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Now for a Lampshade Solo: How the Radiophonic Workshop Built the Future of Sound
https://www.theguardian.com/tv-and-radio/2018/jul/18/lampshade-solo-radiophonic-workshop-built- future-of-sound-festivals Now for a lampshade solo: how the Radiophonic Workshop built the future of sound Pascal Wyse Wed 18 Jul 2018 They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning. On a mission … a recording session in 1962. Photograph: BBC Photo Library In 1957, just before the broadcast of a radio show called Private Dreams and Public Nightmares, a warning was sent to BBC engineers. “Don’t attempt to alter anything that sounds strange,” it said. “It’s meant to sound that way.” The BBC was also worried about the public. Donald McWhinnie, the programme’s maker, made an explanatory statement, ending with the cheerful signoff: “One thought does occur – would it not be more illuminating to play the whole thing backwards?” Radiophonic sound was now in the public domain. A year later, to the bewilderment of many, the BBC dedicated a whole workshop to this avant-garde stuff, even giving it a home in an old ice rink: Maida Vale Studios. Years later, the Queen, shaking hands with the Workshop’s creator, Desmond Briscoe, would confirm its universal success with the words: “Ah yes, Doctor Who.” But what is radiophonic sound – and why did it need a workshop? Radiophonics owes everything to the invention of the tape recorder. Once you could capture sound, using a workable material, you could play with it: slow it down until it thundered, feed it back on itself until it shrieked and echoed, or simply slice bits out. -
A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia. -
GEOFFREY TOZER in CONCERT Osaka 1994
GEOFFREY TOZER IN CONCERT Osaka 1994 Mozart Concerto K 467 • Liszt Raussian Folk Song + Rigoletto + Nighingale Geoffrey Tozer in Concert | Osaka 1994 Osaka Symphony Orchestra Wolfgang Amedeus Mozart (1756-1791) Concerto for Piano and Orchestra no. 21 in C, K 467 1 Allegro 13’34” 2 Romance 6’40” 3 Rondo. Allegro assai 7’14” Franz Liszt (1811-1886) 4 Russian Folk Song 2’55” 5 Rigoletto 6’44” 6 Nightingale 4’04” Go to move.com.au for program notes for this CD, and more information about Geoffrey Tozer There are more concert recordings by Geoffrey Tozer … for details see: move.com.au P 2014 Move Records eoffrey Tozer was an artist of Churchill Fellowship (twice, Australia), MBS radio archives in Melbourne and the first rank, a consummate the Australian Creative Artists Fellowship Sydney, the BBC archives in London and musician, a concert pianist (twice, Australia), the Rubinstein Medal in archives in Israel, China, Hungary, and recitalist with few peers, (twice, Israel), the Alex de Vries Prize Germany, Finland, Italy, Russia, Mexico, Gpossessing perfect pitch, a boundless (Belgium), the Royal Overseas League New Zealand, Japan and the United musical memory, the ability to improvise, (United Kingdom), the Diapason d’Or States, form an important part of Tozer’s to transpose instantly into any key or (France), the Liszt Centenary Medallion musical legacy; a gift of national and to create on the piano a richly textured (Hungary) and a Grammy Nomination international importance in music. reduction of an orchestral score at sight. for Best Classical Performance (USA), Throughout his career Tozer resisted He was a superb accompanist and a becoming the only Australian pianist to the frequent calls that he permanently generous collaborator in chamber music. -
Wl He1 M Kill Mayer (19271
Wl he1 m Kill mayer (19271 Seite 1 25'39 Jugendzeit Poeme symphonique (1977) O 1978 B. Schott's Sohne. Mainz Verschiittete Zeichen Essay symphonique (1977/78) 0 1979 B. Schott's Sohne, Mainz Seite 2 20'25 ~berstehenund Hoffen 9'54 Poeme symphonique (1977178) 0 1978 B. Schott's Sohne, Mainz Im Freien 10'18 Pobme symphonique (1980) 0 1981 B. Schott's Sohne, Mainz Symphonieorchester des Bayerischen Rund- funks, Miinchen Dirigent: Hiroshi Wakasugi Mitschnitt eines offentlichen Konzertes am 20. Marz 1981 in Miinchen, Herkulessaal Schallplatten-Aufnahme mit freundlicher Genehmigung des Bayerischen Rundfunks Technische Bearbeitung: Ulrich Kraus Cover Design: Giinther Stiller, Taunusstein Foto: Peter A ndersen 0 + @ 1982 Wergo Schallplatten GmbH, Mainz,W. Germany Printed in Germany The music of Wilhelm Killmayer needs no de- claration of facts, nor a declaration of love. Like almost no other music it 'emanates from itself, is autonomic and autistic. He who thinks this music is strange, is on the right track. The word 'strange' is meant in the sense used by Schumann (Fremder Mann - Stranger . .) in Schubert's inflection (Fremd bin ich eingezogen. - As a stranger did I come. .) and in the shudder of Valentin (Hemd rhymes with fremd - shirt with strange, in German). He who stays on the ridge knows about the fall. Let us consider this: The Time of Youth - even if different in every case - sounds the way it does here: image follows image, one evoking the other, experience gets through, so does doubt; because the time of youth is always later, when it is already in the past. -
