Podcast appearances and mentions of Steve Reich

L'Abbatiale de Bellelay (BE) accueille la 4e édition des Battements de l'Abbatiale, un festival qui se déroule dans l'Arc jurassien jusquʹau 13 septembre. Au programme figurent entre autres le pianiste Nik Bärtsch, la violoncelliste Estelle Revaz et le quatuor à corde américain Kronos Quartet. Le Kronos Quartet est devenu, après 50 ans dʹexistence, une véritable légende du monde de la musique et une des aventures les plus passionnantes de notre époque. Le quatuor a révolutionné le monde de la musique par ses créations, ses spectacles et ses plus de 70 enregistrements (Astor Piazzola, John Cage, Kaija Saariaho, Terry Riley, Jimi Hendrix, Steve Reich, …).  Mise en perspective par Anne Gillot

My longtime drum pal, JOHN "PUGWASH" WEATHERS is back on The ProgCast! It's always fun and revelatory to chat with JP and this time around we get into John's life before, during and after GENTLE GIANT. Lots of drummer talk as we delve into John's work with MAN, EYES OF BLUE, GRAHAM BOND, THE GREASE BAND and of course, GIANT. Only here, on The ProgCast!PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

durée : 00:42:52 - En pistes, contemporains ! du dimanche 31 août 2025 - par : Emilie Munera - De la Finlande au Portugal, deux concertos - l'un pour violon, l'autre pour accordéon - sont à l'honneur dans cette émission qui fera également entendre le premier enregistrement de la dernière composition de l'américain Steve Reich, pour voix et orchestre. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:42:52 - En pistes, contemporains ! du dimanche 31 août 2025 - par : Emilie Munera - De la Finlande au Portugal, deux concertos - l'un pour violon, l'autre pour accordéon - sont à l'honneur dans cette émission qui fera également entendre le premier enregistrement de la dernière composition de l'américain Steve Reich, pour voix et orchestre. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:42:52 - En pistes, contemporains ! du dimanche 31 août 2025 - par : Emilie Munera - De la Finlande au Portugal, deux concertos - l'un pour violon, l'autre pour accordéon - sont à l'honneur dans cette émission qui fera également entendre le premier enregistrement de la dernière composition de l'américain Steve Reich, pour voix et orchestre. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

TONY LEVIN is well-known to The ProgCast audience as bassist for KING CRIMSON, PETER GABRIEL, STICK MEN, LIQUID TENSION EXPERIMENT, and so many more. We talk about Tony's early days as a classical player and his transition to bass guitar/stick. Tony regales us with tales of his time with Buddy Rich, Peter Gabriel, forming the KC "Discipline" band, and even playing under Igor Stravinsky's baton, as a student bassist at Eastman School of music. A rather special episode celebrating the 5th Anniversary of The ProgCast!PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

Dois expressivos artistas americanos!01 – William S. Burroughs - The Exterminator 02 - William S. Burroughs - Manhattan Serenade03 – William S. Burroughs –  Disciplinary Procedure04 – William S. Burroughs - Gentle Reader05 – Steve Reich – It's Gonna RainProdução, gravação, edição e locução: marcelo brissacMúsica “Drácula” usada no prefixo e sufixo, autoria de marcelo brissac e livio tragtenberg 

This was originally released in 2022. The internationally renowned South African guitarist Derek Gripper is famous for his groundbreaking technique for evoking the West African kora on the guitar. During this episode you'll get to hear Derek play quite a bit and you will hear his wonderful insights on how we listen to and learn music, the influence of Montessori and Alexander Technique in his life, his reflections on important collaborations in his career and his perspectives on changes that have been imposed on creators and performers.My website for the video and transcriptDerek Gripper WebsiteNewsletterBuy me a coffee?Podcast Merch(00:00:00) Introduction (00:01:45) Bach guitar music with intro (00:04:00) carnatic music studies, album with tabla player Udai Mazumdar (00:06:12) structural improvisation, Bach (00:08:18) Alexander Technique (00:15:28) violin studies (00:16:24) Derek's recording approach (00:20:30) “Billly Goes to Durban” (00:21:28) kora music, Toumani Diabaté (00:25:18) “Tubaka” guitar music (00:26:36) Derek's transcriptions, Zoom classes (00:30:12) online music economy, Derek's experiences with selling albums, Platoon label (00:35:35) Montessori method and teaching guitar (00:39:38) "A Year of Swimming" (00:41:34) Alex Van Heerden, “Sagtevlei”, Steve Reich, Bryan Bolton (00:45:36) Guy Buttery and different collaborations (00:48:12) South Africa and COVID's economic ramifications (00:49:43) Madosini (00:52:06) World Music as a genre and marketing tool (00:58:23) Derek's style of performing (01:00:31) mental health, touring, mindset with Alexander Technique inhibition and internal resistance (01:04:42) "Seeing Nobody" guitar music (01:07:00) reflections on Derek's career, being South African, John Williams, Lucy Duran (01:11:30) Derek's guitars, Paul Galbraith Brahms guitar, “Bloomdorns”, Hermann Hauser, just intonation and bending notes, oud, lute, veena, (01:17:36) Derek's advice and reflections on too much inputphoto: Luke Young

