The Samuel Andreyev Podcast

**EPISODE IN FRENCH / EPISODE EN FRANÇAIS**

Né en 1960, Jean-Luc Hervé fait ses études au Conservatoire Supérieur de Musique de Paris avec Gérard Grisey. Il y obtient un premier prix de composition. Sa thèse de doctorat d’esthétique ainsi qu’une recherche menée à l’IRCAM seront l’occasion d’une réflexion théorique sur son travail de compositeur, sa résidence à la Villa Kujoyama de Kyoto un tournant décisif dans son œuvre. Sa pièce pour orchestre Ciels a obtenu le prix Goffredo Petrassi en 1997. En 2003 il est invité en résidence à Berlin par le DAAD. Ses deux disques monographiques ont reçu le coup de cœur de l'académie Charles Cros. Il fonde en 2004 avec Thierry Blondeau et Oliver Schneller l’initiative  Biotop(e). Ses œuvres sont jouées par des ensembles tels que l’Ensemble Intercontemporain, Court-Circuit, Contrechamps, Musik Fabrik, KNM Berlin, Divertimento, Orchestre Philharmonique de Radio-France, Orchestra della Toscana, Berliner Sinfonie-Orchester. Une partie de son travail actuel consiste en des œuvres de concert-installation conçues pour des sites singuliers. Il est actuellement professeur de composition au conservatoire à rayonnement régional de Boulogne-Billancourt et est édité aux éditions Suvini-Zerboni Milan.

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EPISODE CREDITS
Post production: Arkadiusz Buchala
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Dr. Tyler Foster is a mathematician and composer working in machine learning. This conversation was recorded over Zoom on March 23rd, 2023.

MUSIC EXCERPTS HEARD IN THIS PODCAST, IN ORDER:
Voice Leading — Beatmatching Study
This Brutal World

HEAR TYLER FOSTER’S MUSIC
https://soundcloud.com/tyler-foster

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EPISODE CREDITS
Post production: Arkadiusz Buchala
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Laurence Osborn (b. 1989) is a British composer currently based in London. His music has been commissioned and/or programmed by the London Symphony Orchestra, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Ensemble Modern, Britten Sinfonia, The Riot Ensemble, Manchester Collective, 12 Ensemble, GBSR Duo, Ensemble Klang, and Ensemble 360, among others. He has also written for solo performers Sarah Dacey, Mahan Esfahani, Bartosz Glowacki, Zubin Kanga, Lore Lixenberg, Michael Petrov, and Agata Zubel. His music has been programmed throughout the UK, at venues such as The Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House, Symphony Hall (Birmingham), The Wigmore Hall, Kings Place, LSO St Luke's, St Martin- In-The-Fields, Milton Court, Wilton's Music Hall, Britten Studio (Aldeburgh), The National Portrait Gallery, The Holywell Music Room (Oxford), The Crucible Theatre (Sheffield), Kettle’s Yard (Cambridge), and at Huddersfield Contemporary Music Festival (where he was an International Showcase Artist), St Magnus International Festival, Music in the Round Festival, and Ulverston International Music Festival.

Laurence Osborn’s song cycle Essential Relaxing Classical Hits was nominated for an Ivor Novello Award in 2021. He won the Royal Philharmonic Society Composition Prize in 2017, was runner up in the New Cobbett Prize for Composition (2014) and the International Antonin Dvorak Composition Competition (2013) and was shortlisted for the ICSM World Music Days (2018). Laurence has won student prizes for composition while studying at both undergraduate and postgraduate level, including the Adrian Cruft Prize for Composition and the Royal College of Music Concerto Competition. He has held positions in association with LSO Soundhub (2013-15), Nonclassical (2015-17), and the London Philharmonic Orchestra (2017-18).

SOUND EXERPTS, IN ORDER:
1. Coin Op Automata  for harpsichord and string quartet
performed by the Manchester Collective
2. Essential Relaxing Classical Hits, for amplified solo soprano and 6 players
performed by Agata Zubel and Ensemble Klang
3. Absorber, for solo piano and MIDI controller
performed by Zubin Kanga

LINKS
Laurence Osborn official website
Watch video of ‘Absorber’ for piano and MIDI controller

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Podcast artwork photograph © 2019 Philippe Stirn

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Robin Holloway is a British composer and professor at the University of Cambridge. This conversation was filmed at the composer’s home in Cambridge on 25 January 2023.

