocativas, bitonalidade e um toque de humor. Ele não queria apenas criar música, queria surpreender, como na sua quarta sinfonia, a Sinfonia Gaia!Apresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort e Arthur Muhlenberg.

DescriptionErik Satie: The Velvet Gentleman of Musical Eccentricity in 60 Seconds. Take a minute to get the scoop!Fun FactErik Satie's first known composition, Allegro (1884), reflects the young composer's early exploration of classical piano forms. Though relatively conventional compared to his later experimental works, it hints at his developing style. Satie's distinctive voice, blending simplicity and eccentricity, would soon emerge, marking him as a true musical original.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

A pianista e performer Joana Gama é a convidada de Inês Meneses. Uma conversa onde se fala de Satie, John Cage, cogumelos e a natureza. A humana também.

durée : 00:58:54 - La Série musicale - par : Zoé Sfez - Sa musique est l'une des plus jouées au monde et l'une des plus reprises. Pourquoi ne peut-on pas oublier Erik Satie, icône de bizarrerie, clown triste et poète, qui ne cesse de nous surprendre ? - réalisation : Thomas Jost

durée : 00:58:54 - La Série musicale - par : Zoé Sfez - Sa musique est l'une des plus jouées au monde et l'une des plus reprises. Pourquoi ne peut-on pas oublier Erik Satie, icône de bizarrerie, clown triste et poète, qui ne cesse de nous surprendre ? - réalisation : Thomas Jost

durée : 00:30:43 - France Musique est à vous junior du samedi 21 décembre 2024 - par : Gabrielle Oliveira-Guyon - Au programme d'aujourd'hui : Nicolas Lafitte se demande s'il est possible de faire de la musique avec de l'eau, une jeune auditrice, Satie, nous propose d'écouter un extrait de La Bohème de Puccini, et nous partirons dans le métro avec Octave et Mélo.

Tikroji muzikinė Kalėdų klasika yra ne tai, ką girdime parduotuvėse, bet Händelio oratorija „Mesijas“. O ką žinome apie šios oratorijos radimosi kontekstą, pagaliau jos teksto autorių? O rubrikoje „Dabar, prieš 100 metų“, Erikas Satie, dadaizmas ir provokuojantis baletas „Relâche“.Ved. Domantas Razauskas

Au programme de l'émission du 27 novembre : avec Julie Rembauville, réalisatrice, et Nicolas Bianco-Levrin, réalisateur LA NOUVEAUTÉ DISCOGRAPHIQUE - chronique de Véronique Soulé - c'est au début

Hey, skønne lyttere!

durée : 00:28:16 - Les Midis de Culture - par : Marie Labory - Cet automne, la pianiste Vanessa Wagner ravit par deux fois nos oreilles avec la sortie d'un album en solo, "Everlasting Season" qui réunit Tchaïkovski, Grieg, Sibelius et Glinka et un album en duo, "Piano Twins" avec le pianiste Wilhem Latchoumia autour de Satie, Debussy et Ravel. - réalisation : Laurence Malonda - invités : Vanessa Wagner pianiste et directrice artistique du Festival de Chambord

"I imagined a public piano by a public swimming pool, and someone sitting down and picking out a simple theme, becoming part of the general ambience. There were elements of both Eno's Ambient series and Satie's Furniture Music in its conception."  Gellert Baths, Budapest reimagined by Simon Greenwood.

