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4 episodes with wayne mcgregor
3 episodes with wayne mcgregor
2 episodes with wayne mcgregor
2 episodes with wayne mcgregor
2 episodes with wayne mcgregor
2 episodes with wayne mcgregor
2 episodes with wayne mcgregor
2 episodes with wayne mcgregor
2 episodes with wayne mcgregor
Listen to an interview with the acclaimed Gary, Indiana composer and electronic music producer Jlin. Her music has been praised by Pitchfork, NPR, Vogue, Rolling Stone and The New York Times, and she's collaborated with artists including Björk and Philip Glass. Born Jerrilynn Patton in 1987, Jlin's bold, genre-defying work has reshaped the landscape of experimental electronic music. Her rhythmically dense and emotionally intense style emerged from footwork, a high-speed dance music rooted in the underground music culture of Chicago. But Jlin's sound evolved over time, becoming an unmistakably original voice that transcends categorization. Jlin rose to prominence with her 2015 debut Dark Energy. The album was immediately hailed as a landmark in contemporary electronic music. Both The Quietus and The Wire named it Album of the Year, and Pitchfork included Dark Energy in its Top 20 Albums of 2015. Her follow-up album, Black Origami further solidified her status as a leading avant-garde composer. The album received almost universal acclaim, with The New York Times, Rolling Stone, NPR, and The Guardian including Black Origami in their the Best Albums of 2017 lists. Jlin's latest, album Akoma has also garnered widespread critical acclaim. Beyond her solo releases, Jlin's influence has expanded into the worlds of dance, classical music, and performance art. She has composed for the renowned Kronos Quartet and her music has been used by choreographers including Wayne McGregor and Kyle Abraham. Despite her international recognition, Jlin has remained firmly rooted in her hometown Gary, Indiana.
El Criticón de la Cultureta Gran Reserva destaca esta semana tres pelis que ha visto no ha visto. ‘Los destellos', de Pilar Palomero, de la que aprecia su tempo lento y sus matizadas interpretaciones; ‘Soy Nevenka' de Icíar Bollaín, con la que conectó desde el principio porque le pareció rodada con naturalidad, claroscuros y crudeza; y ‘Rita', de Paz Vega, a la que le agradece una opera prima como cineasta tan delicada y frágil, pequeña en el buen sentido, personal.También trae a la actualidad ‘Woolf Works', un ballet extraordinario con música de Max Richter y coreo de Wayne McGregor para la Royal Opera House de Londres. De hace unos añitos, pero muy vigente en su corazón de crítico. Bailarines danzando alrededor de las melodías girando a su vez en torno a las obras de Virgina Woolf. Delicatessen. Además, este hombre lleno de criterio se acuerda del aniversario de la faena inolvidable que le realizó Julito Aparicio al toro Cañego de Alcurrucén, obra culmen del desmayo, el quejío y el arte roto encarnado en un humano atravesado por una sensibilidad que ni él mismo comprende y apenas puede expresar o intentar vehicular sin desbaratarse. Fue el 18 de mayo de 1994. Buscan en Internet ‘Julio Aparicio Desmayo' y se lo ven en YouTube. De nada.
El Criticón de la Cultureta Gran Reserva destaca esta semana tres pelis que ha visto no ha visto. ‘Los destellos', de Pilar Palomero, de la que aprecia su tempo lento y sus matizadas interpretaciones; ‘Soy Nevenka' de Icíar Bollaín, con la que conectó desde el principio porque le pareció rodada con naturalidad, claroscuros y crudeza; y ‘Rita', de Paz Vega, a la que le agradece una opera prima como cineasta tan delicada y frágil, pequeña en el buen sentido, personal.También trae a la actualidad ‘Woolf Works', un ballet extraordinario con música de Max Richter y coreo de Wayne McGregor para la Royal Opera House de Londres. De hace unos añitos, pero muy vigente en su corazón de crítico. Bailarines danzando alrededor de las melodías girando a su vez en torno a las obras de Virgina Woolf. Delicatessen. Además, este hombre lleno de criterio se acuerda del aniversario de la faena inolvidable que le realizó Julito Aparicio al toro Cañego de Alcurrucén, obra culmen del desmayo, el quejío y el arte roto encarnado en un humano atravesado por una sensibilidad que ni él mismo comprende y apenas puede expresar o intentar vehicular sin desbaratarse. Fue el 18 de mayo de 1994. Buscan en Internet ‘Julio Aparicio Desmayo' y se lo ven en YouTube. De nada.
