#Edgar Varèse

[blogdorogerinho]

Críticas – Maestro (2023), Tár (2022), Whiplash: Em Busca da Perfeição (2014), O Som do Coração (2007)

Maestros Leonard Bernstein (1918 – 1990) foi o primeiro maestro nascido nos Estados Unidos a liderar uma grande orquestra sinfônica americana, dominada anteriormente apenas por alemães. O poliglota, filho de imigrantes judeus ucranianos, foi o diretor musical da Filarmônica de Nova York e regeu as principais orquestras ao redor do mundo, a partir de 1943 com apenas 25 anos. Além disso, Bernstein…

[westar]

This is craziness.

[elmartillosinmetre]

Mi crítica del concierto del Ensemble de Percusión de la OSC esta noche en el Maestranza.

[confield]

PSA

If you're into any of the following bands/artists: Autechre, Ryoji Ikeda, Pan Sonic, alva noto, Bernard Parmegiani, Alice Coltrane, Pharoah Sanders, TODAY IS THE DAY, Peter Rehberg, Merzbow, Oval, Yasunao Tone, Pierre Schaeffer, Pierre Henry, Hecker, Unwound, Albert Ayler, Sun Ra, John Cage, Muslimgauze, Jan Jelinek, Anthony Braxton, Farmers Manual, Daphne Oram, Mira Calix, Einstürzende Neubauten, Eric Dolphy, Karleinz Stockhausen, Maryanne Amacher, Edgar Varèse, Iannis Xenakis, Laurel Halo, Fennesz, General Magic, Gescom, Ramleh, Prurient, Vladimir Ussachevsky, Pauline Oliveros, William Basinski, Luc Ferrari, Matthew Shipp, City of Caterpillar, Kouhei Matsunaga, Sensational, Mike Ink, Coil, Nobukazu Takemura, Halim El-Dabh, Martin Tetrault, Tod Dockstader, Matana Roberts, Chicago Underground Quartet, Microstoria, Vladislav Delay, Sonny Sharrock, Beatrice Dillon, SND, Mark Fell, Mika Vainio, Robin Rimbaud, Darkthrone, Christoph de Babalon, Toshimaru Nakamura, Steve Roden, Lithops, Nisennenmondai, Tackhead, Aaron Dilloway, Henry Flynt, Foehn, Yamantaka Eye, Portraits of Past, Pg99, Maxwell Sterling, Slint, Big Black, Russell Haswell, Sébastien Roux, Loraine James, Surgeon, Terrence Dixon, Underground Resistance, Dopplereffekt, Plastikman, Wolfgang Voigt, Robert Hood, Cecil Taylor, Matmos, Kangding Ray, Hijokaidan, Babyfather, Team Doyobi, Paul Lansky, Art Ensemble of Chicago, Soul Oddity, Kid606, Hugh Le Caine, Actress, Klein, Sven-Åke Johansson, Porter Ricks, Luciano Berio, The Third Eye Foundation, Grischa Lichtenberger, Replikants, Genocide Organ, Joji Yuasa, The Jesus Lizard, African Head Charge, Drive Like Jehu, Peter Brotzmann, Sonic Youth, Jawbox, Chino Amobi, Luke Vibert, James Ferraro, Florian Hecker, Tim Hecker, Eyehategod, Gorgoroth, Basic Channel, Maurizio, Steve Reich, Mouse on Mars, Burial, The Future Sound of London, Dean Blunt, Susumu Yokota, Skream, Benga, Farben, Polvo, Keiji Haino, The Black Dog, LFO, The Bug, SOPHIE, Global Communication, B12, Jlin, Stereolab, Pole, Kraftwerk, Yellow Magic Orchestra, Juan Atkins, Wormrot, Oli XL, Napalm Death, Orchid, Bitch Magnet, Codeine, Microstoria, Moss Icon, Frank Bretschneider, Joey Beltram, Jeromes Dream, A Guy Called Gerald or DJ Manny

I am looking for a sugar baby to spoil with a $5000 weekly allowance. DM me if you are interested.

