Podcasts about Toru Takemitsu

This week, we cover Hiroshi Teshigahara's 1964 classic, "Woman in the Dunes." We discuss the collaboration with writer Kobo Abe, composer Toru Takemitsu, and Teshigahara. After covering the background of the film, we dive into the film, and get metaphorical on everyone's asses. Finally, we end the episode with a pair of double bills for your viewing enjoyment.Thank you so much for listening!Created by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on Instagram: @DoubleBillChillLetterboxd: FartsDomino44

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Toru Takemitsu foi um autêntico autodidata e atingiu a grandeza sem nunca ter tido uma aula formal. Arriscou em quase todos os géneros musicais e mostrou-nos que os japoneses também dançam valsas. See omnystudio.com/listener for privacy information.

Toru Takemitsu foi um autêntico autodidata e atingiu a grandeza sem nunca ter tido uma aula formal. Arriscou em quase todos os géneros musicais e mostrou-nos que os japoneses também dançam valsas. See omnystudio.com/listener for privacy information.

Lee and Daniel are joined in this episode by their friend Jack Graham, who co-hosts the I Don't Speak German podcast with Daniel, to talk about "Rising Sun" (1993), directed by Philip Kaufman, and based on the novel by Michael Crichton. The film follows Sean Connery and Wesley Snipes as they navigate Japanese culture, while trying to solve a murder, in ways that sometimes make Mickey Rooney's yellow face performance in "Breakfast at Tiffany's" look somewhat tame in comparison. Is there anything to salvage from this outdated trainwreck? Is the Crichton novel any better? The hosts also talk about what they've watched as of late. Thankfully no racist Japanese accents were used in the recording of this podcast, but a few bad Connery impressions might have slipped by the edit. "Rising Sun" IMDB  Jack and Daniel can be heard together on the I Don't Speak German podcast.  Daniel's Bluesky and Patreon.   Jack's Bluesky and Patreon.   Lee's Bluesky (also doubles as the TMBDOS! Bluesky).  Featured Music: "Eddie's Alive" and "Cemented" by Toru Takemitsu.

Episode 164 Chapter 25, Electronic Music in Japan and The Asia-Pacific. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 25, Electronic Music in Japan and The Asia-Pacific from my book Electronic and Experimental music.   Playlist: ELECTRONIC MUSIC IN JAPAN AND THE ASIA-PACIFIC   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Early work of tape music. 13:50 01:36 2.     Toru Takemitsu, “Vocalism Ai (Love)” (1956). For magnetic tape (condensed from a 72-hour tape montage. 04:11 15:22 3.     Makoto Moroi and Toshiro Mayuzumi, “Shichi No Variation (7 Variations)” (1956). Tape music for sine wave generators. 14:51 19:32 4.     Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958). For magnetic tape. 03:28 34:24 5.     Group Ongaku, “Object” (1960). Recorded on May 8, 1960, at Mizuno's house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 07:34 37:50 6.     Toru Takemitsu, “Water Music” (1960). For magnetic tape. 09:41 45:26 7.     Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration).” For magnetic tape and reader. 07:05 55:06 8.     Group Ongaku, “Metaplasm Part 2” (1961). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Tadashi Mori (conductor), 09:08 01:02:10 9.     Akira Miyoshi (composer), opening excerpt to Ondine (1961). For orchestra, mixed chorus and electronic sounds. 04:32 01:11:18 10.   Joji Yuasa ‎– “Aoi No Ue” (1961). For voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio. 29:50 01:15:50 11.   Kuniharu Akiyama, “Noh-Miso” (track 1) (1962). Tape music. Hitomi-Za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each part. 01:44 01:45:40 12.   Toshi Ichiyanagi, “Parallel Music” (1962). Tape music recorded at NHK Electric Music Studio, Tokyo Japan. 09:12 01:47:22 13.   Kuniharu Akiyam, “Demonstration of Nissei Theater” (excerpt) (1963). “Demonstration of Nissei Theater” composed in 1963 for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo. 05:15 01:56:36 14.   Toshi Ichiyanagi, “Sound Materials for Tinguely” (1963). “Music For Tinguely” was composed at the studio of Sogetsu Art Center. This rare track comprises sound materials used for that composition. 03:31 02:01:54 15.   Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." 04:24 02:05:26 16.   Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965). Tape piece for violin and chamber orchestra. 10:01 02:09:46 17.   Joji Yuasa, “Icon on the Source Of White Noise” (1967). Tape work using white noise as material and designed for a multi-channel system. In the original version, several sound images of various widths (e.g. three loudspeakers playing simultaneously) moved at different speeds around the audience, who were positioned inside the pentagonal loudspeaker arrangement. 12:13 02:19:44 18.   Makoto Moroi, “Shosanke” (1968). Tape work fusing electronic sounds with those of traditional Japanese instruments. 13:20 02:31:54 19.   Minao Shibata, “Improvisation for Electronic Sounds” (1968). Tape piece for electronic sounds. 09:27 02:45:12 20.   Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage. 06:57 02:54:40 21.   Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70. 08:49 03:01:34 22.   Toshiro Mayuzumi, “Mandara” (1969). Tape piece for electronic sound and voices. 10:22 03:10:24 23.   Takehisa Kosugi,  “Catch-Wave” (Mano Dharma '74)” (1974). “Mano-Dharma '74” is an excerpt from a meta-media solo improvisation performed by Takehisa Kosugi. From his notes: “Sounds speeding on lights, light speeding on sounds music between riddles & solutions. ‘the deaf listen to sounds touching, watching.” 26:32 03:20:42 24.   Yoshi Wada ‎– Earth Horns with Electronic Drone, excerpt, (1974). Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974. 10:51 03:47:10 25.   Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” (1963). Music and effects later used for Astroboy. 06:59 03:57:48 26.   Joji Yuasa, “My Blue Sky (No. 1)” (1975). Tape parts realized at NHK Electronic music studio. 15:43 04:05:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Under the direction of Steven Schick, A Broken Hallelujah explores profound human emotions through music. The program includes the world premiere of Nasim Khorassani's new work, Toru Takemitsu's From me flows what you call Time, Niloufar Nourbakhsh's Veiled, and Igor Stravinsky's Le Sacre du printemps (The Rite of Spring). Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39114]

Under the direction of Steven Schick, A Broken Hallelujah explores profound human emotions through music. The program includes the world premiere of Nasim Khorassani's new work, Toru Takemitsu's From me flows what you call Time, Niloufar Nourbakhsh's Veiled, and Igor Stravinsky's Le Sacre du printemps (The Rite of Spring). Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39114]

Hors-série consacré à un concert hors Indre-et-Loire, au Musée d'Art Moderne de l'Abbaye de Fontevraud pour l'exposition Bernard Buffet, médiéval et pop - 2e épisode Programme • Michel Magne, "Larmes En Saule Pleureur" (Extrait D'un Chagrin Emmitouflé • Michel Magne, "Angélique Marquise des Anges" • Michel Magne, "Thème de Fantômas" • Michel Magne, "Tamouré" • Interview de Dominique Gagneux réalisée par Jean-Baptiste Apéré à l'Abbaye de Fontevraud (24/09/2024) • Claude Nougaro, "Chiffre Deux Nombre d'Or" • "Portraits d'Annabel par Bernard Buffet". Interview par Adam Saulnier • Annabel, "Le Jour" • Paul Frazer, Chris Constantinou, Sumo Chant [soundcloud] • Yoshihisa Taïra, "Synchronie" (extrait) • Toru Takemitsu, Mitchi - Paths pour trompette par Christophe Rostang (enregistré en concert le 29/01/2023 à la salle René Lejeau, Montlouis-sur-Loire) • Entretien mené par Michel Droit avec les invités Bernard Buffet et Annabel Buffet • Denis Dufour, "Cinq formes d'appel. N°5 - Rappel" * * enregistré en concert le 26/08/2024, au Musée d'Art Moderne de l'Abbaye de Fontevraud. ensemble PTYX : Antoine Moulin, clarinette, clarinette basse / Christophe Rostang, trompette / Jean-Baptiste Apéré, mélodica Plus de détails et des photos sur ensembleptyx.com ********************************************* Émission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. Présentation : Jean-Baptiste Apéré réalisation, production, sans concession : ptyx fan club vnrpe (c) 2024

Nos saltamos las fronteras estilísticas establecidas para ofrecerte, de nuevo en viernes 13, una segunda entrega dedicada a las bandas sonoras del cine de terror.Playlist;(sintonía) WENDY CARLOS y RACHEL ELKIND “Title Music from A Clockwork Orange” (La naranja mecánica (A Clockwork Orange), 1972)WENDY CARLOS y RACHEL ELKIND “Main title “The Shining”” (El resplandor (The Shining), 1980)KRZYSZTOF PENDERECKI “Urenja Ewangelia” (El resplandor (The Shining), 1980)JOHN CARPENTER “Season of the witch” (Halloween III; Season of the witch, 1982)PHILIP GLASS “Helen theme” (Candyman, 1992)ENNIO MORRICONE “Regan’s theme” (El Exorcista II; El Hereje (The Exorcist II; The Heretic, 1977)JERRY GOLDSMITH “Main title” (La maldición de Damien (Damien; Omen II), 1978)PAUL GIOVANNI and MAGNET feat ANNIE ROSE “Willow’s song” (El hombre de mimbre (The Wicker Man), 1973)FABIO FRIZZI “Voci dal Nula (The Beyond Theme)” (El más allá (E tu vivrai nel terrore! L'aldilà), 1981)FRED MYROW y MALCOLM SEAGRAVE “Phantasma main title” (Phantasma, 1979)JAY CHATTAWAY “Maniac's Theme” (Maniaco (Maniac), 1981)CLAUDIO SIMONETTI, MASSIMO MORANTE y FABIO PIGNATELLI “Tenebre” (Tenebrae), 1982)TORU TAKEMITSU “Biwa Uta” (El más allá (Kwaidan), 1965Escuchar audio

durée : 00:18:12 - "Quotation of Dream" de Toru Takemitsu - Le disque classe de la contemporaine est "Quotation of Dream" de Takemitsu.

durée : 00:18:12 - "Quotation of Dream" de Toru Takemitsu - Le disque classe de la contemporaine est "Quotation of Dream" de Takemitsu.

durée : 00:18:12 - "Quotation of Dream" de Toru Takemitsu - Le disque classe de la contemporaine est "Quotation of Dream" de Takemitsu.