Choreographer Sir Wayne McGregor is one of the most acclaimed, innovative and influential figures in contemporary dance. His works are often the result of creative collaborations with artists, musicians, filmmakers, or with scientists to explore technological issues. In 2006 he was appointed as Resident Choreographer at the Royal Ballet. He has created more than 20 new works at Covent Garden in that time, including Chroma, set to music by Joby Talbot and The White Stripes, and Woolf Works, a full-length ballet based on the life and writings of Virginia Woolf. More recently, McGregor brought the post-apocalyptic vision of Margaret Atwood to the stage in his ballet MaddAddam, based on the writer's acclaimed trilogy of novels. He has worked as a movement director on films including Harry Potter Goblet Of Fire and Mary Queen Of Scots, collaborated with bands including Radiohead and Chemical Brothers, and choreographed the virtual concert, ABBA Voyage. In October 2025, Somerset House in London will mount a landmark exhibition dedicated to McGregor's trailblazing collaborations that have radically defined how we think about performance, movement, and the body. Having won numerous awards, including two Oliviers, Sir Wayne McGregor was knighted in 2024.Wayne McGregor talks to John Wilson about his childhood in Stockport, where he took dance classes and was inspired by John Travolta's moves in Saturday Night Fever. He recalls the house and techno music of the late 80s when he was a student, and how the freedom of expression he felt on nightclub dance-floors informed his style of choreography. Whilst living in New York after leaving university, Wayne came across an open-air performance by the legendary American choreographer Merce Cunningham, whose company was dancing to live music conducted by the avant-garde composer John Cage. It was a chance encounter that had a profound impact on McGregor. He also discusses how science and technology has been a major thematic influence on much of his work in recent years, and how AI has been used to create new works through analysis of physical movement and artistic expression.Producer Edwina Pitman
Hüster, Wiebke www.deutschlandfunk.de, Kultur heute
We're joined by Kirven, the multi-talented Artistic Director behind Saint Louis Dance Theatre, formerly Big Muddy Dance Company. began his formal dance training at the Boston Arts Academy in 1999 and as a member of Boston Youth Moves under the artistic direction of Jeannette Neil and Jim Viera. He began his professional career as a member of Ailey II from 2002–2004 and performed at Jacob's Pillow Dance Festival as a member of Battleworks Dance Company in 2003. In June 2004, Mr. Douthit-Boyd joined the Alvin Ailey American Dance Theater performing both nationally and internationally for 11 years. During his tenure with the company, he performed leading roles in works choreographed by Alvin Ailey, Judith Jamison, Robert Battle, Ron K. Brown, Geoffrey Holder, Jiri Kylian, David Parsons, Camille A. Brown, Ulysses Dove, Christopher Wheeldon, Hofesh Shecter, Twyla Tharp, Wayne McGregor and Ohad Naharin. He joined COCA-Center of Creative Arts in 2015 as Co-Artistic Director of Dance with his husband Antonio Douthit-Boyd. In 2016, Mr. Douthit-Boyd joined Ron K. Brown/Evidence, A Dance Company as a guest artist.Saint Louis Dance Theatre, formerly The Big Muddy Dance Company, is a dynamic arts organization dedicated to providing world-class contemporary dance performances and exhilarating theatre experiences in our great city. Their 24-25 (RE)Imagine Season is sure to astound, with an exceptional repertoire created by celebrated artists from around the globe, and intentional efforts to pull audiences closer to our movement. Every moment behind the curtain is sure to captivate, every step is sure to inspire, and they will take every bow in celebration of the manifestation of their dreams. Come lose yourselves in this art! Support the show
Tom Sutcliffe is joined by Natalie Jamieson and Matt Cain to review:Cher, The Memoir, Part one - the pop icon and Oscar winning actor tells the story of her childhood and early success.The film version of Wicked is the long awaited film adaptation which is also the first of two parts, starring Ariana Grande and Cynthia Erivo and telling the story of the Witches of Oz. Maddaddam: renowned choreographer Wayne McGregor has brought Margaret Atwood's trilogy of sci fi novels to the stage with a ballet, new to London's Royal Opera House.And a look at how a new play, The Fight, about boxer Cuthbert Taylor has ignited primary school children in Wales to start a campaign. We talk to the play's author, Geinor Styles. Presenter: Tom Sutcliffe Producer: Corinna Jones
Sir Wayne McGregor is a multi-award winning British choreographer and director, internationally renowned for his innovative performance works that have radically redefined dance in the modern era. For Fall for Dance North's 10th anniversary season he brings his renowned work Autobiography to Toronto. Autobiography is dance in the ballet lineage merged with McGregor's genetic code and AI. The 23 sections of movement representing 23 chromosomes of the human genome are fed into an algorithm based on McGregor's DNA data, which randomly selects sections to create a new version of the work each time it's performed. We sat down with Sir Wayne to discuss the inspirations behind Autobiography, how his dancers adapt to the way the piece evolves as it tours and where he thinks the potential of bringing advanced technology and dance together is headed. Autobiography, versions 98 and 99, are performed by Company Wayne McGregor on October 1st and 2nd at The Creative School Chrysalis.Learn more at ffdnorth.com and get tickets. -The 10th anniversary season of Fall for Dance North festival runs September 26th to October 6th 2024, with both free and ticketed in-person events presented in multiple venues through downtown Toronto. Autobiography, versions 98 and 99, are performed by Company Wayne McGregor on October 1st and 2nd at The Creative School Chrysalis.This episode of Mambo was produced and designed by Amber Downie Back, with help from Milana Glumicic. Mambo's original theme music and soundscape was created by Johnny Spence.