    I've been listening to the ECM record label since the 1970s. You can always count on ECM to put out interesting and sometimes great records. My favorite ECM release is Steve Reich's "Music for 18 Musicians." It's not only my favorite ECM album, it's one of my top albums of all-time. A real desert island record for me. A few of my other favorite regular ECM artists are Steve Tibbetts, Eberhard Weber & Pat Metheny.  We had a discussion about our favorite ECM recordings over on Mixcloud. You can read or join in the thread here - https://www.mixcloud.com/lowlight/posts/favorite-ecm-albums/ I decided it wouyld be cool to make a mix of my top ten favorite ECM albums. I put it together in chronological order, starting with Ralph Towner & a fantastic version of Icarus. And ending with a 2017 album from Björn Meyer. Please leave a comment with some of your favorites in the comments and enjoy this little journey through ECM. Cheers!   T R A C K L I S T : 00:00   Ralph Towner - Icarus (Diary 1974) 06:08   Pat Metheny - Sirabhorn (Bright Size Life 1976) 11:28   Eberhard Weber - Moana I (The Following Morning 1976) 19:54   Steve Reich - Pulses (Music For 18 Musicians 1978) 25:08   Pat Metheny & Lyle Mays - As Falls Wichita, So Falls Wichita Falls (As Falls Wichita, So Falls Wichita Falls 1980) 32:45   Steve Tibbetts - Ur (Yr 1988) 40:15   Jan Gabarek - Parce Mihi Domine(de Morales) (Officium 1993) 45:40   Arvo Pärt - Spiegel Im Spiegel (Alina 2000) 54:30   Jon Hassell - Blue Period (Last Night The Moon Came Dropping Its Clothes In The Street 2009) 61:20   Björn Meyer - Pulse (Provenance 2017) 64:05   end

durée : 01:14:11 - Bach, Miaskovski, Oscar Peterson - par : Jérôme Fréjaville - Pour cet été classique, nous vous proposons un voyage libre entre les époques, les styles et les genres : le contrepoint de Bach et Steve Reich, le groove de Paul Schoenfield et le lyrisme de Miaskovski. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In Episode 41 of The Classical Circuit, composer Anna Clyne chats about her penchant for bringing different art forms together in her work; from painting, to dance, to electronics. She reflects on the importance of the creative community around her, all things Augmented Orchestra and its potential, writing 'Masquerade' to open the Last Night of the Proms, and how one email from fellow composer Steve Reich stopped her from throwing in the towel...-------------------Anna ClyneInstagramFacebookListen-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Story Behind the Brand, Travis Brady sits down with Steve Reich—the youngest VP of a $2.5 billion grocery supplier with over 688 stores—who now runs a thriving creative agency with 25 employees. From launching a department boldly called Our Marketing Department to redefining how businesses connect with customers, Steve shares what it really takes to build lasting success through marketing. This episode dives into the power of creative branding, the underestimated grind behind marketing mastery, and the story behind Steve's rise from corporate prodigy to entrepreneurial force. Pull back the curtain on what it means to truly market like a pro—and get ready to rethink everything. Click the link to join the next brotherhood event in Arizona.    https://arizonabrotherhood.com/bhmastermind   One of the best ways to grow your brand and business is through speaking! We have speaking partnerships available for those who are serious about their brand and want to grow their business. To apply to speak at one of our 2025 events go to Https://benextgen.com/apply-to-speak/  Fill out an application & one of our team members will reach out to see if it's a good fit!  Building your brand or re-branding to grow your business? Checkout the “Find Your Brand-X Factor Docuseries. This video series is dedicated to helping you find, create, and evolve your brand and create the story behind your brand..  https://www.findyourbrandxfactor.com/ TravisBradyBrands.com  Instagram: https://www.instagram.com/travisbradybrands/