MISES EN SCENE le mercredi et vendredi à 9h30 et 18h30.  Chronique théâtrale animée par Sonia Jucquin ou Géraldine Elbaz qui traite de l'actualité des pièces de théâtre. Cette semaine, Géraldine nous parle du spectacle musical "Le Siffleur" de Fred Radix au Théâtre de la Gaité Montparnasse. Queue-de-pie et allure sérieuse… On pense de prime abord assister à un récital selon les plus purs – et rigides – codes du genre. C'est sans compter sur la personnalité de Fred Radix qui nous entraine dans un spectacle OVNI, entre humour décalé, conférence burlesque et maîtrise prodigieuse du sifflet. Le public n'est pas du genre à supporter les circonvolutions d'un historien en pleine conférence sur l'histoire de la musique sifflée ? Qu'à cela ne tienne, pour servir son sujet, notre spécialiste consent, au détour d'un morceau, à vulgariser, ne laissant rien au hasard pour vous amuser. Rien n'est trop beau pour vous, de Bizet à Mozart en passant par Satie et des Beatles à Ennio Morricone, pour vous séduire…Le siffleur ose tout ! Informations : https://gaite.com/spectacles/le-siffleur/ © Romain Etienne Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Lucian Msamati has played leading roles on our most famous stages: Salieri in Peter Shaffer's Amadeus at the National Theatre, Iago in Othello at the Royal Shakespeare Company and Estragon opposite Ben Whishaw in Waiting for Godot at the Theatre Royal Haymarket in London. He started out performing – in his words – ‘for farmers sitting on beer crates in rural Africa, with tables for a stage'. And when he decided to leave Zimbabwe, where he began his career, to see if he could make it in the UK, he had to work as a cleaner to pay the bills. His perseverance paid off: as well as success on stage, he's appeared in high-profile TV shows, including Game of Thrones and the Number One Ladies Detective Agency. After his role in Amadeus, it's no surprise to find Mozart among his musical passions, which also include Satie, Tchaikovsky and an unusual track by Stevie Wonder.Presenter Michael Berkeley Producer Clare Walker

Kom med til lokal byfestival i Gjerrild! For Soffi føltes det som at træde direkte ind i Busters fantastiske univers! Satie kørte Soffi igennem en 7km lang skov i en ladcykel.. Soffi var kun lidt bange for at slippe kontrollen pga. den høje fart. Men der var alligevel høj stemning imens de cruisede gennem skoven. De spiste parisertoast og det smagte bare af ren nostalgi!De mødte også et mega sejt reggae band, der virkelig satte gang i festen! Som om det ikke var nok, så Satie også en klunkepiercing, der helt sikkert vil få jer til at grine. Udover festivalhistorierne fra Djursland deler vi også de sidste par historier fra vores sommerferie som lovet. Tune ind for at få alle de sjove detaljer og mærke festivalens magi.Find bandet "Fars rum" på Instagram her STØT OS ØKONOMISK :) Send et valgfrit beløb til mobilepay box 2640EYSupport this show http://supporter.acast.com/sidensidst. Hosted on Acast. See acast.com/privacy for more information.

Mit seiner neuesten CD begibt sich das Quatuor Van Kuijk auf Abwege. Unter dem Motto „Impressions parisiennes“ haben sich die vier Franzosen Lieder und Klavierstücke von Fauré, Debussy, Ravel, Poulenc und Satie vorgenommen, in neuen Arrangements für ihre vier Instrumente. Das Ziel ist es, eine höhere Poesie zu schaffen, die ganz ohne Worte auskommt und doch alles sagt.

Emma Becker a publié Le Mal joli en août 2024 aux éditions Albin Michel. C'est une histoire de passion, de frustration et de jouissance. Le Mal joli raconte une histoire d'amour et de sexe avec Antonin, un écrivain aristocrate tout habillé de couleurs vives, très connu sur la place de Saint-Germain-des-Prés. Il accueille Emma chez lui, avec Satie en sourdine. Il aime Paul Morand, Robert Brasillach et le velours côtelé. C'est le coup de foudre. Les phrases sont brutes, intenses, fulgurantes, comme la passion qui prend Emma, alors que elle est mariée et mère de deux enfants. Comment lier les deux, être une maman et une amante ? L'écriture peut-être répondre à ce dilemme ?Dans ce nouvel épisode du Moment des Livres, Alice Develey, journaliste au Figaro Littéraire, reçoit Emma Becker pour parler de son nouveau roman, qui se trouve dans les premières sélections du prix des Deux Magots 2024 et du prix Femina 2024.Vous pouvez retrouver Le moment des Livres sur Figaro Radio, le site du Figaro et toutes les plateformes d'écoute. Si cet épisode vous a plu, n'hésitez pas à vous abonner et à donner votre avis !Montage et mixage : Lila FadelHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:12:37 - Le Disque classique du jour du lundi 16 septembre 2024 - Dans ce nouvel album, le Quatuor Van Kuijk explore les trésors de Fauré, Debussy, Satie, Ravel et Poulenc, composés à l'origine pour piano ou voix.

durée : 00:12:37 - Le Disque classique du jour du lundi 16 septembre 2024 - Dans ce nouvel album, le Quatuor Van Kuijk explore les trésors de Fauré, Debussy, Satie, Ravel et Poulenc, composés à l'origine pour piano ou voix.