Thomas Adès is one of the UK's foremost and most successful composers. His first opera, Powder Her Face, was premiered in 1995, when he was just 24. With its racy subject matter, based on the life of the Duchess of Argyll, it put him squarely on the musical map, winning widespread critical acclaim. His catalogue now includes almost 90 works, with commissions from the world's leading orchestras and festivals, two further operas, The Tempest and The Exterminating Angel, and an epic ballet score for Wayne McGregor, Dante, based on the Divine Comedy.To anticipate the UK premiere of his new work, Aquifer, at the 2024 BBC Proms, Thomas Adès talks to Michael Berkeley about his musical inspirations and passions, including works by Schubert, Chopin, Walton, Stravinsky, Berg and Harrison Birtwistle.Producer Graham Rogers
Globally renowned choreographer, fascinated by the potential of the human body, Wayne McGregor is resident choreographer of The Royal Ballet. He is in demand as a choreographer for theatre, opera, film and music videos - famously choreographing the concert ABBA Voyage for the Swedish pop band. Sir Wayne has recently received a knighthood for outstanding services to the field of dance. He says everybody can, and should dance.
Oggi a Cult Estate; il film "Non riattaccare" di Manferdi Lucibello alla Loggia dei Mercanti di Milano; Stefania Prandi al microfono di Chiara Ronzani per il libro "Le madri lontane" (People); il direttore artistico Wayne McGregor sulla Biennale Danza 2024; Liv Ferracchiati debutta al Festival dei Due Mondi di Spoleto con "La morte a Venezia" da Thomas Mann; speciali murales d'arte a Graniti, in Sicilia...
This week Jeremy and Reid are discussing Urban Bush Women, Wayne McGregor and beans. Other topics include the degradation of the government, Cat hair and mushroom pate. Little Island Eyewitness ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ➩ WEBSITE ◦ YOUTUBE ◦ INSTAGRAM ➩ SUPPORT ◦ ✨VIA VENMO!✨ ◦ PATREON ◦ THE MERCH ➩ REID ◦ JEREMY ◦ JACK ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠ ➩ withdanceandstuff@gmail.com
Hoy, nos sumergimos en el mundo del ballet de la mano de Carlos López, Director de Repertorio del prestigioso American Ballet Theater. Con una trayectoria que comenzó en España y lo llevó a los escenarios más destacados del mundo, Carlos comparte su experiencia como bailarín principal y su transición a un rol fundamental detrás de las cortinas. Descubriremos cómo su pasión por la danza y su dedicación al arte han moldeado su carrera y contribuido al legado del ballet clásico. Pero, sobre todo nos habla de lo orgulloso que está de presentar las obras contemporáneas que desafían y deleitan, “Woolf Works” de Wayne McGregor y el emotivo regreso de “Like Water for Chocolate”. Acompáñenos mientras Carlos nos relata los desafíos que enfrentó y como los superó. Además, exploraremos su visión innovadora en cuanto al ballet y mucho más! Los invito a este Momento Poderoso! ¡Bienvenidos! . . . Invitado: Carlos López The America Ballet Theater IG / TW / FB: @PowerLamas @PLamas7 Clubhouse: @PaulaLamas & @PaulaLamas1
Electronic Music artist Jlin talks about her processes for creating a new work, being ready to tour straight from the studio and staying grounded and focused when your work starts to gain recognition.Chapters00:00 - Introduction01:27 - The Journey So Far03:09 - Using FL Studio03:50 - Live Performance With Ableton09:23 - Developing A Sound World10:51 - Focusing On The Detail12:12 - CPU: Clean, Precise And Unpredictable 14:55 - Favourite Plug-ins16:02 - Preparing For A New Project18:36 - Being Disciplined 21:33 - Staying Humble And Working Hard 23:55 - Preparing For A Tour26:13 - Stereo Vs Immersive29:14 - Going With The FlowJlin BiogJlin (Jerrilynn Patton) has quickly become one of the most distinctive composers in America and one of the most influential women in electronic music. Jlin's thrilling, emotional and multidimensional compositions have earned her praise as “one of the most forward-thinking contemporary composers in any genre” (Pitchfork). She is a recipient of a 2023 US Artist award and a 2023 Pulitzer Prize nomination.Her mini-album Perspective was released to critical acclaim on Planet Mu 2023. Her much-lauded albums Dark Energy (2015) and Black Origami (2017) have appeared on “Best of” lists in The NY Times, The Wire, LA Times, Rolling Stone, The Guardian and Vogue. Jlin has been commissioned by the Kronos Quartet, Third Coast Percussion, the Pathos Quartet, choreographers Wayne McGregor and Kyle Abraham, fashion designer Rick Owens and the visual artists Nick Cave and Kevin Beasley.Her next release, Akoma (Planet Mu March 2024) features collaborations with Philip Glass, Bjork and Kronos Quartet.https://www.jlintheinnovator.com/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/
Host Jim DeRogatis and Greg Kot interview producer and composer JLIN, a former steelworker from Gary, Indiana who features Björk, Phillip Glass and Kronos Quartet on her new album. The hosts also review "Cowboy Carter" by Beyoncé.