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EPISODE CREDITS
Post production: Arkadiusz Buchala
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Wemakeit page

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I spoke with four members of Ensemble Proton Bern immediately following a recording session for my composition ‘Sonata da Camera’ at the SRF Radiostudio in Zürich, Switzerland on 19 June 2022. We talked about our forthcoming album with conductor Luigi Gaggero, how our collaboration has evolved over the past 10 years, the advantages and disadvantages of CDs vs vinyl, the peculiar challenges involved in performing contemporary repertoire, and more.

Episode guests:
Jan-Filip Ťupa, cellist
Coco Schwarz, pianist
Martin Bliggenstorfer, oboist
Richard Haynes, clarinet

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Michael Finnissy is a British composer and pianist. This conversation was recorded via Zoom on 27 April 2022.

00:00:00 Introduction
00:01:12 The composition process
00:06:38 Serialism
00:10:05 MF’s critique of Grand narratives
00:13:30 On teaching
00:27:36 On originality
00:38:36 On being an outsider
00:48:13 Present-day obsessions
00:52:13:08 Microtonality
00:55:16:22 Instrumentation
01:00:47:13 How MF works with pitch
01:19:09:16 Patreon question: Drawing inspiration from nature
01:22:14:07 Patreon question: New complexity

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EPISODE CREDITS
Post production: Marek Iwaszkiewicz
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Ian Pace is a pianist, musicologist and professor at City, University of London. This is his second appearance on the Samuel Andreyev Podcast. The conversation was recorded in London, UK on 5 April 2022.

IAN PACE WEBSITE
https://ianpace.com/sample-page/
FOLLOW IAN PACE ON TWITTER
https://twitter.com/ianpacemain?s=20&t=DUDr8v0n9oLmpj0SpOD40Q
IAN PACE WRITINGS
https://openaccess.city.ac.uk/view/creators_id/ian=2Epace=2E1.html

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EPISODE CREDITS
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Podcast artwork photograph © 2019 Philippe Stirnweiss

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**EPISODE IN FRENCH / EPISODE EN FRANÇAIS**

Hugues Dufourt privilégie les continuités et les lentes transformations d'un discours musical qui n'est que rarement interrompu. Il conçoit des formes par évolution de masses et travaille sur les notions de seuils, d'oscillations, d'interférences et de processus orientés. Pionnier du mouvement spectral, il lui accorde toutefois une définition plus large, cherchant à mettre en valeur l'instabilité que le timbre introduit dans l'orchestration. Sa musique repose sur une richesse de constellations sonores et harmoniques et s'appuie sur une dialectique du timbre et du temps. Il puise une partie de son inspiration dans l'art pictural, dont il retient essentiellement le rôle de la couleur, des matières et de la lumière (Dawn flight, quatuor à cordes créé en 2008 à Musica, Le Cyprès blanc et L'Origine du monde, créés à Musica 2004). Marqué par l'avant-garde française des années soixante, Hugues Dufourt participe aux activités de L'Itinéraire (1975-81) et fonde en 1977 le Collectif de Recherche Instrumentale et de Synthèse Sonore (CRISS) avec Alain Bancquart et Tristan Murail. Agrégé de Philosophie en 1967, il publie de nombreux écrits. Il est chargé de recherche (1973-85) puis directeur de recherche au CNRS (1985-2009) et crée en 1982 l'Unité Mixte de Recherche "Recherche Musicale" qu'il dirige jusqu'en 1995. Hugues Dufourt a reçu de nombreux prix, notamment en 2000 le Prix du Président de la République pour l'ensemble de son oeuvre, décerné par l'Académie Charles Cros. Ces dernières années, Hugues Dufourt a composé des oeuvres aux formations diverses, du piano seul (Tombeau de Debussy créé au Festival Musica 2018) au grand orchestre (Ur-Geräusch, créé en 2016 par l'Orchestre de la WDR, Les deux saules d'après Monet créé en 2020 à Vienne par l'Orchestre symphonique de la Radio), en passant par des petites formations (L'atelier rouge d'après Matisse, créé en 2020 à Varsovie par l'Ensemble Nikel) ou les percussions (Burning Bright, créé par les Percussions de Strasbourg au Festival Musica 2014). La Horde d'après Max Ernst, pour orchestre, commande du Lemanic Modern Ensemble et de Radio France sera créé au Festival Présences 2022.

