Russian composer and pianist (1882-1971)
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Why is it that an ephemeral arrangement of sounds can move us to tears, while the exact same sequence might sound like chaotic noise to someone from another culture?Reader in Cognitive Science at Queen Mary University of London and Honorary Professor of Neuroscience at Aarhus University, Dr. Marcus Pearce joins host PJ Wehry to discuss the overlooked significance of our brain's probabilistic predictions.Dr. Pearce explores the computational mysteries of how we process sound in his book, Learning to Listen, Listening to Learn: Music Perception and the Psychology of Enculturation. They examine how our pleasure in music stems from an ingrained psychological drive to predict the future, and how understanding this can help us map out cultural evolution.In this conversation they explore:How our brains act as statistical prediction machines, constantly building internal models to anticipate the next note for an evolutionary survival advantage.The surprising realization that the perception of consonance and dissonance is not biologically universal, as shown by differing reactions in cultures like the Chimane of Bolivia.Why the pleasure we derive from music relies on an "inverted U-shaped" relationship, where a balance between predictable patterns and complex surprises maximizes our enjoyment.The use of interpretable probabilistic AI models, rather than "black box" neural networks, to better understand how a listener's perception matures within a musical tradition.How music acts as a safe training ground for humans to vicariously experience complex emotional states and hone cognitive processes without real-world risk.The role of cultural evolution in music, explaining why groundbreaking, highly complex composers like Stravinsky were initially rejected by audiences before eventually becoming standard repertoire.This is a conversation for anyone interested in cognitive science, evolutionary psychology, and musicology who wants to understand the biological weight behind our favorite songs and how we process the beautifully complex structures of human sound.Make sure to check out Dr. Pearce's book: Learning to Listen, Listening to Learn: Music Perception and the Psychology of Enculturation
Boulez Conducts Mahler, Bartók, & Stravinsky by CSO Association
durée : 00:13:53 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Igor Stravinsky est célèbre pour des œuvres incontournables comme Petrouchka et L'Oiseau de feu. Parmi les autres favoris figure le ballet Pulcinella, un charmant mélange de théâtralité baroque, présenté ici dans sa version de concert. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:13:53 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Igor Stravinsky est célèbre pour des œuvres incontournables comme Petrouchka et L'Oiseau de feu. Parmi les autres favoris figure le ballet Pulcinella, un charmant mélange de théâtralité baroque, présenté ici dans sa version de concert. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 01:28:43 - par : Aurélie Moreau - Au long d'une carrière éblouissante, Antal Doráti a dirigé les plus grands orchestres internationaux. Sa discographie est impressionnante (plus de 500 disques). Aujourd'hui : Tchaïkovski, Stravinsky, Haydn, Rachmaninov, Rimski-Korsakov, Kodály… - réalisation : Cécile Bonnet des Claustres, Benjamin Orgeret - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:27:34 - par : Gabrielle Oliveira Guyon - Au programme ce samedi : un nouvel épisode du podcast Les Zinstrus, une œuvre de jeunesse de Stravinsky, le souhait d'écoute des frère et sœur Naïa et Élio, et dans le Labo Musical de Nico, une nouvelle question se pose : Jouer de la musique, un sport de haut niveau ? - réalisation : Emmanuel Benito, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 01:28:34 - par : Aurélie Moreau - À l'occasion de la sortie du coffret 55, qui célèbre cinquante-cinq années d'enregistrements de Katia et Marielle Labèque, nous consacrons cette émission à Igor Stravinsky, l'un des compositeurs qui a accompagné les deux sœurs tout au long de leur parcours artistique. - réalisation : Cécile Bonnet des Claustres, Anthony Maillet de Santis - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
This week, world renown bluegrass and old-time music virtuosos and educators Tony Trischka & Bruce Molsky recorded live at the Ozark Folk Center State Park's annual Arkansas Old-time Fiddle & Banjo Championships. Also, performances from the 2025 contest champions, fiddler Gwyneth Davis of Petit Jean Mountain, AR and banjoist Erik Brashers of Eureka Springs, AR. Each year, the Ozark Folk Center State Park hosts the Arkansas Old-time Fiddle & Banjo Championships. Competitors ranging in age from eight to eighty come from all over to test their skills and possibly be crowned a champion. World class musicians are brought in judge these contests and also perform on the Folk Center's evening concert. At the 2025 contest we were honored to have as our judges and performers, Tony Trischka & Bruce Molsky. Tony Trischka was born in Syracuse, NY and raised in a home filled with music. There were broadway scores and a sweeping range of classical music, from Stravinsky to Beethoven. The wide-open American vistas of Aaron Copland had an especially potent spiritual and visceral impact on him, as did the folk music his left-leaning father held dear. The Almanac Singers, the solo work of its founding members Woody Guthrie and Pete Seeger, and Lead Belly's children's lp were in constant rotation. Trischka fell in love with the banjo by way of the Kingston Trio's 1959 recording of “M.T.A.,” and was able to experience the New York-centered folk revival by trekking to the Newport Folk Festival in the early to mid-'60s. He moved to the city in the early '70s and hit the ground running, settling in among a peer group of extraordinary musicians who saw American roots music as a thriving, living language that could be expanded and combined with other influences and sensibilities. - https://www.tonytrischka.com/bio Grammy-nominated, described as “an absolute master” (No Depression), Bruce Molsky transports audiences to another time and place, with his authentic and personal interpretations of rarities from the Southern Appalachian songbook and other musical traditions from around the globe. Best known for his work on the fiddle, Bruce's banjo, guitar and his distinctive, powerful vocals also resonate with listeners. His combination of technical virtuosity and relaxed conversational wit makes a concert hall feel like an intimate front porch gathering. Bruce's take on tradition has landed him in collaborations with some of the world's most highly respected players from roots to rock. https://brucemolsky.com/bio In this week's “From the Vault” segment, OHR producer Jeff Glover offers a 1985 archival recording of a notable contest fiddler from the past, Alison Krauss, performing the traditional tune “Gardenia Waltz,” from the Ozark Folk Center State Park archives. In his segment “Back in the Hills,” writer, professor and historian Dr. Brooks Blevins discusses the etymology of the name Ozark.