[savage-kult-of-gorthaur]

"...SOMEONE WHO IS INSTANTLY RECOGNISABLE AND SO INCREDIBLY FAMOUS, HE DOESN'T NEED EYES!"

PIC(S) INFO: Spotlight on an eyeless portrait of American musician/ composer/ bandleader, Frank Zappa (1940-1993), photographed by Virginia Turbett in New York City on April 16, 1981.

UNDERGROUND ENGLAND: "Without fear or favour is there one band image that you would like to talk us through?"

VIRGINIA TURBETT: "A difficult question. This isn’t necessarily my favourite, but I like my photograph of Frank Zappa for a number of reasons. I’d taken myself to New York for a few days with nowhere to stay and nothing lined up to do so I called Jane Freidman, publicist, but more importantly she is ‘Sweet Jane’ of Velvet’s fame. She said, “I’ve got a press conference with Frank in the morning, why don’t you come along.”  Frank Zappa was promoting an Edgar Varèse retrospective conducted by Joel Thome.

During the press conference I decided to take photos that featured only his nose, moustache, and most of his heavily badged leather jacket. One of my things was to always print the whole 35mm frame, not to crop so I always intended that this photo be unmistakably Frank, but not a portrait in the strict sense that a portrait should have eyes…. it kind of worked and luckily, I did take a couple of full head shots but they’re mostly a sense of someone who is instantly recognisable and so incredibly famous he doesn’t need eyes!

When the press had left, Jane introduced me to Frank who responded with: “There’s only one people I hate more than the English and that’s the French”  Jane asked if I’d like to go to lunch with her and Frank, in his limo, to the Russian Tea Rooms (incredibly expensive restaurant) on Central Park.  I had loved Frank Zappa very much in my early teens and listening, very stoned, to him was part of my formative years so I found all this to be quite unbelievable on many levels."

Source: https://underground-england.com/the-sex-pistols-frank-zappas-moustache-and-rock-against-racism-the-photography-of-virginia-turbett.

[experimentik]

Experimentik #71 / February 21. 2024 / Peter Cusack / Kaffe Matthews / DuChamp

February 21. 2024 / 20:30- (doors 20:00)

3 x Solo:

Peter Cusack - field recordings, guitar

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Kaffe Matthews - live processing the Ripley and Worm. 15th century alchemical systems

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DuChamp - no-input mixer

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FB event: https://fb.me/e/1clG9gmh3

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Peter Cusack is a field recordist and sound artist/musician with a long interest in the sound environment. He initiated the “Favourite Sounds Project, which started in London and has since taken place in Beijing, Prague, Manchester, Taranto, Hull, Berlin, Braunschweig. His project ‘Sounds from Dangerous Places’ (sonic journalism) has investigated the soundscapes of sites of major environmental damage like the Caspian oil fields, the Chernobyl exclusion zone and the Aral Sea, Central Asia, and asks the question, “What can be learnt about dangerous places by listening to their sounds?”. He is a member of Crisap (Creative Research into Sounds Arts Practice) at the University of the Arts, London and during 2011/12 was a guest of the DAAD Berliner Künstlerprogramm. His current work – field recording, audio streaming, soundwalks, guitar playing on location – often concerns the environmental crises as it is heard close to home, particularly in Berlin where he lives.

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Kaffe Matthews is a pioneering music maker who works live with space, data, things, and place to make new electroacoustic composition. Site, accessibility and the physical experience of this music has always been central to her approach and so she has also invented some unique interfaces – the sonic armchair, the sonic bed and a variety of sonic bikes which enable new paths into composition for makers, and ways in to listening for wide ranging audiences.

2021 and she developed the breathing Enviro Bike to enable riders to hear music made by the pollution of the air as they ride.  Summer 2022 saw the Buzz Bike in street compositional research in Berlin, now ready to make new vibrational composition.