Andrés Amorós continúa su periplo por algunas de las mejores obras clásicas de la historia, esta vez con obras más cortas de Mahler, Satie y Bach.

Inspiración clásica en las ejecuciones y las reinterpretaciones de hoy:la violinista holandesa Janine Jansen; el Satie de Federico Lechner al piano y Chema Saiz a la guitarra; el homenaje a la diosa zulú uNomkhubulwane que Nduduzo Makhathini ha grabado en Blue Note; el guitarrista Pat Metheny y un recuerdo a Charlie Haden (1937-2014). Violin Concerto in D Minor, Op. 47: II. Adagio di moltoJanine Jansen, Oslo Philharmonic Orchestra, Klaus Mäkelä        Sibelius: Violin Concerto; Prokofiev: Violin Concerto No. 1Nocturne V +Petite Overture à Danser               Chema Saiz, Federico Lechner       Satie for TwoLibations: Omnyama            +Libations: Uxolo          +Inner Attainment: Ithemba           Nduduzo Makhathini  uNomkhubulwaneYou're everything +MoonDial           Pat Metheny      MoonDialIt Might As Well Be Spring      Keith Jarrett y Charlie Haden Last DanceEscuchar audio

El centenario del fallecimiento de Satie será el año que viene, pero Federico Lechner y Chema Saiz, piano y guitarra, ya se han adelantado. También suenan algunos invitados a la edición 28 de La Mar de Músicas, como Ángeles, Víctor, Gloria & Javier y su fusión de flamenco-jazz, electrónica y pop; Johan Papaconstantino, originario de Córcega, sonidos mediterráneos con influencias urbanas contemporáneas; María José Llergo, Xoel López o Depedro, además del cubano Eliades Ochoa, quien recibirá el premio "La Mar de Músicas" antes de su actuación el 22 de julio en el Auditorio Paco Martín del Parque Torres. Completan el programa Alessio Arena y Luz.Gymnopédie III +Gnossienne III (con Javier Ruibal)  Federico Lechner y Chema Saiz  Satie for twoSuspiro tierno (La Soleá)+        La guitarra                 Ángeles, Víctor, Gloria & Javier       Tengo tres estrellas y veinte crucesPourquoi tu cries ??               Johan Papaconstantino           Contre-jourLes mots bleus                      Johan Papaconstantino           Les mots bleusNOVIX                     María José Llergo       ULTRABELLEZAHijo varón de las rosas                     Alessio Arena   Hijo varón de las rosasPena Penita   Xoel López, Meritxell Neddermann  Caldo EspíritoXiana             Xoel López    Caldo EspíritoPor el Viejo Barrio                Xoel López     AtlánticoMacorina         Eliades Ochoa The Real Cuban MusicLo que va pasando                Depedro          Un lugar perfectoEl canto del Gallo Luz   El canto del Gallo Escuchar audio

durée : 01:00:58 - Les Nuits de France Culture - par : Albane Penaranda - En 1996, France Culture consacre une série de cinq "Euphonia" sur les chemins contradictoires empruntés par la musique et la poésie. Dans ce second volet, le poète Paul Louis Rossi remonte aux origines de ces malentendus, évoquant le symbolisme puis le dadaïsme dont était proche Erik Satie. - invités : Paul Louis Rossi

Dr. Jamie Knight discusses events planned for May 18th. The post Satie Day at Friends University appeared first on Radio Kansas.

durée : 00:24:59 - Erik Satie, Gymnopédies - par : Anne-Charlotte Rémond - Dans Musicopolis, Anne-Charlotte Rémond retrace l'aventure des « Gymnopédies » d'Erik Satie. Plus de 20 ans séparent la date de la composition de la Gymnopédie n° 1 de son accès à la notoriété grâce à la création de l'œuvre au piano par un certain…Maurice Ravel ! - réalisé par : Claire Lagarde