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EPISODE CREDITS
Post production: Marek Iwaszkiewicz
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Born in Donetsk (Ukraine), Dina Pysarenko is a pianist, accompanist at the National Tchaikovsky Music Academy of Ukraine, soloist of the Ukho Ensemble Kyiv and a laureate of the Levko Revutsky Award (2014) as well as the 6th International S. Prokofiev Competition (Saint-Petersburg, 2013). While still studying at the Donetsk Specialized Music School for gifted children, Dina was twice a laureate of the International Competition in Memory of Vladimir Horowitz in Kyiv. She graduated with Honours from Sergey Prokofiev Donetsk State Music Academy in 2009, where she studied with Prof. Lidiya Adamenko. Eager to embrace various styles in her repertoire, Dina devotes particular attention to contemporary music: since 2006 she has premiered a number of pieces by living composers, such as Yevhen Petrychenko, Serhiy Piliutykov, Alexandra Karastoyanova-Hermentin and Oleksiy Voytenko, performing at important Ukrainian festivals such as KyivMusicFest, GogolFEST, Donbas Modern Music Academy, etc.

Together with Ukho Ensemble Kyiv under the baton of Luigi Gaggero, she has given the Ukrainian premieres of several important pieces of the 20th and 21st centuries, including À propos du concert de la semaine dernière by Samuel Andreyev, ...quasi una fantasia... by György Kurtág, Kammerkonzert by Klaus-Steffen Mahnkopf, and the Piano concerto of György Ligeti. Dina participated in a conducting masterclass held by maestro Luigi Gaggero with the Ukho Ensemble Kyiv, making her debut as a conduc- tor with Intégrales by Edgard Varèse (2016) and Epicycle by Iannis Xenakis (2018).

Since 2009, Dina Pysarenko has accompanied the class of Prof. Valeriy Ivko, one of the founders the of Ukrainian domra school. In the 2013/14 season she was accompanist at the Anatolii Solovyanenko Donetsk Opera and Ballet Theatre. She has also participated in three opera productions staged in the National Opera of Ukraine by Ukho agency and directed by Luigi Gaggero: Limbus-Limbo by Stefano Gervasoni (2016), Pane, sale, sabbia by Carmine Emmanuele Cella (2017), and Luci mie traditrici by Salvatore Sciarrino (2018). This interview was recorded on March 9th, 2022.

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Podcast artwork photograph © 2019 Philippe Stirnweiss

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00:00 Introduction
00:41 Pieces that changed my life
06:04 Thoughts on the ‘saturation’ movement
08:48 Music and other art forms
11:38 Is western music shallow?
14:59 Beauty and modernism
17:46 Are major keys happy and minor keys sad?
20:11 Music and the body
23:54 The techniques of today
26:40 Early modernist harmony
30:55 Finding your voice
32:03 What is good counterpoint?
34:05 Composition vs. tradition
36:47 Avant-garde composers and the listening experience
38:51 Will you make another album like The Tubular West?
42:23 What is my favourite tonal music of today?
43:25 Closing remarks

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EPISODE CREDITS
Post production: Marek Iwaszkiewicz
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Kenneth Goldsmith is an American poet. His writing has been called some of the most exhaustive and beautiful collage work yet produced in poetry by Publishers Weekly. He is the founding editor of UbuWeb, and is a senior editor of PennSound at the University of Pennsylvania, where he teaches. He hosted a weekly radio show at WFMU from 1995 until june 2010. He has published many books of poetry, notably Fidget, Soliloquy, Day, and his American trilogy. 

He is the editor of I’ll Be Your Mirror, the selected Andy Warhol interviews, which is the basis for an opera, Trans-Warhol, that premiered in Geneva in 2007. He has published three books of essays, including Against Expression, Uncreative Writing, Wasting Time on the Internet, and most recently, Duchamp is my Lawyer. In 2013, he was appointed the first Poet Laureat of the Museum of Modern Art.