Composer Steve Reich is one of the most influential musicians of modern times. In the 1960s he helped rewrite the rules of composition, using analogue tape machines to experiment with rhythm, repetition and syncopation. As the godfather of musical minimalism, his influence on Philip Glass, David Bowie, Jonny Greenwood of Radiohead, and many other composers, has been enormous. Countless dance music producers also owe a debt to pieces including It's Gonna Rain, Drumming, Different Trains and Music for 18 Musicians. His music has been performed in concert halls all around the world, and his many awards include three Grammys, a Pulitzer Prize, the Polar Prize for Music and the Premium Imperiale. Steve Reich tells John Wilson how, at the age of 14, three very different recordings awoke his interest in music: Stravinsky's The Rite of Spring, Bach's 5th Brandenburg Concerto, and a piece of bebop jazz featuring saxophonist Charlie Parker, trumpeter Miles Davis and drummer Kenny Clarke. Inspired to start a jazz quintet of his own, Reich began to study percussion before enrolling in a music history course at Cornell University. It was here he discovered the music of Pérotin, the 12th century French composer associated with the Notre Dame school of polyphony in Paris. His beautiful sustained harmonies had a profound influence on Reich's own compositions, including Four Organs (1970) and Music for 18 Musicians (1976).Steve Reich also explains the significance of two books on his music; Studies in African Music by A.M.Jones and Music in Bali by Colin McPhee, both of which led to a greater understanding of music from parts of the world where music is passed down aurally rather than through notation.Producer: Edwina Pitman Additional recording: Laura Pellicer

"In my area of North America, train journeys are relatively rare. Taking a train feels like a special occasion because I only have the opportunity when I'm far from home. I've always enjoyed the exploratory feel of train rides: a train journey feels almost like stolen time, where normal responsibilities are paused and you are given freedom to simply be, if you choose.  "I was inspired by the F#-A train horn to create a harmonic home base of the broad key of B (be). Flute and alto flute depicts both the rhythmic train engine (with a nod to Steve Reich's ‘Different Trains') and the melodic way fragments of thoughts and ideas drift in and out when in a meditative state." Trains in Palo Alto reimagined by Margaret Fischer.

In this edition of 32 Thoughts, Kyle Bukauskas and Elliotte Friedman react to the Florida Panthers defeating the Edmonton Oilers in Game 6 to clinch their second straight Stanley Cup Championship, extending Canada's Cup drought to 32 years.In the news and notes section, Kyle and Elliotte touch on Marco Rossi's future (41:25). They also discuss what lies ahead for Alex Tuch, JJ Peterka, and the Buffalo Sabres (45:47). The duo goes on to consider what might happen with Mika Zibanejad and the New York Rangers (49:25). The Final Thought focuses on the passing of Steve Reich (52:05).Kyle and Elliotte answer your voicemail and email submissions in the Thought Line (56:26).Email the podcast at 32thoughts@sportsnet.ca or call the Thought Line at 1-833-311-3232 and leave us a voicemail.This podcast was produced and mixed by Dominic Sramaty and hosted by Elliotte Friedman & Kyle Bukauskas.The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates

Steve Reich, Mario Lemieux's agent, has passed away at 64. Steelers re-sign DeShon Elliott to a two-year extension through the 2027 season. Multiple star quarterbacks like Patrick Mahomes, Joe Burrow, and Lamar Jackson carved up the Steelers secondary. Is the Steelers secondary better? Did Callas send NBC a clip of his audio so he could become famous and not Dorin or Crowley? Poni thinks this was a forgettable U.S. Open but Bob disagrees.

Paul Steigerwald remembers Steve Reich and the kindness he showed for people and always had time for others. Steigerwald on Mario Lemieux and Ron Burkle buying back the Penguins: "I don't see any other factors right now that would lead me to believe that's going to happen." All signs are pointing to this being Evgeni Malkin's final season.