Pablo Picasso revendiquait ne pas aimer la musique. Il n'a pourtant cessé de peindre des musiciens, collaborant avec Satie, Stravinsky et Falla. Ses portraits d'instrumentistes sont souvent des autoportraits qui ne disent pas leur nom – ceux d'un homme hanté par ses obsessions.Picasso, figure incontournable de l'art moderne, a entretenu tout au long de sa vie une relation fascinante avec la musique. Franck Ferrand nous emmène dans les coulisses de cet artiste aux multiples talents, révélant une facette méconnue de son génie créatif.Dès son plus jeune âge, Picasso baigne dans un univers musical qui imprègne profondément son œuvre. De la zarzuela andalouse aux cabarets parisiens, en passant par les collaborations avec les Ballets russes, le peintre espagnol semble avoir été habité par une véritable passion pour les sonorités. Pourtant, lorsqu'on lui demande son avis sur la musique, Picasso n'hésite pas à affirmer qu'il ne l'aime pas. Une déclaration surprenante quand on constate à quel point elle transparaît dans ses tableaux cubistes, ses natures mortes et ses portraits d'instrumentistes. Franck Ferrand décrypte cette paradoxale relation, révélant la place centrale qu'occupe la musique dans la démarche artistique du maître.Des joueurs de flûte aux guitaristes cubistes, en passant par les collaborations avec des compositeurs comme Satie et Stravinsky, Picasso semble avoir cherché à retranscrire dans sa peinture les vibrations sonores qui l'habitaient. Une quête incessante qui l'a mené à repousser toujours plus loin les frontières de l'art, faisant de lui l'un des plus grands créateurs du XXe siècle.
Jem, Nadia and Keir apply their weird-left lens to the power and potential of shock. Starting with an investigation into economic ‘shock therapy’ and the way that Trumpism models the concept of ‘shock doctrine’, they move onto modern art’s relationship with the ‘shock of the new’, from Dada and Eisenstein to gangsta rap and radio shock jocks. Can you acclimatise yourself to shock either through repetition or training? Can shock be commodified? What other shocks are coming down the pipeline? These ideas and more with musical input from Kylie, Herbie Hancock and Stravinsky. Find the books and music mentioned in the show: https://novara.media/acfm Sign up to the ACFM newsletter: https://novaramedia.com/newsletters Follow our ever-expanding playlist on Spotify by searching ‘ACFM’. Help us build people-powered media: https://novara.media/support
Jem, Nadia and Keir apply their weird-left lens to the power and potential of shock. Starting with an investigation into economic shock therapy and the way that Trumpism models the concept of shock doctrine, they move onto modern art’s relationship with the shock of the new, from Dada and Eisenstein to gangsta rap and radio shock jocks. Can you acclimatise yourself to shock either through repetition or training? Can shock be commodified? What other shocks are coming down the pipeline? These ideas and more with musical input from Kylie, Herbie Hancock and Stravinsky. Find the books and music mentioned in the show: https://novara.media/acfm Sign up to the ACFM newsletter: https://novaramedia.com/newsletters Follow our ever-expanding playlist on Spotify by searching ‘ACFM’. Help us build people-powered media: https://novara.media/support
In this week's Gramophone Podcast, Hugo Ticciati talks to Editor Martin Cullingford about the fascinating new album from his ensemble O/Modernt, released on the Signum label. Called Milestones, it marks 500 years since the death of Josquin, 50 since the death of Stravinsky, and 30 since that of Miles Davis, by exploring music from all three towering musical figures. Hugo Ticciati talks about the project, and about the unique Gramophone Award-winning group that has recorded it. This podcast is in association with Wigmore Hall.
J'ai le plaisir de donner la parole à Giulia Dussollier, comédienne, danseuse et autrice.Formée à l'interprétation et à la danse, elle croise la route du collectif La Ville en Feu, avec lequel elle crée et interprète une pièce dansée et chantée a cappella inspirée du Sacre du printemps de Stravinsky, le Sacre. Dans le prolongement de cette aventure naissent d'autres créations en espace public, parmi lesquelles Les Planètes, inspirée de la symphonie de Gustav Holst, et La Patrouille, de Marius Barthaux. Au sein de la compagnie Désirades, qu'elle rejoint en 2018, elle collabore à la mise en scène du spectacle La Course, créé à Bonlieu Scène Nationale d'Annecy, avant de mener une recherche en sciences sociales autour de la mise en scène de soi, soutenue à l'EHESS sous la direction d'André Gunthert. Deux ans plus tard, elle réalise avec Clara Benoît-Jacoby son premier court métrage, Les Promeneuses, sélectionné au New York Dog Film Festival. Plus récemment, elle a interprété le solo de danse Mountain Home, de la chorégraphe plasticienne Livia Vincenti. Nous la retrouvons dans une création d'un autre genre : Mordre. Créée à Châteauvallon-Liberté en mai dernier, cette pièce raconte l'histoire d'une femme qui fait le chien. Entre récit introspectif, échappées fantastiques et réflexion anthropologique, Giulia Dussollier questionne l'éducation, l'apprentissage, l'étranger en soi et, au fond, le principe même d'identité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
TANSMAN: Stele: In memoriam Igor Stravinsky (14.09). Orq. del Estado de Brandemburgo Frankfurt del Oder. Dir.: H. Griffiths. 6 Movimientos para orquesta de cuerda (24.12). Orq. de Cámara de Silesia. Dir.: M.-J. Blaszczyk. Polka (4 Danzas polonesas, nº 1) (3.05). Orq. Fil. de la Ópera de Podlasie. Dir.: M. Nalecz-Niesiolowski.Escuchar audio
Consider taking out a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenJed positively kvells over Behzod Abduraimov's latest solo release “Inferno,” which features works by Czerny, Liszt, Debussy and Stravinsky.Here's a link to listen: https://www.youtube.com/watch?v=EskcWGtjK6E&list=OLAK5uy_lCKv3FweBlfLaPEAXazkGsmtt9JCBlDXs&index=2
Laurent Rousseau est une mine de conseils et une source dʹinspiration pour les guitaristes, que ce soit sur son site internet Oreille Moderne ou sur sa chaîne Youtube "La minute utile du musicien". Il nous partage sa vision dʹensemble de quelques siècles de musique, de Stravinsky à Joe Satriani, Bartok, Herbie Hancock et le jazz manouche.