LINKS
UbuWeb
Kenneth Goldsmith faculty page at the University of Pennsylvania

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EPISODE CREDITS
Post production: Marek Iwaszkiewicz
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Alexander Goehr is a composer for whom the conventional labels of new music seem increasingly inadequate. A latent nonconformism is already suggested by the essential biographical facts. He was born in Berlin in 1932, son of the conductor and Schoenberg pupil Walter Goehr. Still in his early twenties, he emerged as a key figure in the celebrated ‘Manchester School’ of post-war British composers. In 1955-56 he joined Oliver Messiaen’s masterclass in Paris. Thereafter, he worked as a BBC producer and broadcaster, and was a director of the Music Theatre Ensemble. In 1971 he was appointed Professor of Music at Leeds University, and was subsequently appointed to the chair at Cambridge in 1976. Background apart, however, the source of Goehr’s heterogeneous yet single-minded development lies in a questing musical intelligence and a special gift for elaboration, transformation and synthesis. The artistic imperative is for a step-by-step progression, wherever it might lead, from what is familiar to what is genuinely new.

Special thanks to Julian Anderson,  and to Ian Mylett and Sam Rigby of Schott Music for their invaluable assistance in the production of this episode.

LINKS
Alexander Goehr page on Schott Music
Listen to ‘Colossos or Panic’ for orchestra

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Nuria Schoenberg-Nono was born in Barcelona in 1932 to parents Arnold and Gertrud Schoenberg. She grew up in Los Angeles, California, and settled to Europe in 1954, marrying the composer Luigi Nono. In 1993 she founded the Luigi Nono Archive, and today she is president of the Board of the Arnold Schoenberg Centre in Vienna. Her experience is unique, in that the has been close to two major 20th century composers, both of whom can be said to have had a lasting impact on the music of our time.

LINKS
The Luigi Nono Foundation
The Arnold Schoenberg Center in Vienna

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EPISODE CREDITS
Podcast artwork photograph © 2019 Philippe Stirnweiss
Post-production: Marek Iwaszkiewicz

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The music of Augusta Read Thomas has been performed all over the world by conductors such as Daniel Barenboim, Pierre Boulez, Mstislav Rostropovich, Seiji Ozawa, Oliver Knussen, George Benjamin, Vimbayi Kaziboni, Christoph Eschenbach and many others. She is Vice President for Music at The American Academy of Arts and Letters, among many other distinctions, and is a long-standing, exemplary citizen of the profession at large supporting the work of others. Her music is published by G Schirmer and, since 2016, by Nimbus Music Publishing. Her music has been featured on nearly 100 commercial CDs. Since 2013, Nimbus Records has been recording her complete works. She is currently a University Professor of Composition in Music at The University of Chicago. 

Thomas played piano as a young child, starting private lessons at age four.  In third grade, she took up the trumpet and played for 14 years, attending Northwestern University as a trumpet performance major.  She played trumpet in brass quintet, chamber orchestra, orchestra, band, and Jazz band and she sang in choirs for many years.

Thomas also had the distinction of having her work performed more frequently in 2013-2014 than any other living composer, according to statistics from performing rights organization ASCAP.

MUSICAL EXCERPTS (in order)
Words of the Sea  for orchestra (3rd movement)
Chicago Symphony Orchestra
Pierre Boulez, conductor

Carillon Sky  for violin and chamber orchestra
Baird Dodge, violin
Chicago Symphony Orchestra MusicNOW ensemble
Oliver Knussen, conductor

Augusta Read Thomas official website

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In 2020, the composer and musicologist Martin Iddon and the pianist Philip Thomas published a 400-page monograph outlining, in extraordinary detail, the genesis and the substance of one of John Cage’s most enigmatic compositions: the Concert for Piano and Orchestra (1957-58). In this episode, Martin Iddon reveals why this single work exerts such a powerful draw, 60 years after its premiere.

EPISODE LINKS
Philip Thomas explains the piano part, 'Solo for Piano'
Download the 'Solo for Piano’ app
Order Martin Iddon’s latest CD
Order the book
Martin Iddon’s website
Philip Thomas’ website

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Podcast artwork photograph © 2019 Philippe Stirnweiss

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Born in Toronto, Christian Bök focuses on the intersection of language and science in his work. His first book of poetry, Crystallography, was nominated for the Gerald Lampert Award. His book Eunoia, which won the Griffin Poetry Prize in 2002, is the best-selling Canadian poetry book of all time. Bök has also created artificial languages for science fiction television. His most recent book is The Xenotext (Book One). He lives in Melbourne, Australia.

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Julian Nott came to music relatively late. After studying Music and Politics and Economics at Oxford University, he worked for a management consultancy firm in the City for a number of  years. Finding that not entirely to his liking, he enrolled in the UK’s National Film And Television School, funding his studies by simultaneously working freelance for the Economist Publications. After film school, Julian worked as an independent documentary film producer, making films for Channel Four Television, Arte Channel and WGBH Boston. Along the way he qualified as a (non-practising) barrister. 