Tegen het einde van de jaren zestig kwam vooral in de Verenigde Staten een stroming op gang, die van de graduele proces-muziek, bij ons ook wel bekend als de ‘minimal music'. We hebben het dan over componisten als Steve Reich en Philip Glass. Hun muziek staat in het programma centraal, drie kwartetten Glass gecomponeerd tussen […]

On Culture Friday, John Stonestreet answers questions from journalism students about pro-life division, evangelism, and living truthfully; Collin Garbarino reviews Karate Kid: Legends; and Arsenio Orteza describes Steve Reich's minimalism music. Plus, the Friday morning news Support The World and Everything in It today at wng.org/donate.Additional support comes from BibleStock.org. Helping Bible teachers bring the land of the Bible to life through photos and videos. BibleStock.org

1976. De Amerikaanse componist Steve Reich zet een nieuwe stap in zijn carrière met Music for 18 Musicians en breekt ermee helemaal door bij het grote publiek. Een heerlijke trip en monument van de minimal music! Al twijfelt Clara toch nog of dit ook muziek is voor tijdens haar barbecue en ze heeft zeker niet genoeg stoelen voor Sander zijn 18 vrienden. Geen probleem voor Sander, hij vindt wel een andere manier om Clara helemaal te overtuigen van de kunst van deze muziek.

For the 45th anniversary of The Feelies' classic debut album, Crazy Rhythms, we take a detailed look at how it was made. After the band formed as The Outkids in Haledon, New Jersey in 1976, Glenn Mercer, Bill Million and Dave Weckerman started playing with brothers Keith Clayton and Vinnie DeNunzio. They changed their name to The Feelies as they started playing gigs around New York City. At an audition night at CBGBs, they connected with sound engineer Mark Abel, who introduced them to manager Terry Ork. They began to get booked regularly and receive some press just as DeNunzio decided to leave the band. After placing an ad for a new drummer, they brought in Anton Fier, who had just relocated to New York from Clevenland. Weckerman also left around this time so the band lineup was solidified as a four piece. Rough Trade offered to release their debut single, which came out in 1979. For their debut album, they wanted to find a label that would allow them to produce. After signing with Stiff Records, they began recording at Vanguard Studios with Mark Abel co-producing. Crazy Rhythms was eventually released in 1980. In this episode, Glenn Mercer and Bill Million recall connecting as teenagers in suburban New Jersey over a shared love of the Stooges. Mercer describes arranging their songs around the drums and percussion parts, while bringing a nervous energy and quirkiness to his vocals and lyrics. Million talks about how their early experiences with recording helped them realize the necessity of producing themselves and how they waited for the right record deal that would give them a proper recording budget. They describe their joy of discovery in the studio and their process for coming up with spontaneous parts as they were eager to treat the studio as an instrument. From finding the right clean guitar sound to standing out in the New York punk scene to embracing the suburbs to the 1950s-inspired look of the band to taking inspiration from contemporaries like Jonathan Richman, Brian Eno, Mo Tucker, and Steve Reich to percussion played with random objects to making music on their own terms for nearly 50 years, we'll hear the stories of how the record came together.

We're taking a musical detour this week as Patrick throws a little classical music into your ears. All week, he's going to be counting down his top 10 classical jams! Number six is a piece of modern classical (sort of) music from Steve Reich and number five is a string quartet from Russian master Dmitri Shostakovich.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

AI is everywhere. It hasn't really affected music yet, or has it? Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Perplexity (https://www.perplexity.ai) Microsoft made an ad with generative AI and nobody noticed (https://www.theverge.com/news/656104/microsoft-surface-ad-generative-ai-copilot-intel) How Daydreaming Can Enhance Creativity for Fiction Writers (https://www.literatureandlatte.com/blog/how-daydreaming-can-enhance-creativity-for-fiction-writers) The Next Track: Episode #305: Timo Andres on Steve Reich's Collected Works (https://www.thenexttrack.com/310) Sonatas and Interludes - Wikipedia (https://en.wikipedia.org/wiki/Sonatas_and_Interludes) Our next tracks: John Cage, Sonatas and Interludes, James Tenney (https://amzn.to/4jK2uPm) Corey Harris: Greens From the Garden (https://amzn.to/44XhYeA) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

In our continuing anniversary coverage of The Bends, we speak with Randee Dawn, a journalist and author who 30 years ago spent several days with Radiohead on the road right after they released their sophomore album. She regales us with stories of what they were like back then, before they became the critical darlings they are today. Are they really nice boys? Who is the dad of the group? What was worrying Thom? It's an illuminating conversation about a band who at the time was on the precipice of something great! Also, we have a mini-newspile where we discuss Radiohead's all but announced fall tour, the first trailer for PT Anderson's new film with intriguing new music from Jonny, what legendary minimalist composer Steve Reich thinks of Jonny and Radiohead, and Thom's unexpected involvement in Hamlet Hail to the Thief. Randee Dawn's new book, The Only Song Worth Singing, is out now wherever books are sold!