durée : 01:28:27 - par : Lionel Esparza - En ce 1er mai, on célèbre les musiciens qui ont fait de la paresse un art de vivre : Rossini posant la plume à 37 ans pour ne plus jamais écrire d'opéra, Liadov laissant filer L'Oiseau de feu vers Stravinsky, Brahms différant de 20 ans sa 1e Symphonie, Kurt Weill & Mozart glorifiant les fainéants... - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 01:28:27 - par : Lionel Esparza - En ce 1er mai, on célèbre les musiciens qui ont fait de la paresse un art de vivre : Rossini posant la plume à 37 ans pour ne plus jamais écrire d'opéra, Liadov laissant filer L'Oiseau de feu vers Stravinsky, Brahms différant de 20 ans sa 1e Symphonie, Kurt Weill & Mozart glorifiant les fainéants... - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
Remembering Dallas comedian Raj Sharma, who passed away Friday. Michael shares memories of his sharp wit, his big personality, and the genuine support he showed for the MZNOW team over the years. Plus, questionable KFC jelly beans (fried chicken flavor, anyone?), a baby bird rescue mission during the DFW storms, and a Dallas Symphony Orchestra show that blended Stravinsky with Kendrick Lamar's Damn. Get more show at MZNOWWatch the full episode on YouTube:YouTube.com/@michaelzavalaFollow the Guys:Michael Zavala @michaelzavalaEric Star @mrericstarClark @justsimplyclarkFollow the Show:Instagram: @mznowtvwww.MZNOW.tvProduced at mzStudiosmzStudiosDallas.com
This week, we've gone back into the City Arts & Lectures archives for a 2009 interview with the late conductor, composer, and pianist Michael Tilson Thomas. Tilson Thomas was the music director and conductor of the San Francisco Symphony from 1995 to 2020 - and stayed active as its music director emeritus until the last year of his life. He was known as a champion of contemporary American music - and an innovator in presenting symphonic music - even collaborating with heavy metal band Metallica. He received 12 Grammy Awards for the San Francisco Symphony's recordings of Mahler, Prokofiev, Stravinsky, and John Adams. In June of 2008 - Michael Tilson Thomas presented “The Thomashevskys - Music and Memories of a Life in the Jewish Theater” at Davies Symphony Hall. This multimedia performance celebrated the life and work of his grandparents, Boris and Bessie Thomashevsky. He shares some of those stories in this program. We'll also hear him talk with culture critic Steven Winn about “Keeping Score” the PBS documentary series which he created and hosted...and about his work with the New World Symphony in Miami. In the years since this program was recorded on January 6, 2009 - Michael Tilson Thomas continued to lead the San Francisco Symphony - and guest conduct orchestras all over the world. In 2021, he was diagnosed with an aggressive form of brain cancer - but continued to work and travel - and was able to take the podium at his 80th birthday celebration in 2025. Michael Tilson Thomas died at his home in San Francisco on April 22, 2026.
Piep-knor-muziek? Carine Lacor neemt het in deze aflevering van ABC-Klassiek op voor klassieke muziek uit de twintigste eeuw. Een eeuw van muzikale revoluties met een grote muzikale creativiteit en rijkdom. Van twaalftoonsmuziek tot minimal music. En van Bartók tot Stravinsky.
Piep-knor-muziek? Carine Lacor neemt het in deze aflevering van ABC-Klassiek op voor klassieke muziek uit de twintigste eeuw. Een eeuw van muzikale revoluties met een grote muzikale creativiteit en rijkdom. Van twaalftoonsmuziek tot minimal music. En van Bartók tot Stravinsky.