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Jlin, "The Precision of Infinity (ft. Philip Glass)," Akoma, Planet Mu, 2024The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Beyoncé, "TEXAS HOLD 'EM," COWBOY CARTER, Parkwood, Columbia, 2024Beyoncé, "AMERIICAN REQUIEM ," COWBOY CARTER, Parkwood, Columbia, 2024Beyoncé, "JOLENE," COWBOY CARTER, Parkwood, Columbia, 2024Beyoncé, "BLACKBIIRD," COWBOY CARTER, Parkwood, Columbia, 2024Beyoncé, "YA YA," COWBOY CARTER, Parkwood, Columbia, 2024Beyoncé, "DAUGHTER," COWBOY CARTER, Parkwood, Columbia, 2024Beyoncé, "AMEN," COWBOY CARTER, Parkwood, Columbia, 2024JLIN, "Paradigm," Perspectives, Planet Mu, 2023RP Boo, "Baby Come On," Classics Vol. 1, Planet Mu, 2015JLIN, "Battle Trak," Footwork Frenzy EP, Planet Mu, 2013JLIN, "Erotic Heat," Bangs & Works Vol.2 (The Best Of Chicago Footwork), Planet Mu, 2011JLIN, "Nyakinyua Rise," Dark Lotus, Planet Mu, 2017JLIN, "Black Origami," Black Origami, Planet Mu, 2017JLIN, "Carbon 12," Autobiography (Music from Wayne McGregor's Autobiography), Planet Mu, 2018JLIN, "Borealis (ft. Bjork)," Akoma, Planet Mu, 2024JLIN, "Sodalite (ft. Kronos Quartet)," Akoma, Planet Mu, 2024JLIN, "Open Canvas," Akoma, Planet Mu, 2024Sade, "By Your Side," Lovers Rock, Epic, 2000Earth Wind and Fire, "Serpentine Fire," All 'n All, Columbia, 1977The Black Keys, "This Is Nowhere," Ohio Players, Easy Eye Sound, 2024See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Life changing moments with Why Dance Matters!We've made over 50 episodes of Why Dance Matters, and the conversations often hinge on life-changing moments. This special episode gathers some compelling chats about change. Some are personal choices which prove momentous: the unlikely decision to pursue ballet, or to host a ballet class in your front room. Others include being part of a major cultural event, like a movie the whole world is watching, or a period of historic change, happening before your eyes. From Carlos Acosta to Barbie, here are moments that changed our guests' lives: past, present, even future. And don't forget to explore our previous episodes, for more life-changing conversation with the people for whom dance matters.Carlos Acosta is artistic director of Birmingham Royal Ballet. Dame Monica Mason is a Vice-President of the Royal Academy of Dance and former director of the Royal Ballet. Victoria Treviño is an RAD dance teacher based in Mexico. Jennifer White is a stage and film choreographer. Wayne McGregor is a choreographer and director of Company Wayne McGregor.Find out more about the work of the RADRead a transcript of this episodeFollow the RAD on social media and join the conversation with host David Jays:Instagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list to keep in touch!RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.
What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O'Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola's Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry's “Into Me You See” from her album Witness and appears on Leonard Cohen's 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."And I think when all of a sudden music and art started to come out of AI, it was a wake up call to what is our purpose. Like, what are we? What are we bringing to humanity, to the human story? And I think it's interesting because a lot of artists now are concerned about it. What is the value of our consciousness? Consciousness has been something that I've been reading about. It's a vastly understudied part of science, and it's going to become very, very relative very quickly. And I think that it's getting to the core of creativity. What is creativity and ultimately where do we want to go? How are we going to connect with each other?"It started as a dance piece with choreographer dancer Fukiko Takase. And we had met when I was doing a dance piece with Wayne McGregor with another project that I do called the Winged Victory for the Sullen. We did a piece called Atomos, and Fukiko was one of Wayne's principal dancers. And I just loved how she was able to express in movement. It was a very profound experience to realize how connected music is to dance, this sense of communication without words, and how it gets elevated when you bring dance and movement into music."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O'Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
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Wayne McGregor, one of the world's leading choreographers, is an ideas man who makes abstract thought into thrillingly visceral dance. His collaborations are prodigious – from his own contemporary dancers to the world's great ballet companies, and in film, fashion and more. He discusses his latest premiere for the Royal Ballet, his programme for the Venice Biennale and his game changing collaboration with ABBA. So many things matter to him – but why dance in particular?Wayne McGregor CBE is a multi award-winning British choreographer and director, internationally renowned for trailblazing innovations in performance that have radically redefined dance. Driven by an insatiable curiosity about movement and its creative potentials, his experiments have involved collaborative dialogue with an array of artistic forms, scientific disciplines and technological interventions, producing works that have placed him at the cutting edge of contemporary arts for over 25 years. His work has earned a multitude of awards, and in 2021 he received a Lifetime Achievement Award at the Prix de Lausanne.Find out more about Wayne McGregor on his website. Or on his social media:Instagram @studiowaynemcgregorTwitter @WayneMcGregorFind out more about the work of the RADFollow the RAD on social media and join the conversation with host David Jays:Instagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list to keep in touch!RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.
Wayne McGregor is a choreographer and director whose future-focused, multi-award-winning works take inspiration from technology, literature and visual art. As resident choreographer for the Royal Ballet since 2006, he has created a catalogue of daring and beautiful dance pieces, pushing the artform in radical new directions. Reporter Eliza Lomas goes backstage at the Royal Opera House, following Wayne as he creates a brand new work. Called ‘untitled: 2023', the piece developed in collaboration with someone he greatly admires - the late Cuban-American artist Carmen Herrera.
