Podcasts about stravinsky

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius This week Mark and I had a lovely conversation with Paul K Joyce, the orchestrator on The Quest and Mirror To The Sky. He tells us some rather interesting things about the forthcoming album. Speaking of which, Simon Barrow returns this week to say a bit about the fan reaction to the new single, Cut From The Stars. He's not happy. When was Paul asked to provide orchestrations for another new Yes album? Is the new album 'more of the same'? Why is Simon not happy? https://youtu.be/5WSqjH6mFhk Paul's website: http://www.pkjmusic.com/ Paul is thinking... TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary BettsJim Morrison Facebook - YMP Discussion Group: https://www.facebook.com/groups/3216603008606331/ Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius This week the redoubtable Geoff Bailie presents his feedback on two remarkable Rick Wakeman concerts at the  London Palladium which, as you can imagine, contain a shedload of Yes connections. Then Mark and I start to consider why Yes wanted keyboardist Igor Khoroshev after the aforementioned Rick Wakeman left the band, once again in 1996. Photo by Geoff Bailie We will be setting you some homework to listen to a bootleg recording of Igor and the boys on the Open Your Eyes Tour so please see below for the link. How were the two nights of Rick's concerts? What was it about Igor which attracted Yes? How can we hear how good Igor was? Open Your Eyes Tour Poster - the first time I saw Igor Khoroshev play https://www.youtube.com/watch?v=Qug5JDj827k TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary BettsJim Morrison Facebook has changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius While Kevin is on holiday with his family, Mark flies solo and brings us some of the most important talking points of the week including the news that Jay Schellen has been named as the permanent replacement in Yes for Alan White. Also, Mark mentions what's coming up for Yes fans in this year's Record Store Day and more! What are your thoughts on the appointment of Jay Schellen? What do you think he will bring to Yes' writing? What would you like Yes to release for Record Store Day? 15th February 2023: YES are delighted to announce that drummer Jay Schellen has joined the band as a permanent member. Following the sad passing of our iconic drummer, Alan White on 26th May 2022, Jay will fulfil Alan's wishes in becoming the new drummer with YES. Jay Schellen was Alan White's choice to stand in during the Topographic Drama tour, in 2016, and shared drumming duties with him from 2018 onwards. Jay had previously played alongside YES' keyboardist Geoff Downes and late bassist Chris Squire together with long working relationships with Alan and YES bass guitarist Billy Sherwood. This gave Jay a deep insight into the workings of the dynamic rhythm section that drives YES' music. Steve Howe says “We're all delighted to welcome Jay officially into the fold! He's been a great support throughout the last seven years, and we couldn't have found a better all round team player.” “I am thrilled to become the new drummer with YES,” says Jay. “I grew up playing along to YES records and I am proud to have worked so closely with my musical hero and great friend Alan White these past few years. I will strive to honour his memory as we drive towards the future with the band.”Jay Schellen TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary BettsJim Morrison Facebook has changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Synopsis In 1996, the American composer John Harbison received an unusual commission—a ballet for dancers and symphonic winds. The commission came from a consortium of 14 wind ensembles, all members of the College Band Directors National Association. Maybe the 1996 summer Olympics in Atlanta had something to do with it, but Harbison's imagination turned in that direction: he titled the resulting work Olympic Dances, and Atlanta also happened to be the venue for the work's premiere performance on today's date in 1997, with the Pilobus Dance Theatre and the University of North Texas Wind Symphony performing. "When asked to do a piece for dancers and winds," said Harbsion, "it immediately suggested something 'classical,' not our musical 18th century, but an imaginative vision of ancient worlds… I thought of an imagined harmony between dance, sport and sound that we can imagine from serene oranges and blacks on Greek vases, the celebration of bodies in motion that we see in the matchless sculpture of ancient times, and perhaps most important to this piece, the celebration of the ideal tableau, the moment frozen in time, that is present still in the friezes that adorn the temples and in the architecture of the temples themselves." Harbison's ballet is an austere, rather than flashy score, reminiscent of Stravinsky's austere, neo-classical scores like Agon and Apollo, which—like our modern Olympics—were also inspired by ancient Greek ideals. Music Played in Today's Program John Harbison (b. 1938) Olympic Dances New England Conservatory Wind Ensemble;Dr. Frank Battisti, conductor. Albany 340

durée : 01:29:06 - Joseph Szigeti, violoniste et source d'inspiration - par : François-Xavier Szymczak - Pour marquer le cinquantenaire de la disparition de ce musicien d'origine hongroise, nous revenons sur quelques grands moments de sa carrière et de ses collaborations avec Bartók, Stravinsky, Arthur Schnabel, Clara Haskil, Claudio Arrau, Thomas Beecham, Nikita Magaloff ou Benny Goodman.

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius In celebration of Yes - The Tormato Story being made available for preorder from the wonderful people over at Burning Shed.com, I've decided to present a competition this week to win a copy of my book. All you need to do is send your answers to the 15 questions to show@yesmusicpodcast.com to be in with a chance of winning a copy which I will send to you as soon as it is released. Look out for the questions in this episode. How much do you know about Tormato? Do you need to guess? Is being a regular listener an advantage? TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary BettsJim Morrison Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Synopsis Happy Saint Valentine's Day! On today's date in 1953, a new choral work by the German composer Carl Orff received its premiere performance at the La Scala opera house in Milan, Germany. Trionfo di Afrodite was the title of the new work, intended to be the final panel in a triptych of choral works celebrating life and love. This triptych included Orff's famous Carmina Burana, based on medieval texts, and Catulli Carmina, based on love lyrics by the Roman poet Catullus. All three pieces were given lavish, semi-staged performances at La Scala, led by the Austrian maestro Herbert von Karajan, and with German soprano Elisabeth Schwarzkopf and Swedish tenor Nicolai Gedda as the star soloists. For the world premiere performance of Trionfo di Afrodite, Schwarzkopf and Gedda portrayed a bride and groom on their wedding night: the texts they sang were pretty hot stuff—if you understand Latin, that is! Triofi di Afrodite shows Orff's indebtedness to Stravinsky, and his repetitive rhythmic patterns seem to anticipate the "minimalist" movement by several decades. At the 1953 premiere, Schwarzkopf's husband, record producer Walter Legge, gently suggested to Orff that he might consider a few cuts to the new work. Orff's response? "Oh, I know very well the effect of my rubber-stamp music!" In any case, Legge decided not to make a recording of the new work—which seems a shame, considering the all-star cast assembled at La Scala for its premiere! Music Played in Today's Program Carl Orff (1985 - 1982) Trionfo di Aphrodite

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius This week Mark and I had a wide-ranging and engrossing chat about what we would like Warner Music to release now they had acquired the rights to the Atlantic Yes catalogue. (At least I found it engrossing, your mileage may vary.) I am also indebted to Simon Barrow for sending in a fine report on the recent interviews with both Benoit David (which Bob Keeley also sent to me) and Jon Davison about their experiences as lead singers for the band. What kinds of product would we like from Warner? What advice would we give Warner on what not to do? How does Benoit David feel about his time with Yes? Vinyl - in colour! Some of the approaches Warner could try? YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary Betts Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork - just me messing about with one of my old photos Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