SynopsisOn today's date in 1930, Leopold Stokowski and the Philadelphia Orchestra gave the first staged presentation in America of Igor Stravinsky's revolutionary ballet The Rite of Spring at Philadelphia's 4000-seat Opera House — and it was a hot ticket.The Philadelphia Inquirer noted “a milling mob fought and scrambled for entrance to the Opera House … there was a traffic tie-up of taxis and trolleys for blocks beyond, while dignified ladies were seen to pop out of automobiles like rabbits out of hutches, and scurry for blocks on foot, to avoid being late.” This was for what the newspaper described as, “the startling spectacle of bare-legged girls and men whirling madly and stamping upon the stage to an orgiastic fury of sound.”For its American premiere, the original costuming from the work's Paris premiere was retained, but the choreography was now by Léonide Massine, not Vaslav Nijinsky, and Martha Graham and her Corps de Ballet were the dancers, not Diaghilev's Ballet Russe.Stokowski, a passionate promoter of Stravinsky's score, had given its American concert premiere with the Philadelphia Orchestra in 1922 and, in 1940, it was Stokie and the Philadelphians who could accompany Walt Disney's dinosaurs in his animated Fantasia version of the famous Stravinsky score.Music Played in Today's ProgramIgor Stravinsky (1882-1971): The Rite of Spring; Philadelphia Orchestra; Leopold Stokowski, conductor; Disneyland WDX101
In Part 2 of our chat with the brilliant David Hirschfelder, we dive deeper into his time with John Farnham, talk on his numerous other collaborations and his incredible career as a film and TV composer. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab): Rehearsing for tours with John Farnham Recording the Age of Reason album The Fairlight Series 3 and the song Two Strong Hearts The decision to stop touring David in action with John Farnham in touring version of Jesus Christ Superstar David’s keyboard rig for Jesus Christ Superstar The brilliant Farnham documentary – Finding The Voice Handing over the baton to the brilliant Chong Lim David’s solo album: Welcome To The Nighclub Of My Mind David’performing one of his solo creations: Cool School Rules David Hirschfelder and David Hobson – Inside This Room Joesph Campbell – The Hero With A Thousand Faces The move to film and TV composition David’s work on Strictly Ballroom Working on the movie Shine David’s full roster of creations A potted history of the Yamaha Disklavier series of pianos David’s work on the film Elizabeth A chat on DAWs, plugins and David’s love for the Arturia Polybrute David’s work on The Dressmaker David’s work on Legend of the Guardians: The Owls of Ga’Hoole David’s work on The Railway Man David’s work on The Water Diviner David’s work on Sleeping Dogs Sam Hirschfelder – musician and composer Desert Island Discs: The Rite of Spring – Stravinsky (Conducted by Stravinsky), V.S.O.P. (Live) – Herbie Hancock, Heavy Weather – Weather Report, The Planets – Holst, The Mission – Ennio Morricone Key links: Become a member of our YouTube channel and receive extra content Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our audience survey to help us improve! Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post David Hirschfelder, Composer / John Farnham / Little River Band (Part 2) appeared first on The Keyboard Chronicles.
durée : 00:46:26 - Les Nuits de France Culture - Nadia Boulanger partageait ses souvenirs de son amitié avec Igor Stravinsky au micro de Bruno Monsaingeon. Dans cet entretien enregistré en 1976, elle explorait la figure du compositeur, son exigence intellectuelle et son rapport à l'interprétation de ses œuvres. - réalisation : Mathias Le Gargasson, Antoine Larcher, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:44:07 - Les Nuits de France Culture - Dans cet entretien avec Bruno Monsaingeon enregistré en 1976, Nadia Boulanger évoquait ses échanges avec Stravinsky et la fondation du conservatoire de Fontainebleau. Elle livrait son regard sur la variété des styles musicaux et les bouleversements artistiques du XXe siècle. - réalisation : Mathias Le Gargasson, Antoine Larcher, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:46:26 - Les Nuits de France Culture - par : Mathias Le Gargasson - Nadia Boulanger partageait ses souvenirs de son amitié avec Igor Stravinsky au micro de Bruno Monsaingeon. Dans cet entretien enregistré en 1976, elle explorait la figure du compositeur, son exigence intellectuelle et son rapport à l'interprétation de ses œuvres. - réalisation : Antoine Larcher
durée : 00:59:58 - Les Nuits de France Culture - par : Mathias Le Gargasson - Dans l'émission "Bon Voyage" en 1960, la compositrice Germaine Tailleferre revisite les rues de Paris, racontant, à travers cette balade, l'effervescence musicale et intellectuelle du Paris des années 1920 quand elle côtoyait Ravel, Picasso, Satie, Stravinsky, etc. - réalisation : Antoine Larcher - invités : Darius Milhaud Compositeur français (1892, Aix-en-Provence – 1974, Genève); Germaine Tailleferre Compositrice française
durée : 00:44:07 - Les Nuits de France Culture - par : Mathias Le Gargasson - Dans cet entretien avec Bruno Monsaingeon enregistré en 1976, Nadia Boulanger évoquait ses échanges avec Stravinsky et la fondation du conservatoire de Fontainebleau. Elle livrait son regard sur la variété des styles musicaux et les bouleversements artistiques du XXe siècle. - réalisation : Antoine Larcher
durée : 00:27:37 - France Musique est à vous junior du samedi 21 mars 2026 - par : Gabrielle Oliveira-Guyon - Au programme, un épisode du nouveau podcast Les émotions : petite musique du dedans, une œuvre de jeunesse de Stravinsky, la proposition d'une classe de formation musicale de Tours, et, dans le Labo musical de Nico, on se questionne...Peut-on faire de la musique avec des casseroles et des verres ? Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
