& un portrait de Ritwik Gatak
this post was originally published in 2014
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& un portrait de Ritwik Gatak
this post was originally published in 2014
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Un excellent film documentaire autour du paysage musical du compositeur
György Ligeti, à travers un voyage en train où il raconte son enfance,
la folie nazie et le soulèvement de Budapest qui ont précédé son exil, mais aussi bien sûr, sa musique. Ce film réalisé par Michel Follin (pour la Sept devenue plus tard Arte) a été récompensé en 1994 par le Grand Prix de la SACEM dans la catégorie du documentaire de création musicale. Il éclaire parfaitement l'itinéraire artistique de ce compositeur hors-pair à travers ce voyage ferroviaire pendant lequel Ligeti évoque son histoire.
The Hungarian composer György Ligeti's biography typifies the displaced cosmopolitan, truly at home only in the international community of music. Appropriately enough, this revealing film portrait of his life and music has a train journey as its central metaphor, with Ligeti gazing through the window onto the changing middle-European landscape. His music - innovative, complex, brilliantly eclectic - accompanies his reflections and memories.
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are you deaf?
"Mortuos plango : vivos voco" est une remarquable composition de 1980 pour sons concrets traités par ordinateur du compositeur anglais Jonathan Harvey. Commandée par l'IRCAM, cette pièce est composée à partir de sons de la grande cloche ténor de la cathédrale de Winchester et du chant du fils du compositeur. La cloche d'une grande puissance porte en inscription : "Horas avolantes mortuos plango: vivos ad preces voco".
"Je compte les heures qui s'enfuient, je pleure les morts: j'appelle les vivants à la prière"
"Fasciné par l’exploration du timbre à l’aide des outils numériques, Jonathan Harvey a utilisé deux matériaux concrets dans "Mortuos Plango, Vivos Voco" : le son d’une cloche et une voix d’enfant. Conçue pour support-fixe, cette œuvre de 1980 est devenue un grand classique de la musique informatique." Bruno Bossis
Plusieurs outils informatiques ont été utilisés pour cette composition: FFT (Fast Fourier Transform), Music V, Chant. Pour les amateurs, de très nombreux détails des différents processus mis en oeuvre, ainsi que des éléments audio constitutifs à découvrir sur le site Brahms-Ressources.IRCAM
Cloches synthétiques de la première section (d’après un document préparatoire du compositeur)
“I think John Palmer has created something unique with this project. As well as a comprehensive essay, usefully placing Harvey’s work in a range of musical, technological and social contexts, there is the most expert, precise and illuminating post facto graphic score I have yet seen of an acousmatic piece of music, derived from close and informed listening...” Martin Butler, Professor of Music, University of Sussex, UK.
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Tomas Fujiwara's Triple Double music is an original project with compositions for double trio. The orchestra is leaded by Tomas Fujiwara, drummer and composer located in Brooklyn (NYC) who uses to collaborate with esteemed singular artists as Mary Halvorson, Matana Roberts, Tomeka Reid, as well as John Zorn & Anthony Braxton.
Their new issue was recorded December 2019 at "Firehouse 12".
jazz, ballade, swing, noise,
Tomas Fujiwara Triple Double
Tomas Fujiwara - Drums & Vibraphone
Gerald Cleaver - Drums
Mary Halvorson - Guitar
Brandon Seabrook - Guitar
Ralph Alessi - Trumpet
Taylor Ho Bynum - Cornet
to listen and buy HERE
&
an amazing drummers' duo
II III II III II III II III II III II III II III
The work of the Berlin based composer Sophia Jani lives across influences of various artists of all times and nations: from Bach and Schubert to the European and American avant-garde of the 20th and 21st century, to avant-pop artists like Björk and Ryuichi Sakamoto, or electronic music producers such as Tim Hecker, Laurel Halo or Skee Mask. In this way, she creates music that spans a dramaturgical arc while suspending any sense of time - calm, powerful, elegant, dance-like.
Woodwind quintet N°1
"Traditionally, when writing for a woodwind quintet, each instrument is assigned a specific function within the group. I was interested in breaking with these conventions and distributing the same elements equally throughout the ensemble. My idea was to create a pulsating process that changes over time, almost unnoticeable for the listener, until the piece ends up in a completely different place as it started." S.J.
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a review of "Music as a mirror" , her debut album, HERE
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The Western Round
Table on Modern Art.
San Francisco, April 8,
9 and 10, 1949.
The object of the Round Table was to bring
a representation of the best informed opinion of the
time to bear on questions about art today (1949).
with George Boas (Moderator): philosopher; John Hopkins University; Trustee, Baltimore Museum of Art. Gregory Bateson: cultural anthropologist, lecturer, authority on Bali and New Guinea. Kenneth Burke: literary critic, philosopher, novelist. Marcel Duchamp: artist. Alfred Frankenstein: critic; music and art editor, San Francisco Chronicle. Robert Goldwater: critic and art historian; Associate Professor of Art, Queens College. Darius Milhaud: composer and conductor. Andrew C. Richie: art historian and critic. Mark Tobey: artist. Frank Lloyd Wright: architect & Arnold Schönberg: composer.
Three sessions were scheduled for the first two days; an unscheduled fourth session was added the third day at the request of some participants. The second session was open by invitation to the public and to members of the San Francisco Art Association; the three other sessions were closed.
recordings, images & transcript
Schönberg was unable to participate in the round table discussion, and instead recorded part of his contribution on his Webster Wire Recorder.
thanks to UBU web for these documents
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