By as early as 1909, composers like Mahler knew that tonality was reaching its breaking point, and composers like Debussy were experimenting with colors and ideas a composer like Brahms wouldn't have dreamed were possible.  Strauss was shocking the world in his own right with his erotic and disturbing opera Salome. Mirroring the roiling tensions all over the world, music was pushing and stretching at its boundaries in ways that it simply hadn't before.  The years from 1900-1914 were a powder keg for the world and also for music, and you could argue that Stravinsky's Rite of Spring was the musical version of the explosion of that powder keg.  And it still has a profound impact on music today.  So as we go through Part II of the Rite of Spring, The Sacrifice - the narrative section of the piece - we'll talk a little bit more about the riot that took place at its premiere, but also the reactions to the piece throughout the 20th century.  We'll also look at the influence the piece had on composers from all across the musical spectrum.  In just 30 minutes Stravinsky changed the world of music forever and it still causes controversy today.  I once was at a performance of the Rite where two elderly patrons of the symphony sat behind me.  As one particularly violent section of the piece blasted away, I heard one of them lean over to the other and say, “If they keep playing this modern music all the time, I'm cancelling my subscription.”  This took place more than a 100 years after the premiere.  How does a piece remain modern for so long?  Are there any other parallels in musical history?  And how does Stravinsky build a narrative that slowly builds in intensity all the way to the sacrifice of the young girl and the beginning of spring? Join us!

Synopsis On this day in 1934, an excited crowd of locals and visitors had gathered in Hartford, Connecticut, for the premiere performance of a new opera entitled Four Saints in Three Acts. The fact that the opera featured 16 saints, not 4, and was divided into 4 acts, not 3, was taken by the audience in stride, as the libretto was by the expatriate American writer, Gertrude Stein, notorious for her surreal poetry and prose. The music, performed by players from the Philadelphia Orchestra and sung by an all-black cast, was by the 37-year old American composer, Virgil Thomson, who matched Stein's surreal sentences with witty musical allusions to hymn tunes and parodies of solemn, resolutely tonal music. Among the locals in attendance was the full-time insurance executive and part-time poet, Wallace Stevens, who called the new opera (quote): "An elaborate bit of perversity in every respect: text, settings, choreography, [but] Most agreeable musically… If one excludes aesthetic self-consciousness, the opera immediately becomes a delicate and joyous work all around." The opera was a smashing success, and soon opened on Broadway, where everyone from Toscanini and Gershwin to Dorothy Parker and the Rockefellers paid a whopping $3.30 for the best seats—a lot of money during one of the worst winters of the Great Depression. Music Played in Today's Program Virgil Thomson (1896-1989) Four Saints in Three Acts Orchestra of Our Time; Joel Thome, conductor. Nonesuch 79035 On This Day Births 1741 - Belgian-born French composer André Grétry, in Liège; 1932 - American composer and conductor John Williams, in New York City; Deaths 1709 - Italian composer Giuseppe Torelli, age 50, in Bologna; 1909 - Polish composer Mieczyslaw Karlowicz, age 32, near Zakopane, Tatra Mountains; Premieres 1874 - Mussorgsky: opera “Boris Godunov”, at the Mariinsky Theatre in St. Petersburg, with bass Ivan Melnikov in the title role, and Eduard Napravnik conducting; This was the composer's own revised, nine-scene version of the opera, which originally consisted of just seven scenes (Julian date: Jan.27); 1897 - Kalinnikov: Symphony No. 1 (Gregorian date: Feb. 20); 1904 - Sibelius: Violin Concerto (first version), in Helsinki, by the Helsingsfors Philharmonic conducted by the composer, with Victor Novácek as soloist; The revised and final version of this concerto premiered in Berlin on October 19, 1905, conducted by Richard Strauss and with Karl Halir the soloist; 1907 - Schoenberg: Chamber Symphony No. 1 in Vienna, with the Rosé Quartet and members of the Vienna Philharmonic; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg, with the composer conducting (Julian date: Jan. 26); 1909 - Liadov: “Enchanted Lake” (Gregorian date: Feb. 21); 1910 - Webern: Five Movements, Op. 5, for string quartet, in Vienna; 1925 - Cowell: "Ensemble" (original version for strings and 3 "thunder-sticks"), at a concert sponsored by the International Composers' Guild at Aeolian Hall in New York, by an ensemble led by Vladimir Shavitch that featured the composer and two colleagues on "thunder-sticks" (an American Indian instrument also known as the "bull-roarer"); Also on program was the premiere of William Grant Still's "From the Land of Dreams" for three voices and chamber orchestra (his first concert work, now lost, dedicated to his teacher, Edgard Varèse); 1925 - Miaskovsky: Symphonies Nos. 4 and 7, in Moscow; 1934 - Virgil Thomson: opera "Four Saints in Three Acts" (libretto by Gertrude Stein), in Hartford, Conn.; 1942 - Stravinsky: "Danses concertantes," by the Werner Janssen Orchestra of Los Angeles, with the composer conducting; 1946 - Bartók: Piano Concerto No. 3 (completed by Tibor Serly after the composer's death), by the Philadelphia Orchestra, Eugene Ormandy conducting and György Sándor as the soloist; 1959 - Elie Siegmeister: Symphony No. 3, in Oklahoma City; 1963 - Benjamin Lees: Violin Concerto, by the Boston Symphony, with Erich Leinsdorf conducting and Henryk Szeryng the soloist; 1966 - Lou Harrison: "Symphony on G" (revised version), at the Cabrillo Music Festival by the Oakland Symphony, Gerhard Samuel condicting; 1973 - Crumb: "Makrokosmos I" for amplified piano, in New York; 1985 - Earle Brown: "Tracer," for six instruments and four-track tape, in Berlin; 1986 - Daniel Pinkham: Symphony No. 3, by the Plymouth (Mass.) Philharmonic, Rudolf Schlegel conducting; 2001 - Sierra: "Concerto for Orchestra," by the Philadelphia Orchestra, Wolfgang Sawallisch conducting; Others 1875 - American composer Edward MacDowell admitted to the Paris Conservatory; 1877 - German-born (and later American) composer Charles Martin Loeffler admitted to the Paris Conservatory; 1880 - German opera composer Richard Wagner writes a letter to his American dentist, Dr. Newell Still Jenkins, stating "I do no regard it as impossible that I decide to emigrate forever to America with my latest work ["Parsifal"] and my entire family" if the Americans would subsidize him to the tune of one million dollars. Links and Resources On Virgil Thomson More on Thomson

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius This week Mark and I listened to Muddy Water Blues: A Tribute to Muddy Waters by Paul Rodgers and produced by Billy Sherwood. In addition, we chatted about My Own TOURMATO which I went on with my son William and Dave Watkinson this week It was a blast and my spliced-together video of my Facebook Live clips are below. What does the album sound like? Do the various different instrumentalists combine well? What does Billy play on this record himself? Photo copyright Gottlieb Bros. https://youtu.be/735Tw7Gb5XI https://youtu.be/iCdwi9Ftotk YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary Betts Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork - just me messing about with one of my old photos Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

The most famous thing about Igor Stravinsky's Rite of Spring is the riot that took place at its premiere.  Perhaps its overcompensating for classical music's reputation for being a bit stuffy, but musicians and musicologists LOVE talking about the riot at the Rite of Spring, and I'm no exception.  But you might be surprised to know that the Rite Riot was by no means the only disturbance at a classical concert. There are myriad stories of chaos at concerts throughout musical history, but none of them are as famous as what happened on May 29th, 1913. We'll talk about the riot, why it happened, and its aftermath. We'll also discuss this groundbreaking piece, which was revolutionary in almost every way, while being more grounded in the past than you might think. As the great writer Tom Service says, “there's nothing so old as a musical revolution.” Join us this week for part 1, the Adoration of the Earth!