At the age of four, Steve Nieve drew pictures of piano keys and pretended to play them. He joined Elvis Costello & the Attractions when he was 19, the start of a life that involves having to find a flight case for a Steinway Grand. He talks to us here from his Paris apartment about Stiff package tours, recording remotely, his upcoming shows with the French singer Kessada and … … being a teenager as fond of Stravinsky as Alice Cooper and the Carpenters … playing in a mid-‘70s Top Forty covers band … the ad for a “rockin' pop combo” that changed his life … touring with Costello and Ian Dury and how he got his stage name … playing the Thunderbirds theme as a chat show bandleader on the Last Resort … a giant Klavins piano “that has stairs leading up the seat” … working on Morrissey's Kill Uncle … the 40,000 audience that watched his online Lockdown shows … unreliable stage pianos and the story of Keith Jarrett's Köln Concert. Tickets here: https://www.tickettailor.com/events/westhampsteadartsclub/2059256 The “About Love” album: https://music.apple.com/gb/album/about-love/1834791707 Steve's new album: https://stevenieve.hearnow.com/piano-night-2026 Steve's Instagram: https://www.instagram.com/steveprofessornieve/ Kessada's Instagram: https://www.instagram.com/iamkessada/ www.stevenieve.comwww.kessada.comHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
At the age of four, Steve Nieve drew pictures of piano keys and pretended to play them. He joined Elvis Costello & the Attractions when he was 19, the start of a life that involves having to find a flight case for a Steinway Grand. He talks to us here from his Paris apartment about Stiff package tours, recording remotely, his upcoming shows with the French singer Kessada and … … being a teenager as fond of Stravinsky as Alice Cooper and the Carpenters … playing in a mid-‘70s Top Forty covers band … the ad for a “rockin' pop combo” that changed his life … touring with Costello and Ian Dury and how he got his stage name … playing the Thunderbirds theme as a chat show bandleader on the Last Resort … a giant Klavins piano “that has stairs leading up the seat” … working on Morrissey's Kill Uncle … the 40,000 audience that watched his online Lockdown shows … unreliable stage pianos and the story of Keith Jarrett's Köln Concert. Tickets here: https://www.tickettailor.com/events/westhampsteadartsclub/2059256 The “About Love” album: https://music.apple.com/gb/album/about-love/1834791707 Steve's new album: https://stevenieve.hearnow.com/piano-night-2026 Steve's Instagram: https://www.instagram.com/steveprofessornieve/ Kessada's Instagram: https://www.instagram.com/iamkessada/ www.stevenieve.comwww.kessada.comHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
At the age of four, Steve Nieve drew pictures of piano keys and pretended to play them. He joined Elvis Costello & the Attractions when he was 19, the start of a life that involves having to find a flight case for a Steinway Grand. He talks to us here from his Paris apartment about Stiff package tours, recording remotely, his upcoming shows with the French singer Kessada and … … being a teenager as fond of Stravinsky as Alice Cooper and the Carpenters … playing in a mid-‘70s Top Forty covers band … the ad for a “rockin' pop combo” that changed his life … touring with Costello and Ian Dury and how he got his stage name … playing the Thunderbirds theme as a chat show bandleader on the Last Resort … a giant Klavins piano “that has stairs leading up the seat” … working on Morrissey's Kill Uncle … the 40,000 audience that watched his online Lockdown shows … unreliable stage pianos and the story of Keith Jarrett's Köln Concert. Tickets here: https://www.tickettailor.com/events/westhampsteadartsclub/2059256 The “About Love” album: https://music.apple.com/gb/album/about-love/1834791707 Steve's new album: https://stevenieve.hearnow.com/piano-night-2026 Steve's Instagram: https://www.instagram.com/steveprofessornieve/ Kessada's Instagram: https://www.instagram.com/iamkessada/ www.stevenieve.comwww.kessada.comHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Charlie Parker was punk rock before there was punk rock. His bebop was underground music: subversive, intellectual, and a major departure from popular music of the day (think: Nat King Cole, The Andrews Sisters, Perry Como). He was an intellectual heavyweight, nearly untouchable in his technical ability and pushing music to places no one else was daring to go. So where did Charlie Parker with Strings, his most accessible album, come from?It's not Bird going commercial, like some have claimed. Charlie Parker with Strings is an album he fought to make. He loved Bach and Stravinsky (even quoting the opening of Stravinsky's 'Firebird Suite' mid-solo in one legendary performance), and had longed to make a record where his jazz saxophone was accompanied by strings.The resulting record is music's greatest improviser at his best. Jazz pianists Peter Martin and Adam Maness listen to select tracks (like "Just Friends" and "Summertime"), breaking down the theory behind the music to understand what makes this album great. Jazz is the foundation of the most GENIUS music in recent history: Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo. In this popular music series, You'll Hear It, Adam and Peter break down the greatest albums of all time. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.Like the jam at the end of the show? Head to @openstudiomusic on YouTube for more.Visit openstudiojazz.com for ALLLLL your jazz lesson needs.00:00 - Intro: Charlie Parker with Strings01:10 - "Just Friends"04:40 - Want to Be a Great Musician? Study This Track10:20 - Early Recording: "Swingmatism" (1941)12:45 - The Secret to Charlie Parker's Genius: Practice15:20 - The Savoy Sessions: "Now's the Time" & Young Miles Davis18:20 - The Contrafact Built in Real Time21:45 - "Koko": Miles Davis Couldn't Play It?!24:30 - Musicians NEED to Listen to This27:15 - Think Parker Sold Out? Think AGAIN28:55 - "April in Paris": Parker's Chosen Tune33:55 - About Mitch Miller's Oboe ... 38:25 - "Summertime"44:10 - "Out of Nowhere"46:35 - We Have An Album! 47:20 - "East of the Sun"53:00 - "I'll Remember April"55:50 - Categories: Desert Island Tracks56:35 - The BEST Moments on Strings1:11:10 - Open Studio Plays "Just Friends"
Laura Jackson, Reno Phil music director and conductor, speaks with Chris Morrison about the fourth concerts of the Reno Phil's 2025-26 Classix season, "Stravinsky's Firebird," on February 21 and 22, 2026. The concerts include What Trees May Speak by Jonathan Sokol, the Suite from Igor Stravinsky's ballet The Firebird, and the Piano Concerto No. 1 in B-flat minor by Piotr Ilyich Tchaikovsky, with piano soloist Jon Nakamatsu.