Steve Reich, the great American contemporary composer, provided this program note about his work Different Trains: “The idea for the piece came from my childhood. When I was one year old my parents separated. My singer, song-writer mother moved to Los Angeles and my attorney father stayed in New York. Since they arranged divided custody, I travelled back and forth by train frequently between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While the trips were exciting and romantic at the time I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation.” Reich went about this piece in a completely innovative way: he recorded voices and then created the musical material for the piece out of the voices themselves, something that had never been done before. Therefore, the text and music material were integrated in a groundbreaking way, and the results are at times unbearably moving. This is a piece that has captured listeners attention in a way that is relatively rare for contemporary music, and it is a piece of immense power and depth. I have always been fascinated by this piece and have wanted to perform an orchestral version of it, but I never have been able to cover it on the show. That is, until AJ contributed enough to my fundraiser last year before the election to sponsor a piece, and he chose Reich's Different Trains. Today we'll talk a bit about Steve Reich generally for those of you unfamiliar with him, and then we'll tackle this remarkable and unique piece in all of its creativity and profound communication. Join us!

For 60 years, New York composer Steve Reich has been one of classical music's most celebrated revolutionaries. Pioneering minimalism in the 1960s, a musical style based on repetition and shifting rhythms, his strange experiments with cassette tape led to orchestral masterpieces – now performed around the world. His career has not only helped define the latest era of classical music, but had an enormous influence on pop, rock and electronica. He has helped shape 20th Century music in a way few can claim to match. To mark 60 years since his first major piece,1965's It's Gonna Rain, he takes Alastair Shuttleworth through the process and stories behind some of his greatest works, including Clapping Music, Different Trains and City Life. He also reflects on his legacy, his plans for the future and what, at the age of 88, still inspires him to compose

Composer and pianist Timo Andres wrote extensive listening notes for the new box set of Steve Reich's Collected Works. We talk with him about this composer whose work over the past five decades has been incredibly influential. "I went everyone to listen to music in a more abstract way." Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Timo Andres (https://www.andres.com) Timo Andres on The Next Track (https://www.thenexttrack.com/guests/timo-andres) Steve Reich: Collected Works (https://amzn.to/3FZSZgd) Will Hermes (https://substack.com/@willhermes) Our next tracks: Grateful Dead: Reckoning (https://amzn.to/42p7oKq) Ron Wood: I've Got My Own Album To Do (https://amzn.to/43FKz7H) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast. Special Guest: Timo Andres.

"Sound systems are really what move me." The up-and-coming techno artist talks about the physicality of sound and how psychedelics inform his work in the studio. What makes a good artist? In this RA Exchange, British DJ and producer Andrew Shobeiri, AKA Rene Wise, reflects on being a relatively new name in the scene and considers the success that ultimately comes with time and experience. "There's never a point where you're done," he says. While Shobeiri is only a few years into his career, the up-and-comer already knows how to draw a crowd. He has finely tuned a highly kinetic and hypnotic techno sound that's brought him legions of fans and bookings on the world's top club and festival lineups. He divulges the ingredients that go into a Rene Wise set, including sound sources from genres beyond the club, like salsa, Iranian radif and the strange orchestration of Steve Reich. He also talks about his experience with psychedelics—which helped lay the groundwork for some of his most formative musical experiences—as well as how sound systems have changed the way he perceives and composes tracks for the dance floor. Listen to the episode in full. -Chloe Lula

"Sound systems are really what move me." The up-and-coming techno artist talks about the physicality of sound and how psychedelics inform his work in the studio. What makes a good artist? In this RA Exchange, British DJ and producer Andrew Shobeiri, AKA Rene Wise, reflects on being a relatively new name in the scene and considers the success that ultimately comes with time and experience. "There's never a point where you're done," he says. While Shobeiri is only a few years into his career, the up-and-comer already knows how to draw a crowd. He has finely tuned a highly kinetic and hypnotic techno sound that's brought him legions of fans and bookings on the world's top club and festival lineups. He divulges the ingredients that go into a Rene Wise set, including sound sources from genres beyond the club, like salsa, Iranian radif and the strange orchestration of Steve Reich. He also talks about his experience with psychedelics—which helped lay the groundwork for some of his most formative musical experiences—as well as how sound systems have changed the way he perceives and composes tracks for the dance floor. Listen to the episode in full. -Chloe Lula

durée : 00:13:50 - Steve Reich Collected Works - Ce coffret de vingt-sept disques « Steve Reich Collected Works » présente des enregistrements musicaux réalisés au cours des quarante années de collaboration du compositeur avec le label Nonesuch.

