Podcast appearances and mentions of Steve Reich

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Allt hänger ihop i detta novemberavsnitt! Vi har sett en rad föreställningar som på ett eller annat vis går att knyta ihop med röda trådar. Det handlar om nakenhet, sex, trauman, åldrande och perspektivskiften, bland annat. Men trots allt vi hunnit se, lider Loretto av FOMOvember, för att hon missat så mycket. Till exempel den fina konserten under Birgit Nilsson Prize-galan som Cecilia blev inbjuden till och har smakprov med sig från. Medverkande: Loretto Villalobos och Cecilia Djurberg (klipp och prod) Uppsättningar som avhandlas i detta avsnitt: "Dämon - El funeral de Bergman" av Angelica Liddell och "Parallax" av Kata Wéber och Kornél Mundruczó, Proton Theatre (Bergmanfestivalens två gästspel på Dramaten) "The Cave" av Steve Reich och Beryl Korot på Folkoperan, en turnerande samproduktion (Scenkonst Sörmland och Föreningen Kammarmusik NU i samarbete med J! Judisk Kultur i Sverige, Folkoperan och Stora Teatern) "Diktatorn" av Ernst Krenek, regi Dan Turdén, Kamraterna på Musikaliska kvarteret i Stockholm "A year without summer" av Florentina Holziger, gästspel från Volksbühne Berlin på Dansens hus i Stockholm I avsnittet hörs ljudupptagningar, använda med tillstånd från respektive upphovsmän, ur: "A year without summer" , Birgit Nilsson Prize 2025 på Konserthuset i Stockholm (Peter Mattei ur Mozarts "Don Giovanni", finalen ur Richard Wagners "Tannhäuser" med Daniel Johansson, Peter Mattei och Matilda Sterby, dirigent Susanna Mälkki, Kungliga Operans kör och Kungliga filharmoniska orkestern), samt ur "The Cave" av Steve Reich och Beryl Korot (Gränslandet i musikalisk ledning av Christian Karlsen, sångsolister: Keren Motseri, Charlotte Hellekant, Carl Unander-Scharin, David Risberg)

This week on The Sound Kitchen, you'll hear the answer to the question about Moldova's political players. There are your answers to the bonus question on “The Listeners Corner” with Paul Myers, Ollia Horton's “Happy Moment”, and a tasty musical dessert from Erwan Rome on “Music from Erwan”. All that and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. It sounds early, but it's not. 2026 is right around the corner, and I know you want to be a part of our annual New Year celebration, where, with special guests, we read your New Year's resolutions. So start thinking now, and get your resolutions to me by 15 December. You don't want to miss out! Send your New Year's resolutions to thesoundkitchen@rfi.fr Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all! Facebook: Be sure to send your photos for the RFI English Listeners Forum banner to thesoundkitchen@rfi.fr More tech news: Did you know we have a YouTube channel? Just go to YouTube and write RFI English in the search bar, and there we are! Be sure to subscribe to see all our videos. Would you like to learn French? RFI is here to help you! Our website “Le Français facile avec rfi” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard. Go to our website and get started! At the top of the page, click on “Test level”, and you'll be counseled on the best-suited activities for your level according to your score. Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service, told me: “Bathe your ears in the sound of the language, and eventually, you'll get it”. She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it! Be sure you check out our wonderful podcasts! In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more. There's Spotlight on France, Spotlight on Africa, the International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series - an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service.  Please keep checking our website for updates on the latest from our excellent staff of journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show.   Teachers take note!  I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below.  Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! This week's quiz: On 4 October, I asked you a question about Moldova's legislative elections. The pro-EU ruling party, the Party of Action and Solidarity – the PAS - won the elections with more than 50 percent of the vote. You were to re-read our article “Moldova's pro-EU ruling party wins majority in parliamentary elections”, and send in the answer to these three questions: What is the name of the head of the PAS, what is the name of the party that is pro-Russian, and what was the voter turnout? The answers are: Maia Sandu is the name of the head of the PAS. The name of the party that is pro-Russian is the Patriotic Electoral Bloc. Voter turnout was around 52 percent, similar to that of the last parliamentary elections in 2021. And just so you know, the population of Moldova is 2.4 million. In addition to the quiz question, there was the bonus question: What do you do when one of your best friends falls in love with someone you dislike? Do you have a bonus question idea? Send it to us! The winners are: RFI Listeners Club member Alan Holder from the Isle of Wight, Britain. Alan is also the winner of this week's bonus question. Congratulations on your double win, Alan. Also on the list of lucky winners this week are Sakirun Islam Mitu, a member of the RFI Amour Fan Club in Rajshahi, Bangladesh; Muhammad Muneeb Khan, a member of the RFI Listeners Club in Sheikhupura, Pakistan; RFI Listeners Club member Babby Noor al Haya Hussen from Odisha, India, and RFI English listener Ripa Binte Rafiq from Naogaon, Bangladesh. Congratulations winners! Here's the music you heard on this week's program: The “Polovtsian Dances” from the opera Prince Igor by Alexander Borodin, performed by the Berlin Philharmonic conducted by Herbert von Karajan; the traditional Moldovian “Hora Boierească” performed by the Orchestra Fraților Advahov; “The Flight of the Bumblebee” by Nikolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer; “Happy” by Pharrell Williams, and Music for 18 Musicians by Steve Reich, performed by the Steve Reich Ensemble. Do you have a music request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-listen to Melissa Chemam's Spotlight on Africa podcast “Inside Côte d'Ivoire's pivotal election: voices of hope and uncertainty”, which will help you with the answer. You have until 24 November to enter this week's quiz; the winners will be announced on the 29 November podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France Click here to find out how you can win a special Sound Kitchen prize. Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club. 