Front Row plays tribute to Oscar winning actor Glenda Jackson, who has died aged 87. Theatre critic Sarah Crompton remembers the power of her stage performances, and Aisling Walsh discusses directing her in her TV drama Elizabeth is Missing. Choreographer Wayne McGregor talks about his new ballet, Untitled 2023, which was inspired by the works of Cuban-American artist Carmen Herrera. And Tom Sutcliffe is joined by critics Erica Wagner and Isabel Stevens to review some of the week's cultural highlights, including the new series of dystopian TV drama Black Mirror and the new novel from Lorrie Moore, I Am Homeless If This Is Not My Home. Presenter: Tom Sutcliffe Producer: Sarah Johnson
As the CBSO prepares for a summer of tours to Aldeburgh, Japan, and the BBC Proms, the orchestra's new Chief Conductor Kazuki Yamada speaks to presenter Tom Service about the joy of music and the goosebumps he experiences while conducting. Tom travels to the South Downs to speak to Australian director Barrie Kosky about a new production, opening this weekend at Glyndebourne, of Poulenc's Dialogues des Carmélites. He's joined by sopranos Golda Schultz and Sally Matthews, as well as conductor Robin Ticciati, to talk about the story of sixteen nuns who meet their death at the hands of the French Revolution. Amid rehearsals at the Royal Opera House, Music Matters hears about the World Premiere of a new ballet, Untitled 2023 – a collaboration between the Royal Ballet's resident choreographer Wayne McGregor and composer Anna Thorvaldsdottir. They discuss the somatic relationship between body, dance and music, and why listening to Thorvaldsdottir's compositions is not a passive experience. And one hundred years after its premiere at the Aeolian Hall in June 1923, Tom speaks to the writer and broadcaster William Sitwell about his great-aunt Edith Sitwell's creative relationship with the composer William Walton – a collaboration which resulted in the entertainment, Façade. He's also joined by writer and researcher Lucy Walker. Together they discuss the work's nonsensical parody of popular music, jazz, and poetry and knotty issues it presents to contemporary audiences.
This week: Thom Yorke and Stanley Donwood on their collaborative art, Wayne McGregor on his new choreographic work—a collaboration with the late Carmen Herrera—and Whistler's Mother returns to Philadelphia.Ahead of an exhibition of their work in London in September, we talk to Radiohead's Thom Yorke and Stanley Donwood—who has created the artwork with Yorke for every Radiohead album since 1994, as well the visuals accompanying Thom's solo records and side projects including the recent records by The Smile—about their collaboration. A new work for the UK's Royal Ballet by the choreographer Wayne McGregor premieres at the Royal Opera House in London on 9 June. Untitled, 2023 is a collaboration with the Cuban-American artist Carmen Herrera, developed before Herrera's death last year at the age of 106. We talk to McGregor about the piece and the intersection between visual art and choreography. And this episode's Work of the Week is one of the most famous pictures in the world: Arrangement in Grey and Black, better known as Whistler's Mother, by James Abbott McNeill Whistler. It's part of an exhibition called The Artist's Mother: Whistler and Philadelphia, curated by Jenny Thompson, and we speak to Jenny about the work and the show.Thom Yorke and Stanley Donwood: The Crow Flies will be at Tin Man Art, Cromwell Place, London in September – exact dates to be confirmed, visit tinmanart.com.Untitled, 2023, is at the Royal Opera House in London until 17 June, as part of the triple bill with Corybantic Games, a tribute to Leonard Bernstein by the Royal Ballet's artistic associate Christopher Wheeldon, and a revival of Anastasia Act III by Kenneth MacMillan.The Artist's Mother: Whistler and Philadelphia, Philadelphia Museum of Art, 10 June-29 October. Hosted on Acast. See acast.com/privacy for more information.
Kirven Douthit-Boyd (Boston, MA) began his formal dance training at the Boston Arts Academy in 1999 and as a member of Boston Youth Moves under the artistic direction of Jeannette Neil and Jim Viera. Mr. Douthit-Boyd studied as a fellowship student at The Ailey School and on scholarship at the Boston Conservatory. He is a graduate of Hollins University where he earned an MFA in dance. ——— He began his professional career as a member of Ailey II from 2002–2004 and performed at Jacob's Pillow Dance Festival as a member of Battleworks Dance Company in 2003. In June 2004, Mr. Douthit-Boyd joined the Alvin Ailey American Dance Theater performing both nationally and internationally for 11 years. During his tenure with the company, he performed leading roles in works choreographed by Alvin Ailey, Judith Jamison, Robert Battle, Ron K. Brown, Geoffrey Holder, Jiri Kylian, David Parsons, Camille A. Brown, Ulysses Dove, Christopher Wheeldon, Hofesh Shecter, Twyla Tharp, Wayne McGregor and Ohad Naharin. He joined COCA-Center of Creative Arts in 2015 as Co-Artistic Director of Dance with his husband Antonio Douthit-Boyd. In 2016, Mr. Douthit-Boyd joined Ron K. Brown/Evidence, A Dance Company as a guest artist. ——— In 2010, Douthit-Boyd performed at the White House tribute to Judith Jamison hosted by then first lady Michelle Obama. He has also appeared as a guest artist in ballet and contemporary dance galas in Argentina, Mexico and Canada. He is the 2014 recipient of the “Black Theater Alliance Award” for his performance in Wayne McGregor's “Chroma,” the 2015 recipient of the “Next Generation in Leadership Award” from the Freedom House in Boston, the 2016 recipient of the Boston Arts Academy's “Apollo Award” the 2021 recipient of the “Excellence in the Arts Award” from the Arts and Education Council in St. Louis, and the 2022 recipient of the Dance Teacher Magazine Award. ——— Douthit-Boyd has choreographed workshops for The Ailey School, The Juilliard School, Webster University, Boston Arts Academy, Boston Youth Moves and COCA. He has also choreographed works for Dallas Black Dance Theater and Ailey II. He is an ABT® Certified Teacher, who has successfully completed the ABT® Teacher Training Intensive in Pre-Primary through Level 5 of the ABT® National Training Curriculum and has completed Lester Horton Pedagogy studies under Ana Marie Forsythe in New York and St. Louis. He has also served as Distinguished Performing Artist at Washington University in St. Louis, where he taught modern dance in the collaborative MFA program between the University and COCA. ———