Marty is joined by Principal Conductor Designate of National Symphony Orchestra Ireland, Alexander Shelley, as he prepares to conduct two very personal concerts of works by Schumann, Stravinsky and Rachmaninov
In this episode of Busy Kids Love Music, we wrap up our three-part series on composer Igor Stravinsky with one of the most famous — and most shocking — pieces in music history: The Rite of Spring. When this ballet premiered in Paris in 1913, audiences expected graceful dancing and pretty melodies. Instead, they heard pounding rhythms, clashing sounds, and music that felt wild and unpredictable. Some people loved it… and others were so surprised that they began shouting during the performance! We'll explore why Stravinsky's music sounded so different from anything audiences had heard before and how this bold piece eventually became one of the most important works of the 20th century. Get ready to listen for thunder-like drums, blasting horns, and rhythms that feel like the earth shaking beneath your feet! What You'll Learn in This Episode What a ballet is and how music and dance work together The ancient spring rituals that inspired The Rite of Spring Why the music sounded shocking in 1913 What made the rhythms and harmonies so unusual The famous "Rite of Spring riot" How this piece changed the future of classical music Listening Challenge for Kids When you listen to The Rite of Spring, don't try to hear it as calm or gentle music. Instead, imagine: Animals running Thunder crashing The ground shaking People dancing with all their strength Listen for: Loud drums Blasting horns Fast, exciting rhythms This is music that feels alive! Listen to The Rite of Spring We recommend listening to the full ballet here:
In this episode, I sit down with percussionist Colin Currie for a wide-ranging conversation about curiosity, originality, live performance, and the lifelong pursuit of musical meaning. Colin is one of the most influential percussionists of our time, known for his deep commitment to contemporary music, his close collaboration with composers, and his transformative interpretations of Steve Reich's work. This conversation explores how curiosity, patience, and listening have shaped his career and his approach to music-making.We begin by talking about technology, access to recordings, and the changing landscape of music education. Colin reflects on growing up in a time when discovering music required effort, intention, and physical presence in libraries and record shops. He shares concerns about students learning pieces by copying online performances rather than developing their own ideas, and he speaks passionately about the importance of solitude, curiosity, and learning music on one's own terms.Colin traces his musical beginnings back to early childhood, from piano lessons at age five to his first drum lesson at six, describing the joy, excitement, and physical energy that initially drew him to percussion. He talks about how that sense of wonder has never left him and why live performance remains a magical, irreplaceable experience. We explore why percussion continues to evolve so rapidly, how technique has advanced across the field, and why musical intent always matters more than virtuosity alone.A significant portion of the conversation focuses on Colin's connection to contemporary music and the composers who shaped his artistic identity. He describes hearing The Rite of Spring as a teenager, discovering post-war modernist composers through library scores, and developing an instinctive attraction to music that felt strange, challenging, and unfamiliar. Colin shares how his love for new music was never about understanding it intellectually, but about responding to it emotionally and instinctively.We also dive deeply into Colin's relationship with Steve Reich, including their first meeting, their long-standing collaboration, and the formation of the Colin Currie Group. Colin reflects on recording Music for 18 Musicians at Abbey Road Studios, explaining how the goal was to capture the intensity and emotional risk of live performance rather than create a polished studio artifact. He talks about groove, sonority, emotional depth, and why Reich's music demands both precision and expressive freedom.Colin discusses his growing role as a conductor and how stepping onto the podium has changed the way he listens, leads, and collaborates with ensembles. He shares stories from recent performances, lessons learned from orchestral musicians, and how listening remains the central skill, whether playing or conducting. We also talk about his record label, Colin Currie Records, crowdfunding new projects, and the upcoming release of a Steve Reich album featuring Sextet, Double Sextet, Six Marimbas, and Dance Patterns.As we look ahead, Colin reflects on 2026 as a landmark year, including Steve Reich's 90th birthday, dozens of performances of Reich's music worldwide, and the premiere of Colin's 40th percussion concerto. This is a thoughtful, inspiring conversation about curiosity, commitment, and the lifelong responsibility of serving music.Music from the Episode:Mallet Quartet (Steve Reich - Colin Currie Group)Music for 18 Musicians - Section VI (Steve Reich - Colin Currie Group)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.
Richard Stokes has been passionate about song since he was a teenager – although, as he readily admits, he's not a great singer. Instead, he's become one of the world's leading authorities on German art songs – or lieder – and has also co-written books on English, French and Spanish songs. His work as a translator includes the complete Bach cantatas and the complete songs of Hugo Wolf, as well as operas by Wagner and Berg. He also collaborated with the pianist Alfred Brendel on translations of his poetry. Since 2006 he's coached young singers at the Royal Academy of Music in London, where he's Professor of Lieder. His choices include music by Bach, Mahler and Stravinsky. Presenter Michael Berkeley Producer Graham Rogers
Walter Martin spent decades making and playing music, most famously with the indie rock bands Jonathan Fire*Eater and The Walkmen. Recently, he's started a new crazy good turn, helping people like you and me rediscover the joy of music through his Walter Martin Radio Hour show and Substack. In this episode, we discuss: How a single instrument (like the organ) can change how you hear a song. Why Walter chooses positivity over rock criticism. Moving past the "judgmental" years to love bands you once dismissed. The "Crazy Good Turn" of human-to-human music discovery. Chapters & Timed Links: [05:07] The Austin Kleon Connection: How two creators found each other through "the magic of the internet." [07:29] From NYC to Upstate: The origin of The Walter Martin Radio Hour. [10:16] The Classical Club: Why Walter is diving deep into Strauss and Stravinsky. [12:07] The Organ Episode: Learning to hear the difference between a Hammond and a Farfisa. [21:43] Breaking the "Teenage Rules": How Walter learned to love the Grateful Dead and Neil Young. [23:52] Walter's Favorite new musician right now. [28:57] Walter's Songs: Discussing "The Rat" and the autobiographical beauty of "The Soldier." [31:33] Who's done a Crazy Good Turn for Walter?