If you listened to my show last week about Stravinsky's ballet The Firebird, you know that Stravinsky's life was never the same after the premiere of the ballet in 1910. Sergei Diaghilev, the founder of the Ballets Russes and Stravinsky's greatest collaborator, said just before the premiere, “this man is on the eve of celebrity.” Diaghilev was absolutely right, as The Firebird made Stravinsky a Parisian household name practically overnight. Of course, immediately everyone wanted to know what was next. Stravinsky did too, and he was thinking that he needed to stretch himself even more, as even though the Firebird had caused a sensation, he still felt that it was too indebted to his teachers of the past like Nikolai Rimsky Korsakov and other Russian greats like Borodin or Mussorgsky. At first, Stravinsky dreamed of a pagan Rite, but quickly he changed course, wanting to write something that was NOT ballet music, and in fact would be a concerto for Piano and Orchestra. But instead of just a straight ahead abstract piece, Stravinsky had yet another story in mind. This time it was this: “In composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.” Diaghilev visited Stravinsky in Lausanne Switzerland expecting to hear more about the pagan rituals Stravinsky had been so excited about, but instead Stravinsky played him this strange piano concerto. But Digahliev, ever the visionary, saw the potential in this story and in this music for dance as well, and convinced Stravinsky to turn the piano concerto into a ballet, and Petrushka was born. Within a few months, Petrushka was written, performed, and was yet another sensation. Today, we'll talk all about the brilliant music that Stravinsky composed for the ballet, the integration of choreography and music, and the radical changes that this music heralded for the western music world.

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius This week Mark and I began to think about the next musician Yes wanted to sign up, this time as a live associate member of the band for the 1994 Talk Tour. We talk about Billy's connections to Yes members, his involvement with Union and lots of other topics. You'll also find out what record we have chosen to listen to next week for some clues as to Billy's suitability to join Yes at this point. In addition, we have time for a two pence segment about the recent sale of Yes' Atlantic back catalogue to Warner Bros. and what this means for the band and the fans. What did Yes know about Billy at this point? What about him attracted their attention? Why did they want a sixth member of the band for this tour? Photo copyright Gottlieb Bros. Join me on the Facebook Group Page on Monday 30th January 2023 as I post some live video about my own personal Tourmato!https://traffic.libsyn.com/kevinmulryne/ep567_why_yes_want_billy_pt1.mp3 https://youtu.be/rUEfTAlqgec YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary Betts Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork - just me messing about with one of my old photos Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Synopsis On this day in 1946, Igor Stravinsky conducted the New York Philharmonic in the first performance of his Symphony in Three Movements, a work inspired in part by World War II newsreels. “Each episode in the Symphony,” Stravinsky wrote, “is linked in my imagination with a specific cinematographic impression of the war. But the Symphony is not programmatic. Composers combine notes—that is all. How and in what form the things of this world are impressed upon their music is not for them to say.” What Stravinsky did say was that images of goose-stepping soldiers influenced its first movement, and its third movement was inspired in part by newsreels of the victorious march of the Allies into Germany. The themes of middle movement, however, had nothing to do with the war, but consisted of bits and pieces Stravinsky salvaged from his unused and unfinished score for the 1943 movie The Song of Bernadette. The producers decided instead to go with a score by Alfred Newman, a more experienced film composer. To Stravinsky's embarrassment, Newman's score for The Song of Bernadette won an Oscar for the Best Film Score of 1943. But Igor needn't have felt too chagrined—his music may have failed in Hollywood, but it triumphed at Carnegie Hall. Music Played in Today's Program Igor Stravinsky (1882-1971) Symphony in Three Movements Berlin Philharmonic; Pierre Boulez, conductor. DG 457 616 Alfred Newman (1901-1970) Song of Bernadette National Philharmonic; Charles Gerhardt, conductor. RCA 184

Produced by Joseph Cottrell, Ken Fuller, Wayne Hall and Jeffrey Crecelius Jon Anderson's conceptual epic, Olias of Sunhillow, is under the microscope this week. Does this album live up to its amazing reputation? How does Jon Anderson get on playing all the instruments? Does Olias feel like a complete work or a bit bolted together? Mark's and Kevin's copies of Olias of Sunhillow: Vinyl: Olias of Sunhillow by Jon Anderson Record sleeve front Record sleeve back Side 1 label Side 2 label Olias logo SACD Mark's SACD version Inner case Back Booklet Disc German CD Front cover Back cover Disc YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJon PicklesJohn ThomsonJohn CowanTony HandleyRobertGary Betts Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork - just me messing about with one of my old photos Become a Patron! Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Paris, sixième arrondissement, on passe devant l'hôtel de la Louisiane, on continue encore une centaine de mètres, sur la droite on y est. Alexandre Desplat nous reçoit dans un studio d'enregistrement, à l'occasion des sorties en salle du film Tirailleurs et de Pinocchio sur Netflix, dont il a signé les musiques. Un lieu aux « espaces restreints mais très chaleureux, avec beaucoup de boiseries », dans lequel « il a passé des nuits et des nuits ».Le compositeur de musiques de film âgé de 61 ans évoque son enfance passée à Paris auprès d'un père rabelaisien collectionneur de disques de jazz et une mère d'origine grecque qui lit beaucoup et enseigne le yoga à écouter Duke Ellington, Louis Armstrong, Billie Holiday, du fado ou de la musique indienne, ses rituels autour du thé japonais, sa passion pour la flûte traversière, sa découverte des ballets russes, de Stravinsky, Ravel, Prokofiev, son goût de l'étranger et du cinéma italien, son admiration pour John Williams, sa détestation pour le XIXe siècle bourgeois, ses longues années d'apprentissage en collaborant à l'émission télé « Nulle part ailleurs », sa rencontre décisive avec Jacques Audiard et le rôle central du metteur en scène...Il revient aussi longuement sur ses méthodes pour composer ses bandes originales : « Je travaille avec le film tourné. Je vais chercher ma musique dans le tréfonds de la psychologie des personnages, ce sont eux qui vont m'emmener. Je passe des heures avec les comédiens dans mon studio à les regarder sur écran. Je vis avec Cate Blanchett, Brad Pitt, Romain Duris. J'ai besoin de lutter avec l'image. »Depuis quatre saisons, la productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal)préparé avec l'aide de Diane Lisarelli et Imène BenlachtarRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In 1906, the impresario Sergei Diaghilev created a sensation in Paris with an exhibition of Russian Art. This was the first time a major showing of Russian art had appeared in Paris, and from this point forward, the city was obsessed with Russian art, literature, and music.  Diaghilev, ever the promoter, then put together the Ballets Russes, the Russian Ballet, in 1909, a company based in Paris that performed ballets composed, choreographed, and danced, by Russians.  Over the next 20 years, the Ballets Russes became one the most influential and successful ballet companies of the entire 20th century, and a young composer that Diaghilev plucked from obscurity named Igor Stravinsky had a lot to do with their success.    The first season of the Ballet Russes relied on the big names of Russian music, like Borodin, Tchaikovsky, Rimsky Korsakov, but Diaghilev was always restlessly searching for something new.  For many years, Diaghilev had wanted to bring not only new Russian art, but also new Russian music to the West, and now he had found the perfect combination -  Diaghilev brought together the Russian artist and writer Alexandre Benoit and the Russian choreographer Michel Fokine to create a Russian nationalistic ballet based on Russian folk tales and mythology.  He then took a risk, giving the commission for the music to Igor Stravinsky.  The result?  The Firebird, a ballet that provoked an ecstatic reaction, a score that would propel Stravinsky to worldwide popularity, 3 different orchestral suites played almost every year by orchestras all over the world, and a 19 year collaboration and friendship between Stravinsky and Diaghilev which only ended in Diaghilev's death and resulted in 8 original ballets, including The Rite of Spring and Petrushka. But, let's not get too ahead of ourselves.  All of this had to start somewhere, so lets explore the Firebird, in all of its different versions and orchestrations, along with the folk tales and stories that go along with it. Join us!