At film school, Julian met the animator Nick Park, writing the music for his early Wallace and Gromit films. When these films became such a huge success, the offers starting come in and Julian switched to film scoring full time. His work still includes much animation (“Wallace and Gromit in the The Curse of the Wererabbit”, “Peppa Pig”, “Ben and Holly’s Little Kingdom”, “The Hungry Caterpillar”). Feature films credits include “The Decoy Bride”, “My Mother’s Courage”, “Heavy Petting” and “A Man Of No Importance”. On television, credits include all four series of the BBC’s popular “Lark Rise to Candleford”, ITV's "The Vice" and David Jason’s comedy “The Royal Bodyguard”.

Julian Nott’s website

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In 1972, Betsy Jolas (b. 1926) traveled to Indonesia with Iannis Xenakis, Toru Takemitsu, Henri-Louis de la Grange, Maurice Fleuret and several others. While there, she encountered the Topeng dance, which, nearly 50 years later, inspired the composition of her 8th quartet, Topeng. This piece was written for the Arditti Quartet in 2019. In anticipation of her 95th birthday on 5 August 2021, she tells us what happened on that trip, what it was like traveling with Takemitsu and Xenakis, and why it is that Bali left such an indelible imprint on her music.

MUSIC HEARD IN THIS EPISODE
Betsy Jolas, Topeng for string quartet (2019)
Performed live by the Arditti String Quartet

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On the occasion of the 70th anniversary of Arnold Schoenberg’s passing in July 13, 1951, Samuel Andreyev speaks with his son Lawrence Adam (Larry) Schoenberg. They discuss what it was like having Arnold Schoenberg as a father; Larry’s thoughts on his father's artistic legacy; Schoenberg’s teaching philosophy; and the work of the Arnold Schoenberg Center in Vienna.

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Martin Keary: biography

I'm the head of design at MuseScore, with 14 years of experience working on applications and games for IOS, Android, Windows, Hololens, Ubuntu Touch, Voice Assistant (Cortana), Xbox One and Playstation 3.

I'm an active musician with a MMUS in composition from the Royal Conservatoire in Scotland. I regularly write music for live performances, films and video games.

I also run a YouTube channel called Tantacrul, where I discuss various topics related to music and design. Based on the growing popularity of this channel, I occasionally get invited to speak at conferences too. My favourite topics to discuss are music philosophy, visual music (an archaic discipline from the early 20th century) and design methodology.

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John Moraitis is a musicologist, harpsichordist, and pianist currently residing in Athens. He holds a Bachelor of Music degree in Piano Performance from Shorter College, a Master in Musicology from the University of Georgia in Athens, and a Ph.D. in Musicology from the University of Wisconsin-Madison. His main fields of interest are historical performance practice and twentieth-century modernism. He has taught and conducted master classes in the United States, Austria, and Greece.

Musical excerpts, in order:
J. S. Bach, Invention n° 2 in C minor
Jean-Philippe Rameau, Les tendres plaintes
Louis Couperin, La petite pince-sans-rire
John Moraitis, harpsichord

Subscribe to John’s Youtube channel

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Matthew Ricketts (b. 1986, British Columbia) is a Canadian composer currently based in New York City. His music moves from extremes of presence and absence, from clamor to quietude, at once reticent and flamboyant. Matthew’s music has been called “lyrical, contrapuntal, rhythmically complex and highly nuanced” (The American Academy of Arts and Letters) and is noted for his “effervescent and at times prickly sounds,” “hypnotically churning exploration of melody” (ICareIfYouListen) as well as its “tart harmonies and perky sputterings” (The New York Times). He is a 2020 Gaudeamus Finalist and a 2019 Guggenheim Fellow.     

In 2018 Ricketts’ multilingual opera Chaakapesh: The Trickster’s Quest (written in collaboration with renowned Cree playwright Tomson Highway) opened the Montreal Symphony’s 84th season to great critical acclaim and went on to tour Indigenous communities throughout Québec. 

