Podcast appearances and mentions of thomas demenga

Su longevidad, que abarca más de un siglo, le permite recorrer un inmenso arco de escuelas, estéticas y estilos. Su catálogo reúne centenares de obras, incluidos grandes cuartetos de cuerda, varios conciertos y una única ópera, que escribe con 90 años._____Has escuchadoCaprices. Lauds II. Riconoscenza per Goffredo Petrassi (1984). Irvine Arditti, violín. Alpha (2017)Figment I: For Solo Violoncello (1994). Thomas Demenga, violonchelo. ECM (2003)String Quartet No. 5. V. Adagio Sereno (1995). Juilliard String Quartet. RCA (2014)Symphony of Three Orchestras (1976). New York Philharmonic; Pierre Boulez, director. Columbia Masterworks (1995)_____Selección bibliográficaBERNARD, Jonathan, “The Evolution of Elliott Carter's Rhythmic Practice”. Perspectives of New Music, vol. 26, n.º 2 (1988), pp. 164-203*—, “An Interview with Elliott Carter”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 180-214*BOLAND, Marguerite y John Link (eds.), Elliott Carter Studies. Cambridge University Press, 2017BORETZ, Benjamin, “Conversations with Elliott Carter “. Perspectives of New Music, vol. 8, n.º 2 (1970), pp. 1-22*CARTER, Elliott, Collected Essays and Lectures, 1937-1995. Editado por Jonathan W. Bernard. University of Rochester Press, 1997—, Harmony Book. Editado por Nicholas Hopkins y John Link. Carl Fischer, 2002EMMERY, Laura, Compositional Process in Elliott Carter's String Quartets: A Study in Sketches. Routledge, 1989HARVEY, David I. H., The Later Music of Elliott Carter: A Study in Music Theory and Analysis. Garland, 1989LINK, John F., Elliott Carter: A Guide to Research. Garland, 2000—, Elliott Carter's Late Music. Cambridge University Press, 2024MARTÍN, Fernando, “Tiempo, narratividad, organicismo y uso de conjuntos en el último estilo de Elliott Carter”. Quodlibet: Revista de Especialización Musical, n.º 37 (2007), pp. 66-83*MEYER, Felix y Anne SHREFFLER, Elliott Carter. A Centennial Portrait in Letters and Documents. The Boydell Press, 2008SCHIFF, David, The Music of Elliott Carter. Faber and Faber, 1998WIERZBICKI, James, Elliott Carter. University of Illinois Press, 2011 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Gemeinsames Musizieren gehörte im Elternhaus von Thomas Demenga einfach dazu. Dass er einmal international als Solist spielen würde, stand damals in den Sternen. Mindestens so wichtig wie das Cello waren ihm als Kind der Sport und die Beatles, die ihn zu seinen ersten Kompositionen inspirierten. Auf einer alten Kassette, die Thomas Demenga während der Pandemie beim Aufräumen aufstöberte, entdeckte er ein Jugendwerk wieder: Eine Melodie, die er als Teenager geschrieben und auf der Gitarre gespielt hatte. Damals hörte er leidenschaftlich gerne die Hitparade, insbesondere die Beatles. Diese Kassette bringt Thomas Demenga mit in die Sendung und erzählt, wie er diesen Song ein halbes Jahrhundert später mit einem neuen Text aufnahm. In «Musik für einen Gast» spricht er weiter über seine Kindheit in einer Berner Künstlerfamilie; über den Flow, den es braucht, um die Musik von sich aus sprechen zu lassen. Er beschreibt, wie sich sein Zeitbegriff im Lauf der Jahre verändert hat und weshalb er mit bald 70 Jahren immer noch gerne an der Musik-Akademie in Basel unterrichtet.

Laurent Fairon is a French musician, DJ and record collector. Active as a sound art blogger and archivist from 2007 to 2016 via Continuo's Weblog and Continuo's Documents. As a composer he has published several cassettes in the early 1990s on various DIY labels. ‘Eclipse Profonde – Experimental Church Organ Music 1970–2020' is a two hour long mix, focusing on organ+electronics or electroacoustic treatment, as well as organ+live instruments. Tracklist: Codespira1 – Triangular Progression (2020) Alfredo Costa Monteiro & Bruno Duplant – Un cercle autour du soleil (2020) Pierre Alexandre Tremblay – BWV1080-1 (2015) Alex Bonney – Liebster Jesu remix (2015) Michel Estellet-Brun & Gerard Berlioz – Jungle (1972) René Baptist Huysmans – Accretion (2014) Thomas Demenga & Horst Reber – Cellorganics I (1981) Mudboy – Live at the Providence Performing Arts Center (2008) Bronius Kutavicius – Jubiliejinis Koncertas (1982) Juan Allende-Blin – Mon Piano Bleu (1970) Winfried Mühlum-Pyrápheros – Musica Nova Contemplativa (1970) Michael Bonaventure – Interlude (2017) Davorin Kempf – Interferencije (1981) Michael Bonaventure – Coronach (2019) Xavier Darasse – Organum I (1970) Franz Richter Herf – Alapa (1980) Franz Richter Herf – Wie schwache Fontänen (1974) Gilius van Bergeijk – Over de Dood en de Tijd pt 3 (1980)

Arvo Pärdi sünnipäeval kõlab Albumi saates 1987. aastal ECM märgi all ilmunud album "Arbos", millel musitseerivad The Hilliard Ensemble, Vladimir Mendelssohn, Thomas Demenga jpt.