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius As I'm sure you know we lost another giant of the rock world this week. Jeff Beck was one of the most influential guitarists of all time and I'm sure Yes music would sound very different - or possibly wouldn't exist without the influence of the great man. Rest in Peace. This week we had a great conversation with Joe Cass who you may well know is the drummer for Yes Tribute Total Mass Retain. He told us stories of his connections with Yes members and the aims of his band who have confirmed two 2023 concerts so far - visit https://www.totalmassretainband.com/ for all the information - they put on an amazing evening of Yes music and if you haven't met Joe yet, you'll hear just what a generous and thoughtful musician he is from our chat. https://youtu.be/iGojXIz3AkA What are Yes Tribute Band Total Mass Retain trying to achieve? Who is in the band? What are some of Joe's fondest memories of Yes? Take a listen to the episode and then let us know what you think below! Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork - just me messing about with one of my old photos Become a Patron! YMP Patrons: Producers: Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobertGary BettsJon Pickles Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Synopsis Today's date in 1904 marks the birthday of Richard Addinsell, a versatile British musician who became one of the most famous film score composers of his generation. Addinsell was born in London, studied music at the Royal College of Music, and pursued additional studies in Berlin and Vienna before heading off to America in 1933 for some practical education at Hollywood film studios. He put both his theoretical and practical learning to good use when he returned to England, where he began composing for a series of successful British movies, like the Oscar-winning 1939 film “Goodbye, Mr. Chips.” Addinsell also became a popular songwriter and accompanist for British comediennes and cabaret singers of the day. But Addinsell is best known as the composer of the Warsaw Concerto, a piano concerto consciously modeled on the big Romantic scores of Rachmaninoff. This music originally appeared in the 1941 British adventure film “Dangerous Moonlight,” retitled “Suicide Squadron” when it was released in the States in 1942. After that mega-hit, Addinsell's fluent and versatile writing continued to grace a goodly number of Post-War British films and TV dramatizations, ranging from historical epics to psychological thrillers, gritty “slice-of-life” dramas, and whimsical, light-hearted comedies. Addinsell died in London at the age of 73 in 1977. Music Played in Today's Program Richard Addinsell (1904 –1977) Goodbye Mr. Chips BBC Concert Orchestra; Kenneth Alwyn, conductor. Marco Polo 8.223732 Richard Addinsell (1904 –1977) Warsaw Concerto Cristina Ortiz, piano; Royal Philharmonic; Moseh Atzmon, conductor. London 414 348 On This Day Births 1690 - German composer Gottfried Heinrich Stölzel, in Grünstadtl; 1866 - Russian composer Vassili Sergeievitch Kalinnikov, in Voin (Julian date: Jan 1.); 1904 - British composer Richard Addinsell, in London; Deaths 1864 - American composer Stephen Foster, age 37, in Bellevue Hospital, New York; 1980 - Russian-born American conductor and arranger André Kostelanetz, age 78, in Port-au-Prince, Haiti; Premieres 1726 - Bach: Sacred Cantata No. 32 ("Liebster Jesu, mein Verlangen") performed on the 1st Sunday after Epiphany as part of Bach's third annual Sacred Cantata cycle in Leipzig (1725/27); 1775 - Mozart: opera "La finta giardiniera" (The Feigned Gardener), in Munich at the Opernhaus St. Salvator; 1873 - Rimsky-Korsakov: opera "The Maid of Pskov" (first version) in St. Petersburg, Napravnik conducting; This was Rimsky-Korsakov's first opera (Julian date: Jan.1); 1904 - Bartók: tone-poem “Kossuth,” in Budapest; Bartók's parody of the German national hymn in this work caused an uproar at the work's premiere; 1944 - Stravinsky: "Circus Polka" (concert version) and "Four Norwegian Moods," in Cambridge at the Garden Theatre, with the Boston Symphony conducted by the composer; 1945 - Prokofiev: Symphony No. 5, by the Moscow State Philharmonic, with the composer conducting; 2000 - Danielpour: "Voices of Remembrance" for string quartet and orchestra, in Washington, D.C. with the Guarneri String Quartet and the National Symphony, Leonard Slatkin conducting. Others 1910 - Lee De Forest relays experimental Met Opera performances via a radio transmitter (see also Jan. 12). Links and Resources On Richard Addinsell Richard Addinsell filmography

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius New Year and time to look forward, rather than back. Join Mark and me talking about what's coming up based on two sources: http://bondegezou.blogspot.com/ - companion site to http://www.bondegezou.co.uk/wnyesm.htm from the legendary Henry Potts https://www.facebook.com/reel/1255122348371376 from the knowledgeable and erudite Jon Dee What Yes and Yes related albums can we look forward to in 2023? Is anyone touring? Who is publishing a fascinating book about Tormato? Take a listen to the episode and then let us know what you think below! Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork - just me messing about with one of my old photos Become a Patron! YMP Patrons: Producers: Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobertGary BettsJon Pickles Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius It's time to enjoy listening to The Lexicon Of Love this week as we look for clues as to why Yes wanted Trevor Horn to return as producer for 90125. To be fair, that's not an especially difficult task as his fingerprints are all over this brilliant, era-defining work of pop genius. It's not prog but it's glorious music. What Trevor Horn influences can be heard on this album? Is the production any good? Is it obvious why Yes wanted Trevor back? https://youtube.com/playlist?list=OLAK5uy_njQ-vtLtdr8lCUJvijX4QrS6Rf48QgtwA Also, it's time to wish all listeners, Producers and Patrons all best wishes at this festive time of year. Whatever you celebrate in December or even if you don't celebrate anything Mark and I hope you have a wonderful time as the year changes to 2023. Thank you for all your support and kindness in 2022! Take a listen to the episode and then let us know what you think below! Trevor Horn and his dog Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY (for subscribers only)! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobert Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