Today, Matthews is back live on stage with no laptop. Instead a new DIY instrument the Ripley, a noise filter system designed on alchemical discoveries made by G.Ripley, a 15th British alchemist, flanked by 2 processing ipads.

Long concerned with community and the environment, Matthews has also established the collectives ‘Music for Bodies’(2006) and ‘The Bicrophonic Research Institute’(2014) where ideas and techniques grow within a pool of coders and artists using shared and open source approaches, publishing all outcomes online.

Since 1995 Matthews has performed and taught worldwide, receiving awards such as the NESTA Dreamtime Fellowship; Honorary Professor of Music, Shanghai Music Conservatory; a Scottish BAFTA with Mandy McIntosh & Zeena Parkins; Distinction Prix Ars Electronica Sonic Bed_London and Honorary mention for cd cécile. She is the first woman to have received the Edgar Varèse guest professorship, computer music, TU Berlin. Kaffe has also been releasing solo works on Annette Works since 1996.

photo © Samuel Carnovali

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DuChamp is an Italian scientist, musician and curator based in Berlin, religiously devoted to drone. She released albums for Boring Machines ("Nar"), Idiosyncratics ("Sculpture"), Full Body Massage ("A Blazing World"). Since 2017, aside baritone guitar and keys, DuChamp incorporate real field recordings in her music, related to her personal memory, into her drone compositions, by adding layers of sounds and noise in attempt to recreate some kind of apophonias.

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Experimentik 2024 is kindly supported by inm

[ozkar-krapo]

Edgar VARÈSE

"Deserts // Hyperprism / Integrales / Density 21,5"

(LP. La Voix De Son Maître. 1971?) [FR]

[dankusner]

Narcissism of small differences leads to the most boring conformity

Can classical music — written by a bunch of straight, Austro-German, church-going white guys — exalt us individually, as well as collectively?

And who — may I ask — gets to decide that?

What about Beethoven?

Are you into him?

Because for me?

As a U-Haul lesbian?

I’m not really sure about ol’ Ludwig.

But then I face him and find myself nose-to-nose with his magnitude and inevitability.

Max, indulge me.

Let us allow Bach a similar gaze.

Sit.

Now, this is all filigree.

Right?

It could be a first-year piano student, or Schroder playing for Lucy.

Or Glen Gould for that matter.

Now...

It's not until it changes.

When you get inside... that you see what it really is.

It's a question.

And an answer.

Which begs another question.

There’s a humility in Bach.

He’s not pretending he’s certain of anything.

He knows it’s the question that involves the listener.

Never the answer.

Right?

Now the big question for you is: What do you think, Max?

You play really well? But... nowadays? White, male, cis composers? Just not my thing.

Don’t be so eager to be offended.

The narcissism of small differences leads to the most boring conformity.

I guess Edgar Varèse is okay… I mean, I like Arcana anyway.

Then you must be aware that Varèse once famously stated that jazz was “a negro product exploited by the Jews.”

That didn’t stop Jerry Goldsmith from ripping him off for his Planet of the Apes score.

Kind of a perfect insult.

Don’t you think?

But you see the problem with enrolling yourself as an ultrasonic epistemic dissident is, if Bach’s talent can be reduced to his gender, birth, country, religion, sexuality and so on — then so can yours.

Now someday, Max, when you go out into the world and guest conduct before a major or minor orchestra, you may notice that the players have more than lightbulbs and music on their stands.

They will also have been handed rating sheets.

The purpose of which is to rate you.

What kind of criteria would you hope they use to do this?

Your score reading and stick technique?

Or something else?

Okay, everyone.

Using Max’s criteria, let us consider Max’s "thing."

In this case Anna Thorvaldsdóttir.

Now, can we agree upon two pieces of observation:

One: That Anna was born in Iceland?

And two: That she is — in a Waldorf teacher kind of way — a super hot young woman?

Great.

Now let’s turn our gaze back to the piano bench up there and see if we can square how any of those things possibly relate to the person seated before us.

Where are you going?

You’re a fucking bitch!