Arvo Pärdi sünnipäeval kõlab Albumi saates 1987. aastal ECM märgi all ilmunud album "Arbos", millel musitseerivad The Hilliard Ensemble, Vladimir Mendelssohn, Thomas Demenga jpt.

Violinist Rachel Barton Pine and harpsichordist Jory Vinikour are both internationally acclaimed musicians. They're also old friends. The warmth of their personal relationship is evident in their performance of Johann Sebastian Bach's Violin and Harpsichord Sonatas on their 2018 CD, and it shines through in their easy, playful rapport when they spoke with Suzanne.

Harry Bicket is an acclaimed conductor whose specialty is baroque music. He is Artistic Director of The English Concert (the British period instrument ensemble) and Chief Conductor/Music Director of Santa Fe Opera, and his international conducting engagements have included performances at the Metropolitan Opera and Lyric Opera of Chicago, Los Angeles Chamber Orchestra, Cleveland Orchestra, Cincinnati Symphony Orchestra, Los Angeles Philharmonic, Boston Symphony Orchestra and Messiah with the New York Philharmonic. The Handel expert sat down for a conversation with Suzanne about his fondness for certain other Liverpool musicians, and how he achieved his "proper career" quite by accident.

Cellist Thomas Demenga is a renowned soloist, composer and teacher, whose own teachers and mentors include acclaimed musicians such as Leonard Rose and Mstislav Rostropovich. His repertory includes a full range of historical eras and styles of interpretation and composition, and he is an advocate for New Music. He is also passionate about historical performance practice of baroque music, and a virtuoso performer of the classical and romantic repertory for cello. Suzanne speaks with him about his broad ranging career.

Successful sibling duos in music are rare. The stress of rehearsing and being constantly on the road together can derail the happiest collaboration. The best-known sibling partnership in musical history – Wolfgang Amadeus Mozart and his sister Nannerl – didn't last long. He went off to Paris, Vienna and Prague; Nannerl settled down into marriage. The Swiss cellists Thomas and Patrick Demenga appear to take their collaboration with a more easy-going attitude. Some 35 years since graduating from Juilliard and the Bern Conservatory, respectively, they are still going strong, and performed together in December at the Chamber Music Society of Lincoln Center. "We can go on stage and close our eyes and start without even looking at each other," Patrick Demenga told host Jeff Spurgeon. "We are so close in a way musically that we trust – it's one of the most exciting experiences that you can have on stage." The two cellists, who also have active solo careers, came to the WQXR Café to perform as both a duo and as a trio with the Slovenian accordionist Luka Juhart. Their program combined the music of Bach with two modern works. First up was a transcription of Bach's Sonata in G minor for Gamba and Harpsichord (first movement), with Juhart playing the harpsichord part. "Normally if you play with harpsichord and continuo," said Thomas Demenga, "you have a very thin sound and you have to be very careful as a cellist not to overpower the harpsichord. In this combination with accordion you have a really full range because he can sustain the lines so you have the full polyphony."   Juhart met the Demenga brothers through a composer friend, which led to some festival dates in Europe. At an appearance in Austria last year, David Finckel, the artistic director of the Chamber Music Society of Lincoln Center, heard the trio and booked them on his series. Although the accordion is a relative outsider in U.S. chamber music circles, Juhart estimates that there are 30 or 40 college-level training programs in Europe where one can major in the instrument (he teaches at the academy in Ljubljana, Slovenia). Below, Juhart performs Vinko Globokar’s theatrical solo piece, Dialog über Luft.While Juhart has sought to explore the outer boundaries of the modernist accordion sound, he has also taken up Baroque works by Rameau, Handel, Scarlatti and Frescobaldi. The Demenga brothers, meanwhile, have been equally versatile, as seen in the last work on their program, an excerpt from Thomas Demenga's Solo per due, which features all manner of bowed and plucked techniques. "It's a bit jazzy but not really because I don't like classical musicians who try to play jazz," said Thomas Demenga. He notes that one of his classmates and friends at Juilliard was the violinist Nigel Kennedy, known for a freewheeling forays into popular styles. "We played on the streets [of New York] to make money," Demenga recalls. The two musicians also played frisbee in the halls of Juilliard. "People hated us," he said with a laugh. Video: Kim Nowacki; Audio: Chase Culpon; Production & Text: Brian Wise