We're getting deep into the Battle of Hoth today! This is minutes 26-30 of The Empire Strikes Back with composer/orchestrator Dominic Sewell. The quickie topic is a primer on the anatomy and function of a score.  To follow along with the visuals in this episode, I recommend checking out the video version (or just spot checking the areas you want to see): https://youtu.be/oOvHkaciOVk  Timestamps: 00:00 - Hello there! 2:10 - What stands out to you about the Battle of Hoth? 8:26 - Who is the greatest 20th century composer? 10:30 - Quickie topic: Anatomy and function of a score. 16:05 - Start of these minutes. 18:51 - Contrapuntal fudge. 28:18 - Frank Lehman's breakdown of the Battle of Hoth themes from a-z. 32:46 - Cool things about octatonic scales and John Williams's use of them. 45:42 - Military preparation theme (e) 48:00 - "One is okay, two is memorable, three is too much." 54:05 - Optimistic Walton-esque theme (h) 1:01:07 - Increasing rhythm, momentum, texture before big crescendo. 1:03:35 - Start of 3M3 "The Snow Battle" 1:10:30 - Pitch class sets, Forte numbers, using the pitch-class set calculator. 4-19, 6-z19, 5-32, 8-28, etc... 1:26:29 - “Fingers are not to be despised: they are the great inspirers, and, in contact with a musical instrument, often give birth to subconscious ideas which might otherwise never come to life.” -Stravinsky 1:29:10 - Alpha chords. 1:38:47 - What JW wrote about this cue in the liner notes ("bizarre, mechanical, brutal...") 1:49:10 - "The rub" + Why are minor seconds and major sevenths "the same?" 2:00:14 - "Into the Maw" from Solo: A Star Wars Story. 2:06:13 - Cluster splurge. 2:13:33 - Diverging outline. 2:19:01 - Filigree, frills, and trills. 2:23:41 - 6-20 classic hexatonic set. 2:31:40 - Philosophical question: how do you decide the boundaries of the set you're analyzing? 2:36:46 - The Hoth sequence contains nearly all of John Williams's action hallmarks. 2:45:38 - SWMM Questionnaire References: Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Analysis Through Composition - Principles of the Classical Style (book by Nicholas Cook) - https://searchworks.stanford.edu/view/3425258 Vaughan Williams: Fantasia on a theme by Thomas Tallis Orb and Sceptre (William Walton) - https://youtu.be/v6qjUdaDE_Q Crown Imperial March (William Walton) - https://youtu.be/1M9xZlA2zn8 Dominic's video intro to pitch class set theory: https://youtu.be/Am2KLFMGuvw Pitch-Class Set Calculator: https://www.mta.ca/pc-set/calculator/pc_calculate.html List of set classes: https://en.wikipedia.org/wiki/List_of_set_classes Petrushka (Stravinsky) - https://youtu.be/jeSC0vtdn3g David Matthews piece: The Golden Kingdom song cycle, "Spell of Creation" movement - https://www.fabermusic.com/shop/the-golden-kingdom-p3081 Mussorgsky: Night on Bald Mountain - https://youtu.be/SLCuL-K39eQ Mickey Mouse (2013) series, music by Christopher Willis - https://www.youtube.com/watch?v=yNdhDq-DF8k&list=PLIUzyJZLGeBM2mB9MaXtfzCxHRZ6s8PIl Mark Richards's film scoring courses: https://filmmusicnotes.com/all-courses/ https://en.wikipedia.org/wiki/Mickey_Mouse_(TV_series) The Music of The Lord of the Rings Films: A Comprehensive Account of Howard Shore's Scores (by Doug Adams) - https://www.goodreads.com/en/book/show/8882617 Check out Dominic Sewell's channel to see more analysis with video walkthroughs of these cues: 3M2 Leia's Instructions (final segment) - https://youtu.be/DThcEWb_CoE 3M3 The Snow Battle - https://youtu.be/fIHn1e521DY 3M4/4M1 Luke's First Crash - https://youtu.be/dfKjTX7gpNs  Cues in these minutes: 3M2 "Leia's Instructions" 3M3 "The Snow Battle" 3M4/4M1 "Luke's First Crash" Musical Themes: 2. Rebel Fanfare 18) Descending Heroic Tetrachords 1a. Main Theme (A Section) 13. Droids Where are we in the soundtrack(s)?: "The Battle Of Hoth (Ion Cannon/Imperial Walkers/Beneath the" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Transporting. Transforming. Transcendental. 2. What's something related to Star Wars music or sound that you want to learn more about? Dom would like to talk to John Williams about what his teachers taught him. 3. What's a score or soundtrack you're fond of besides anything Star Wars? Lord of the Rings - Howard Shore Doctor Who (TV series) - Murray Gold The Orville (TV series) - Bruce Broughton (main theme), Joel McNeely, Andrew Cottee, John Debney, and Kevin Kaska Death of Stalin - Christopher Willis --------------- Guest: Dominic Sewell Website: https://dominicsewell.co.uk YouTube: https://www.youtube.com/c/DominicSewellMusic Twitter: https://twitter.com/dominicsewell Patreon: https://www.patreon.com/DominicSewellMusic ------------------ If you want to support the show and join the Discord server, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

En parallèle, deux compositeurs autour de la voix et des percussions (Stravinsky) et d'un ensemble instrumental (OHANA) pour clore cette année avant l'émission de Noël.

durée : 01:58:35 - Nikita Magaloff (2/2) : la musique russe - par : Philippe Cassard - La musique russe avec l'accent rrrrrusse ! Où l'on entend Magaloff évoquer Prokofiev, jouer Stravinsky avec Stravinsky, et aussi Scriabine, Tchaïkovsky et Rachmaninov. - réalisé par : Colin Gruel

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius After a couple of weeks of illness I'm delighted to say I'm now almost 100% and back to the YMP. I'd like to thank everyone who has sent kind wishes - they are very much appreciated. This week we delve into the reasons why Yes might have wanted Trevor Horn back in the fold for 90125. Who wanted Trevor back? What were his special skills? Did he want to go back? Take a listen to the episode and then let us know what you think below! Trevor Horn and his dog Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY (for subscribers only)! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken Fuller Jeffrey Crecelius and Wayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobert Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

durée : 00:23:48 - Disques de légende du mercredi 14 décembre 2022 - Ce disque gravé chez Erato en 1973, sous la direction de Charles Dutoit demeure un pilier de la discographie de Stravinsky encore insurpassé : choix des chanteurs et précision de l'orchestration. C'est notre disque de légende du jour !

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius Mark and I spent a very enjoyable week listening to CTTE and Relayer - and why not? In time honoured fashion we have recorded our thoughts independently and then we meet up to criticise each other's ideas. Not really. We do, however, indulge in the futile but nevertheless enjoyable process of ranking the albums against each other and coming out with a winner. Will you agree with our assessments? The sense of anticipation could be cut with a proverbial hacksaw. Is it possible to rank these albums after listening to them?Why would anyone want to?Go on then, which one is better? Take a listen to the episode and then let us know what you think below! Relayer Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY (for subscribers only)! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobert Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Composer producer and performer Jean-Michel Jarre is a pioneer in electronic and ambient music as well as massive outdoor spectacles featuring his music, along with laser displays large projections and fireworks.His 1976 album, 'Oxygène' (recorded in a home studio on analog synthesizers) and its 1978 follow up 'Équinoxe', heralded the arrival of an international star, and in 1979 Jean-Michel performed to more than a million people at the Place de la Concorde in Paris. That concert laid down a blueprint for his future performances around the world. Several of his albums have been released to coincide with large-scale outdoor events. He was the first Western musician officially invited to perform in the People's Republic of China and saw in the new millennium performing at the pyramids of Giza. He holds the world record for the largest-ever audience at an outdoor event for his Moscow concert on 6 September 1997, which was attended by 3.5 million people. Jean-Michel's new album 'Oxymore' is out now.