Booklet WERGO WER64342.Pdf
WER64342_Barden_Cover.qxp_Druck 25.02.21 13:07 Seite 1 WER 6434 2 WERGO mark barden anatomy WERGO · a division of SCHOTT MUSIC & MEDI ▲ GmbH WER64342_Inhalt_Druck 26.02.2021 11:35 Seite 1 mark barden WER64342_Inhalt_Druck 26.02.2021 11:35 Seite 2 Hearing through and through moves on towards an ending and a coda. Here, in the last third of the piece, ves- by Paul Griffiths tiges of how it was survive among soft noises. Entering aMass (2015), we encounter again the realm of quiet, of air sounds, of We may be tempted sometimes to think that music comes to us out of the air, veiled intimacy. A string trio begins, to be joined soon by another trio, of percussion, without physical origin, immaterial. Audio recordings help that illusion. But since piano and electric guitar, and then by yet another, of players each of whom makes the time recordings began, through that long era from Debussy to Lachenmann, sounds on and with a metal music stand. Besides the size and variety of the en- composers have been making the production of sound an issue. And there are semble (the variety offset by Barden’s skill in bringing the very different trios close some, Mark Barden certainly among them, who are now taking the further step in sonority), two features take this piece far away from the piccolo duo. One is the of drawing our attention not only to the making of sound but to the hearing of use of amplification, the other the slow speed, which engages us in the sounds it. -
Weimarer Frühjahrstage Für Zeitgenössische Musik 2010
Programmbuch via nova – zeitgenössische Musik in Th üringen e.V. Gesellschaft für Neue Musik Th üringen in Zusammenarbeit mit dem Deutschen Komponistenverband Landesverband Th üringen Weimarer Frühjahrstage für zeitgenössische Musik 2010 26. April bis 2. Mai 1 Übersicht Grußworte S. 3 Kompositionswettbewerbe S. 9 Junge Werkstatt S. 19 MONTAG, 26.4.2010 S. 20 Dieter Schnebel zum 80. Geburtstag Ensemble en plythos MITTWOCH, 28.4.2010 S. 23 Cimbalom triff t Neue Musik Ensemble Kozmosz DONNERSTAG, 29.4.2010 S. 24 Preisträgerkonzert (Orchester und Violine) Loh-Orchester Sondershausen Jazz im Kesselsaal Enfants terribles. Avantgardistische Lyrik des 20. Jahrhunderts FREITAG, 30.4.2010 S. 27 Meisterkurs - Carin Levine (Flöte) Vortrag - Die GEMA (Dr. Jürgen Brandhorst) Konzert - Ensemble Neue Musik der HfM Franz Liszt Weimar SONNABEND, 1.5.2010 S. 28 Response! Schüler machen Neue Musik Lange Nacht der Neuen Töne: Egidius Streiff / Carin Levine Landesjugendensemble Neue Musik SONNTAG, 2. Mai 2010 S. 32 Preisträgerkonzert (Kammermusik) Ensemble Marges Interpreten S. 34 Komponisten S. 47 Informationen zum Veranstalter S. 85 Danksagung S. 89 Impressum 2 S. 91 Grusswort Christoph Matschie „Ohne Musik wäre das Leben ein Irrtum.“ Sicher hat Friedrich Nietzsche diese Feststel- lung nicht nur auf die Auseinandersetzung mit dem Bekannten bezogen. Die zeitgenössische Musik war ihm genauso wichtig – wie sein Interesse an der Musik Richard Wagners beweist. Auch heute wäre es ein Irrtum, musikalische Erlebnisse nur aus der Vergangen- heit schöpfen zu wollen. So wichtig und bedeutend die Musik früherer Jahrhun- derte ist, so sehr sie bis heute die Herzen vieler Menschen zu erreichen vermag, sie ersetzt die Aktualität heutiger Klangschöpfungen nicht. -
Jonny Greenwood