And you are a robot!

Unfortunately, the architect of your soul appears to be social media.

If you want to dance the mask, you must service the composer.

You've got to sublimate yourself.

Your ego.

And, yes, your identity!

You must in fact stand in front of the public and God and obliterate yourself.

[joshuaboakley]

The Mothers of Invention - Help, I'm a Rock!

https://www.youtube.com/watch/KOH7o8Vw6Mc The Mothers of Invention – Help, I’m a Rock! SIDE THREE (Track 02) – written by Frank Zappa { A Suite in Three Movements: I. “Okay to Tap Dance” II. “In Memoriam, Edgar Varèse” III. “It Can’t Happen Here” } “Freak Out!” is the mainstream debut of studio musician Frank Zappa and his band The Mothers of Invention. It is considered as one of the first…

[sivavakkiyar]

woah I just realized the new directions Rimbaud was translated by Louise Varese. That’s Edgar Varese’s wife! He’s her husband!

this dude! damn I wonder what they talked about over breakfast on Sullivan street

[already-14]

Film de Gérard Patris et Luc Ferrari. "Les Grandes Répétitions" Ionisation, Déserts

(via Documentaire sur Edgar Varèse - YouTube)

[merzbow-derek]

POST-POST-SCRIPTUM 1138

AGITATION FRITE 3, DISCORAMA -1 : QUELQUES REPÈRES PHONOGRAPHIQUES*

Au lieu de plus de 600 chroniques-commentaires, était prévue une succession de références phonographiques, d’avant 1966 à aujourdhui. Voici celles d’avant 1966...

Edgar Varèse, Complete Works Of Edgar Varèse Volume 1, EMS Recordings, 1951 / Philippe Arthuys, Le Crabe qui jouait avec la mer, BAM / Maurice Lemaître, Le Lettrisme, Columbia, 1958 / Jean Barraqué, Sonate / Séquence, Véga, 1959 / Olivier Messiaen, Turangalila Symphonie, Véga, 1962 / Romuald Vardelle, Musique expérimentale, BAM, 1962 / Jean-Louis Brau, Instrumentation verbale, Achele, 1963 / Hector et les Médiators, Peggy Sue, Philips / Les Monégasques, Golf Drouot Story, Monte-Carlo, 1964 / François et Bernard Baschet, Structures For Sound, BAM, 1965 / François Tusques, Free Jazz, Disques Mouloudji, 1965 / Les Problèmes, Je ne vois rien, Vogue, 1965 / Les Caves, Menphis Tenessee, Elico Disques. À suivre...

*Un même groupe ne figure pas deux fois. Par contre, un musicien peut figurer plusieurs fois, mais sous des occurrences différentes ne mettant pas son nom en avant.

[elmartillosinmetre]

La Sinfónica Conjunta crece

[Un momento de la presentación de la temporada de la OSC esta mañana en Ingenieros / U.S.]

En su XIII temporada, la orquesta juvenil de Universidad y Conservatorio presenta para el curso 23-24 un programa con ocho conciertos

En tiempos de contracciones sinfónicas, la Conjunta crece. Ha programado ocho conciertos que se celebrarán entre este mismo viernes 17 de noviembre y el 21 de junio de 2024. Crece pues en número (de los siete del año pasado), pero también porque sale de los límites oficiales de Sevilla para ofrecer uno de sus conciertos en la Ciudad del Conocimiento de Dos Hermanas. “El año pasado tuvimos algunos problemas para programar ensayos –comenta Juan García Rodríguez, director y alma mater del conjunto–. Buscamos por toda Sevilla sitios idóneos y nos costó encontrarlos. Este año hemos hallado ese, y nos parece que está muy bien. De hecho, el concierto que hacemos en el Central también lo ensayamos ahí”. Porque la OSC también va (casi) por primera vez al Teatro Central: “Hicimos en formato camerístico hace años una Historia del soldado en la Sala B. Lo cierto es que el espacio para la orquesta tiene una acústica un poco seca, pero para la banda está fenomenal”. De los ocho conciertos programados, tres lo son en efecto para esta Banda de vientos que de la mano del clarinetista Camilo Irizo lleva años ganando espacio.