National Haiku Poetry Day is April 17 and we celebrate it early with a selection of music by composers inspired by this transcendent poetic tradition. Hosted and curated by Stephen Anthony Rawson and Seth Boustead. Music by Paul Chihara, Libby Larsen, Ursula Mamlok, Lisa Neher, James Falzone, Stephen Melillo, Dai Fujikura, John Cage, Toru Takemitsu

Japonų pianistė Aki Takahashi (g. 1944) išgarsėjo anksti, ėmusi skambinti vien šiuolaikinę muziką ir susidraugavusi su daugeliu avangardo kompozitorių. 1973 metais ji išleido trijų vinilinių plokštelių albumą „Piano Space“, kuriame dviejose plokštelėse skamba naujausia japoniška muzika, o trečioje – įžymiausių Vakarų avangardistų opusai. Laidoje pristatomi Aki Takahashi interpretuojami Keijiro Satoh, Joji Yuasa, Toru Takemitsu, Maki Ishii ir Toshi Ichiyanagi kūriniai, sukomponuoti tarp 1957 ir 1972 metų.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

SynopsisOn today's date in 1967, the New York Philharmonic gave the premiere performance of a new piece, November Steps, by Japanese composer Toru Takemitsu, a work commissioned by the orchestra as part of its 125th-anniversary celebrations. In addition to the usual instruments of the Western symphony orchestra, Takemitsu included in his score two traditional Japanese instruments: the shakuhachi flute and the biwa, a kind of Japanese lute.Eight years after the Takemitsu premiere, an organization called Music from Japan was founded to help make other Japanese contemporary music feel “at home” in America. Music from Japan has presented about 400 works across the U.S. and premiered over 40 new works, many of them specially commissioned.On today's date in 2000, to celebrate its 25th anniversary, Music from Japan presented a gala concert at Carnegie Hall, which included the premiere of a new orchestral work by talented young Japanese composer Karen Tanaka, one of the rising stars of her generation. Among Tanaka's recorded works is Night Bird, a piece for two decidedly Western instruments: saxophone and piano.Music Played in Today's ProgramToru Takemitsu (1930 - 1996) November Steps; Katsuya Yokoyama, shakuhachi; Kunshi Isuruta, biwa; Concertgebouw Orchestra; Bernard Haitink, cond. Philips 426 667Karen Tanaka (b. 1961) Night Bird; Claude Delangle, saxophone BIS 890

Happy October 31st, Lanterns! The veil is thin and the bonfires are lit, let the harvest celebration begin!  This is a collection of close to 20 All Hallows Hotline calls and EEEEKmails pertaining to our day of days. I hope this helps set the mood. Sending you all my wishes for a joyful day filled with spooks, treats, community, and remembrance. You are ALIVE, don't let 'em forget it! Please note, we are taking the rest of the week off to recover! We return 11/10! In the meantime, please tell us how you celebrated this year! Call the All Hallows Hotline at 802-532-DEAD or write an EEEEKmail to itsalwayshalloweebpodcast@gmail.com. Mentioned in this episode: Haunted Tents 2022 Walk Thru Video Haunted Tents on Facebook Haunted Tents on IG Field of Screams  Izzy's Spooky Season Playlist Gwen's Mossy Fox Shop Busta Rhymes - Gimme Some More (Music Video) Rob Zombie - Living Dead Girl (Music Video) Vmpyr - L'invitation (Music Video) Vmpyr - Carmilla (Music Video) Follow Michael Lewis on IG: @mikelmas Follow Charis on IG: @little_pretzel_witch Be featured on a Small Frights episode! Submit all Halloween queries, advice, recommendations, or memories via telephone to the All Hallows Hotline at (802) 532-Dead! or write an EEEEKmail to itsalwayshalloweenpodcast@gmail.com ⁠Order The Lantern's Way #2⁠ ⁠Order The Lantern's Way #1⁠ IAH Spotify Playlist ⁠Subscribe to It's Always Halloween on Patreon ⁠ ⁠Support It's Always Halloween with a One Time Donation⁠ ⁠Follow It's Always Halloween on Instagram⁠ ⁠Join the Local Lantern Society⁠ Music for this mega episode was provided by: Mokka, Infraction, Toru Takemitsu, Lofi Geek, The Fletchers and, as always, Pete Byrnes.

If Pale Flower were just composer Toru Takemitsu's Musique concrète score and sound design it would be worth talking about. If Pale Flower were just director Masahiro Shinoda's avant garde deconstruction of a Shintaro Ishihara story and yakuza films in general, a New York Noir but Japanese, it would be worth talking about. But Pale Flower (1964) is both, and more for the sum of it's parts.

Adrian Corker has written extensively to picture most recently on the hugely popular ‘Tin Star' series starring Tim Roth. He also runs 2 labels issuing the work of artists such as Lucy Railton and Chris Watson. We'll hear music from Tin Star & other scores plus some of his inspirations including David Shire ( The Conversation) & Toru Takemitsu.You can catch the full show with all the fun and tracks here on our Mixcloud: https://www.mixcloud.com/sohoradio/composers-on-film-08072023/This is the Soho Radio podcast, showcasing the best broadcasts from our online radio station in the heart of London.Across our Soho channel, we have a wide range of shows covering every genre alongside chat, discussions and special productions.To catch up on all things Soho Radio head on over to mixcloud.com/sohoradio, tune in live anytime at sohoradiolondon.com or get the app..Support this show http://supporter.acast.com/soho-radio. Hosted on Acast. See acast.com/privacy for more information.

Igår kom beskedet att den ryska författaren Maria Stepanova får årets Bermanpris för sin roman "Minnen av minnet". Stepanova ser det historiska minnet som en viktig aspekt i Rysslands invasionskrig i Ukraina. Fredrik Wadström ringde upp Maria Stepanova som just nu lever i exil i Berlin.NY SKIVA: KELLERMANN & KARLSEN SPELAR TAKEMITSUGitarristen Jacob Kellermann och dirigenten Christan Karlsen har ofta formerat sig som en dynamisk duo i svensk klassisk musik. Nu har de tillsammans med BBC:s symfoniorkester och ytterligare ett par solister tagit sig an den japanska kompositören Toru Takemitsu på skivan Spectral Canticle. Sara Norling från Musikrevyn i P2 har lyssnat.KARIN MAMMA ANDERSSON OCH TAL R RIFFAR PÅ C F HILLS SJUKDOMSMÅLERIMånaderna innan den svenska konstnären Carl Fredrik Hill mot sin vilja internerades på en klinik i Paris 1878 på grund av sitt psykiska tillstånd hade han målat några av sina märkligaste bilder. På Malmö Museum finns 2600 av de som kommit att kallas "sjukdomsteckningarna". Just nu visas utställningen Runtom Hill, där konstnärerna Mamma Andersson och Tal R tagit sin utgångspunkt i Hills bilder. P1 Kulturs kritiker Mårten Arndtzén har varit där.PHILIPPE STARCK GÖR PATAFYSIK AV PARISJust nu visas utställningen "Paris est pataphysique" på Musée Carnavalet i just Paris. Det är den franska stjärndesignern Philippe Starck – framförallt en framstående industridesigner – som här träder in i patafysikens absurda och lekfulla värld. Karsten Thurfjell har träffat Philippe Starck.ESSÄ: BUNKERKÄLLAREN OCH GILLESTUGAN – MER LIKA ÄN MAN KAN TROFinns det några likheter mellan bunkercellen och samhället utanför? Lever vi i relationer som befriar oss - eller stänger vi snarare in varandra och oss själva? Aase Berg läser Natacha Kampusch bok "10 år i frihet" och funderar på olika sorters fängelser.Programledare: Lisa WallProducent: Eskil Krogh Larsson

Tal como prometimos volvemos con una segunda entrega de fragmentos de bandas sonoras de películas inspiradas en obras de William Shakespeare, sin duda uno de los autores más representados y adaptados tanto en cine, como televisión, teatro, ópera, musicales, etc. En este segunda playlist encontraremos las músicas de Nino Rota para “La fierecilla domada” como “Romeo y Julieta”, Toru Tamekitsu en “Ran”, Trevor Jones en Ricardo III”, William Walton en “Enrique V” y de Patrick Doyle en sus trabajos con Kenneth Brannagh para “Mucho ruido y pocas nueces”, “Como gustéis”, “Hamlet” o “Enrique V”, dejando “Trabajos de amor perdidos” para otra playlist que vamos a dedicar en breve, íntegramente a Patrick Doyle. Hemos dejado fuera entre otras muchas a Leonard Bernstein y “West Side Story”, el “Kiss me, Kate” de Cole Porter o a Richard Rodgers con “The boys from Syracuse” ya que nacieron para el teatro, no para el cine y la de Stephen Warbeck para “Shakespeare enamorado” ya que es una fantasía sobre la vida del bardo. 00h 00’00” Presentación 00h 01’07” Cabecera 00h 01’42” NINO ROTA – La fierecilla domada 00h 01’42” Overture 00h 05’59” Suite 00h 15’46” NINO ROTA – Romeo y Julieta 00h 15’46” Suite 00h 30’35” PATRICK DOYLE – Mucho ruido y pocas nueces 00h 30’35” Overture 00h 34’51” A star danced 00h 37’31” Sigh no more ladies 00h 39’28” PATRICK DOYLE – Como gustéis 00h 39’28” As you like it 00h 46’09” The forest of Arden 00h 50’17” Violin romance 00h 55’13” PATRICK DOYLE - Hamlet 00h 55’13” All that lives must die 00h 57’50” Good night sweet prince 01h 01’22” In pace 01h 04’27” Sweets to the sweet - Farewell 01h 09’05” PATRICK DOYLE – Enrique V 01h 09’05” Non, nobis domine 01h 13’10” St Crispin day – The bbattle of Agincourt 01h 27’18” Theme – The board’s head 01h 30’00” TORU TAKEMITSU – Ran (Rey Lear) 01h 30’00” Buddist prayer temple – Last 11.000 & hidetora – Fury of Ootemon – 2nd castle 01h 31’50” Hell’s picture scroll 01h 370300” Ending credits 01h 41’00” TREVOR JONES – Ricardo III 01h 41’00” The battle 01h 45’25” The tower 01h 47’27” WILLIAM WALTON – Enrique V 01h 47’27” Prelude 01h 54’19” Epilogue