What's up, dudes? I'm running up that hill with Mike and Rusty from Snow in Southtown to talk about Kate: Kate Bush Christmas Special and her song “December Will Be Magic Again!” Released in 1979, it proves that the singer, only 21 at the time, was already a tour de force. A year later she released the Christmas song as a single.The special is a mix of live performances and choreographed dance to prerecorded music. The live portion was recorded BBC Pebble Mills Studios in front of an audience. The music for the dance was done at EMI Studios in London. After a rotoscoped animated introduction, Kate launches into renditions off “Violin,” Gymnopédie No. 1 by Satie, and “Symphony in Blue.” “Them Heavy People” follows with Kate garbed in sequins. Immediately a trio sings Peter Gabriel's in, and he serenades the audience with “Here Comes the Flood.” Kate performs “Ran Tan Waltz” then premieres “December Will Be Magic Again” on solo piano. Next comes “The Wedding List” about a vengeful bride and the duet “Another Day” with Peter Gabriel about a failed marriage. Finally, Kate enthralls us with “Egypt,” “The Man with a Child in His Eyes,” and “Don't Push Your Foot on the Heart Brake.” Does she hop in a garbage can and come out dressed like Sandy from the end of “Grease?” Why, yes. Yes she does.Stevie Nicks-like flowing black outfit? Yep. Fake beard and “Fiddler on the Roof” getup? Uh huh.  Kate doing interpretative dance superimposed over her playing piano? Definitely! So grab your violin and head to Egypt to this episode about Kate Bush!Snow in SouthtownFB: @snowinsouthtownTwitter: @snowinsouthtownIG: @snowinsouthtownPatreon: @snowinsouthtownCheck us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Matt and Rob sit down with the legendary progressive rock guitarist, Steve Hackett formerly of GENESIS and GTR Steve talks about his current tour (recently winding down) called FOXTROT AT FIFTY, what the term progressive means, what John Lennon said about Genesis, his incredible new album "The Circus and the Nightwhale" and more. We had 30 minutes to talk to Steve which in itself is incredible since he was in the middle of a tour of the US. ******** JUST A LITTLE BIT ABOUT STEVE HACKETT: Steve Hackett is renowned as an immensely talented and innovative rock musician. He was lead guitarist with Genesis as part of their classic line up with Gabriel, Collins, Banks and Rutherford, that produced acclaimed albums such as Selling England by the Pound (a favourite of John Lennon). With Steve's extraordinary versatility in both his electric guitar playing and his composing, he involves influences from many genres, including Jazz, World Music and Blues. He is equally adept in his classical albums that include renditions of pieces by composers from Bach to Satie, his own acoustic guitar compositions that have gained the admiration of many, including Yehudi Menuhin, and ambitious guitar/ orchestra albums such as A Midsummer Night's Dream, recorded with the Royal Philharmonic.   With Genesis, Steve's guitar playing produced some of the most memorable moments, from the sensitivity of his acoustic sound on Horizons and Blood on the Rooftops to the dramatic rock guitar solos of Firth of Fifth and Fountain of Salmacis. As he embarked on his solo career he developed his exceptional range, pushing musical boundaries into exciting areas, inventing new sounds and also techniques such as 'tapping'. His solo career went from strength to strength and the mid eighties not only saw the hit single Cell 151, but also the Steve Hackett and Steve Howe super group GTR, highly successful in America. ************ You can find STEVE at hackettsongs.com, Facebook and Instagram (@stevehackettofficial)  Be sure to listen to his incredible new album THE CIRCUS AND THE NIGHTWHALE! ************ KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.     If you go to www.linktr.ee/knowgoodmusic you can find all the links to the podcast platforms we are on.    Visit our YouTube Channel where you can see video promos from some of our interviews.  Just search "know good music"."

Con María Fernández Dobao | En los siglos XIX y XX fueron muchos los compositores extranjeros que se sintieron fascinados por España y su música. Algunos de ellos encontraron fuente de inspiración concretamente en Andalucía y a esas obras dedicamos el programa de hoy de Clásicos con Ñ. Satie, Sebussy, Ravel, Pessard, Pauline Viardot, Massenet, Lecuona y Gottschalk son los compositores que puedes disfrutar en este programa de Clásica con Ñ.