durée : 00:43:24 - En pistes, contemporains ! du dimanche 30 mars 2025 - par : Emilie Munera - Cette semaine six décennies de compositions révolutionnaires rassemblées dans un coffret, une comédie tragique avec Yvonne, princesse de Bourgogne, une tromboniste de renommée mondiale et un pianiste ouzbek. - réalisé par : Céline Parfenoff

durée : 00:04:39 - Classic & Co - par : Anna Sigalevitch - Anna Sigalevitch nous parle d'un grand coffret qui vient de paraître chez Nonesuch, qui en 27 disques, célèbre l'œuvre du compositeur américain Steve Reich.

Episode 160 Chapter 21, The San Francisco Tape Music Center. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.   Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley's first works for tape. 14:23 01:38 2.     Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961).  Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav 04:36 15:56 3.     Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008. 12:45 20:30 4.     Steve Reich, “Melodica” (1966). Tape piece and the last of Reich's works before moving onto instrumental composition in his minimalist style. 10:42 33:16 5.     Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year. 10:29 44:08 6.     Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds. 06:58 54:36 7.     Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system. 33:17 01:01:30 8.     Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records. 32:01 01:35:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (4/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (5/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (3/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (2/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (1/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

E quando o instrumento de uma vida desaparece? A história da coreana Min Kym é surpreendente e leva-nos até uma peça de Steve Reich tocada por Jonny Greenwood, dos Radiohead.See omnystudio.com/listener for privacy information.

Order The Memory Palace book now, dear listener. On Bookshop.org, on Amazon.com, on Barnes & Noble, or directly from Random House. Or order the audiobook at places like Libro.fm.The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show, you can make a donation at Radiotopia.fm/donate. I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. Order Eliza McGraw's wonderful new book, Astride: Women, Horses and a Partnership that Changed America. This episode originally aired in February of 2021. Music Unsayable by Brambles. Kola - Lighthouse Version by amiina A Nearer Sun by the Westerlies Duet, a Steve Reich composition, performed by Daniel Hope. Reading a Wave by Arp April by Kanazu Tomoyuki Latent Sonata by Brian McBride NotesThe oral history mentioned in this episode is available through the Smithsonian Instittion''s archives.   Learn about your ad choices: dovetail.prx.org/ad-choices

Episode 145 Chapter 06, Analog and Digital Synthesis Basics, Part 2. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 2 from my book Electronic and Experimental music.   Playlist: Analog Synthesis and Sound Modification   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1 Richard Maxfield, “Prelude, Pastoral Symphony” (1960). Tape piece combining electronic sounds with the modulated sounds of nature. 04:02 01:36 2 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Tape piece of processed acoustic sounds. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française.” Kyrou is the rare example of a woman composer using the French studio.  5:09 05:09 05:36 3 Hugh Le Caine, “Safari: Eine kleine Klangfarbenmelodie” (1964). Used extensive additive synthesis and texturing by means of the Sonde, an instrument equipped with 200 closely tuned sine tones. 03:09 10:44 4 David Behrman, “Wave Train” (1966). Used analog circuits, internal feedback, audio processing in real time. Recording is from a flexi-disc released by Source: Music of the Avant Garde in 1968. 15:34 13:52 5 Steve Reich, “Come Out” (1966). Tape piece experiment with tape loops and phasing of vocal passages. 12:53 29:22 6 Gordon Mumma, “Horn” (1967). Performance released on flexi-disc for Aspen Magazine No. 1 (1967). Performed at the Once Festival in Ann Arbor, Michigan by Mumma, Robert Ashley, and George Cacioppo. Acoustic sounds modified electronically in real time. 06:22 42:14 7 Pril Smiley, “Eclipse” (1967). “Eclipse” was realized at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work, “Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” 7:56 07:56 48:46 8 Charlemagne Palestine, “Seven Organism Study” (1968). Used feedback and analog synthesis for this drone work. 07:53 56:36 9 Hugh Davies, “Salad” (1977). From the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55 13:55 01:04:24 10 David Lee Myers, “Periodicity, track A1” (1988). Analog feedback circuits controlled in real time. 02:36 01:18:16   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Matt and Ryder love The Brutalist! Corbin thinks it's fine. We talk about it! Topics: codings in the text, the question of a broad anti-oppression reading vs. a zionist one, and the life of an artist, which sucks ass.  Corbin reccomends TWO MOVIES currently in theaters. Ryder reccomends "Different Trains" by Steve Reich. Matt reccomends "Blueprinting" by the Aizuri Quartet. Next week's episode will be the beginning of a new series, DIGITAL FRONTIERS, a history of the early days of Digital Cinema. Our subject will be "The Celebration" by Thomas Vintenberg. Watch it here. 