De todos modos, el Auditorio de Ingenieros sigue siendo la principal sede del conjunto (tres de los ocho conciertos se celebrarán allí), pero también se visita el Auditorio de Arquitectura, la Sala Manuel García del Maestranza y el Patio del Conservatorio Superior, este último en un concierto programado para las conocidas Noches del Carmen, y que ofrecerá la Banda justo un día antes de la clausura.

Como suele ser habitual, el conjunto universitario centra su campo de actuación en la música del siglo XX. De hecho, de las 25 obras programadas, sólo hay dos escritas en el XVIII (dos sinfonías de Haydn, la muy conocida 101 y la 1, una curiosidad), cinco en el actual siglo y las dieciocho restantes pertenecen al XX, diez de ellas a la segunda mitad de la centuria. Frente al incomprensible olvido de la ROSS, la OSC sí participa en el año Ligeti, celebrado por todo el mundo: de hecho será con Atmósferas –la legendaria partitura que el maestro húngaro escribió en 1961 y Kubrick utilizó en su 2001– con la obra con la que abrirá el próximo viernes su temporada. También se programa la música de otro compositor fundamental en el desarrollo de la modernidad, por completo olvidado igualmente por la ROSS, Edgar Varèse, de quien volverán a tocar Ionisation, una de las partituras para percusión más fascinantes y absorbentes del repertorio.

[La Orquesta Sinfónica Conjunta con Juan García Rodríguez en el podio / US]

Entre las obras más populares se cuentan el Concierto para violonchelo nº1 de Shostakóvich y la 2ª sinfonía de Rajmáninov, que cerrará el curso. Dentro del repertorio más o menos convencional, García Rodríguez ha programado además obras no demasiado interpretadas, como el Concierto para oboe de Vaugham Williams, las Danzas sacra y profana para arpa y orquesta de Debussy, el Concierto para piano en fa de Gershwin y se ha atrevido con la 4ª de Sibelius, una de las sinfonías más desafiantes de la primera mitad del siglo XX, muy poco programada por su supuesta dificultad para espectador e intérpretes (en realidad, es una obra llena de bellezas, en espera de ser desveladas). Sin salir del ámbito nórdico, el director de la OSC ofrecerá igualmente un par de piezas de Poul Schierbeck, colaborador de Dreyer, quien utilizó esta música en su inmortal Ordet.

Los conciertos de la banda sinfónica reúnen el plantel de compositores menos conocidos: hay una obra que César Camarero escribió este mismo año para la Banda Municipal de Sevilla, hay piezas de Virgil Thomson, Leo Brouwer, Salvador Brotons y Eugène Bozza, que suelen pasar de vez en cuando por los escenarios cercanos, pero también habrá música de James Curnow, Karel Husa, Louis Franz Aguirre, Daniel Sprinz, Henri Algadafe, James Barnes y José Luis Represas Carrera, nombres de escasa circulación.

De los siete solistas que participan en la temporada (sólo en el concierto del Conservatorio no hay ninguno), dos son profesores del Superior y el resto alumnos o exalumnos escogidos de una bolsa creada a partir de audiciones específicas: “Se nos van acumulando, pero es que no tenemos capacidad para programar más”, comenta García Rodríguez. Eso también sería subsanable. Con más recursos. La apuesta lo merece.

[Diario de Sevilla. 14-11-2023]

El Programa

1) Viernes 17 de noviembre de 2023. Auditorio Ingenieros. 19:00.