Pablo Picasso revendiquait ne pas aimer la musique. Il n'a pourtant cessé de peindre des musiciens, collaborant avec Satie, Stravinsky et Falla. Ses portraits d'instrumentistes sont souvent des autoportraits qui ne disent pas leur nom – ceux d'un homme hanté par ses obsessions.Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

When you call, Whoa!mance answers! A special listener recommended THE SECRET HEART by ERIN SATIE when we asked for weird books. So you KNOW we had to pick it up and lay it down. I guess you could say we felt similarly to Adam, Earl of Bexley, when he first sees Caro Small in her ballet smalls - intrigued and horny! Caro decides to take advantage and improve her circumstances by throwing them both on the assignation-to-wedding pipeline. Sure he's her best friend's better-to-do cousin, and sure he's an entrepreneur (barf) AND secret pugilist-she can deal. But when Caro finds HERSELF kicking her feet and smiling, it all gets complicated in a new way. What's the distinction between bad and unlikeable? How responsible are masc characters for their predilections? Is the general obsession with lady smallness eeking anybody else out? If you have a book you'd like us to discuss, hit yr grls up via our socials or whoamancemail@gmail.com And if you'd like to join us for a LIVE romantasy panel, go to otherworldtheatre.org

Lords: * Megan * Lexi Topics: * Erik Satie's performance indications * https://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=60&threadid=4497 * Instant food from other cultures (why isn't everyone eating maggi noodles??) * Seasonal decorations * Delhi Metro * https://docs.google.com/document/d/17k75ftxEn2xR-tJkLSV4H8st5BFAxPNxE3BNCXDI6Go/edit * Becoming Immortal by being predictable * Living in different climates (e.g. my experiences with the harsh winters of Chicago vs sweltering Austin TX summers) Microtopics: * Music implementation for The Lamplighters League. * Watching a streamer play games and asking them for a turn at the controls. * How to pronounce "Erik Satie." * How to pronounce "Gymnopedies." * Finding 100 umbrellas in your dead friend's apartment. * A list of Satie's performance indications. * Grandly forgetting the present. * With your bones dry and distant. * Playing music with your forehead. * Doing something to a piano. * Your boss sending a memo asking you to work with a shy piety. * Pizzicato vs. Bartok pizzicato. * Adding the hamburger so it's not just Helper. * What instant foods are missing from your food vocabulary. * Adding heavy cream to ramen broth. * Getting an apron so you can have a little costume when you cook. * Realizing that when you wear the apron you don't get food on your shirt. * A big bib for Big Jim. * Normalizing scoop bibs. * Kraft Dinner. * Halal certified instant stir fry noodles. * Ramen in a cup or ramen where you provide your own container. * Insurance Mac. * Canned cheeseburgers. * A boring house with nothing on it. * Movable feasts. * Keeping those 12-foot skeletons in your yard and decorating it seasonally. * The beetles that clean bones for you. * Recreational Explosives Day. * A Zachtronics programming puzzle for every holiday. * A movable feast where you don't eat. * Decorating your house to celebrate Toyotathon. * Falling for strangers and their blue hair. * A poem that is long if you read it but short if you recite it. * Taking public transit as an act of defiance. * A gift that is impossible to give yourself on purpose. * Inventing a shower proof phone so nobody ever has shower thoughts again. * Putting your phone in a Ziploc bag and watching movies underwater. * Sitting down at your computer and getting stuck. * Hacking your executive function by adding friction in the right places. * Whether Wellbutrin gives everyone tinnitus or just you. * Death hacks for staying mentally connected to your dead relatives. * A service that puts your podcast on vinyl. * Using CRISPR to infect the cockroach population with 229 episodes of Topic Lords. * Moving to a land where your snot doesn't freeze. * Not trusting your own weather opinions. * Surprising yourself by enjoying seasons. * Driving in icy conditions. * Standing under the heated lamps like a lizard. * Waiting for the bus in the dark. * Learning to drive after you move to a city with public transit. * Not driving with kids. * Getting rid of all the bots. * Sgt. Pepper Bot.

Wherein I make the link between Erik Satie, John Cage, and Brian Eno.