Artist Album Track Label Year Time Ben Monder Oceana Oceana Sunnyside 2005 16:56 Tangerine Dream Rubycon Rubycon, Pt. 1 Virgin 1975 17:17 Zaar Zaar Sefir Cuneiform 2006 20:06 Mike Oldfield Ommadawn Ommadawn Part One Virgin 1975 19:06 Steve Reich & Musicians Music For 18 Musicians Music For 18 Musicians Part 1 ECM 1978 20:00 Schnellertollermeier […]

I first heard The National 17 years ago this month I think, and I fell in love instantly. They've continued to be one of my favourite bands, and it's been great to see them ascend to new heights of popularity and pursue interesting creative directions in the band and outside. Guitarist Aaron Dessner is now a key producer and co-writer for the likes of Taylor Swift and Gracie Abrams. His twin brother Bryce Dessner is a composer whose orchestral and chamber compositions have been commissioned by the LA Philharmonic, Edinburgh International Festival and Kronos Quartet amongst others, and he's collaborated with the likes of Philip Glass, Steve Reich, Paul Simon, Sufjan Stevens and many more. Frontman Matt Berninger has become one of the most compelling rock frontman of the 21st century with his often darkly funny, self-deprecating lyrics, and gangly, physical stage presence. Drummer Bryan Devendorf is one of the most distinctive drummers operating in rock today. Which leaves my guest this episode, bassist Scott Devendorf. I feel like Scott is the member of the band I knew least about. Obviously I've seen him onstage many times anchoring the band, but I was intrigued to see how the interview would go, and was pleased to discover Scott was excellent company. The National have just released a new live album entitled “Rome” which was recorded this past June in, well Rome obviously. It does a pretty good job of capturing the catharsis and sometimes chaos of a National show. I thought it was an interesting decision to focus on one particular show rather than compile tracks from across the tour. I was curious how they would handle the situations where Matt goes walkabout with the microphone, climbing into the crowd and getting mobbed with fans singing their heads off. Scott had a lot to say about these decisions, and about The National as a live act in general. He was really generous with his time. I only found out this interview was happening less than 24 hours before it took place, so it was quite a whirlwind getting it prepped and organised. I again had some technical issues so I've mostly just used the zoom feed but it sounds fine. To have The National represented on the podcast really means a lot. This will be the last episode of the year, and what a way to go out.

For the 25th anniversary of American Football (Self-Titled), we take a detailed look at how it was made. The origins of American Football began with Mike Kinsella's band Cap'n Jazz, who were hugely influential in the punk scene in the Chicago suburbs. Steve Holmes went to high school with Kinsella and was inspired to learn guitar after watching Cap'n Jazz perform. Kinsella and Holmes became close friends and ended up going to college together and were roommates at the University of Illinois in Champaign. During college, Kinsella briefly joined a band with Steve Lamos called The One Up Downstairs. When that band broke up, Holmes and Lamos began jamming together and when Kinsella heard their practice tapes, he asked if he could join. The three of them ended up forming American Football in 1997. Their friends, Matt Lunsford and Darcie Knight were just getting their label Polyvinyl going in nearby Danville and they offered to release a three song EP in 1998. By the time they were graduating, they had enough songs for a full-length album, but the band was breaking up as Holmes and Kinsella were moving back to Chicago. Polyvinyl offered to release an album anyway so they booked time at Private Studios with local engineer, Brendan Gamble. The American Football (Self-Titled) album was eventually released in 1999. In this episode, Steve Holmes describes the guitar style he developed with Kinsella that was based on alternate tunings and shifting time signatures, inspired by music they were listening to at the time like Steve Reich, Nick Drake, The Sea and Cake and Red House Painters. Mike Kinsella talks about switching from drums to guitar and writing lyrics inspired by the few romantic relationships he had up to that point. His lyrics came from a diary and were heavily influenced by the melodramatic lyricism of bands like The Cure, Depeche Mode and The Sundays. Steve Lamos discusses his musical upbringing and deep love of jazz, which found its way into the American Football sound with his trumpet playing and compositional approach to the drums. The three of them describe the unique sound they found together and the unlikely story about how even though the band broke up early on, the album still managed to reach people years after it was a released. From recording the week after graduation to constantly having to borrow guitars, amps and tuners to embracing repetitive patterns and avoiding traditional verse chorus structures to singing through paper towel rolls during recording to lyrics about relationships ending and the transition into adulthood to the album cover of the now iconic American Football house, we'll hear the stories around how the record came together.