Aprovechando que el programa de “Cuéntame un musical” estaba dedicado al musical “& Juliet”, que nos presenta una simpática historia con la pugna entre Shakespeare y su mujer Anne Hathaway para conseguir cambiar el argumento de “Romeo y Julieta”, decidimos montar unas playlists de fragmentos de bandas sonoras de películas, que han tenido las obras del escritor inglés como fuente de inspiración. En este primer programa tendremos las músicas de Angelo Francesco Lavagnino para el “Campanadas a medianoche” y el “Othelo” de Orson Welles, a Carter Burwell y sus temas para “Hamlet” y “Mackbeth”, Elliot Goldenthal con “La tempestad” y “Titus”, Ennio Morricone con Hamlet, Erich Wolfgang Korngold y Felix Mendelsshon para “El sueño de una noche de verano”, Jocelyn Pook con “El mercader de Venecia”, John Scott para “Marco Antonio y Cleopatra”, Masaru Sato para “Trono de sangre” y Miklos Rozsa para “Julio César”. El mes próximo sacaremos un segundo volumen con temas de Patrick Doyle, Toru Takemitsu, Trevor Jones y William Walton. Esperamos haber acertado con la selección 00h 00’00” Presentación 00h 01’07” Cabecera 00h 01’42” ANGELO FRANCESCO LAVAGNINO – Campanadas a medianoche 00h 01’42” Apertura festosa 00h 02’55” Intermezzo agreste 00h 06’03” Corale mistico 00h 09’13” ANGELO FRANCESCO LAVAGNINO – Othelo 00h 09’13” Chant 00h 13’15” The seed of doubt 00h 16’17” The deciver is revealed – The death of Othelo 00h 18’39” CARTER BURWELL – Hamlet 00h 18’39” Too too solid flesh 00h 21’17” Murder most foul 00h 24’28” To be or not to be 00h 27’05” The end 00h 30’24” CARTER BURWELL – La tragedia de Mackbeth 00h 30’24” Birnam wood 00h 32’48” The end of Mackbeth 00h 36’11” ELLIOT GOLDENTHAL – La tempestad 00h 36’11” O mistress mine 00h 39’12” High day too-step 00h 41’12” Full fanthom five 00h 45’18” Brave new world 00h 47’57” ELLIOT GOLDENTHAL - Titus 00h 47’57” Suite 00h 59’36” ENNIO MORRICONE – Hamlet 00h 59’36” Suite 01h 09’35” ERICH W. KORNGOLD / FELIX MENDELSSHON – El sueño de una noche de Verano 01h 09’35” Obertura 01h 16’28” JOCELYN POOK – El Mercader de Venecia 01h 16’28” With wandering steps 01h 18’34” Her gentle spirit 01h 21’24” How sweet the moonlight 01h 25’37” Bridal ballad 01h 30’08” JOHN SCOTT – Marco Antonio y Cleopatra 01h 30’08” Overture 01h 39’23” Main titles 01h 43’00” Egyptian bacchanal 01h 46’55” Eternal rest 01h 48’52” MASARU SATO – Trono de sangre (Mackbeth) 01h 48’52” Main theme 01h 52’41” MIKLOS ROZSA – Julio César 01h 52’41” Overture 01h 55’44” Prelude – Idle creatures 01h 58’40” Titanus enclosed – Caesar revenged- Caesar, now be still- Rites of burial - Finale

durée : 00:24:59 - Les Nuits de France Culture - par : Albane Penaranda - Toru Takemitsu : "J'écris ma musique en plaçant des objets dans mon jardin musical"

durée : 00:24:59 - Les Nuits de France Culture - par : Albane Penaranda - Toru Takemitsu : "Le bruit du vent dans les pins, c'est la perfection musicale"

durée : 00:24:59 - Les Nuits de France Culture - par : Albane Penaranda - Toru Takemitsu : “Ecrire de la musique de film c'est comme obtenir un passeport pour la liberté”

Synopsis John Lennon was born on today's date in the year 1940, in Liverpool, England — during a German air raid on that city, as it happened. With three other young lads from Liverpool, Lennon would eventually become world-famous, courtesy of the band he helped formed in 1959 called the Beatles. The Beatles started out in a Liverpool nightclub called the Cavern, playing pop tunes of the day, but soon began performing original material of their own. Before disbanding in 1970, some recognizable elements of classical music were incorporated into some Beatles songs, including a string quartet, a Baroque trumpet, and even an orchestra. And it wasn't just a one-sided exchange: Leonard Bernstein played a Beatles song on one of his “Young People's Concerts” to demonstrate sonata form. Arthur Fiedler performed symphonic arrangements of Beatles tunes at his Boston Pops concerts. And decades after the Beatles disbanded, former member Paul McCartney began composing original chamber works and big concert hall pieces, including a semi-autobiographical “Liverpool Oratorio.” Not surprisingly, some young British and American composers coming of age in the 1960s and 70s credit the Beatles as an influence. One elegant set of solo guitar arrangements of Lennon-McCartney tunes even came from Japan, courtesy of the eminent Japanese composer (and Beatles fan) Toru Takemitsu. Music Played in Today's Program Lennon and McCartney (arr. Toru Takemitsu) Here, There and Everywhere John Williams, guitar Sony 66704 On This Day Births 1585 - Baptismal date of German composer Heinrich Schütz, in Bad Löstritz; 1835 - French composer, conductor and pianist Camille Saint-Saëns, in Paris; 1914 - American composer Roger Goeb, in Cherokee, Iowa; 1938 - Finnish composer Einojuhani Rautavaara, in Helsinki; 1940 - John Lennon (of the Beatles), in Liverpool, England; Deaths 1999 - Jazz vibraphone virtuoso, Milt Jackson, age 76, in New York City; He was a member of the famous Modern Jazz Quartet; Premieres 1826 - Rossini: opera, "The Siege of Corinth," at the Paris Opéra; 1891 - Dvorák: "Requiem," Op. 89, in Birmingham, England; 1896 - Dvorák: String Quartet No. 13 in G, Op. 106, in Prague, by the Bohemian Quartet; 1921 - Janácek: "Taras Bulba" (after Gogol), in Brno; 1955 - Shostakovich: Violin Concerto No. 1, by the Leningrad Philharmonic conducted by Yevgeny Mravinsky, with David Oistrakh the soloist; 1963 - Henze: Symphony No. 4 in Berlin, with the composer conducting; 1980 - Jon Deak: Concerto for Oboe d'amore and Orchestra, by the New York Philharmonic conducted by Zubin Mehta with Thomas Stacy as soloist; 1985 - Anthony Davis: opera "X: The Life and Times of Malcolm X," in Philadelphia; The opera's New York City Opera premiere occurred the following year on September 28, 1986; 1986 - Andrew Lloyd-Webber: musical "Phantom of the Opera," at Her Majesty's Theatre in London; The musical opened on Broadway at the Majestic Theater on January 26, 1988; 1987 - Corigliano: "Campane di Ravello" (Bells of Ravello) for orchestra (a birthday tribute to Sir Georg Solti), in Chicago, with Kenneth Jean conducting; 1992 - David Ott: Symphony No. 3, by the Grand Rapids (Michigan) Symphony, Catherine Comet conducting; 1997 - Robert X. Rodriguez: "Il Lamento di Tristano," by flutist Susan Morris De Jong and guitarist Jeffrey Van, at the University of Minnesota in Minneapolis; 1999 - Bolcom: opera "A View From the Bridge," by the Lyric Opera of Chicago, Dennis Russell Davies, cond. 1999 - Michael Torke: symphonic oratorio "Four Seasons," at Avery Fisher Hall in New York, by soloists, chorus, and the New York Philharmonic, Kurt Masur conducting; Others 1973 - Leonard Bernstein gives the first of six lectures entitled "The Unanswered Question," as the Charles Eliot Norton Professor of Poetry at Harvard University. Links and Resources On The Beatles

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

Synopsis It was on this day in 1972 that “A Ring of Time” by American composer Dominick Argento was premiered by the Minnesota Orchestra in Minneapolis. The work was commissioned to celebrate that orchestra's 70th anniversary. “A Ring of Time” is subtitled “Preludes and Pageants for Orchestra and Bells,” and evokes the hours of the day, from dawn to midnight, and the seasons of the year. Though born in York, Pennsylvania, Argento was of Italian heritage, and after spending a year studying in Italy, returned there often to reflect and compose. Argento said: “On one level the title of ‘A Ring of Time' refers to the predominant role assigned to bells... those aural signals of time's passing. But it should also be mentioned the work was wholly composed in Florence where the hourly ringing of church bells is inescapable.” Bells figured prominently in another 20th-century work by the Japanese composer Toru Takemitsu entitled “From Me Flows What You Call Time,” which was premiered by the Boston Symphony in 1990, in New York City, as a commission to celebrate the centennial of Carnegie Hall. Again, bells play a significant role, and Takemitsu directs that at the end of his piece, a series of small bells be rung gently from the balcony above and around the audience. Music Played in Today's Program Dominick Argento (1927-2019): A Ring of Time –Minnesota Orchestra; Eiji Oue, cond. (Reference 91) Toru Takemitsu (1930-1996): From Me Flows What You Call Time –Pacific Symphony; Carl St. Clair, cond. (Sony 63044)

durée : 01:59:19 - Relax ! du mardi 13 septembre 2022 - par : Lionel Esparza - Aujourd'hui dans Relax, le portrait du ténor canadien Léopold Simoneau, quelques nouveautés discographiques et un disque de légende du compositeur Toru Takemitsu.