Matthew is the recipient of fellowships from Civitella Ranieri (2020/2021), The American Academy of Arts and Letters (2020), MacDowell (2019), the Tanglewood Music Center (2018 Elliott Carter Memorial Fellowship) and the Aspen Music Festival (2017), in addition to the 2016 Lili Boulanger Memorial Fund Prize, the 2016 Jacob Druckman Prize (Aspen Music Festival), the 2016 Mivos/Kanter Prize, the 2015 Salvatore Martirano Memorial Composition Award, a 2013 ASCAP Morton Gould Young Composer Award and eight prizes in the SOCAN Foundation’s Awards for Young Composers.

Matthew holds degrees in music composition and theory from McGill University’s Schulich School of Music (B.Mus. 2009) and Columbia University (DMA 2017). Matthew’s principal mentors include Brian Cherney, John Rea, Chris Paul Harman, George Lewis and Fred Lerdahl. He was a Core Lecturer at Columbia University from 2017-2020.

Musical excerpt:
Adrift (2020), concerto for clarinet and orchestra
Philharmonisches Staatsorchester Hamburg
Rupert Wachter, clarinet
Kent Nagano, conductor

More about Matthew Ricketts

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Michele Zaccagnini studied clarinet at the Conservatorio Santa Cecilia in Rome, graduated cum laude with a bachelor in Economics at Universita’ La Sapienza in Rome. At Brandeis University in Waltham, Massachusetts he graduated with a Ph.D. in Music Composition and Theory where he studied with Martin Boykan, Yu-Hui Chang and Eric Chasalow.

Michele’s main area of theoretical research focuses on Algorithmic Composition; he published a paper about Aldo Clementi compositional process in Perspectives of New Music, a description of one of his own compositional processes in The OM Composer’s Book n.3 (published by Ircam) and a paper about the Nonlinear Sequencer for the SEAMUS Conference in 2020 which is also available as a tool package in MaxMsp’s Package Manager. His research on  has been presented at University of Plymouth within the First International Workshop of Brain Computer Music Interface, at the Ircam Forum Conference in Sao Paulo, at the Massachusetts Institute of Technology and at Michigan Technological University within the 29th International Conference on Auditory Display.

Michele’s creative work consists of both music and audiovisuals implemented with idiosyncratic algorithmic techniques that are aimed at exploring static, non-narrative music. His music has been performed in the US, Italy and Germany by ensembles such as the Radnofski Saxophone Quartet, ICE (International Contemporary Ensemble), Dedalo Ensemble and L’Arsenale Ensemble. More recently his work exists mainly on YouTube where he regularly posts new audiovisual works and tutorials about audiovisual composition.

More about Michele Zaccagnini
Michele’s YouTube channel
Michele on Twitter: @michele_zacca

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Ermir Bejo, born in 1987 in Tirana Albania, is a contemporary classical and electronic music composer. Both within and apart from his music, Bejo draws significant influence from visual art, cinema, classic literature, mathematics, and philosophy. Bejo’s approach is grounded in the exploration of hierarchies and conflicts arising from the treatment of musical time as a non-linear concept. His music is performed in concert halls and music festivals by a growing roster of internationally acclaimed performers and ensembles such as Ums ‘n Jip, Nova, Amorsima Trio, Duo Chromatica, Irvine Arditti, Malgorzata Walentynowicz, Elizabeth McNutt, Redi Llupa, Alexander Richards, Yumi Suehiro, and Juan Sebastian Delgado among others.

Bejo holds degrees in music composition from the University of North Texas (PhD, 2017), University of Louisville (MM, 2013), and Skidmore College (BA, 2010). He has additionally participated in numerous lessons and masterclasses with composers such as Chaya Czernowin, James Dillon, and Esa-Pekka Salonen among others. Since 2015, he has served as director of the Score Follower organization, a leading online new music resource. In collaboration with composers, performers, major publishers, and recording labels alike, the organization curates music projects with a wide international reach and participation. He has taught music composition and audio technology since 2012. From 2016 to 2017, he served as president of the Composers Forum organization at the University of North Texas. Currently, Bejo serves on the board of Kaleidoscope MusArt organization in Miami, and works as audio reinforcement technical director at the University of North Texas’ College of Music, which is the largest public university music program in the United States.

More about Ermir Bejo

MUSICAL EXCERPTS IN ORDER
Ermir Bejo, Opus 4 for piano, movement 1
Ermir Bejo, Opus 4 for piano, movement 3

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Marco Fusi is a violinist/violist, and a passionate advocate for the music of our time.