JONNY GREENWOOD Jonny Greenwood (b. 1971) is best known as the lead guitarist of the band Radiohead whom he joined while still at school. He started to study psychology and music at Oxford Brookes University, but only finished his first term before leaving to sign a six-album deal with EMI, and start his recording career with Radiohead. Radiohead have realised phenomenal success over the past decade, with multi-platinum album sales and an ever growing worldwide following. Greenwood is no stranger to classical music, though. Indeed, his early musical interests included Messiaen and Ligeti and he started out as a viola player. He plays several other instruments too, including piano, organ, banjo, glockenspiel and harmonica, and he has a particular love for the ondes martenot. To date Greenwood has penned three “classical” works. These compositions have been licensed to Faber Music: smear (two ondes martenots and ensemble), Popcorn Superhet Receiver (string orchestra) and Doghouse (string trio and orchestra). smear, commissioned by the FuseLeeds festival, was premiered there in March 2004 by the London Sinfonietta. In March 2005 Greenwood was Featured Composer at the South Bank Centre’s cutting- edge Ether Festival, where the revised version of smear was performed by the London Sinfonietta in the Royal Festival Hall, one of its’ two sell-out concerts there. smear was later released on CD on the London Sinfonietta Label as part of their Jerwood Series. In 2004, Greenwood was made Composer in Residence with the BBC Concert Orchestra. The first fruit of this association was Popcorn Superhet Receiver, a BBC commission, premiered by the BBC Concert Orchestra and Robert Ziegler in April 2005. -
Festival of Contemporary Dutch Music: Calarts New Century Players
Music Wednesdays that has contributed to the programming content of concerts presented by CalArts at their new theatre REDCAT at the Disney Hall complex. He currently curates a series called Classics at CalArts, a chamber music series presented annually at the Valencia campus. Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen, 1996; Manchester, 1998) and has also been part of festivals in Hong Kong (ICMC, 1998), Vienna (Wien Modern, 1997), Aspen (1991) and Chicago (New Music Chicago, 1990, 1991). He has had extended composer residencies in Germany (Künstlerhof Schreyahn, Dortmund University), Switzerland (Forumclaque/Baden), Israel (Miskenot Sha'ananmim), Greece (EarTalk) and in the U.S. (Birch Creek Music Festival/ Wisconsin). Concert-length portraits of his music have been given in Munich, Jerusalem, Los Angeles, Vienna, Merano (Italy), Brussels, New York, Curitiba (Brazil), Amsterdam, London, Tokyo, Berlin, Chicago, Düsseldorf, Zürich, Cologne, Aarau (Switzerland), and elsewhere. He is a Foundation for Contemporary Arts, 2005 and 2006 Grant Recipient. Most of his music of the last several years is published by Timescaper Music (Germany). Several CDs of his work have been released by Edition Wandelweiser Records, Compost and Height, Sound323, Nine Winds and others, including most recently transparent city, volumes 1–4, an unrhymed chord and harmony series (11–16). -
Cutting Red Tape – Is Dealing with HR Easier Now? Page 10
P H otograp 08·12·09 Week 49 explore.gateway.bbc.co.uk/ariel H: step H en THE BBC NEWSPAPER GIBSON Staff with hidden talents among traders a at Pacific Quay Christmas Market Quay to a crafty Xmas page 4 ◆ Victoria Derbyshire ◆ Uploading the ‘next ◆ Cutting red tape – broadcasts live from big thing’ with BBC is dealing with HR Zimbabwe Page 3 Introducing Pages 8-9 easier now? Page 10 > NEWS 2-4 WEEK AT WORK 7 OPINION 10 MAIL 11 JOBS 14 GREEN ROOM 16 < 162 News aa 00·00·08 08·12·09 CITIZEN JOURNALISM POSES CHALLENGE The etiquette a Sharper skills needed to sort of social media a & a Room 2316, White City 201 Wood Lane, London W12 7TS fact from fiction, says Boaden 020 8008 4228 by Sally Hillier Editor NICK Candida Watson 02-84222 u THE RAPID RISE of user generated content Reynolds Deputy editor and social media sites promises new possi- Cathy Loughran 02-27360 bilities but has also ‘opened a can of worms’, SOCIAL MEDIA; WE LOVE IT. I’m making a very Chief writer Helen Boaden, director of news, has warned. good living out of social media myself. Sally Hillier 02-26877 At a White City seminar on Monday, she But if you want to be ‘social’ it’s about more Features editor pointed to the ‘huge benefits’ of citizen jour- than just starting a Twitter account. For to be Clare Bolt 02-27445 nalism – during the February snowstorms, social is to be human. As Stephen Fry wisely Broadcast Journalist for example, the BBC received 65,000 pic- said recently, Twitter (and he could have eas- Claire Barrett 02-27368 tures – while making clear that there were ily said all social media) is ‘human shaped not Art editor also significant downsides to this particular business shaped’. -
BBC Radio International Pop Docs Catalogue Contents