Hosted by @donitalia @the_music_thief @guitararrangers Special Guest: Peter Kharchenko @petrushkawaldo http://www.theantivillains.com Katie's Randy Cat Khalid Hanifi Lee Warren Band The New Fashioned Rick Caswell Today we looked at guitar covers, and guitar arrangements of the Beatles tune "Here There and Everywhere" written by Paul McCartney and John Lennon. Big thank you to all the creators of the guitar videos we talked about. Please support them by watching their videos and subscribing at the links below. Fingerstyle guitar, acoustic guitar, classical guitar Intro 0:00 - 6:18 Guitar Salon International 6:18 - 19:20 Jacob Cordover - Here, There and Everywhere (1957 Bream Hauser) arr. Toru Takemitsu https://www.youtube.com/watch?v=q-OmQfknMfI&ab_channel=GuitarSalonInternational Bill Tyers 19:20 - 28:59 Here, There And Everywhere - Fingerstyle Guitar Solo https://www.youtube.com/watch?v=ri7z3xCjtkw&ab_channel=BillTyers RedTabber 28:59 - 37:38 Here, There and Everywhere (The Beatles) - Finbgerstyle Guitar TAB Tutorial/Playthrough https://www.youtube.com/watch?v=RPRNkl-woV8&ab_channel=RedTabber Best Guitar Tabs 37:38 - 52:23 The Beatles: Here, There and Everywhere Classical Solo Guitar https://www.youtube.com/watch?v=qG4MQ5hyA-c&ab_channel=BestGuitarTabs Peter Sprague 52:23 - 1:02:04 "Here, There, and Everywhere" Peter Sprague Solo Guitar https://www.youtube.com/watch?v=44Kr5hojEm0&ab_channel=PeterSprague Per-Olov Kindgren 1:02:04 - 1:11:43 Here, There and Everywhere - Per-Olov Kindgren https://www.youtube.com/watch?v=sVQV6p8Dly8&ab_channel=Per-OlovKindgren joehlers 1:11:43 - 1:25:51 The Beatles Here, there and everywhere (acoustic guitar cover) https://www.youtube.com/watch?v=UUtJjL4uZTY&ab_channel=joehlers outro 1:25:51 - 1:26:54 #gsi #friendsofgsi #classicalguitar https://www.facebook.com/groups/2457848901174717 Be sure to join the Guitar Arrangers Collective Facebook group as well, post your arrangements there!

durée : 00:24:59 - Les Nuits de France Culture - Carnet de notes - Les musiques de film de Toru Takemitsu 3/3 (1ère diffusion : 22/10/2001)

durée : 00:24:59 - Les Nuits de France Culture - Toru Takemitsu : “Le bruit du vent dans les pins, c'est la perfection musicale”

durée : 00:24:59 - Les Nuits de France Culture - Carnet de notes - Les musiques de film de Toru Takemitsu 1/3 (1ère diffusion : 08/10/2001)

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Un nou cap

On today's episode,  we're chatting with https://www.loreleiensemble.com/willer (Beth Willer) and https://www.loreleiensemble.com/riesenfeld (Anne Riesenfeld) of https://www.loreleiensemble.com/ (Lorelei Ensemble). Lorelei is an organization that creates and champions bold artistic work that points toward a new normal for women in music. Through commissioning, performance, and education, Lorelei is carving out a boundless new space for women to be among, and become, our most powerful and important creators. http://www.inunisonpodcast.com/episodes/s05e05#transcript (Episode transcript) Edited by https://www.inunisonpodcast.com/fausto (Fausto Daos) Music excerpts “MVT I & MVT II” from https://jessicameyermusic.com/i-long-and-seek-after/ (I long and seek after), by https://jessicameyermusic.com/ (Jessica Meyer), performed live by Lorelei Ensemble “https://music.apple.com/us/album/reconstruction-1-crowns-mercy-seat/1173009955?i=1173010195 (Crowns)” from Reconstruction, by Joshua Bornfield from the 2016 album Reconstructed “https://music.apple.com/us/album/kaze-no-uma-vocalise-no-1/1435212369?i=1435212793 (Vocalise 1)” from Kaze no uma (Wind Horse), by Toru Takemitsu from the 2018 album Impermanence “https://music.apple.com/us/album/love-fail-version-for-womens-chorus-vi-you-will-love-me/1515765648?i=1515765656 (You Will Love Me)” from Love Fail by David Lang from the 2020 album love fail Episode references Lorelei Ensemble https://www.loreleiensemble.com/ (Website) | https://www.instagram.com/loreleiensemble/ (Instagram) | https://www.facebook.com/LoreleiEnsemble/ (Facebook) | https://www.youtube.com/channel/UCbb0ex8oFF9qCSMDg76cqcg (Youtube) Theme Song: https://music.apple.com/us/album/mr-puffy/1457011536?i=1457011549 (Mr. Puffy) by Avi Bortnik, arr. by Paul Kim. Performed by http://www.dynamicjazz.dk/ (Dynamic)

Cody's away, so we spend like 10 minutes talking about video games at the top of this episode. The last of Kurosawa's samurai epics, RAN recontextualizes King Lear, widening the scope of Shakespeare's text to show the effect of karma on the world, not just its tragic players. In this episode, we discuss what it's like to know this is one of the greatest films ever made while also knowing it's not the best Kurosawa movie; the personality of the spaces in RAN and other Kurosawa classics; and how the women of RAN are built to embody the karmic imbalance of Hidetora's lifelong warmongering. Links: - Buy tickets to “Anime's Great Genius: Satoshi Kon” (March 2022 at the Trylon Cinema): https://www.trylon.org/films/category/animes-great-genius-satoshi-kon/ - Buy tickets to “Ishirô Honda's Godzilla” (May 2022 at the Trylon Cinema): https://www.trylon.org/films/category/ishiro-hondas-godzilla/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "Hell's Picture Scroll" by Toru Takemitsu from the RAN soundtrack. Timestamps 0:00 - Episode 163: RAN (1985) 0:45 - #EldenRingChat 4:36 - #PokémonChat 8:18 - The episode actually starts 10:13 - The Patented Aaron Grossman Summary 12:41 - Jason's thoughts 18:57 - Harry's thoughts 27:35 - Aaron's thoughts 34:22 - The changing scope of the movie, ensemble, and its story 45:11 - The controlled, chaotic, mesmerizing beauty of the burning castle scene 51:26 - Physicality and location 58:13 - Lady Sué 1:02:11 - Lady Kaede

In 1972, Betsy Jolas (b. 1926) traveled to Indonesia with Iannis Xenakis, Toru Takemitsu, Henri-Louis de la Grange, Maurice Fleuret and several others. While there, she encountered the Topeng dance, which, nearly 50 years later, inspired the composition of her 8th quartet, Topeng. This piece was written for the Arditti Quartet in 2019. In anticipation of her 95th birthday on 5 August 2021, she tells us what happened on that trip, what it was like traveling with Takemitsu and Xenakis, and why it is that Bali left such an indelible imprint on her music.MUSIC HEARD IN THIS EPISODEBetsy Jolas, Topeng for string quartet (2019)Performed live by the Arditti String QuartetSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

durée : 01:00:11 - En pistes, contemporains ! du dimanche 27 juin 2021 - par : Emilie Munera - Œuvres et transcriptions de Toru Takemitsu pour guitare ; le Finnish Radio Symphony Orchestra et le chef Hannu Lintu consacrent leur dernier enregistrement à Magnus Lindberg; une pièce pour violon et électronique signée par le compositeur français Sasha Blondeau... - réalisé par : Cyrielle Weber

Toru Takemitsu (1930-1996) laikomas japonų klasiku, įtikinamai ir originaliai sujungusiu prancūzų impresionistinį simfonizmą su senosiomis japonų muzikos, estetikos ir filosofijos tradicijomis.Laidos autoriai Šarūnas Nakas ir Mindaugas Urbaitis

durée : 01:28:39 - Li Chevalier, artiste peintre et plasticienne - par : Priscille Lafitte - Née en Chine, Li Chevalier est fortement marquée par la Révolution culturelle, qui détermine alors son rapport à la musique. Devenue artiste plasticienne en Europe, elle intègre la musique dans ses installations, en s’inspirant des compositeurs Peteris Vasks, Karol Beffa et Toru Takemitsu. - réalisé par : Marie Grout

durée : 00:58:14 - Toru Takemitsu au cinéma - par : Thierry Jousse - Le plus grand compositeur japonais du XXème siècle, Toru Takemitsu, a beaucoup travaillé pour le cinéma. La preuve, avec cette petite rétrospective musicale et cinématographique consacrée au musicien qui fut le compagnon de route d’Akira Kurosawa, de Nagisa Oshima, ou encore, de Masahiro Shinoda… - réalisé par : Thomas Jost

Whitworth University senior Piano Pedagogy and Composition major Mikah Turpin plays a reprise of his Graduation Recital for us, with music by Sebastian Bach, Sergei Rachmaninoff, Toru Takemitsu, Ludwig van Beethoven and Jenö Takács.

Whitworth University senior Piano Pedagogy and Composition major Mikah Turpin plays a reprise of his Graduation Recital for us, with music by Sebastian Bach, Sergei Rachmaninoff, Toru Takemitsu, Ludwig van Beethoven and Jenö Takács.

Deuxième épisode de Retake, le podcast qui refait le cinéma.  Et déjà le format change. Après un épisode d'une durée conséquente pour bien présenter le concept de Retake, on passe sur un épisode bimensuel d'une durée plus réduite. Désormais, les nouveaux épisodes de Retake seront disponibles toutes les deux semaines.  En revanche, le concept ne change pas : Kev et Nathan reviendront sur un film dans une discussion qui leur permettra d'évoquer leur rapport affectif à l'oeuvre cinématographique, la genèse du projet, la production et la réception critique et publique en son temps.  Aujourd'hui, c'est Nathan qui nous emmène au Japon pour nous faire découvrir le méconnu Dodes'kaden de l'immense Akira Kurosawa. Compostez votre billet et embarquez avec nous et l'enfant train dans ce film choral sensible, loin des précédentes fresques épiques du réalisateur.    CRÉDITS :  Retake est un podcast animé par Kev et Nathan.  Montage effectué par Kev.  Logo crée par Barthélémy Fourtet avec l'apport des modèles de Flavien Greco.  Générique : © Le Cinéma - Claude Nougaro / © Caravan - Duke Ellington et Juan Tizol Extrait musical de clôture : © Music from Dodes'kaden - Toru Takemitsu de l'album "The Film Music Of Toru Takemitsu" ℗ WMG (au nom de Rhino Warner); Muserk Rights Management Date d'enregistrement : 28/02/2021 Bonne écoute !  Retake est hébergé chez Ausha : https://podcast.ausha.co/retake 

In terms of popularity, Katsuya Yokoyama is probably the most internationally renowned shakuhachi player in Japanese shakuhachi history. Apart from his prowess and the fact that he represents a genre of music whose melodies are more accessible to Western audiences, the symphonies written for shakuhachi by the renowned Japanese composer Toru Takemitsu and conducted by one of Japan's most celebrated conductors, Seiji Ozawa, were one of the main reasons for his international fame in 1967 with the appointment of "November step" by Katsuya Yokoyama. In 1967, Katsuya Yokoyama was assigned to play 'November step', one of the main reasons for its international fame, and it was the first time that the shakuhachi had taken its place in the leading concert halls of Europe and America. In addition, through the Japanese government's subsidised, well-planned and powerful cultural exchanges, Shakuhachi teachers have been teaching in major European and American countries on a short-term and medium-term basis (this part will be translated and published when I have time), and the performances of Katsu Yokoyama with well-known Western orchestras in more than 50 countries around the world have effectively attracted many Westerners to Japan to learn Shakuhachi and bring Shakuhachi to the world. In just over ten years, the shakuhachi has quickly become the most popular oriental instrument studied in the West. Translated with www.DeepL.com/Translator (free version)