Sibelius' intense love of nature is mirrored in his Second Symphony, which inhabits a world of rugged, windswept beauty. In his kaleidoscopic choral masterpiece, Stravinsky creates an otherworldly aura. Beethoven's ebullient concerto features pianist Francesco Piemontesi in his CSO debut. “Piemontesi made a wonderful impression… [He] drew out the reflective undercurrents even while playing with grace and élan” (The New York Times). Ticket holders are invited to a free preconcert conversation featuring Max Raimi in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/22-23/cso-classical/stravinsky-beethoven-and-sibelius-2

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius This week Mark and I embark upon another inevitably unjustifiable escapade - the rating of two classic Yes albums against each other. If it wasn't fun we wouldn't do it but it keeps us off the streets at least. This time we have decided to pit Close To The Edge against Relayer and you can play along as well. In part 1 we bang on about the similarities and differences between the records and then next week we will report back on our findings after listening carefully to the albums. Please do add your own thoughts to the show notes for both weeks' episodes. Which album is 'better'?What are the main differences and similarities?Why would you want to do this? Take a listen to the episode and then let us know what you think below! Relayer Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY (for subscribers only)! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobert Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

durée : 00:21:00 - Le Disque classique du jour du jeudi 17 novembre 2022 - Le premier de trois volumes Stravinsky par le London Philharmonic Orchestra.L'album comprend deux ballets phares, The Rite of Spring et The Firebird, enregistrés avec le chef d'orchestre émérite Vladimir Jurowski.

Mit seinem musikalischen Streifzug durch die Jahreszeiten landete Antonio Vivaldi nicht nur gleich reihenweise Hits, sondern inspirierte mit "Le quattro stagioni" auch gleich noch die Pizzabäcker. Da mochte Igor Stravinsky noch so viel lästern über den angeblichen Fließbandkomponisten, der Charme und die Originalität seiner barocken Violinkonzerte sprechen für sich. (Autor: Dominik Mercks) Von Dominik Mercks.

durée : 01:29:53 - En pistes ! du jeudi 17 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce jeudi, Emilie et Rodolphe ont choisi pour vous la musique de Brahms par Nelson Freire, Byrd par The Sixteen ou encore Stravinsky par le London Symphony Orchestra. C'est parti pour 1h30 de nouveautés !

Synopsis On today's date in 1943, the Boston Symphony and conductor Serge Koussevitzky gave the first performance of a Symphony for Strings by the American composer William Schuman. Schuman was just 33 years old at the time, but Koussevitzky had already been programming and commissioning Schuman's music for about 5 years. Koussevitzky had already given the premiere performances of his popular “American Festival Overture” and the Third Symphony. Schuman's Symphony for Strings is dedicated to the memory of Koussevitzky's wife, Natalie, whose family fortune that enabled Serge Koussevitzky to establish himself as a conductor, found a publishing house, and commission many of the 20th century's most significant works, including Stravinsky's Symphony of Psalms and Bartok's “Concerto for Orchestra.” In Russia, the Koussevitzkys championed Russian music. In France, they supported French composers. And, beginning in 1924, when Koussevitzky became the music director of the Boston Symphony, many American composers benefited from this remarkable couple's enthusiasm for new music. Schuman's Symphony for Strings is just one of a long list of the Koussevitzky's American commissions, which includes works by Aaron Copland, Roy Harris, Samuel Barber, Walter Piston, and Leonard Bernstein. Taken as a whole, the concert music commissioned by Serge and Natalie Koussevitzky remains one of the most remarkable musical legacies of the 20th century. Music Played in Today's Program William Schuman (1910-1992) Symphony No. 5 (Symphony for Strings) I Musici de Montreal; Yuli Turovsky, cond. Chandos 9848

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius This week we met the delightful Chris Welch who wrote one of the most important books about Yes, Close To The Edge - The Yes Story. Journalist for Melody Maker, Kerrang and many other publications, Chris has known the band from its earliest days and we very much enjoyed talking to him about those days in the early 70s as well as his trip to Advision to see the band recording Tormato. It was a  great conversation so we hope you enjoy it as well. What was it like in London in the early 70s?Did punk kill prog?How was the atmosphere in Advision? Take a listen to the episode and then let us know what you think below! Chris' Melody Maker Studio report and Tormato review: Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY (for subscribers only)! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobert Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

durée : 01:29:23 - En pistes ! du vendredi 11 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour clôturer cette semaine : le dernier disque de Justin Taylor et Théotime Langlois de Swarte, le coffret Warner consacré au pianiste Claudio Arrau mais aussi Stravinsky par le BBc Philharmonic Orchestra dirigé par Andrew Davis. En piste !

Synopsis On today's date in 1919, a concert suite from Igor Stravinsky's The Soldier's Tale had its premiere in Lausanne, Switzerland—the same city in which the original theatrical version of Stravinsky's score was first presented in 1918. In that original form, The Soldier's Tale was a kind of musical morality play scored for narrator and small chamber ensemble. Stravinsky incorporated elements of American jazz, although what he knew of jazz was derived entirely from looking at sheet music rather than any firsthand experience of actually hearing American jazz. Eighty years later, for the Chamber Music Society of Lincoln Center, the American jazz trumpeter Wynton Marsalis composed A Fiddler's Tale—a companion piece to Stravinsky's work, scored for the same configuration of instruments. Wynton Marsalis said, ''No matter what I do, I'm not going to compare myself to Stravinsky. That would be ridiculous. You have to accept who he is and do what you can do, and hope that what you do is on some level of quality.” Like Stravinsky's piece, A Fiddler's Tale also exists in two versions: as a theater piece with a narrator, and as a purely instrumental suite. Both have been recorded, and both, not surprisingly, feature Wynton Marsalis as the trumpeter. Music Played in Today's Program Igor Stravinsky (1882-1971) L'histoire du soldat Suite Philharmonia Orchestra; Robert Craft, conductor. Koch 7504 Wynton Marsalis (b. 1961) The Fiddler's Tale Wynton Marsalis, trumpet; Chamber Music Society of Lincoln Center Sony 60979

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius This week we are off into the weeds once again, this time with Tim Durling as our guide. As the originator of Tim's Vinyl Confessions, he is ideally placed to tell us more about the 8 track tapes that have been released over the years by Yes and we discover a wealth of interesting facts about the much-maligned media format which, as you may remember, was the basis of the ill-fated Birotron Rick Wakeman championed and part-funded in the mid-late 70s. We would be delighted to see photos of any Yes 8 track tapes you have in your collection so please do add those to the comments on the show notes for this week's episode. Why were 8-track cartridges so popular?Did they sound any good?Did the format cause any problems for the transfer of records? Take a listen to the episode and then let us know what you think below! https://youtube.com/playlist?list=PLb9yio1FWfUWvD0X7DCrxKVmeLOersHUP Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY (for subscribers only)! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerDavidGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobert Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Elon Musk officially acquires Twitter and starts cleaning house. There's a lot of house to clean… Literary agents and other leftists in the publishing industry want to ban Amy Coney Barrett's upcoming autobiography. They don't like her stance on abortion. But they're all for free speech… A law professor makes a compelling case for capital punishment — in the NYTimes no less.  Dennis reviews one of his fundamental themes: happiness is a moral obligation.  Issues include:  New Rabbi performing miracles in Israel; All the art work is getting vandalized; Cigar smoking and the health issues with oral cancer; In the Old Testament what if Moses never turned to the burning bush would God have send someone else to free the Jews; Do you think that there's more than luck in life; What do you think of Stravinsky; What is your perspective on Joseph in the Old Testament; I do not agree that other people can make you unhappy; Can the Bible be taken as historical facts?Thanks for listening to the Daily Dennis Prager Podcast. To hear the entire three hours of my radio show as a podcast, commercial-free every single day, become a member of Pragertopia. You'll also get access to 15 years' worth of archives, as well as daily show prep. Subscribe today at Pragertopia dot com.See omnystudio.com/listener for privacy information.