SynopsisHappy Leap Year!Once every four years, we have the opportunity to wish the great Italian opera composer Giacomo Rossini a happy birthday — he was born on Feb. 29 in 1792 — and to note some other musical events that occurred on this unusual but recurring calendar date.The American Bicentennial Year 1976, for example, also was a leap year, and 12 months were cram-packed with specially commissioned works written on a grand scale to celebrate that major anniversary of our nation. But at Alice Tully Hall on Feb. 29, 1976, a more modest celebration was in progress: an afternoon of new chamber works for flute and harp, including the premiere performance of a piece by American composer Ned Rorem.This piece was titled Book of Hours, referring to the prayers that the clergy read at various times of the day. In 1976, when avant-garde composer Pierre Boulez was the music director of the New York Philharmonic and dense, complicated music was considered fashionable by the critics, and the reviewer for the New York Times was struck by Rorem's deceptive simplicity: “Many contemporary composers flaunt their abilities to make music complex,” he wrote, “but Rorem waves an altogether different flag. His Book of Hours seemed determined to be uneventful. Its calculated simplicities and unassertive manner recalled the bare-walls asceticism of Erik Satie, though Mr. Rorem's phrases and colors are more sensuous and do not quite evoke Satie's mood of monastic rigor.”Music Played in Today's ProgramNed Rorem (1923-2022): Book of Hours; Fibonacci Sequence; Naxos 8.559128

We're back with Satie and we'll regale you with his strange and unusual history! Be sure to like and share with a friend!  Music: https://imslp.org/wiki/3_Gymnop%C3%A9dies_(Satie%2C_Erik) https://creativecommons.org/licenses/by-sa/4.0/legalcode

durée : 00:14:49 - Les Nuits de France Culture - par : Albane Penaranda - Le compositeur et pianiste Francis Poulenc se livre, en 1953, dans une série de 18 entretiens. Dans le deuxième volet, il détaille ses premiers contacts avec la musique, enfant et adolescent. Sous l'influence familiale, mais pas que, il découvre Mozart, Beethoven, Debussy, Stravinsky, Satie... - invités : Francis Poulenc Compositeur et pianiste français

durée : 00:04:17 - Les Nuits de France Culture - par : Albane Penaranda - Cette sélection propose un voyage dans la musique du compositeur et pianiste Francis Poulenc (1899-1963). Avec esprit et érudition, le musicien évoque ses débuts avec le groupe des Six, sous l'aile de Satie, puis raconte la genèse de ses œuvres, qu'elles soient religieuses, légères, poétiques.

Clásicos de la música erudita en grabaciones de Oscar Castro-Neves ('Air on a 6th string' de Bach), Baden Powell ('Aria' de Bach, 'Preludio' de Bach), Antonio Menezes & André Mehmari ('Arioso' de Bach, 'Adagio' de Bach), Edouard Ferlet, Stéphane Kerecki & Airelle Besson ('Es ist vollbrach' de Bach', 'Pavane pour une infante défunte' de Ravel, 'Pavana en F# menor' de Fauré), Michel Camilo & Tomatito ('Gnossienne nº1' de Satie), Kenny Drew Jr ('Canción y danza nº6' de Mompou), Groover Washington Jr. ('Je crois entendre encore' de Bizet) y Joshua Redman, McCoy Tyner, Antonio Hart, Christian McBride & Marvin Smith ('Preludio' de Chopin).Escuchar audio

Subscribe to my newsletter and be my friend! I write a bi-weekly newsletter called Behind The Keys about my insights behind the scenes of the life of a classical pianist, my favorite music, and wisdom from books I read during those weeks. As an ardent student of life, I am humbled yet excited to share my journey with you.  To sign up  ➡️ Click HERE To leave a voice or a written comment, please go to Jeeyoon's WebsiteSupport the show☕ Did you enjoy the episode? Buy Jeeyoon a coffee to support the creative endeavor. Buy Jeeyoon a Coffee

durée : 01:28:45 - En pistes ! du mardi 26 décembre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce mardi matin : les œuvres orchestrales de Hans Huber, la Sonate n°1 pour piano de Brahms, les pièces vocales de Satie et Debussy, mais aussi Les Sauvages de Rameau, les Jeux d'eau de Ravel ainsi que l'Oratorio de Noël de Bach. En pistes ! - réalisé par : Lionel Quantin