Good Morning, This is Louise. Episode 93 - crazed fruitfeaturing the sound works of Madoherty, Ben Boncan, Monterey2000, nlm, Marky Star, Nic Stage, Kyle, Ex Hadley, Ed Bles, and Touch Touch Publishingwith music by Tōru Takemitsu, SQÜRL, Tank and the Bangas, Schizopolitans, Touch Touch Publishing, Elizeth Cardoso, Loke Rahbek, bod [包家巷], Bellemou & Benfissa, Laurie Anderson, Imperio Argentina, Sugar Minott, Cigarettes After Sex, Mina, Cocteau Twins, Cliff Martinez, Mala, and Yasuaki Shimizuprogrammed and produced by @small_ernstNamo Guan Shi Yin Pusa Thank you for listening

In this minisode, we talk about the provocation from Nolan Dresden! Listen to the episode here: https://anchor.fm/artifpodcast/episodes/Episode-18-Art-if---the-oboe-is-the-mistress--With-conductor-Nolan-Dresden-ekv5j4 Provocation (#artifpodcast): Listen to something you’ve listened to a thousand times and find something new in it. Biography: After a successful two year battle with Leukemia and a Bone Marrow Transplant, I'm back and better than ever. #takethatcancer After attending university, I performed professionally for six years in musical theater and opera, and a few seasons as Music Director of a theater company outside of Chicago.  At this point I had come to a fork in the road; do I pursue a conducting career or a performance career?  Feeling that I had more to offer as a conductor and feeling more artistic fulfillment in that field, the choice was clear. In 2009, I started to make my way up the instrumental conducting ladder here in New York City.   I have hit all the various marks, from standard orchestral works like Mendelssohn’s Symphony No. 4 to lesser known pieces like Two Cine Pastrali by Toru Takemitsu.  I pride myself in programing outside of the box, in order to create an experience for the audience to venture through with the ensemble. Find Nolan online: http://www.nolandresden.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Coffee Without Milk: The Ebb & Flow Arts Podcast Episode #006, w/ Adam Tendler World-renowned patriotic pianist Adam Tendler discusses the works and philosophies of John Cage, Christian Wolff, and Toru Takemitsu while lambasting censorship on Tumblr and delving into the rhythmic intricacies of nearly-lost composer Robert Moffat Palmer. Join us as we listen to recent performances and address the challenges of creating music and identifying with society and culture during the time of Covid.   Please check out all the works of Adam Tendler: http://adamtendler.com/ http://america88x50.com/bio.html https://www.youtube.com/user/TheDissonantStates   And pick up his latest books on Amazon: https://www.amazon.com/Adam-Tendler/e/B00HHFZGMS%3Fref=dbs_a_mng_rwt_scns_share   Produced by Ebb and Flow Arts and Maui Institute for Modern Music. (c) 2020 all rights reserved ebbandflowarts.org/podcast

Vintage Electronic Music from Japan, Part 2 Western Influence to Eastern Identity: Electronic Music in Japan between 1960 and 1975. Playlist: Toru Takemitsu, “Water Music” (1960) for magnetic tape (1969, RCA Victrola). Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” from Roots Of Electronic Sound (1963). Music and effects later used for Astroboy. Maki Ishii, “Kio-oo” for piano, orchestra and electronic sounds (excerpt) from Mt. Fujiyama Suite and Dipol For Orchestra (1968, Aries). Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage. Toshi Ichiyanagi, “Electric Chant” from the Opera "From the Works of Tadanori Yokoo" (1969). Military music with electronic tones. Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70. Shibata, “Improvisation for Electronic Sounds” (1968) from Japanese Electronic Music (1971, Philips). Toru Takemitsu, “Stanza II” (1971) for harp, tape, and natural sounds from Miniatur II: Art Of Toru Takemitsu (1973, DGG) Yoshi Wada ‎– Earth Horns with Electronic Drone, excerpt, (1974, Edition Omega Point) Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974. Joji Yuasa, “My Blue Sky (No. 1)” (1975. Tape parts realized at NHK Electronic music studio. NHK = Nippon Hoso Kyokai (Japanese Broadcasting Corp.)   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of vintage Japanese electronic music: Toshi Ichiyanagi, “Sound Materials for Music for Tinguely” (1963). Makoto Moroi, “Shōsanke”for electronic sounds and Japanese traditional instruments (1968).   For more information about the history of Japanese electronic music, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).    

Vintage Electronic Music from Japan, Part 1 Western Influence to Eastern Identity: Electronic Music in Japan from 1953 to 1963. Playlist: Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Makoto Moroi and Toshiro Mayuzumi, “7 Variations” (1956). Toru Takemitsu, “Vocalism AI (Love)” (1956). Group Ongaku, “Metaplasm Part 2” from Music of Group Ongaku (1961, SEER Sound Archive). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Cello – Mikio Tojima Cello, Drums, Tape – Shukou Mizuno Guitar – Genichi Tsuge Piano – Chieko Shiomi* Saxophone, Tape – Yasunao Tone Violin, Saxophone, Tape – Takehisa Kosugi Tadashi Mori (conductor), Akira Miyoshi (composer), opening excerpt to Ondine for orchestra, mixed chorus and electronic sounds. (1961, Time). Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration)” from Waka and Other Compositions (1960 Folkways). Joji Yuasa ‎– “Aoi No Ue” for voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio (1961).   NHK = Nippon Hoso Kyokai (Japanese Broadcasting Corp.)   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of vintage Japanese electronic music: Kuniharu Akiyama, 'Demonstration' Of Nissei Theater (excerpt). Music for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo (1963, Edition Omega Point) Toshiro Mayuzumi, “Mandara” for electronic sounds and voices (1969, Philips). For more information about the history of Japanese electronic music, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).  

Nouvelle diffusion, ce dimanche, de la rencontre avec Stein Verrelst et Maarten Vandenbemden, deux membres du quatuor de guitares ' Four Aces '. C'était ce 27 octobre 2019. "Et si Mozart avait joué de la guitare", c'est à partir de ce postulat, aussi sympathique, saugrenu, sérieux qu'intrigant qu'est né "Tabula Rasa" le 4e disque du "Four Aces guitar quartet" Le quatuor "Four aces", est comme son nom le dit un quatuor de guitares constitué de Menno Buggenhout, Inti De Maet, Stijn Verrelst et Maarten Vandenbemden . Fondé en 2009, il publie en ce moment son 4e disque "Tabula rasa". Deux de ses membres sont nos invités : les guitaristes Stein Verrelst et Maarten Vandenbemden. " Tabula rasa " tente de répondre à une question que s'est posée le quatuor : "Que se serait-il passé si de grands Maîtres comme Jean-Sébastien Bach, Mozart, Chopin, Rachmaninov ou Bizet avaient composé pour la guitare ? " On se surprend bien sûr lorsqu'on ne connaît pas le monde de la guitare, à découvrir que ces grands compositeurs ne se sont pas intéressés à cet instrument !! La guitare a donc manifestement souffert d'un manque d'intérêt et de considération évidents, au cours des siècles passés. C'est pour pallier ce manque, pour ouvrir de nouveaux horizons au public et aux guitaristes, mais surtout pour se faire plaisir que les 4 membres du "Four Aces guitar quartet" se sont attelés à la transcription de chefs d'oeuvre du répertoire, de JS Bach, à Rachmaninov et Debussy, en passant par Mozart, Bizet et Scriabine. Essentiellement des oeuvres pour piano. Le résultat est d'abord un disque à la finition technique impeccable, mais c'est surtout dans la finesse des transcriptions que s'expriment le talent et la créativité de cette formation. " Une transcription doit bien sûr d'abord respecter le texte original ", nous confiera le guitariste Maarten Vandenbemden, " Mais elle doit aussi tenter d'y apporter une valeur ajoutée. " Une mission accomplie avec brio donc, en particulier dans la célèbre Marche Turque de Mozart qui clot ce disque. Le charme des transcriptions du "Four Aces guitar quartet", c'est aussi de nous donner à entendre davantage et autre chose que la partition originale. Le cas des "Estampes" de Claude Debussy est exemplaire à cet égard, tant la finesse des quatre voix donnent à Debussy une palette de couleurs, rarement entendue dans la version originale pour piano. Cela étant dit, ces transcriptions ne devraient pas non plus laisser penser qu'on n'a pas écrit du tout pour la guitare au cours des siècles passés! Le répertoire est abondant, en particulier à l'époque baroque, au 20e et à notre 21e siècle. On pense par exemple à des figures aussi importantes que Luciano Berio ou Toru Takemitsu. "Tabula rasa" et ce postulat "Et si Mozart avait joué de la guitare..." sont donc une vraie réussite. C'est d'abord un travail d'orfèvre qui ravira les mélomanes avertis, mais aussi un voyage sensoriel charmant, par la beauté des mélodies originales, et l'inventivité de leurs transcriptions : le "Four Aces guitar quartet" parvient ainsi à toucher un large public. "Tout le monde a une histoire avec la guitare", nous dira le guitariste Maarten Vandenbemden. " Que ce soit via un père, une soeur, une amie ou un cousin. Tout le monde connaît, de près ou de loin, quelqu'un qui a joué cet instrument ! " "Tabula Rasa" est publié chez Beeldenstorm Bonne écoute ! Réalisation et présentation: Laurent GRAULUS