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius Lrheath / CC BY-SA This week, Mark and I have been enjoying listening to Night After Night, the live album from UK in our quest to discover why Yes wanted Eddie Jobson. Hear our views in a few moments' time and add your own to the comments in the show notes for this week's episode. Did you see UK in either of their incarnations? What do you think of the 3-piece lineup without Bruford and Holdsworth but with Terry Bozzio? Did it work? Let us know. How does the 3-piece UK sound?Is the guitar missed?Is it all prog? Take a listen to the episode and then let us know what you think below! expose.org / CC BY-SA https://youtu.be/RGkFnMu7V0c https://youtu.be/YCKMQOwGBAU Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. PRESALE IS UNDERWAY (for subscribers only)! If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerGary BettsGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobertDavid Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius Lrheath / CC BY-SA This week Mark and I have been considering why Yes wanted Eddie Jobson. He stayed with the band for about as long as a British Prime Minister but there must have been compelling musical reasons why he was asked to join in the first place. So that's what we are beginning to explore in this episode. While Eddie isn't very well-known outside the Prog world, he certainly had the capacity to take Yes in a different and perhaps very interesting direction before he was replaced by the returning Tony Kaye. Another parallel with the UK political situation? Child prodigy to Prog legend - an amazing story.What skills did Eddie have which attracted Yes?Did he have the experience to join Yes? Take a listen to the episode and then let us know what you think below! expose.org / CC BY-SA Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. I've already shared 3 updates on the progress of the forthcoming book, TOO CLOSE TO THE EDGE? (not the final title) complete with short extracts from some of the chapters. If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenPaul WilsonMartin KjellbergBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellLobate ScarpMiguel FalcãoChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemMark 'Zarkol' BaggsPaul HailesDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerGary BettsGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottTodd DudleyJimJamie McQuinnSteven RoehrJohn ParryKeith HoisingtonAlan BeggTerence SadlerJohn HoldenBarry GorskyMichael HanderhanTim StannardJoseph CottrellJohn ThomsonJohn CowanTony HandleyRobertDavid Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Dame Alicia Markova was born Lilian Alice Marks in December 1910, in a two-bedroom flat in Finsbury Park, London. She began ballet classes because she was flat footed and knock kneed. Her natural talent, when she was ten, was spotted by Diaghilev, the Russian artistic impresario who founded the Ballets Russes and brought the contemporary arts of Russia to Europe. Dame Alicia joined Diaghilev's company, which was based in Monte Carlo, in 1925, a month after her 14th birthday. Diaghilev changed her name to Alicia Markova and cast her in the title role of Nightingale in Le Rossignol, a ballet scored by Stravinsky, choreographed by Balanchine and with costumes designed by Matisse. It premiered in Paris in June 1925. After Diaghilev's death in 1929 she returned to England and became a leading figure of the emerging English ballet scene, dancing with the Ballet Rambert and Vic Wells Ballet, as well as at Sadlers Wells. Dame Alicia danced the leading roles in Swan Lake, The Nutcracker and Giselle, which became her trademark, illustrating her unique style of fragility and strength. In 1950, together with her dancing partner Anton Dolin, Dame Alicia founded The London Festival Ballet which eventually became the English National Ballet. She was still dancing Giselle at the age of 48 and had her last dance on stage in the early 1960s. Subsequently she has worked as director, patron and teacher and was awarded the CBE for services to dance in 1958. Her memory for dance steps has proved invaluable for dance historians, pupils and teachers alike. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Softly Awakes my Heart from Samson and Delilah by Camille Saint-Saëns Book: Speaking of Diaghilev by John Drummond Luxury: The perfume Knowing by Estee Lauder

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius We are finally back with part 2 of our look at the Buggles and why Yes might have wanted them. For this, we've been listening to the first album from the duo, The Age Of Plastic, seeing if we can pick up some pointers. As usual, it was a revealing and enjoyable experience and quite topical as Trevor Horn's autobiography is being advertised across all of my social media at the moment. Let us know what you think of our views in the show notes for this week. Does the album sound dated in 2022?Is there more to it than just Video Killed The Radio Star?Is it obvious why Yes wanted Downes and Horn to join them? Take a listen to the episode and then let us know what you think below! https://youtu.be/KSDnzdL9uco Courtesy of Doug Curran Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. I've already shared 3 updates on the progress of the forthcoming book, TOO CLOSE TO THE EDGE? (not the final title) complete with short extracts from some of the chapters. If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenMartin KjellbergPaul WilsonBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellMiguel FalcãoLobate ScarpChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemPaul HailesMark 'Zarkol' BaggsDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerGary BettsGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottJamie McQuinnSteven RoehrAlan BeggTerence SadlerMichael HanderhanTim StannardJimTodd DudleyJohn CowanTony HandleyJohn HoldenJoseph CottrellJohn ParryKeith HoisingtonJohn ThomsonBarry Gorsky Robert and David Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

Synopsis 1991 was a big year for American composer John Corigliano. The Metropolitan Opera premiered his opera “The Ghosts of Versailles” and the 53-year old composer won two Grammys and the Grawemeyer Award for his Symphony No. 1. Corigliano was increasingly recognized as one of the leading American composers of his generation, and was deluged with commissions for new works. But about 10 years before all that, guitarist Sharon Isbin had asked Corigliano to write a concerto for her, and kept on asking him. On today's date in 1993, her persistence paid off when, with the St. Paul Chamber Orchestra and conductor Hugh Wolff, she gave the premiere performance of Corigliano's “Troubadours — Variations for Guitar and Orchestra.” This piece was inspired by the courtly love tradition of the medieval troubadours, whose songs combined sophisticated word play with simple but elegantly communicative melodies. “For composers the idea of true simplicity — in contrast to chic simple-mindedness — is mistrusted and scorned,” wrote Corigliano. “But the guitar has a natural innocence about it… So the idea of a guitar concerto was, for me, like a nostalgic return to all the feelings I had when I started composing — before the commissions and deadlines and reviews. A time when discovery and optimistic enthusiasm ruled my senses… Troubadours is a lyrical concerto.” Music Played in Today's Program John Corigliano (b. 1938) Troubadours Sharon Isbin, guitar; Saint Paul Chamber Orchestra; Hugh Wolff, cond. Virgin 55083 On This Day Births 1870 - French composer and organist Louis Vierne, in Poitiers; 1930 - Japanese composer Toru Takemitsu, in Tokyo; 1953 - English composer Robert Saxon, in London; Deaths 1834 - French composer François Boieldieu, age 58, in Jarcy; Premieres 1903 - Nielsen: "Helios" Overture, in Copenhagen; 1943 - Stravinsky: "Ode" (in memory of Natalie Koussevitzky), by the Boston Symphony conducted by Serge Koussevitzky; 1960 - Prokofiev: opera "The Story of a Real Man" (posthumously) at the Bolshoi in Moscow; A semi-public performance of this opera was given in Leningrad on Dec. 3, 1948, but the opera was rejected by Soviet authorities for subsequent performances during the composer's lifetime; 1966 - Stravinsky: "Requiem Canticles," in Princeton, with Robert Craft conducting; 1992 - Ligeti: Violin Concerto, in Cologne, by the Ensemble Moderne conducted by Peter Eötvös, and Saschko Gawriloff the soloist; 1993 - Corigliano: "Troubadours (Variations for Guitar and Orchestra)," at the Ordway Music Theater in St. Paul, with the St. Paul Chamber Orchestra conducted by Hugh Wolff, and guitar soloist Sharon Isbin; 1999 - Kernis: "Garden of Light" and Torke: "Four Seasons" (both commissioned by the Disney Company at the urging of its Chief Executive, Michael Eisner), for the Millennium season of the New York Philharmonic, with Kurt Masur conducting the orchestra, vocal soloists, and choirs in both pieces; Others 1739 - Handel completes in London his Concerto Grosso in a, Op. 6, no. 4 (Gregorian date: Oct. 19); 1898 - The first issue of the magazine "Musical America" is published. Links and Resources On John Corigliano On Sharon Isbin