"For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."And literature is indeed a big part of what I'm about, in a way. I love stories. Both music, literature, and visual art. These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about it. You know, when you are reading a piece of writing by someone or you are seeing a piece of visual art, you are seeing a window into that person's encounter with reality. That person's biography, what things mean to them. and then you can compare notes, you can compare notes with that person. How is it that person sees these things? And how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world.Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next.And how is her work going? And how is my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"And literature is indeed a big part of what I'm about, in a way. I love stories. Both music, literature, and visual art. These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about it. You know, when you are reading a piece of writing by someone or you are seeing a piece of visual art, you are seeing a window into that person's encounter with reality. That person's biography, what things mean to them. and then you can compare notes, you can compare notes with that person. How is it that person sees these things? And how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world.Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next.And how is her work going? And how is my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"I only do cinema and film and TV projects which really matter to me, where I think that it's important, there's something being said here which I want to support. So mostly I will start with just making some sketches from the script.Of course, it's a journey, and it's a fundamentally collaborative journey. So, once the images start to happen, then there's a whole dialogue process with the rest of the creative team about how music can best inhabit, support, and serve the rest of the material. And it's really a series of experiments. It's to do with keeping a very open mind, trying things, and seeing what happens. It's an exciting kind of collaborative laboratory experiment, I think, working on film and television, and I enjoy it, the sort of puzzle solving, the questioning. It's good fun."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."I only do cinema and film and TV projects which really matter to me, where I think that it's important, there's something being said here which I want to support. So mostly I will start with just making some sketches from the script.Of course, it's a journey, and it's a fundamentally collaborative journey. So, once the images start to happen, then there's a whole dialogue process with the rest of the creative team about how music can best inhabit, support, and serve the rest of the material. And it's really a series of experiments. It's to do with keeping a very open mind, trying things, and seeing what happens. It's an exciting kind of collaborative laboratory experiment, I think, working on film and television, and I enjoy it, the sort of puzzle solving, the questioning. It's good fun."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."So Studio Richter Mahr is a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly. And in a way, it's a laboratory. We're excited by other minds, other people with their own ideas, their own thoughts coming in. So it's a space where we can exchange ideas.Well, Yulia is really important in everything I do because we have collaborated explicitly on some projects, for example, on Voices, that's very much the outcome of a million conversations we had. And she's made some beautiful visual material for that project. Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next. And how's her work going and how's my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking.A piece like Voices, this comes out of conversations Yulia and I were having in 2017, 2018 in a sort of Trump era, I guess, where you just think, hang on, this isn't right. What's going on here? Okay, so in the way that somebody who isn't an artist, they would just say that to their friends. They would have a conversation, "I don't like what's happening here. This is all wrong." Well, as artists, we also want to have those conversations. We also want to convey our thoughts and feelings about the world we're living in. And it was very simple, in a way, an intuitive response to the things we saw happening around us in our daily lives. Artists are of course just ordinary people, too. And it so happens that instead of having a conversation or having a coffee with a friend, making a piece of music about it - it's the same impulse."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"So Studio Richter Mahr is a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly. And in a way, it's a laboratory. We're excited by other minds, other people with their own ideas, their own thoughts coming in. So it's a space where we can exchange ideas.Well, Yulia is really important in everything I do because we have collaborated explicitly on some projects, for example, on Voices, that's very much the outcome of a million conversations we had. And she's made some beautiful visual material for that project. Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next. And how's her work going and how's my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking.A piece like Voices, this comes out of conversations Yulia and I were having in 2017, 2018 in a sort of Trump era, I guess, where you just think, hang on, this isn't right. What's going on here? Okay, so in the way that somebody who isn't an artist, they would just say that to their friends. They would have a conversation, "I don't like what's happening here. This is all wrong." Well, as artists, we also want to have those conversations. We also want to convey our thoughts and feelings about the world we're living in. And it was very simple, in a way, an intuitive response to the things we saw happening around us in our daily lives. Artists are of course just ordinary people, too. And it so happens that instead of having a conversation or having a coffee with a friend, making a piece of music about it - it's the same impulse."