Nouvelle diffusion, ce dimanche, de la rencontre avec Stein Verrelst et Maarten Vandenbemden, deux membres du quatuor de guitares ' Four Aces '. C'était ce 27 octobre 2019. "Et si Mozart avait joué de la guitare", c'est à partir de ce postulat, aussi sympathique, saugrenu, sérieux qu'intrigant qu'est né "Tabula Rasa" le 4e disque du "Four Aces guitar quartet" Le quatuor "Four aces", est comme son nom le dit un quatuor de guitares constitué de Menno Buggenhout, Inti De Maet, Stijn Verrelst et Maarten Vandenbemden . Fondé en 2009, il publie en ce moment son 4e disque "Tabula rasa". Deux de ses membres sont nos invités : les guitaristes Stein Verrelst et Maarten Vandenbemden. " Tabula rasa " tente de répondre à une question que s'est posée le quatuor : "Que se serait-il passé si de grands Maîtres comme Jean-Sébastien Bach, Mozart, Chopin, Rachmaninov ou Bizet avaient composé pour la guitare ? " On se surprend bien sûr lorsqu'on ne connaît pas le monde de la guitare, à découvrir que ces grands compositeurs ne se sont pas intéressés à cet instrument !! La guitare a donc manifestement souffert d'un manque d'intérêt et de considération évidents, au cours des siècles passés. C'est pour pallier ce manque, pour ouvrir de nouveaux horizons au public et aux guitaristes, mais surtout pour se faire plaisir que les 4 membres du "Four Aces guitar quartet" se sont attelés à la transcription de chefs d'oeuvre du répertoire, de JS Bach, à Rachmaninov et Debussy, en passant par Mozart, Bizet et Scriabine. Essentiellement des oeuvres pour piano. Le résultat est d'abord un disque à la finition technique impeccable, mais c'est surtout dans la finesse des transcriptions que s'expriment le talent et la créativité de cette formation. " Une transcription doit bien sûr d'abord respecter le texte original ", nous confiera le guitariste Maarten Vandenbemden, " Mais elle doit aussi tenter d'y apporter une valeur ajoutée. " Une mission accomplie avec brio donc, en particulier dans la célèbre Marche Turque de Mozart qui clot ce disque. Le charme des transcriptions du "Four Aces guitar quartet", c'est aussi de nous donner à entendre davantage et autre chose que la partition originale. Le cas des "Estampes" de Claude Debussy est exemplaire à cet égard, tant la finesse des quatre voix donnent à Debussy une palette de couleurs, rarement entendue dans la version originale pour piano. Cela étant dit, ces transcriptions ne devraient pas non plus laisser penser qu'on n'a pas écrit du tout pour la guitare au cours des siècles passés! Le répertoire est abondant, en particulier à l'époque baroque, au 20e et à notre 21e siècle. On pense par exemple à des figures aussi importantes que Luciano Berio ou Toru Takemitsu. "Tabula rasa" et ce postulat "Et si Mozart avait joué de la guitare..." sont donc une vraie réussite. C'est d'abord un travail d'orfèvre qui ravira les mélomanes avertis, mais aussi un voyage sensoriel charmant, par la beauté des mélodies originales, et l'inventivité de leurs transcriptions : le "Four Aces guitar quartet" parvient ainsi à toucher un large public. "Tout le monde a une histoire avec la guitare", nous dira le guitariste Maarten Vandenbemden. " Que ce soit via un père, une soeur, une amie ou un cousin. Tout le monde connaît, de près ou de loin, quelqu'un qui a joué cet instrument ! " "Tabula Rasa" est publié chez Beeldenstorm Bonne écoute ! Réalisation et présentation: Laurent GRAULUS

On today’s date in 1967, the New York Philharmonic gave the premiere performance of a new piece entitled “November Steps” by the Japanese composer Toru Takemitsu, a work commissioned by the Philharmonic as part of its 125th anniversary celebrations. In addition to the usual instruments of the Western symphony orchestra, Takemitsu included in his score two traditional Japanese instruments: the shakuhachi flute and the biwa, a kind of Japanese lute. Eight years after the Takemitsu premiere, an organization called Music from Japan was founded to help make other Japanese contemporary music feel “at home” in America. Music from Japan has presented some 400 works across the U.S. and premiered over 40 new works, many of them specially commissioned. On today’s date in the year 2000, to celebrate its 25th anniversary, Music from Japan presented a gala concert at Carnegie Hall, which included the premiere of a new orchestral work by the talented young Japanese composer Karen Tanaka, one of the rising stars of her generation. Among Tanaka’s recorded works is a piece entitled “Night Bird” for two decidedly Western instruments: saxophone and piano.

On today’s date in 1967, the New York Philharmonic gave the premiere performance of a new piece entitled “November Steps” by the Japanese composer Toru Takemitsu, a work commissioned by the Philharmonic as part of its 125th anniversary celebrations. In addition to the usual instruments of the Western symphony orchestra, Takemitsu included in his score two traditional Japanese instruments: the shakuhachi flute and the biwa, a kind of Japanese lute. Eight years after the Takemitsu premiere, an organization called Music from Japan was founded to help make other Japanese contemporary music feel “at home” in America. Music from Japan has presented some 400 works across the U.S. and premiered over 40 new works, many of them specially commissioned. On today’s date in the year 2000, to celebrate its 25th anniversary, Music from Japan presented a gala concert at Carnegie Hall, which included the premiere of a new orchestral work by the talented young Japanese composer Karen Tanaka, one of the rising stars of her generation. Among Tanaka’s recorded works is a piece entitled “Night Bird” for two decidedly Western instruments: saxophone and piano.

Art if...the oboe is the mistress! With conductor Nolan Dresden. Episode Summary: In this week’s gallery talk about art and journey! Yassi brings the work of performance artist Pope L. to the gallery to talk about how his journey is more important than the distance travelled and Haddy talks about the history of postcards, which takes her on a journey she didn’t expect!.Then we interview music conductor Nolan Dresden and talk about how music has the power to transport us to faraway places. This week’s provocation asks you to revisit your favorite music and see if it can take you somewhere new! Nolan’s Bio: After a successful two year battle with Leukemia and a Bone Marrow Transplant, I'm back and better than ever. #takethatcancer After attending university, I performed professionally for six years in musical theater and opera, and a few seasons as Music Director of a theater company outside of Chicago. At this point I had come to a fork in the road; do I pursue a conducting career or a performance career? Feeling that I had more to offer as a conductor and feeling more artistic fulfillment in that field, the choice was clear. In 2009, I started to make my way up the instrumental conducting ladder here in New York City. I have hit all the various marks, from standard orchestral works like Mendelssohn’s Symphony No. 4 to lesser known pieces like Two Cine Pastrali by Toru Takemitsu. I pride myself in programing outside of the box, in order to create an experience for the audience to venture through with the ensemble. Find Nolan online: http://www.nolandresden.com/ Provocation(#artifpodcast): Listen to something you’ve listened to a thousand times and find something new in it. Mentions: Pope. L Theodore Hook postcard Where Have all the Sheep Gone? Pandemic postcards -- Quarantine: Our Darkest Hour Carl Nielson Dmitri Shotsakovich Timber Lake Playhouse Dale Clevenger Gail Williams Parade (Musical) Toru Takemitso Aaron Copeland, Symphony 3 Bright Sheng Postcards Thomas Beecham --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Spalio 8 dieną iškiliausiam ir bene garsiausiam XX amžiaus Japonijos kompozitoriui Toru Takemitsu būtų suėję 90. Kompozitorius, augęs ir muzika susižavėjęs karo metais, buvo beveik visiškai savamokslis muzikantas, natas pažinęs per atsitiktinius žmones, nestudijavęs universitetuose, nesimokęs muzikos mokyklose. Nepaisant to, jo indėlis į Japonijos kultūrą – neišmatuojamas, o jo gebėjimas sujungti Vakarų akademinę ir Japonijos budistinę kultūras – neprilygtas. „Kitame laike“, rubrikoje „O tuo metu kitoje pasaulio pusėje“ – žvilgsnis į Toru Takemitsu kūrybą, gyvenimą, filosofiją.Ved. Domantas Razauskas

A Plain Jane, Merle Haggard, Higelin, Areski, James Carr, Loretta Lynn, The Collectors, Elis Regina, Toots Thielemans, Marcia Griffiths, Toru Takemitsu, Womb joint.

Dave Beck speaks with guest conductor Masaaki Suzuki. Together with his son, Masato Suzuki, Masaaki has created a performing version of Mozart’s very last composition, the famously unfinished Requiem Mass. The piece was written by Mozart on his deathbed and it was left to his students and others to complete the work. Masaaki Suzuki leads the SSO, Seattle Symphony Chorale and vocal soloists in Benaroya Hall this week in an edition of the Requiem that the Suzukis put together from fragments of the music Mozart left behind. All three of the works on the program this week explore topics of mourning and loss. There are also works by Toru Takemitsu and Karl Amadeus Hartmann on the program.

Attribution: Roberto Fabbriciani and Roberto Paci Dalò, in “Usmaradio” for the radio program “Voci” by Roberto Paci Dalò, recorded at Usmaradio, Summer 2019, cc by-sa al Una conversazione appassionante e rivelatrice con uno dei più grandi musicisti della scena internazionale. Roberto Fabbriciani ci trasporta dal mondo della musica a quello del suono sottolineando l'importanza della cultura elettronica anche per un mondo acustico e strumentale. Tanti racconti "backstage" nella sua collaborazione con Gigi Nono e Aldo Clementi disegnando percorsi e ricerche di cruciale importanza per il nostro presente. ° Roberto Fabbriciani è internazionalmente riconosciuto tra i migliori interpreti. Originale ed artista versatile, Roberto Fabbriciani ha innovato la tecnica flautistica moltiplicando con la ricerca personale le possibilità sonore dello strumento. Ha collaborato con alcuni tra i maggiori compositori del nostro tempo: Luciano Berio, Pierre Boulez, Sylvano Bussotti, John Cage, Elliot Carter, Niccolò Castiglioni, Aldo Clementi, Luigi Dallapiccola, Luis De Pablo, Franco Donatoni, Jindřich Feld, Brian Ferneyhough, Jean Françaix, Giorgio Gaslini, Harald Genzmer, Adriano Guarnieri, Toshio Hosokawa, Klaus Huber, Ernest Krenek, György Kurtág, György Ligeti, Luca Lombardi, Giacomo Manzoni, Bruno Maderna, Olivier Messiaen, Ennio Morricone, Luigi Nono, Goffredo Petrassi, Henri Pousseur, Wolfgang Rihm, Jean-Claude Risset, Nino Rota, Nicola Sani, Giacinto Scelsi, Dieter Schnebel, Salvatore Sciarrino, Mauricio Sotelo, Karlheinz Stockhausen, Toru Takemitsu, Isang Yun, molti dei quali gli hanno dedicato numerose ed importanti opere. Con Luigi Nono ha lavorato a lungo, presso lo studio sperimentale della SWF a Freiburg, aprendo e percorrendo vie nuove ed inusitate per la musica. Ha suonato come solista con i direttori Claudio Abbado, Roberto Abbado, Bruno Bartoletti, Luciano Berio, Ernest Bour, Bruno Campanella, Aldo Ceccato, Riccardo Chailly, Sergiu Comissiona, José Ramón Encinar, Peter Eötvös, Vladimir Fedoseyev, Gabriele Ferro, Daniele Gatti, Gianandrea Gavazzeni, Gianluigi Gelmetti, Michael Gielen, Cristóbal Halffter, Djansug Kachidse, Bernhard Klee, Vladimir Jurowsky, Peter Maag, Bruno Maderna, Diego Masson, Ingo Metzmacher, Riccardo Muti, Marcello Panni, Zoltán Peskó, Josep Pons, Giuseppe Sinopoli, Arturo Tamayo, Lothar Zagrosek, e con orchestre quali l’Orchestra della Scala di Milano, l’Orchestra dell’Accademia Nazionale di Santa Cecilia, le Orchestre della Rai, London Sinfonietta, LSO, RTL Luxembourg, BRTN Brussel, Orchestre Symphonique de la Monnaie, WDR di Colonia, SWF Baden-Baden, Deutsches Symphonie-Orchester Berlin, Bayerischer Rundfunks, Münchener Philharmoniker. Ha effettuato concerti presso prestigiosi teatri ed istituzioni musicali: Scala di Milano, Filarmonica di Berlino, Royal Festival Hall di Londra, Suntory Hall di Tokyo, Sala Cajkowskij di Mosca, Carnegie Hall di New York e Teatro Colon di Buenos Aires ed ha partecipato a festivals quali Biennale di Venezia, Maggio Musicale Fiorentino, Ravenna, Londra, Edimburgo, Parigi, Bruxelles, Granada, Luzern, Warsaw, Salisburgo, Wien, Lockenhaus, Donaueschingen, Köln, München, Berlin, St. Petersburg, Tokyo, Cervantino. Ha inciso numerosi dischi molti dei quali premiati dalla critica ed è stato docente di flauto presso il Conservatorio “L. Cherubini” di Firenze e dei corsi di alto perfezionamento presso l’Università Mozarteum di Salisburgo. E’ autore di opere musicali e testi didattici adottati nei percorsi della didattica musicale internazionale, editi da Ricordi e Suvini Zerboni. Tra le sue recenti composizioni: Glacier in Extinction; Alchemies; Cantus; Suoni per Gigi; Quando sorge il sole; Zeus joueur de flûtes; Figaro il Barbiere (liberamente da Rossini); Grande, grande amore; Alluvione; Conversazione su Tiresia (di Andrea Camilleri).