MIXOLOGIE, mardi, jeudi et samedi de 19h à 20h sur Art District Radio. Serge Mariani nous fait partager sa playlist Mixologie Vol. 30 Une quantité impressionnante d'Oscars a distingué cette année le film  « Everything, Everywhere, All at Once », dont la véritable star est « le multivers », autrement dit cette idée selon laquelle tout est possible à tout  moment dans des mondes parallèles au nôtre. Mais quel, et où, est « notre monde » ?… Donnant ma langue au chat de Schrödinger, je vais tenter de confirmer, avec cette nouvelle Mixologie, que le jazz est naturellement multiversel. Mais vous le saviez déjà, n'est-ce pas ? Nouvelle démonstration au fil des 16 titres de cette playlist, 30ème de la série. Bonne dégustation ! 1/ CHARLES KIENY / Race for Hope / album Crozphonics (2023) / 02.50 2/ BENOIT CRAUSTE & ITIBERE ZWARG / Belleville / album Enredo (à  paraître automne 2023) / 04.00 3/ BOBO STENSON / You Shall Plant a Tree (var.) / album Sphere (2023) /  3.55 4/ EDWARD SIMON / Tierra Movida / album Femininas (2023) / 04.20 5/ CHRISTOPHE IMBS / Knockout (Part 2) / album Soft Power (2023) /  01.40 6/ IKIRU / Danse de Travers n°2 / album Ikiru plays Satie (2023) / 3.30 7/ PITCH BLACK PROCESS / Pattern / album PBP (2023) / 02.50  8/ JACQUES SCHWARTZ-BART / Sun Salutation / album Harlem Suite  (2022) / 04.20 9/ KEITH JARRETT / Book of Ways 5 / album Book of Ways (rec. 1986,  issue 2002 / reissue 2023) / 2.55 10/ MARK DRESSER / Epitine / album Tines of Change (2023) / 02.00 11/ MARTIN HAYES & THE COMMON GROUND ENSEMBLE / Garrett  Barry's Jig / album Peggy's Dream (2023) / 03.35 12/ SENEM DIYICI / Bahar Vakti / album Nara (2022) / 05.10 13/ PHIL REPTIL / Guru / album Eponyme (2023) / 03.45 14/ ROMAIN DUGELAY / Teckal / album Chimères (2023) / 02.45 15/ FUENSANTA / Noche / album Principio del Fuego (2023) / 04.00 16/ PAPANOSH / Nord Michigan / album A Very Big Lunch (2023) / 04.50

Subscribe to my newsletter and be my friends! I write bi-weekly newsletter with some thoughts, life lessons and interesting articles I discovered during those weeks. https://dedicated-thinker-5780.ck.page/jeeyoonTo leave a voice or a written comment, please go to Jeeyoon's WebsitePlease consider to be a supporter of the show and Jeeyoon's mission of spreading a beauty of classical music to the world! Please go to http://www.patreon.com/journeythroughclassicalpianoSupport the show

Bertrand Chamayou, who won Gramophone's Recording of the Year in 2019 for his Erato album of two Saint-Saëns piano concertos, has turned his attention to two groundbreaking composers. John Cage was a great admirer of the music and aesthetic experiments of the Frenchman, Erik Satie - and Chamayou has created a programme for Erato that links the two, 'Letter(s) to Erik Satie'. James Jolly caught up with Bertrand Chamayou at his Festival Ravel in St Jean de Luz in south-west France this summer to talk about the project.

durée : 00:15:13 - Les Nuits de France Culture - par : Albane Penaranda - La compositrice Germaine Tailleferre donnait en 1975 dix entretiens sur sa vie et son oeuvre au micro de Michel Manoll. Au programme du volet 6/10, elle évoque avec humour sa vie mondaine, débutée dans les années 1910 avec Picasso, Modigliani, Cocteau, Colette, Anna de Noailles, Ravel, Satie, etc. - invités : Germaine Tailleferre Compositrice française

durée : 00:15:57 - Les Nuits de France Culture - par : Albane Penaranda - La compositrice Germaine Tailleferre se racontait en dix entretiens en 1975. Dans le quatrième volet, elle se souvient de sa rencontre avec Erik Satie, Maurice Ravel et de la constitution du Groupe des Six avec Darius Milhaud, Arthur Honegger, Georges Auric, Louis Durey et Francis Poulenc.