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."You know, so much of it is about trying to get to a situation where you can sort of uncover the work. It is sort of out there, and it's about having enough patience, peace of mind, concentration, and opportunity to kind of let it come into the foreground somehow. I think Picasso says that: "I hope that when inspiration strikes, it finds me sitting in the chair." You know, so you do have to be in the chair in order for that process to happen. Or in some way in the chair, maybe not literally, but you need to be ready.Creative work in some way feels like a dialogue with something else. But you know, whether that's something else that is kind of out there, or whether that's something else that is actually just a part of our mind which is normally inaccessible to us, it sort of doesn't matter, in a way. It's sort of not important. But I do think that feeling of there being a dialogue or some sort of inquiry into something else, that's fundamental to creativity.So again, it's something which is about tabula rasa, something which is about fundamentals, things which are universal, kind of the origin of being, in a way. So all of these sorts of gestures, all of these kinds of ideas in Sleep, they all point to the idea of sleep as being, in some ways, a negotiation. A conversation between a kind of existence and non-existence, you know? "Our little life is rounded with a sleep." You know, this idea of being a kind of fundamental state. So all of the musical language, all the musical objects suggest that sort of feeling. And I think we all need that. We all need to connect to these fundamentals, to the big things which are sort of pre-civilization, the things which are before all the noise, the things which are shared, very simple human experiences.I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of a different world.”www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"You know, so much of it is about trying to get to a situation where you can sort of uncover the work. It is sort of out there, and it's about having enough patience, peace of mind, concentration, and opportunity to kind of let it come into the foreground somehow. I think Picasso says that: "I hope that when inspiration strikes, it finds me sitting in the chair." You know, so you do have to be in the chair in order for that process to happen. Or in some way in the chair, maybe not literally, but you need to be ready.Creative work in some way feels like a dialogue with something else. But you know, whether that's something else that is kind of out there, or whether that's something else that is actually just a part of our mind which is normally inaccessible to us, it sort of doesn't matter, in a way. It's sort of not important. But I do think that feeling of there being a dialogue or some sort of inquiry into something else, that's fundamental to creativity.So again, it's something which is about tabula rasa, something which is about fundamentals, things which are universal, kind of the origin of being, in a way. So all of these sorts of gestures, all of these kinds of ideas in Sleep, they all point to the idea of sleep as being, in some ways, a negotiation. A conversation between a kind of existence and non-existence, you know? "Our little life is rounded with a sleep." You know, this idea of being a kind of fundamental state. So all of the musical language, all the musical objects suggest that sort of feeling. And I think we all need that. We all need to connect to these fundamentals, to the big things which are sort of pre-civilization, the things which are before all the noise, the things which are shared, very simple human experiences.I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of a different world.”Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
The Creative Process in 10 minutes or less · Arts, Culture & Society
"For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"The idea of Studio Richter Mahr connecting with the local school, it's not like everyone has to be a musician, but even if you're not a musician, having the experience of being around music is a positive. It is a gain, it's a thing which just seems to illuminate the rest of life in some way. Again, it goes back to the sort of puzzle of how music works and what it is we were talking about at the beginning. There's something about being around music or being involved with it in whatever way that just seems to lift everything else up. And I think, if we can offer that to local kids, then we should do it. The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."The idea of Studio Richter Mahr connecting with the local school, it's not like everyone has to be a musician, but even if you're not a musician, having the experience of being around music is a positive. It is a gain, it's a thing which just seems to illuminate the rest of life in some way. Again, it goes back to the sort of puzzle of how music works and what it is we were talking about at the beginning. There's something about being around music or being involved with it in whatever way that just seems to lift everything else up. And I think, if we can offer that to local kids, then we should do it. The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Special Guest: Jacqueline Green Miller In this episode, “Dance Talk” ® with Joanne Carey, you'll listen in as Jacqueline Green Miller takes us through the journey of her dance career, recalling to mind her own mentors and teachers as well as the schools where she studied that laid a strong foundation for her career and who shaped her as an artist. She aspires to offer this same love and inspiration as she now guides the future generation of dancers as co-director with her husband of TDA Prep (The Dance Artist Prep) a cutting edge performing arts school based in Chicago. Listen in, as we can't help but geek out! about all things dance! And Jackie, as she is referred to by her friends, indulges me with a discussion about performing the iconic piece, "Revelations" , a legendary ballet created by Alvin Ailey for the Alvin Ailey Dance Theater in 1960, that is still transforming audiences all over the world. Find her on Instagram @jagreen711 or @TDAPrep You can also listen to Jackie's previous IGLIVE interview with Joanne Carey @westfieldschoolofdance Jacqueline Green began her dance training at the age of 13 at the Baltimore School for the Arts. From there she trained at the Ailey School, Pennsylvania Regional Ballet, the Chautauqua Institution for Dance, and Jacob's Pillow Dance Festival. In 2011, she joined the Alvin Ailey American Dance Theater, where she performed as a principal dancer. In her career, she has performed works by a range of choreographers, including Alvin Ailey, Wayne McGregor, Judith Jamison, Ronald K. Brown, Aszure Barton, and Kyle Abraham. In 2016 she performed as a guest artist with The Royal Ballet in London. Ms. Green is a 2018 Bessie nominee, a 2014 Dance Fellowship recipient of the Princess Grace Foundation-USA, a 2015 Clive Barnes Award nominee, a 2009 recipient of the Martha Hill Fund's Young Professional Award, and a 2010 recipient of the Dizzy Feet Foundation Scholarship. She has modeled for Nine West, Dior, Temple St. Clair, and Ralph Lauren. In 2018 she performed on BET's Black Girls Rock honoring Judith Jamison. She is also seen dancing in the 2020 film Really Love. Ms. Green is a two time New York Times featured dance artist. Along with her husband Preston Miller, she is currently co-director of TDA Prep (The Dance Artist Prep), an in person and virtual pre-professional dance school dedicated to providing training for both dancers and dance parents navigating dance educational institutions, dance colleges, and the professional dance industry. “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real. " Tune in. Follow. Like us. And SHARE!