Episode: 2353 Reflections on -- or in -- the key of C.  Today, French hornist Roger Kaza plays in C.

Scottish piper Brìghde Chaimbuel has quickly vaulted from the traditional-music scene to an international profile, in part thanks to her recent collaboration with saxophonist/composer Colin Stetson. In this episode, she discusses how music by Allan Macdonald, the Rhodopea Kaba Trio, and Steve Reich guided her own work. She'll appear at the Big Ears Festival in March 2025.See omnystudio.com/listener for privacy information.

The Canadian singer-songwriter's latest record counts minimalist composer Steve Reich and The Caroline Chocolate Drops among its inspirations.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week, we welcome one of our favorite musicians to the show: Mark Lightcap of Acetone and the Dick Slessig Combo. Back in 2017, author Sam Sweet released a great book about Acetone called Hadley Lee Lightcap, accompanied by a stellar Light in the Attic anthology compilation,1992-2001. Writing about it, Transmissions host Jason P. Woodbury said: Though Acetone were label-mates with the Verve at Virgin subsidiary Vernon Yard, recorded for Neil Young's Vapor Records, and attracted high-profile fans like J. Spaceman and Hope Sandoval, nothing about 1992-2001 indicates a band bound for the spotlight. The trio's music, a heady mix of surf, country, exotica, hillbilly spirituals, and slow-motion indie rock, pulled from thrift store LPs and adhered to its own logic. Hadley, Lightcap, and Lee listened to music deeply, searching for elements beneath the surface. The band uncovered psychedelic qualities in unlikely places, turning up lysergic textures in mood music, Tiki kitsch, and Charlie Rich records.  Coupled with the foundational influences of the Velvet Underground, Brian Eno, Steve Reich, and Al Green, this strange blend takes time to reveal itself. Acetone's music requires patience. Lee's voice seems to float out of the speakers, his bass locked into meandering grooves with Hadley's meditative drums and Lightcap's tremolo and reverb-drenched guitar. Like its contemporaries, Low, Souled American, and Mercury Rev, Acetone created music that deconstructed and protracted rock & roll templates. We've kept on the Lightcap beat ever since. Back in the early days of the pandemic, we covered his other band, the Dick Slessig Combo, and their mystic, mantric 40+ minute version of Glen Campbell's “Wichita Lineman." Last year, New West Records reissued Acetone's discography, featuring illuminating liner notes by J. Spaceman of Spiritualized/Spaceman 3 and Drew Daniel of Matmos/The Soft Pink Truth. The occasion prompted a great conversation with Mark that we published in written form last year. This week on the show, he joins us for a loose talk from his backyard in LA. From “beautiful music” to his run-ins with Oasis, this conversation takes plenty of fascinating turns. There's plenty to read about Acetone and Dick Slessig over at Aquarium Drunkard. Subscribe today for access to all the good stuff, as well as nearly 20 years of music journalism, essays, interviews, sessions, video and radio shows and more.  Head over and peruse our site, where you'll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. With your support, here's to another decade. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

If Philip Glass or Steve Reich experimented with EDM, we would arguably find their Venn diagram convergence in Floating Points. In fact, Sam Shepherd (aka Floating Points) recently composed his first ballet for symphony orchestra and electronics, Mere Mortals, for the San Francisco Ballet. We’ll get you dancing to your own beat with the twinkly, vibrant track “Del Oro.”