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)

Synopsis On today's date in 1911, the Independent Music Society of Paris sponsored “An Anonymous Concert” at which the audience was invited to guess the composers of a number of pieces presented without attribution. Professional music critics were also in attendance, although they prudently refused to reveal their guesses, fearing their professional reputations might suffer as a result. In the audience was the French composer Maurice Ravel, who had agreed to let some of his new piano pieces be performed as part of the experiment. “The title Valses nobles et sentimentales is a sufficient indication that my intention was to compose a chain of waltzes following the example of Schubert,” Ravel wrote. “They were performed for the first time, amidst protests and booing, at this concert.” Even more droll, recalled Ravel, were the reactions of some his most ardent admirers, who didn't know any of his own music would be played. They jeered at his waltzes, calling them “ridiculous” and ventured the guess the composer must be either Satie or Kodaly. Ravel accepted their comments in stoic silence. The audience proved more astute than Ravel's friends, however. “The paternity of the Waltzes was correctly attributed to me,” recalled Ravel, “but by a weak majority.” Music Played in Today's Program Maurice Ravel Valses nobles et sentimentales Minnesota Orchestra; Stanislaw Skrowaczewski, conductor. Analogue 007

Thomas Sowell calls "Disparate Impact" ideology the "grand dogma" of our time.But what is disparate impact and why is it so important?On this episode we take a deep dive into disparate impact ideology and how it has changed America.Joining me to discuss this important subject is Heather Mac Donald.Heather is a fellow at the Manhattan Institute for Policy Research based in New York City. Much like  Sowell , Heather does research into domestic policy and urban affairs and tries to figure out what's working and what's not working. She then writes articles and books sharing what she has learned.Her first book was published in 2000 and was called “The burden of bad ideas : how modern intellectuals misshape our society”Three years later she wrote a book called “Are Cops Racist?”This was followed with another book about policing in 2016 called “The War on Cops: How the New Attack on Law and Order Makes Everyone Less Safe.”I first discovered Heather Mac Donald in 2018 with the publication of her book “The Diversity Delusion: How Race and Gender Pandering Corrupt the University and Undermine Our Culture.” I loved that book and I remember finishing it then immediately starting it over and reading it a second time. Her latest book which just came out this month is called “When Race Trumps Merit, How the Pursuit of Equity Sacrifices Excellence, Destroys Beauty, and Threatens Lives.”USEFUL LINKS:• More podcast-related links here: AlanWolan.com• How to calculate the "Birthday Problem": Ted-Ed Video HERE• "Birthday Problem Khan Academy explanation HERE• You can purchase Heather Mac Donald's new book HERE• Photos of the CalTech Turtle Pond HERE• Jerry MacGuire "Show Me the Money" scene HERE• Heather Mac Donald Wikipedia page HERE• Classical Music featured in this episode:"Cello Suite No 1" by Bach, "Für Elise" by Beethoven,  "Canon in D" by Pachelbel, "Humoresque" by Dvorak,  "Caprice No. 24" by Paganini, "Symphony No. 5" by Beethoven,  "Die Zauberflöte" by Mozart, "Eine Kleine Nachtmusik" by Mozart, "Theme from Schindler's List" by John Williams, "Hungarian Dance No. 5" by Brahms, "Gymnopedie No. 1" by Satie, and "Ode to Joy" by Beethoven. THERE ARE 3 WAYS TO SUPPORT THE PODCAST:1) Support the show financially by subscribing with a monthly contribution on Patreon:   www.Patreon.com/SowellGeniusThe money raised through Patreon supports our efforts to popularize the books and ideas of Thomas Sowell.----------------------------------------------2) Rate and review the podcast on Apple Podcasts. This helps a lot by nudging the show to the top of Google searches. I really appreciate the many positive reviews, especially this one by Jonsby: "This is one of the few podcasts that I actually slow down so I can savor it!"----------------------------------------------3) Purchase our Thomas Sowell Post It Note pads:  You can find all 100 digital images of the post it notes HERE, feel free to download them and use them however you like.To purchase pads o

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New