Among many collaborations with emerging and established composers, he has premiered works by Billone, Sciarrino, Eötvös, Cendo and Ferneyhough. Marco has performed with Pierre Boulez, Lorin Maazel, Alan Gilbert, Beat Furrer, David Robertson, and frequently plays with leading contemporary ensembles including Klangforum Wien, MusikFabrik, Meitar Ensemble, Mivos Quartet, Ensemble Linea, Interface (Frankfurt), Phoenix (Basel) and Handwerk (Köln); Marco has recorded several solo albums, published by Kairos, Stradivarius, Col Legno, Da Vinci, Geiger Grammofon.

Marco also plays viola d’amore, commissioning new pieces and collaborating with composers to promote and expand existing repertoire for the instrument.

A strong advocate and educator of contemporary music, he lectures and workshops at Columbia University, University of California – Berkeley, Basel Musikhochschule, New York University, Boston University, Royal Danish Academy of Music – Copenhagen, Cité de la Musique et de la Danse – Strasbourg, University of Chicago.

Marco teaches Contemporary Chamber Music at the Milano conservatory “G. Verdi” and is Researcher in Performance at the Royal Conservatoire of Antwerp.

More about Marco Fusi
Order Marco Fusi’s new recital CD of Scelsi's music (Kairos Records)

MUSICAL EXCERPTS IN ORDER
Giacinto Scelsi, Divertimento n° 2 (1954)
Giacinto Scelsi, Divertimento n° 4 (1955)

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Linda Catlin Smith grew up in New York and lives in Toronto. She studied music in NY, and at the University of Victoria (Canada). Her music has been performed and/or recorded by: BBC Scottish Orchestra, Exaudi, Tafelmusik, Other Minds Festival, California Ear Unit, Kitchener-Waterloo, Victoria and Vancouver Symphonies, Arraymusic, Tapestry New Opera, Gryphon Trio, Via Salzburg, Evergreen Club Gamelan, Turning Point Ensemble, Vancouver New Music, and the Del Sol, Penderecki, and Bozzini quartets, among many others; she has been performed by many notable soloists, including Eve Egoyan, Elinor Frey, Philip Thomas, Colin Tilney, Vivienne Spiteri, and Jamie Parker. Â She has been supported in her work by the Canada Council, Ontario Arts Council, Chalmers Foundation, K.M. Hunter Award, Banff Centre, SOCAN Foundation and Toronto Arts Council; in 2005 her work Garland (for Tafelmusik) was awarded Canada’s prestigious Jules Léger Prize. In addition to her work as an independent composer, she was Artistic Director of the Toronto ensemble Arraymusic from 1988 to 1993, and she was a member of the ground-breaking multidisciplinary performance collective, URGE, from 1992-2006. Linda teaches composition privately and at Wilfrid Laurier University, Waterloo, Canada.

More about Linda Catlin Smith
Linda Catlin Smith  Soundcloud page

EXCERPT HEARD AT START OF SHOW
Piano Quintet (2014)

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Carl Ruggles (1876-1971) lived to the age of 95, but published only 8 works in his lifetime — less than an hour of music. In this podcast, I present an overview of this enigmatic composer, as well as an analysis of Lilacs, the central movement of Men and Mountains, for orchestra (1924).

This episode begins with a recording of Lilacs by Michael Tilson Thomas, conducting the Buffalo Philharmonic Orchestra.

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With a unique background in music composition + technology, cognitive science, and data science, Alexander Sigman has been active internationally as an interdisciplinary composer, performer, researcher, software engineer, and educator.

His compositions have been featured on a number of commercial releases, including portrait recordings on the Carrier and New Focus labels. Sigman has published and presented extensively on a broad range of research topics, including music information retrieval, innovative auditory warning design, technical and aesthetic aspects of robot opera, and  approaches to creative audiovisual media integration.

Throughout his career, he has held diverse leadership roles, which have ranged founding faculty member and Music program director of the International College of Liberal Arts (iCLA) of Yamanashi Gakuin University in Kofu, Japan, to Artistic Co-Director of the Menlo-Atherton Academy of Contemporary Music (MAACM), an arts education non-profit offering concerts and workshops to high school students in San Mateo County, CA, to Managing Director of Ensemble Modelo62, an 11-member new music consort based in The Hague, NL.