durée : 01:28:33 - Relax ! du lundi 02 février 2026 - par : Lionel Esparza - La guerre vient tout juste de s'achever que des chefs-d'œuvre émergent déjà, comme "La Valse" de Ravel ou "Pulcinella" de Stravinsky, qui marque le tournant néo-classique du compositeur. Mais des traumatismes restent vivaces, comme en témoigne le "Tombeau de Couperin", hommage aux soldats disparus. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
Episode 19: Pete Christlieb is a legendary saxophonist whose powerful sound and fearless improvisation continue to shape both jazz and commercial music. He rose to international prominence as a longtime featured soloist with the Doc Severinsen–led Tonight Show Band, where his commanding tenor voice and electrifying presence became instantly recognizable. Christlieb's recording legacy includes some of the most iconic saxophone moments in popular music, including his lyrical solo on “Deacon Blues” by Steely Dan and his elegant playing on “Unforgettable” by Natalie Cole. Equally respected in the jazz world for his collaborations with Warne Marsh and Chet Baker, Christlieb continues to perform and inspire, embodying a rare blend of virtuosity, soul, and authenticity that resonates across generations.►about Pete Christlieb: https://petechristlieb.com/?utm_source=chatgpt.com►Key Moments:0:00 - Introductions1:47: Drag racing, Valley College (Los Angeles), First road gig with Si Zentner6:00: The art of playing dance music9:01: Gerry Mulligan, Chet Baker, Ray Brown…16:50: Las Vegas, Jerry Gray, Tex Beneke, Peggy Lee, Lou Levy26:00: Cannonball Adderley30:30: Louie Bellson, Woody Herman31:50: Tom Scott, Glenn Campbell Show, and Marty Paich…34:24: “Play horn, get check”41:20: Snooky Young, The Tonight Show…, and Steely Dan44:45: “Deacon's Blues”51:13: Warne Marsh collaboration1:00: Violin to saxophone…1:05:35: Saxophone sounds…Stan Getz, Sonny Rollins, Sonny Stitt…1:13:35: The pinnacle is the next gig, payola, and back to the Warne Marsh collaboration, back to Johnny Carson and The Tonight Show…1:26:00 New chapter of life in Washington1:28:00 Stravinsky, Schoenberg, Michael Brecker, and woodwind doubling…1:37:00 Closing graitude►Follow John Daversa Online:Instagram: https://www.instagram.com/johndaversa/Facebook: https://www.facebook.com/JohnDaversaMusic/YouTube: https://www.youtube.com/johndaversamusicWebsite: http://www.johndaversa.com ►CreditsHost and Producer: John DaversaVideo Capture: Yang YangAudio Capture: Yang YangVideo and Audio Editing: Izzi GuzmanGraphic Design: Izzi GuzmanRecorded in Coral Gables, FL, November 18, 2024Support the show►CreditsHost and Producer: John DaversaVideo: Max Nierlich Audio: Dudley MerriamAdditional Audio: Jake SondermanVideo and Audio Editing: Yang YangIzzi Guzman: Graphic DesignRecorded in Miami, FL►Music"The John Daversa Podcast""Moonlight Muse""Junk Wagon" All compositions composed and arranged by John DaversaDaversafications Publications (ASCAP)
Igor Stravinsky became famous almost overnight thanks to one magical ballet — The Firebird. In this episode, I'll take you inside the glowing, mysterious world of this Russian fairy tale, filled with enchanted creatures, an evil sorcerer, brave heroes, and powerful music that tells the story without words. Based on centuries-old Russian folk tales, The Firebird follows Prince Ivan, who captures a magical Firebird and receives a glowing feather in return for her freedom. That feather later helps him defeat Kashchei the Immortal, an evil sorcerer who has trapped princesses and turned travelers into stone. With the Firebird's help, Ivan breaks Kashchei's spell, frees the princesses, and brings peace back to the enchanted forest. Stravinsky's music brings every moment of this story to life — from the shimmering Firebird theme to the pounding rhythms of Kashchei's Infernal Dance and the glowing, triumphant Finale.
Los Angeles, 1952. Igor Stravinsky, the composer, was 70 years old, and rehearsing the orchestra. A young girl who lived next to the orchestra hall snuck in through the back door to listen to the rehearsals. She watched the violins, cellos, flute, trumpet, clarinet, harp, percussion, and piano. She wondered which one should be her favorite. There were too many options. She needed to pick one. During a break, she got up the courage to ask the maestro. Stravinsky's friend and writer Robert Craft was there, so that's why this moment is captured. The young girl went up to Stravinsky and said, “Excuse me. Which of these instruments is the best one?” He was surprised and amused, and took the challenge. He said, “You hear sounds, but I hear life. Every instrument is a philosophy. Every philosophy is an instrument.” She just looked at him, confused, so he continued. “You could pick just one instrument, one philosophy. But wouldn't it be more interesting to play them all?” The girl said, “What?!? Nobody can play them all! How could I?” Stravinsky said, “Let's say, as a young woman, you go out into the world to meet new people, full of multiculturalism and humanism. You do something daring, filled with optimism. Then you start a family and have time for nothing but pragmatism. You lose a loved one and comfort yourself with stoicism. But it makes no sense, so you're drawn to existentialism. See? So many instruments!” The girl said, “What if I want to pick just one?” He said, “Most people do pick just one. They think their instrument is the best! Go ask anyone in this orchestra, and they'll give you indisputable proof why their instrument is better than all others. You'll never convince that cellist that the clarinet is better, so why try? Just like religions, cultures, and philosophies, right?” There was a long pause. The girl said, “So, which do you think is the best?” Stravinsky smiled and said, “Time.” “Time?” “Time! I can separate the instruments with time. Or I can combine them at the same time. Different instruments for different times in the music. Different philosophies for different times in your life. You can play every instrument, and every philosophy, if you use time, and combine. Time itself is my favorite instrument.” The girl seemed satisfied, and walked back to the balcony to listen again.