BBC Radio International Pop Docs Catalogue BBC Radio International brings you innovative music documentaries covering rock, pop, jazz, country, classical and much more. With access to both new and established artists and performers we provide your listeners with a special insight into their favourite artists' lives. Here you will find profiles of new bands, exclusive in-depth interviews with the biggest stars, unique material from the largest music archive in the world, plus original unreleased music and exclusive concert recordings as we celebrate music as a living and developing art form. You can easily search the BBC music documentaries by genre. Take a look through the options available and select from hundreds of hours of content spanning from present day back through the last twenty years. Most programmes are one hour in duration and you can pick and choose any titles that suit your listeners, including selecting individual episodes from a series. The catalogue is updated on a quarterly basis so look out for new and exciting programmes and feel free to get in touch with the team to find out more. All rights are cleared by the BBC and all relevant royalties and payaways will be originated by the BBC. The licensee only reports music to a relevant local collection society. Have a question or want to know more about a specific genre or programme? Contact: Larissa Abid, Ana Bastos or Laura Lawrence for more details. Contents Classic Pop and Rock ...............................................................................................................................................2 -
Jeremy Podgursky * 1802 E. Maxwell Ln * Bloomington, in 47401 [email protected] *
Jeremy Podgursky * 1802 E. Maxwell Ln * Bloomington, IN 47401 [email protected] * www.jeremypodgursky.com EDUCATION * D.M. in Music Composition, expected May 2013, Jacobs School of Music, Indiana University * M.M. in Music Composition, May 2007 at the University of Louisville (4.0 GPA) * B.M. with High Honors in Music Composition, June 2001 at the University of Louisville (3.8 GPA) PRINCIPAL TEACHERS * Claude Baker, Don Freund, Steve Rouse, Marc Satterwhite, John Gibson, Alicyn Warren, Brenda Kee (piano) EXTENDED PRIVATE STUDY * John Adams, Simon Bainbridge, Ivan Tcherepnin, Tan Dun, Karel Husa, Michael Colgrass, Sebastian Currier, Paul Chihara, Louis Karchin, Philippe Hersant MASTERCLASSES * Toru Takemitsu, Pierre Boulez, George Tsontakis, Simon Bainbridge, Claude Baker, Ivan Tcherepnin, Michael Colgrass, György Kurtag, Sebastian Currier, Steven Stucky, Peter Leiberson, Brett Dean, Stephen Andrew Taylor, Paul Chihara AWARDS/HONORS * 2011 Honorable Mention, MakeMusic/Finale/ACF/eighth blackbird National Composition Competition * Participant in Inaugural (2010) Mizzou New Music Festival at University of Missouri with performance by Alarm Will Sound at the Missouri Theater * 2009 Winner, 8th annual Cal State University Northridge Prize for Orchestra (Northridge, CA performance 02/10) for our bliss, it comes in waves * Participant in American Composers Orchestra/EARSHOT readings with the Colorado Symphony Orchestra, Boettcher Concert Hall, Denver, CO, 07/09, Delta David Gier - Conductor * 2009-2013 Jacobs School of Music Doctoral -
21St Century Consort Composer Performance List
21st Century Consort Composer List 1975 - 2019 Archive of performance recordings Hans Abrahamsen Winternacht (1976-78) 1986-12-06 (15:27) flute, clarinet, trumpet, French horn, piano, violin, cello, conductor John Adams Hallelujah Junction 2016-02-06 (17:25) piano, piano Road Movies 2012-05-05 (15:59) violin, piano Shaker Loops (1978) 2000-04-15 (26:34) violin, violin, violin, viola, cello, cello, contrabass, conductor Bruce Adolphe Machaut is My Beginning (1989) 1996-03-16 (5:01) violin, cello, flute, clarinet, piano Miguel Del Agui Clocks 2011-11-05 (20:46) violin, piano, viola, violin, cello Stephen Albert Treestone (1984) 1991-11-02 (38:15) soprano, tenor, violin, violin, viola, cello, bass, trumpet, clarinet, French horn, flute, percussion, piano, conductor Distant Hills Coming Nigh (1989-90) 1991-05-11 (31:28) tenor, soprano, violin, cello, bassoon, clarinet, viola, piano, French horn, double bass, flute, conductor Tribute (1988) 2002-01-26 (9:55) violin, piano Into Eclipse [New Version for Cello Solo Prepared by Jonathan Leshnoff] (2002) 2002-01-26 (31:53) violin, violin, viola, cello, cello, contrabass, flute, clarinet, trumpet, percussion, percussion, piano, conductor To Wake the Dead (1978) 1993-02-13 (27:24) soprano, violin, conductor Treestone (1978) 1984-03-17 (30:22) soprano, tenor, flute, clarinet, trumpet, horn, harp, violin, violin, viola, cello, bass, piano, percussion, conductor To Wake the Dead (1978) (Six Sentimental Songs and an Interlude After Finnegans Wake) 2013-02-23 (28:24) violin, clarinet, piano, flute, conductor,