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius What a week it's been in the world of Yes. Thanks to friend of the YMP Roie Avin, I managed to speak to Steve Howe about his new album with his late son Virgil, Lunar Mist as well as the US tour which began yesterday with a preview concert. (Don't worry, I managed to slip in a question about Tormato as well.) YMP Producer Ken Fuller went along to the dress rehearsal and I've added his photos from the event to the show notes for this week. The gig took place at Mickey's Black Box, part of long-time Yes collaborator Michael Tait's empire also known as the Rock Lititz campus in Philadelphia. In fact Michael introduced the band and spoke about his connections with Yes. (Incidentally he is now retired.) Also this week Doug Curran was at the wonderful Alan White tribute concert in Seattle which featured Trevor Rabin, Billy Sherwood, Jon Davison, Geoff Downes, Jay Schellen and a host of other stars. A truly moving event to remember a truly remarkable person. Add to all this the announcement of concert dates for Jon Anderson and the Band Geeks in 2023 complete with a great video of the whole band in action together. Actually I think it's a composite video using some clever remote recording but whatever the case, it all sounds fantastic. Fingers crossed they are able to visit the UK. How does Lunar Mist complement Nexus?Who decided what Tormato should be called?How is touring? Take a listen to the episode and then let us know what you think below! Ken Fuller's photos from the dress rehearsal: Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Not final artwork or title - just me messing about with one of my photos If you haven't already done so, please sign up at tormatobook.com to the email newsletter. I've already shared 3 updates on the progress of the forthcoming book, TOO CLOSE TO THE EDGE? (not the final title) complete with short extracts from some of the chapters. If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenMartin KjellbergPaul WilsonBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellMiguel FalcãoLobate ScarpChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemPaul HailesMark 'Zarkol' BaggsDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerGary BettsGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottJamie McQuinnSteven RoehrAlan BeggTerence SadlerMichael HanderhanTim StannardJimTodd DudleyJohn CowanTony HandleyJohn HoldenJoseph CottrellJohn ParryKeith HoisingtonJohn ThomsonBarry Gorsky Robert and David Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite.

Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius This week we are back with our ‘Why did Yes want…' series and we have reached 1980 when both Anderson and Wakeman had left the band and up stepped Horn and Downes. How did this happen and why would Yes want to develop a relationship with a pop band? Listen on to discover our thoughts and then add your own to the show notes. Over the coming week we will be listening to The Buggles album, ‘The Age Of Plastic' to try and find some clues to help us with the question above so please do join in with that and let us know what you think of the album, 42 years later. A pop band?Are you serious?How could that work? Take a listen to the episode and then let us know what you think below! Facebook has just changed how pages work which means that I've had to establish a new place for us to post and discuss Yes-related happenings. It's a new group entitled, rather creatively, YMP Discussion Group. For the moment it's open to anyone to join but I'll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ If you haven't already done so, please sign up at tormatobook.com to the email newsletter. I've already shared 3 updates on the progress of the forthcoming book, TOO CLOSE TO THE EDGE? (not the final title) complete with short extracts from some of the chapters. If you sign up now, for free, you can have access to the newsletters you've missed. It really helps to know people are looking forward to reading the culmination of my decades of Tormato obsession. Not final artwork or title - just me messing about with one of Jeremy North's photos Become a Patron! YMP Patrons: Producers: Ken FullerJeffrey Crecelius andWayne Hall Patrons: Aaron SteelmanDave OwenMark James LangPaul TomeiJoost MaglevDavid HeydenMartin KjellbergPaul WilsonBob MartilottaLindMichael O'ConnorWilliam HayesBrian SullivanDavid PannellMiguel FalcãoLobate ScarpChris BandiniDavid WatkinsonNeal KaforeyRachel HadawayCraig EstenesDemPaul HailesMark 'Zarkol' BaggsDoug CurranRobert NasirFergus CubbageScott ColomboFred BarringerGary BettsGeoff BailieSimon BarrowGeoffrey MasonStephen LambeGuy R DeRomeSteve DillHenrik AntonssonSteve PerryHogne Bø PettersenSteve RodeDeclan LogueSteve ScottJamie McQuinnSteven RoehrAlan BeggTerence SadlerMichael HanderhanTim StannardJimTodd DudleyJohn CowanTony HandleyJohn HoldenJoseph CottrellJohn ParryKeith HoisingtonJohn ThomsonBarry Gorsky Robert and David Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from: archive.org

In 1922 a review appeared in the French newspaper Le Figaro: “We cannot describe the cries of admiring joy let loose by an enthusiastic public. In the immense oeuvre of Camille Saint-Saëns, The Carnival of the Animals is certainly one of his magnificent masterpieces. From the first note to the last it is an uninterrupted outpouring of a spirit of the highest and noblest comedy. In every bar, at every point, there are unexpected and irresistible finds. Themes, whimsical ideas, instrumentation compete with buffoonery, grace and science. ... When he likes to joke, the master never forgets that he is the master.” You would think that this review came after a triumphant performance for Saint-Saens, and that he basked in the glory of the major success of what would become perhaps his most well known work, the Carnival of the Animals. But it just wasn't the case. In fact, this review appeared after a performance of the piece given after Saint-Saens death, and there was a reason for that. Saint-Saens, after 3 private performances of the piece, forbade it from being performed publicly during his lifetime. Why? Well, he was concerned that this lighthearted piece would diminish his standing as a serious composer. Even in the mid 1880s when this piece was written, Saint-Saens began to evince the conservatism, musical and otherwise, that would mark his later career, to the point that he wanted Stravinsky declared insane and said this about Debussy: "We must at all costs bar the door of the Institut against a man capable of such atrocities; they should be put next to the cubist pictures." Why was Saint-Saens so opposed to modernism? Why was he so concerned with his reputation as a serious composer, to the point that he suppressed this wonderfully creative piece? And just what makes the Carnival of the Animals so fantastic and so much fun to listen to, as well as being so vivid in its portrayals of the animals it represents? Join us to find out!