Hugo Domínguez Moreno, piano. Juan García Rodríguez, director

György Ligeti (1923-2006): Atmosphères (1961)

George Gershwin (1898-1937): Concerto en Fa para piano y orquesta (1925)

Joseph Haydn (1732-1809): Sinfonía nº101 Hob.I/101 "El Reloj" (1793-94)                              

2) Miércoles 20 de diciembre de 2023. Ciudad del Conocimiento (Dos Hermanas). 19:00.*

Diego Lagares Lepe, bombardino. Camilo Irizo, director

Virgil Thomson (1896-1989): A Solemn Music (1949)

James Curnow (1943): Symphonic Variants para bombardino y banda (1984/1998)                

Salvador Brotons (1959): Sinfonía nº 7 "Ausiàs March" (2018)

3) Viernes 26 de enero de 2024. Auditorio Arquitectura. 19:00.

Rubén Alonso, oboe; Juan García Rodríguez, director

Poul Schierbeck (1888-1949): Largo Op. 33 (1954)

Ralph Vaughan Williams (1872-1958): Concierto para oboe y orquesta (1943-44)

Poul Schierbeck: Andante doloroso Op. 57 (1942)

Joseph Haydn (1732-1809): Sinfonía nº1 Hob.I/1 (1759)

4) Miércoles 5 de marzo de 2024. Teatro Central. 20:00.*

José Gómez Macías, saxofón. Camilo Irizo, director

Leo Brouwer (1939): Canción de gesta (1975-79)

César Camarero (1962): Órbitas, aristas y desintegraciones, para saxo y banda (2023)

Karel Husa (1921-2016): Music for Prague 1968 (1968)

5) Martes 30 de abril de 2024. Sala Manuel García del Teatro de la Maestranza. 20:00.

 Antonio Moreno, vibráfono; Juan García Rodríguez, director

Edgar Varèse (1883-1965): Ionisation (1929-1931)

Louis Franz Aguirre (1968): Bembé (2008)

Daniel Sprinz (1961): Sombra de una Iconografía, para vibráfono y ensemble (2013)

Henri Algadafe (1966): Les cahiers de V. Nijinski (1997; estreno en España)

6) Viernes 10 de mayo de 2024. Auditorio Ingenieros. 20:00.

Mario Camargo, violonchelo. Juan García Rodríguez, director

Dmitri Shostakóvich (1906-1975): Concierto nº1 para violonchelo y orquesta Op.107 (1959)

Jean Sibelius (1865-1957): Sinfonía nº4  en la menor Op.63 (1910-11)

7) Viernes 20 de junio de 2024. CSM Manuel Castillo. Noches del Carmen. 21:00.*

James Barnes (1949): Symphonic Overture (1991)

José Luis Represas Carrera (1970): A pedra da serpe (2010)

Eugène Bozza (1905-1991): Children's overture (1964)

James Barnes: Fantasy Variations (1988)

8) Viernes 21 de junio de 2024. Auditorio Ingenieros. 20:30 [Concierto de clausura de la US]

Ike Christine Zwaan, arpa; Juan García Rodríguez, director

Claude Debussy (1862-1918): Danse sacrée et danse profane, para arpa y orquesta (1904)

Serguéi Rajmáninov (1873-1943): Sinfonía nº2 en mi menor Op.27 (1906-07)

[* Conciertos de la Banda Sinfónica]

[radiophd]

edgar varèse -- ionisation

[spaceintruderdetector]

Varese - Deserts

https://www.discogs.com/Edgard-Var%C3%A8se-Polish-National-Radio-Symphony-Orchestra-Christopher-Lyndon-Gee-Arcana-Int%C3%A9grales-D/master/654145

[ultimavoce]

Frank Zappa: genio e "regolatezza" a 25 anni dalla sua scomparsa

Mezzo secolo senza #FrankZappa: Come è cambiata la #musica di oggi?

Era una giornata mite come tante altre, quella del 4 dicembre 1993 a Los Angeles. La temperatura d’inverno scende di rado sotto i venti gradi, ma per la musica, quel giorno ha segnato la fine di un’epoca: quel giorno moriva Frank Zappa.

Il più grande, eclettico e anarchico compositore e sperimentatore della musica contemporanea degli ultimi 50 anni, perdeva la sua partita con un cancro alla…