Les Tympans de Magellan, c'est un podcast mensuel qui fait voyager vos oreilles. Chaque mois, un nouveau pays mis à l'honneur à travers une liste de morceaux soigneusement choisis. Le pays du mois : Pour cet épisode quatorze virgule cinq, on passe les morceaux envoyés par les auditrices et auditeurs quand on leur a demandé des titres japonais. Et on accompagne ça de leur petit commentaire. Tracklist : 椎名林檎 (Sheena Ringo) - "真夜中は純潔 (Mayonaka wa Junketsu)" (choix de Zali) 川井憲次 (Kenji Kawai) - "Log In" (choix de Renan) 春ねむり (Haru Nemuri) - "春と修羅" (choix de Thomas) JAM Project - "The Hero!! ～怒れる拳に火をつけろ～" (choix de Cefou) Toshinori Kondo & DJ Krush - "浮遊 Fu-Yu" (choix de Flo) Shintaro Sakamoto - "あなたもロボットになれる (You Can Be a Robot, Too)" (choix de Thomas) Aoi Teshima & Yōko Kanno - "Because" (choix d'Aymeric) Asian Kung Fu Generation - "月光 (Gekkō)" (choix de Ryad) 水曜日のカンパネラ (Suiyoubi no Campanella) - "メロス (Melos)" (choix de Pierre) Catasexual Urge Motivation - "Mutilation, Rape and Serial Murder as Modern Metaphor" (choix d'Arno Vice) Ruins - "Graviyaunosch" (choix de Triton) Mariah - "心臓の扉 (Shinzō no tobira)" (choix de Machete) GO!GO!7188 - "無限大 (Mugendai)" (choix de Damien) 武満徹 (Toru Takemitsu) - "Sky, Horse and Death" (choix de Lok) Chakra - "あこがれ (Akogare)" (choix de Flyingwill) Fishmans - "幸せ者" (choix de Guillaume/Amory) Merci à toutes et tous pour votre participation ! • Générique de début : Depeche Mode - "World in My Eyes"• Générique de fin : Wyatt / Atzmon / Stephen - "What a Wonderful World" Retrouver le podcast : XSilence | Facebook | Twitter | iTunes | Podcloud

Toru TAKEMITSU et Takayuki RAI

Deux compositeurs de musique instrumentale: MAYUZUMI & Toru TAKEMITSU

In this episode, we hear from one of today’s most avid commissioners of new guitar works and current chair of the guitar department at San Francisco Conservatory, David Tanenbaum. The conversation dives deep into David’s experiences working with legendary composers of the last decade including Toru Takemitsu, Steve Reich, and Hans Werner Henze. One fascinating story David shares is how Henze asked him to construct many of the chords in his Guitar Concerto by initially providing him with 10 notes and saying, "I kind of like all these notes, you make the chords!" David also talks about the importance of actively commissioning new works for the classical guitar and ways to get modern composers excited about doing so. Intro Music: Brandenburg Concerto 6 (J.S. Bach) - LAGQ Electric Counterpoint (Steve Reich) - David Tanenbaum

Made in Japan : On explore le cinéma du Japon à travers ses sons, ses voix, ses ambiances et bien sur sa musique. Montages sonores puisant dans les films Pastoral Hide and Seek, Harakiri, Tetsuo the iron man, Himiko, August in the Water, Hausu.. et bien d'autres. Musiques de Toru Takemitsu, J.A. Seazer, Toshiaki Tsushima, Meiko Kaji.. et bien plus dans ce nouveau spécial "Made in" qui va ici de la musique traditionnelle au rock psychédélique, de l'ambiant électronique au classique contemporain. Extraits de films inclus.

Made in Japan : On explore le cinéma du Japon à travers ses sons, ses voix, ses ambiances et bien sur sa musique. Montages sonores puisant dans les films Pastoral Hide and Seek, Harakiri, Tetsuo the iron man, Himiko, August in the Water, Hausu.. et bien d'autres. Musiques de Toru Takemitsu, J.A. Seazer, Toshiaki Tsushima, Meiko Kaji.. et bien plus dans ce nouveau spécial "Made in" qui va ici de la musique traditionnelle au rock psychédélique, de l'ambiant électronique au classique contemporain. Extraits de films inclus.

Panelen hör Haydnsymfonier med badrumsakustik, golvas av Schumann-kvartettens krispiga spel, träder in i dimman med Debussy och spårar gemensamma drag i Georges Bizets operor. Veckans skivor: LAMENTATIONE Fyra symfonier av Franz Joseph Haydn Kammarorkester Basel Giovanni Antonini, dirigent Alpha ALPHA 678 Betyg: 4 SCHUMANN QUARTET LANDSCAPES Stråkkvartetter av Joseph Haydn, Toru Takemitsu, Béla Bartók och Arvo Pärt Schumannkvartetten: Erik, Ken och Marc Schumann, samt Liisa Randalu Berlin Classics 0300836BC Betyg: 5 DEBUSSY PRÉLUDES LIVRE II, LA MER Preludier och symfoniska skisser av Claude Debussy Alexander Melnikov, piano Olga Pashchenko, piano Harmonia Mundi HMM 902302 Betyg: 4 PÄRLFISKARNA Opera av Georges Bizet Sångare: Julie Fuchs, Cyrille Dubois, Florian Sempey, Luc Bertin-Hugault Orchestre National de Lille Alexandre Bloch, dirigent Pentatone PTC 5186685 Betyg: 3 Referensen: Vem kan slå Jussi Björling? Vi jämför Pärlfiskarduetten i den aktuella utgåvan av Georges Bizets opera med Jussi Björlings paradnummer ihop med Robert Merrill från 1951. Veckans val: Bruckners åtta Musikrevyns Johan Korssell djupdyker i Anton Bruckners åttonde symfoni, inspelad med Bayerska radions symfoniorkester under ledning av Mariss Jansons.

El 30 de julio de 1912 muere el emperador Mutsohito, padre de la dinastía Meiji. No solo es atribuible a este hombre una dinastía sino el cambio de mentalidad de toda una nación, la modernización, el fortalecimiento militar y la expansión del comercio. Todo esto permitió que los músicos ampliaran su horizontes y la música tomara el rumbo de occidente, sin perder las raíces de una tradición milenaria. Es la era de compositores nacidos en la nueva capital del imperio, Tokio, con su emisora radial la N.H.K., que como lo hacían las europeas contaba con orquesta sinfónica. Maestros de música y músicos estudiarán en Europa y los Estados Unidos. Esta no es la historia de Japón del siglo XX, es la historia de la nueva era que cambió la mentalidad, aportó a la música y permitió que compositores japoneses como Toru Takemitsu fueran reconocidos dentro del canon occidental.

Toru Takemitsu's "A Flock Descends into the Pentagonal Garden" grew of out several influences. One inspiration was the composer's dreams, including a vision of a flock of white birds led by a single black bird. Another was his love of traditional Japanese gardens. A spark was provided by the American avant-garde composer John Cage, whose concept of indeterminate music - in which passages are left to chance or improvisation by the performers - was tremendously appealing to Takemitsu. The image of a five-sided garden also informs the piece's structure: five brief sections are built on five-note themes based on the pentatonic scale. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33853]

Toru Takemitsu's "A Flock Descends into the Pentagonal Garden" grew of out several influences. One inspiration was the composer's dreams, including a vision of a flock of white birds led by a single black bird. Another was his love of traditional Japanese gardens. A spark was provided by the American avant-garde composer John Cage, whose concept of indeterminate music - in which passages are left to chance or improvisation by the performers - was tremendously appealing to Takemitsu. The image of a five-sided garden also informs the piece's structure: five brief sections are built on five-note themes based on the pentatonic scale. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33853]

Toru Takemitsu's "A Flock Descends into the Pentagonal Garden" grew of out several influences. One inspiration was the composer's dreams, including a vision of a flock of white birds led by a single black bird. Another was his love of traditional Japanese gardens. A spark was provided by the American avant-garde composer John Cage, whose concept of indeterminate music - in which passages are left to chance or improvisation by the performers - was tremendously appealing to Takemitsu. The image of a five-sided garden also informs the piece's structure: five brief sections are built on five-note themes based on the pentatonic scale. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33853]

Toru Takemitsu's "A Flock Descends into the Pentagonal Garden" grew of out several influences. One inspiration was the composer's dreams, including a vision of a flock of white birds led by a single black bird. Another was his love of traditional Japanese gardens. A spark was provided by the American avant-garde composer John Cage, whose concept of indeterminate music - in which passages are left to chance or improvisation by the performers - was tremendously appealing to Takemitsu. The image of a five-sided garden also informs the piece's structure: five brief sections are built on five-note themes based on the pentatonic scale. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33853]