George Balanchine is one of the most revered and influential choreographers of the twentieth century. In this first major biography about his life Jennifer Homans offers an intimate portrait of the man who co-founded the New York City Ballet and brought the art form so spectacularly into the modern age. She explores his life and legacy, revealing a complicated genius who was inspired to choreograph dances from subjects as diverse as Spinoza's philosophy to Orthodox icons, disrupting the norms of ballet and pushing the dancers into creative worlds of abstraction. Wayne McGregor is a contemporary titan of the dance world. He has just returned from Toronto where his ballet based on Margaret Atwood's post-apocalyptic book, MADDADDAM, had its world premiere in a joint production for The Royal Ballet and the National Ballet of Canada. Wayne McGregor's own dance company is celebrating its thirtieth anniversary and since its inception has been the experimental and creative forum for Wayne's innovative choreographic style. Ballet Black was founded by Cassa Pancho just over twenty years ago in response to the lack of racial diversity in ballet and offers dancers of Black and Asian descent a platform to showcase their talents. The company has gone from strength to strength, continually overturning stereotypes and transforming the landscape of classical dance. In March 2023 the company will perform ‘Pioneers' at the Barbican, comprising new and original work by award-winning choreographers Will Tuckett and Mthuthuzeli November. Producer: Natalia Fernandez Music credits: Wayne McGregor's MADDADDAM, Act 1 (except), original score by Max Richter. A co-production between the National Ballet of Canada and The Royal Ballet, inspired by the trilogy by Margaret Atwood. ‘Then or Now'. (ballet choreographed by Will Tuckett. The poetry of Adrienne Rich with music by Heinrich Ignaz Franz von Biber, arranged by Daniel Pioro. The poetry reading is by Michael Shaeffer.) Simon Rattle / Berlin Philharmonic Orchestra - Stravinsky: Apollon Musagete (Second Tableau, variation of Calliope
48 years after the British jury gave them nul points at the Eurovision song contest, ABBA the avatars begin a long term arena residency in London. Samira talks to the director Baillie Walsh and the choreographer Wayne McGregor about creating the show. Terence Davies, director of some of the finest films ever made in the UK, such as Distant Voices, Still Lives and The Long Day Closes, talks to Samira Ahmed about his new film Benediction. It's based on the life of Siegfried Sassoon, one of the great poets of the Great War. As well as writing about its horrors and having fought with great courage, he declared his refusal to take any further part in it because he saw that the people in power, who could bring the suffering to an end, were prolonging the slaughter. The film chronicles his troubled life as a gay man after the war. It is two years tomorrow since George Floyd was murdered in Minneapolis. To mark this sad anniversary, we asked the poet Zaffar Kunial, whose first collection Us was shortlisted for the T.S. Eliot prize, to reflect on this and see if he could write a poem. He did, and reads Watershed, for the first time.
My guest today is Dana Stephensen, Senior Artist with the Australian Ballet Company and a mother of 3 children, including twin girls,At the age of three Dana began her dance training with Davidia Lind in jazz, tap, ballet and singing in her hometown of Brisbane. She later trained with Mary Heath and Sandra Ashley before studying with the Queensland Dance School of Excellence in 2001, obtaining her Royal Academy of Dance Solo Seal.Dana joined The Australian Ballet School in 2002. In her graduating year she was seconded to The Australian Ballet to perform in various seasons before joining the company full-time in 2005. She has since enjoyed international tours to Los Angeles, New York, UK, Auckland, Shanghai, Tokyo, and Paris.At the end of 2008, Dana was awarded the Khitercs Hirai Scholarship, which enabled her to gain invaluable experience training with numerous ballet companies in Europe. Dana was promoted to coryphée (a leading dancer in a corps) in 2010 and went on to win the Telstra Ballet Dancer Award later that year. She was promoted to soloist in 2014 and to senior artist in 2018.In 2020 Dana took what she thought was to be her final dance with the company, at that stage 11 weeks pregnant with her twin girls with fiancé Lachy Gillespie AKA the Purple Wiggle.Today Dana shares her story of her experience with post natal depression and anxiety, and how she used her ballet as therapy to aid in her recovery.I also indulge my own curiosity of the ballet world so we talk a lot about ballet!**This episode contains discussion around post natal depression and anxiety**Read more about Dana and follow her on instagramDana would love you to visit :www.cope.com.auwww.panda.com.auwww.gigetfoundation.org.au..Upcoming Australian ballet ShowsRead and listen to the part of Swan Lake I was trying to describeRead the Sydney Morning Herald articleRead about Wayne McGregor and Dyad 1929Connect with the podcastMusic used in this episode is in the public domain and therefore not subject to copyright, and is taken from the ballets Swan Lake, Peter and the Wolf, The Nutcracker and Giselle.Photo by Jeff Busby of Dana performing in the ballet The Sleeping Beauty
CultureBlast, the podcast series hosted by Farah Nayeri, brings you a titan of international dance: choreographer Wayne McGregor! Hosted on Acast. See acast.com/privacy for more information.
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