Igor Stravinsky, Part 1: The Composer Who Changed Music In this episode of Busy Kids Love Music, we begin a brand-new three-part series all about one of the most bold and imaginative composers in music history: Igor Stravinsky. From ballet stages to concert halls, Stravinsky's music changed the way people thought about rhythm, sound, and storytelling in music. In Part 1, we explore Stravinsky's life story—where he grew up, how he was introduced to music, and how he became one of the most important composers of the 20th century. We also learn how Stravinsky's life was shaped by major world events, including two world wars, which caused his family to move from Russia to Switzerland, then France, and eventually the United States. Despite all these changes, Stravinsky continued to write groundbreaking music, proving that creativity can thrive even in difficult times. In this episode, we also explore what makes Stravinsky's music sound so different from other composers. What's Next in the Series? This episode is just the beginning of our Stravinsky adventure! In the next two episodes, we'll explore: Episode 2: The Firebird – A magical ballet filled with glittering orchestral sounds and fairy-tale characters Episode 3: The Rite of Spring – The shocking, groundbreaking work that caused one of the most famous moments in music history
DescriptionMusic After World War I: Art in a Shattered World in 60 Seconds. Take a minute to get the scoop!Fun Fact In 1918, Erik Satie described postwar music as needing “fewer perfumes and more reality.” Many composers shared this sentiment, favoring sharp edges and transparency over lush emotion. Audiences weren't always thrilled—but history proved these reactions marked the birth of modern music, not its collapse.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.Support the show
Welcome back to When Words Fail, Music Speaks, the podcast where host James Cox explores how music can lift us out of depression and open doors to imagination. In today's episode, James sits down with the multitalented composer‑author Christopher Kaufman—a Brooklyn‑based classical composer, storyteller, and environmental sound‑artist whose work fuses symphonic scores, natural soundscapes, and illustrated fantasy.We'll hear Christopher describe life in his peaceful Brooklyn neighborhood, the eclectic musical “vibes” that swirl from jazz ensembles to full‑blown orchestras, and how his lifelong love for Stravinsky, Metallica and classic fantasy literature fuels his creative engine. Through a rapid‑fire “lightning round,” he reveals his artistic rituals—ink versus instruments, favorite mythic creatures, and the superpower he'd pick for a day (perfect emotional pitch).Christopher then takes us inside his magnum opus, Tales of the Ocean City, a series of eight immersive “audio‑books” that blend orchestral storytelling, original illustrations, and video‑book experiences. He explains how musical tension and resolution shape narrative arcs, how his telepathic Pegasus‑like “Parianths” echo his childhood bond with a beloved dog, and why an organ‑driven theme for King Brohuyn and an electric‑guitar leitmotif for the bard Elah perfectly capture each character's spirit.We'll also explore his belief that imagination can literally heal: by turning the gray sameness of modern life into vivid, musical worlds, we can push back against depression and find hope. Finally, Christopher shares upcoming projects—book 8 of the series, his “Fantastic Theater” performances, and the ever‑growing sound‑artist community on SoundArtists.com, Instagram, and Facebook.Stick around for a sneak‑peek audio excerpt from Tales of the Ocean City, and discover why, for James and Christopher, when words fall short, music tells the whole story.
In this episode of The Bandwich Tapes, I reconnect with conductor and educator Aaron Kula, who shaped my summers in the Chautauqua Youth Orchestra at the Chautauqua Institution in New York in 1994 and 1995. We talk about what it means to trust young musicians with major repertoire, including the time we took on Stravinsky's The Rite of Spring, and what that experience taught me about preparation, accountability, and confidence. Aaron shares his philosophy for building ensemble culture: learning every student's name, holding individuals responsible while serving the collective, and making the rehearsal process both rigorous and engaging. We dig into how his multi-genre musical life, from classical training to folk and ethnic traditions, and his deep connection to Jewish music, shaped the way he hears rhythm, style, and culture inside the orchestra. Aaron also explains how conducting changes when moving from the concert stage to ballet, how tempo becomes a real-time collaboration with dancers, and why a conductor has to know when to lead, when to release, and when to stay out of the players' way. This conversation is equal parts music, mentorship, and reflection, and a reminder that the seeds teachers plant can continue to grow for decades. I'm grateful for the chance to say thank you, and for the lessons from those summers that still guide how I work with students and teams today.To learn more about Aaron, visit his website. Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.
Igor Stravinsky regularly gets mentioned among the 20th century's greatest composers. Anatoly Lyadov requires some digging to find much of his music. The story that links the composers Lyadov and Stravinsky is one of several great examples of opportunity, and how you can either be ready for it or not. This episode explores their story along with a few others to learn how to be prepared for when your opportunity strikes. Musicianship Mastery is formerly known as The Musician Toolkit. Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice. You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps music teachers with smooth, automated assistance such as securing timely automatic payments and scheduling. Click here for more information or to begin your free trial.
I am so excited to say that my guest on the GWA Podcast is one of the most exciting young painters working today, Eva Helene Pade. Born in Denmark in 1997, and based in Paris – where we are recording today – Pade is known for her rich and emotionally-charged, large-scale canvases populated with figures that morph in and out of abstraction. Often set in a dreamworld that can feel akin to being lost in a dance or state of unconsciousness, with fiery blazes and dark intense shadows, Pade's paintings exist in places beyond the realm of our world. They are full of ambiguity: as a viewer, you are unaware of whether they are in day or night, heaven or hell, if the figures are male or female, or set in an ancient world or contemporary life. Stylistically, Pade seems to borrow from a lineage of Northern European figurative artists, from Edvard Munch to Otto Dix, creating work akin surrealism or expressionism: artistic movements born out of a time of political tumult, yet exude freedom and liberation in their subject and handling of paint. This creates an interesting conversation about the state of the world vs then, and now. But she also goes further, imbuing her work with ancient stories and figures – such as Eve or maybe Ophelia – and stories, such as Stravinsky's The Rite of Spring, a ballet she was inspired by after seeing a performance choreographed by Pina Bausch, the influential German dancer. And like Bausch, Pade was drawn to rework the story from a female lens, which served as the foundation for her first ever museum show at Arken Denmark, opening just a year after she graduated from The Danish Royal Academy of Fine Arts in Copenhagen… Today, we meet Pade in her Paris studio on a very hot day ahead of a new exhibition of paintings that opens at Thaddeaus Ropac in London in October, and I can't wait to find out more… Exhibition: https://ropac.net/exhibitions/764-eva-helene-pade-sgelys/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield
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