Para nuestros muchos aficionados a los "violentos placeres con violentos finales", hemos seleccionado seis magistrales adaptaciones cinematográficas de la obra de William Shakespeare. Cine con mayúsculas para las letras más excelsas. Únete a nosotros en Telegram: t.me/marcianosenuntren Modera: Jose Ceballos Participa: Juan Miguel Jiménez Edición y Música: Jose Ceballos Temas de: John Dowland (interpretados por Sting & Edin Karamazov y Paul O´Dette), Toru Takemitsu, Stacey Kent, Trevor Jones, Patrick Doyle y Dmitri Shostakovich Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In "Facing Off Across Sunset Boulevard" La Jolla Symphony & Chorus celebrate mavericks and visionaries. The concert's title refers to the giants of 20th-century music whose work bookends the program, Arnold Schoenberg and Igor Stravinsky. The two men lived scant miles apart in Los Angeles after fleeing Nazism yet never interacted, separated less by distance than by sharp differences in compositional method, aesthetic direction, and personality. Whatever their differences, their work inspired the other three composers represented on the program - Olivier Messiaen, Hannah Lash, and Toru Takemitsu - to continue their exploration of sonority, classical form, and movement. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33164]

In "Facing Off Across Sunset Boulevard" La Jolla Symphony & Chorus celebrate mavericks and visionaries. The concert's title refers to the giants of 20th-century music whose work bookends the program, Arnold Schoenberg and Igor Stravinsky. The two men lived scant miles apart in Los Angeles after fleeing Nazism yet never interacted, separated less by distance than by sharp differences in compositional method, aesthetic direction, and personality. Whatever their differences, their work inspired the other three composers represented on the program - Olivier Messiaen, Hannah Lash, and Toru Takemitsu - to continue their exploration of sonority, classical form, and movement. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33164]

Das ist keine Musik, die man mal so nebenbei konsumieren kann und möchte. Dafür ist sie zu fordernd, zerrissen, diskontinuierlich. Das zugleich Faszinierende ist an der Musik, wie sie gespielt wird - sie macht einen hinhören. "Écoutez" heißt das Album ja auch. Die Pianistin verbindet darin Musik der Stille und der Geräuschhaftigkeit von John Cage und Toru Takemitsu mit Claude Debussy.

Episode 44: Interview with Roger REYNOLDS In the context of a discussion of his pieces Not Forgotten, and CALLING…still, Roger REYNOLDS talks about poet John Ashbery, composers Iannis Xenakis, Toru Takemitsu, Elliott Carter, Beethoven, quotation, and the o’o bird.

Donald Macleod explores the life and music of the Japanese composer Toru Takemitsu.

“to me the world is sound. Sound penetrates me, linking me to the world. I give sounds active meaning. By doing this I am assured of being in the sounds, becoming one with them. To me this is the greatest reality. It is not that I shape anything, but rather that I desire to merge with the world.” Toru Takemitsu, Confronting Silence, p.13

Programa doble sobre 2 grandes compositores del siglo XX Penderecki y Takemitsu.

Pirmoje laidos dalyje – laiko mašina Čiurlioniui, kurioje mesianiškas tarpdiscipliniškumas ir muzikos alkio paralelės, vedančios prie Toru Takemitsu. Laidai įpusėjus atversime LRT Radijo fondus. Skambės archyviniai dainininko Abdono Lietuvninko įrašai. LRT Klasikos studijoje apsilankys choro „Aidija” atlikėjai. Klausysimės įspūdžių ir dainų iš Gruzijos.

Pirmoje laidos dalyje – laiko mašina Čiurlioniui, kurioje mesianiškas tarpdiscipliniškumas ir muzikos alkio paralelės, vedančios prie Toru Takemitsu. Laidai įpusėjus atversime LRT Radijo fondus. Skambės archyviniai dainininko Abdono Lietuvninko įrašai. LRT Klasikos studijoje apsilankys choro „Aidija” atlikėjai. Klausysimės įspūdžių ir dainų iš Gruzijos.

Laida apie tai, kaip vieno kompozitoriaus kūryboje sutaria dviejų kultūrų garsynas.Žymaus XX amžiaus japonų kompozitoriaus Toru Takemitsu (1930-1996) kūryba atskleidžia tos tautos požiūrį į nuostabią pasaulio įvairovę. Laidoje skambančios kompozicijos atskleidžia virtuozinį autoriaus gebėjimą kurti vakarietišką muziką neišsižadant japoniško kolorito ir nepaverčiant to junginio kiču ar eklektika. Stipri tautinė prigimtis ne tik atlaiko svetimybių įtakas, bet suteikia joms naujų spalvų ir praturtina netikėtu santykiu į tai, ką vadiname tradicija. Tai dar vienas puikus įrodymas, koks didelis ir kartu mažas yra mūsų pasaulis.

Laida apie tai, kaip vieno kompozitoriaus kūryboje sutaria dviejų kultūrų garsynas.Žymaus XX amžiaus japonų kompozitoriaus Toru Takemitsu (1930-1996) kūryba atskleidžia tos tautos požiūrį į nuostabią pasaulio įvairovę. Laidoje skambančios kompozicijos atskleidžia virtuozinį autoriaus gebėjimą kurti vakarietišką muziką neišsižadant japoniško kolorito ir nepaverčiant to junginio kiču ar eklektika. Stipri tautinė prigimtis ne tik atlaiko svetimybių įtakas, bet suteikia joms naujų spalvų ir praturtina netikėtu santykiu į tai, ką vadiname tradicija. Tai dar vienas puikus įrodymas, koks didelis ir kartu mažas yra mūsų pasaulis.

This week, we bring you an interview with Indiana University double bass professor Kurt Muroki. Kurt is an outstanding performer, teacher, and artist, and we had a great conversation about teaching, learning, and performing. Enjoy! About Kurt Muroki: Former Artist Member with the Chamber Music Society of Lincoln Center, Professor Kurt Muroki began his musical studies on the violin at the age of six and subsequently performed concerti with the Honolulu Symphony and the Maui Symphony. Mr. Muroki went on to study the Double bass at the age of 13 and entered the Juilliard School of Music at 17 studying with his teacher / mentor Homer R. Mensch.   At the age of 21 Kurt began performing with the internationally renowned Sejong Soloists under ICM Management. Kurt has performed with the The Jupiter Chamber Players, Speculum Musicae, “Great Performers” series at Lincoln Center, Ensemble Sospeso, Sequitur, The Metropolitan Opera Orchestra, Brooklyn Philharmonic, American Composers Orchestra, Tokyo Opera Nomori, New York City Ballet, 92nd St. Y, and Bargemusic. Festivals include Marlboro Music Festival, Festival L’Autonne at IRCAM, and Aspen Music Festival to name a few. Kurt is also active playing movies, commercials, popular, and classical recordings with titles including the Oscar winning film “The Departed”, “Extremely Loud and Incredibly Close”, “Hitch”, “Julie and Julia”, “The Manchurian Candidate”, “Roger Daltrey Sings Pete Townshend” – The Who, Sting, Peter Gabriel, and Itzhak Perlman.   Mr. Muroki has won numerous competitions including 1st prize in the Aspen Music Festival double bass competition, the first bassist to win the New World Symphony concerto competition, and the Honolulu Symphony Young Artists competition. He has collaborated with members of the Guarneri, Juilliard, Tokyo, Orion quartets, Ensemble Wein-Berlin, Jaime Laredo, Lynn Harrell, Maurice Bourgue, Toru Takemitsu, Peter Schickele, John Zorn, and Brian Ferneyhough among others, and has performed concerto tours throughout Asia and the United States. Professor Muroki is currently tenured faculty at the Jacobs School of Music at Indiana University, Artist/Lecturer at Stony Brook University, Distinguished Artist at the McDuffie Center for Strings at Mercer University, faculty/Director of the Kaplan Fellowship program at the Bowdoin International Music Festival, teaches at New York String Orchestra Seminar, and has been a judge at the Yale Gordon Competition at Peabody Conservatory, ASTA, and others. Mr Muroki is a past Board Member of the International Society of Bassists and is a D’Addario Strings Artist.

På Pompeo Batonis 1700-talsmålning kan man se guden Apollon instruera de två musorna Euterpe och Urania, musikens och astronomins musor. Apollon, ljusets, konstens, musikens och visionernas gud, har blicken i fjärran, och den ena armen på sin harpa, den andra utsträckt snett uppåt, pekande ut i det okända. De två musorna ser avvaktande på den vackre guden. Euterpe har två flöjter beredda. Man ser att de väntar på instruktioner. Hur ska de bära sig åt? I landet som ännu bara är en vision?Bengt Gustafsson funderar över forskares och musikers olika sätt att utforska det okända.Musiken är obeveklig. Naturen är det också, liksom naturvetenskapen. Men också tillfälligheter eller till och med misstag kan leda till nya rön och upptäckter.I spellistan bl.a Steve Reich, Edda Magnason, Toru Takemitsu, Karin Rehnqvist, Bela Bartok och Björn Skifs

Laidos viešnia – solistė, Lietuvos muzikos ir teatro akademijos dėstytoja Aušra Liutkutė. Antroji laidos dalis skirta prieš 69 metus, rugpjūčio 6 dieną įvykusiai Hirosimos tragedijai atminti. Klausysime japonų kompozitoriaus Toru Takemitsu kūrinių, dedikuotų Hirosimai.

Writer and musician David Toop celebrates Toru Takemitsu's soundtrack for Masaki Kobayashi's 1964 chiller Kwaidan, based on Lefcadio Hearn's retelling of Japanese ghost stories; film scholar Peter Grilli describes how the composer worked closely with the director and recording technicians to create a soundworld that was integral to the drama of the film.

Programme de Shayna Dunkelman pour webSYNradio : Music curated and mixed by Shayna Dunkelman Nov 2011 in Brooklyn, NY avec Zeena Parkins, Guðmundur Steinn Gunnarsson, Kevin Shea Adams, Ferrante and Teicher, Toru Takemitsu, James Tenney, Maryclare Brzytwa, Matt Marks, Preshish Moments, The Norman Conquest, Peter B, Slow Children, Wiener Kids, Ches Smith And These Arches, People Like Us and Wobbly, Cornelius, John Zorn, Caleb Burhans, Theresa Wong, Ayako Kataoka, Ikue Mori, Prefuse 73