Send us a textDescriptionThe Pulse Redefined: Rhythmic Complexity in 20th-Century Music in 60 Seconds. Take a minute to get the scoop!Fun FactWhen The Rite of Spring premiered in Paris, 1913, its jarring rhythms helped cause a near riot. Audience members shouted, booed, and even fought. A century later, the same rhythms are considered masterpieces of modernity—proof that innovation often sounds like chaos before it becomes art.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.

Bem-vindo a mais um Conversa de Câmara, o espaço onde mergulhamos em grandes obras da música contemporânea.Hoje, a peça é “Sextet”, composta por Steve Reich — um dos nomes mais influentes do minimalismo americano, ao lado de Philip Glass e Terry Riley.Reich nasceu em 1936, em Nova York, e revolucionou a música do século XX ao criar obras baseadas em repetição, ritmo e sutis transformações harmônicas. Ele buscava algo quase hipnótico — uma música que muda pouco a pouco, sem que a gente perceba exatamente quando tudo se transformou.“Sextet” foi escrita em 1985 para quatro percussionistas e dois tecladistas — ou seja, seis músicos no total — e estreou no Centre Pompidou, em Paris.A peça tem cinco movimentos tocados sem pausa, formando uma estrutura em arco: rápido, moderado, lento, moderado, rápido — A-B-C-B-A.Cada movimento se liga ao outro não só pelo ritmo, mas também por uma lógica harmônica que se reflete como um espelho.Vamos ouvir a gravação do Yale Percussion Group e comentar juntos alguns momentos-chave.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 , Arthur Muhlenberg e Rafael Hassan.

PAUL BIELATOWICZ is a composer and master guitarist from England. For the last 20 or so years he has been the featured guitarist in all of drummer CARL PALMER'S projects, with Paul miraculously nailing all of KEITH EMERSON'S keyboard parts on midi-guitar. Paul and I are about to head out on tour performing his NOSFERATU LIVE soundtrack to the original 1921 silent film.We talk about that project, Paul's long history with Mr. Palmer, and so much more, 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 : 00:45:11 - En pistes, contemporains ! du dimanche 05 octobre 2025 - par : Emilie Munera - Le compositeur japonais Joe Hisaichi dirige "The Desert Music" de Steve Reich dans un nouvel enregistrement live, ainsi que l'une de ses propres compositions "The End of the World" , inspirée par un voyage à New-York en 2007. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:45:11 - En pistes, contemporains ! du dimanche 05 octobre 2025 - par : Emilie Munera - Le compositeur japonais Joe Hisaichi dirige "The Desert Music" de Steve Reich dans un nouvel enregistrement live, ainsi que l'une de ses propres compositions "The End of the World" , inspirée par un voyage à New-York en 2007. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:45:11 - En pistes, contemporains ! du dimanche 05 octobre 2025 - par : Emilie Munera - Le compositeur japonais Joe Hisaichi dirige "The Desert Music" de Steve Reich dans un nouvel enregistrement live, ainsi que l'une de ses propres compositions "The End of the World" , inspirée par un voyage à New-York en 2007. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Esta semana, en una nueva sesión de Rebelión Sónica, celebramos el nuevo compilatorio cuádruple del maestro estadounidense de la música minimalista Terry Riley, “The Columbia Recordings”, Editado el 08 de agosto por el sello Sony Classical, el box set de lujo reúne las grabaciones fundamentales del influyente compositor, en una reedición emblemática de una de las figuras más importantes de la música del siglo XX. La caja incluye los cuatro álbumes fundamentales que Terry Riley registró para Columbia Masterworks entre 1968 y 1980, una obra que redefinió las posibilidades del minimalismo, la música electrónica y la libertad compositiva. La producción contiene los icónicos “In C” (1968), “A Rainbow in Curved Air” (1969), la colaboración con John Cale “Church of Anthrax” (1971) y "Shri Camel" (1980). Cada título marca un momento crucial no solo en la evolución de Riley, sino también en el cambio cultural más amplio de la música estadounidense: donde la práctica vanguardista colisionó con la producción de alta fidelidad, y las ideas sonoras radicales se difundieron masivamente. Remasterizada con esmero y presentada con amplio material de archivo —incluyendo fotografías inéditas de los históricos 30th Street Studios de Columbia y un folleto de 50 páginas con ensayos de David Behrman, Thomas M. Welsh y otros—, la caja captura a Riley en su momento más transformador, cuando el pulso de la innovación era inseparable de la exploración espiritual y sonora. Tan solo “In C” marcó una revolución, influenciando a contemporáneos como Steve Reich, Philip Glass y La Monte Young, mientras que "A Rainbow in Curved Air" marcó el camino hacia el ambient, la psicodelia y la protoelectrónica. "Church of Anthrax" abrió nuevos diálogos entre el experimentalismo y el rock, y "Shri Camel" exploró los sistemas de afinación indios mediante delay digital, dando lugar a una de las obras de larga duración más refinadas de Riley. Lanzado para celebrar los 90 años del músico, “The Columbia Recordings” no es solo una retrospectiva, “sino una celebración del poder de la música para construir nuevos mundos y cambiar el que vivimos”. Semana a semana, Rebelión Sónica se emite por radio Rockaxis los jueves a las 10 y 22 horas, con la conducción de Héctor Aravena.

On this episode of The Bandwich Tapes, I sit down with Todd Meehan, Professor of Percussion and Associate Dean of Graduate Studies at Baylor University. Todd is a dynamic performer, educator, and advocate for contemporary percussion, whose career blends artistry, scholarship, and leadership.We talk about his journey as a percussionist, including what first drew him to the instrument, his time as a student and performer, and the ways he continues to push the boundaries of what percussion can be. Todd also shares insights into his role as an educator, mentoring the next generation of percussionists at Baylor, and how he balances the dual roles of professor and associate dean.Along the way, we dig into topics such as innovation in percussion repertoire, the importance of cultivating curiosity in students, and how higher education is evolving for young musicians. Todd's perspective offers a unique look at how percussion performance, teaching, and leadership intersect.This conversation is both inspiring and practical, perfect for musicians, educators, and anyone fascinated by the craft of percussion and the pathways it can open.To learn more about Todd and the Baylor University percussion studio, visit Todd's website or the Baylor percussion studio website. Music from the Episode:Gardens (Excerpt) (Ivan Trevino - Baylor University Percussion Ensemble) Gardens (2024) was commissioned by the Baylor Percussion Group in celebration of Todd Meehan's 20th year of teaching at Baylor University. The piece is scored for six percussionists who perform on piano, two vibraphones, one 5.0 octave marimba, and glockenspiel.Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

PER NILSSON is an incredible guitarist and producer from Sweden, whom I've had the pleasure of hearing on several occasions with Meshuggah, when he covered during Fredrik Thordendal's hiatus from the band. Per a founding member of Scar Symmetry and the guitarist for prog rock band Kaipa, and power metal band Nocturnal Rites. 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..

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 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.

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

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.

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

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 (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 (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

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

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. 

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.