MUSIC EXCERPTS, IN ORDER OF APPEARANCE
1. il y va d’un certain pas (2004-05), for ensemble
2. xy xy I II III (2006), for cimbalom and 3 percussion
3. fcremaperc (2014), for percussion and live electronics

More about Alexander Sigman


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Brian Ferneyhough is widely recognized as one of today's foremost living composers. Since the mid-1970s, when he first gained widespread international recognition, his music has earned him an enviable reputation as one of the most influential creative personalities and significant musical thinkers on the contemporary scene. Ferneyhough was born in Coventry, England, in 1943 and received formal musical training at the Birmingham School of Music and the Royal Academy of Music, London. In 1968 he was awarded the Mendelssohn Scholarship, which enabled him to continue his studies in Amsterdam with Ton de Leeuw, and the following year obtained a scholarship to study with Klaus Huber at the Basel Conservatoire. Following Ferneyhough’s move to mainland Europe, his music began to receive much wider recognition. The Gaudeamus Composers’ Competition in the Netherlands awarded Ferneyhough prizes in three successive years (1968-70) for his Sonatas for String Quartet, Epicycle and Missa Brevis respectively. The Italian section of the ISCM at its 1972 competition gave Ferneyhough an honourable mention (second place) for Firecycle Beta and two years later a special prize for Time and Motion Study III which was considered the best work submitted in all categories. Recent works have included Inconjunctions (2014), Contraccolpi (2016), and a collection of encounters influenced by Christopher Tye, Umbrations (2001-2017), premiered by the Arditti Quartet and Ensemble Modern at Wittener Tage für Neue Kammermusik. Associated with the most prestigious teaching institutions and international summer schools for contemporary music, from 1984 to 1996 Ferneyhough was Composition Course Co-ordinator at the biennial Darmstädter Ferienkurse für Neue Musik. In 1984 he was made Chevalier de l'Ordre des Arts et des Lettres and he has since been named a member of the Berlin Akademie der Künste, the Bayrische Akademie der Schönen Künste and a Fellow of the Royal Academy of Music. Most recently, he was awarded the 2007 Ernst von Siemens Music Prize.

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In this episode, I took questions live from my YouTube subscribers. Thanks to everyone who participated.

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In this episode I present a 3-way conversation between English composers Colin Matthews, Julian Anderson and myself.


Colin Matthews was born in London in 1946. He studied with Arnold Whittall and Nicholas Maw; in the 1970s he was assistant to Benjamin Britten, and worked for many years with Imogen Holst. His collaboration with Deryck Cooke on the performing version of Mahler’s Tenth Symphony lasted from 1963 until its publication in 1975. Over four decades his music has ranged from solo piano music through five string quartets and many ensemble and orchestral works. He was Associate Composer with the London Symphony Orchestra between 1992 and 1999, and Composer-in-Association with the Hallé from 2001-10, now their Composer Emeritus. 

Colin Matthews’ music is published by Faber Music.

Julian Anderson is one of the most talented composers of his generation. Born in London in 1967, he studied with John Lambert, Alexander Goehr and Tristan Murail and first came to prominence when his orchestral Diptych (1990) won the RPS Composition Prize in 1992.  Anderson has held Composer in Residence positions with the City of Birmingham Symphony, Cleveland and London Philharmonic orchestras, relationships which produced an impressive body of orchestral works including Stations of the Sun (1998, a BBC Proms Commission) and Eden (2005, Cheltenham Festival). Fantasias (2009), written for the Cleveland Orchestra, won a British Composer Award and The Discovery of Heaven (2011), a co-commission by the New York Philharmonic and the London Philharmonic Orchestra was awarded a South Bank Sky Arts Award. Both works were recorded by the LPO live label.

 Anderson has enjoyed commissions from bodies including the BCMG, London Sinfonietta, Asko-Schönberg Ensemble and Cheltenham Festival. Book of Hours for ensemble and electronics (2004) won the 2006 RPS Award for Large Scale Composition and featured on a NMC portrait disc. This was one of two recordings of his music to be nominated for a 2007 Gramophone Award, the other being the eventual winner, Alhambra Fantasy (Ondine).  Poetry Nearing Silence (1997), originally a commission from the Nash Ensemble, was later arranged to become a successful ballet choreographed by Mark Baldwin. In 2009, Anderson and Baldwin collaborated again on a Darwin-inspired ballet, The Comedy of Change, which toured nationally.

Julian Anderson's music is published by Faber Music and by Schott Music.

More about Julian Anderson
More about Colin Matthews


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In this episode, I spoke with three composition students about the musical and professional landscape they are about to graduate into: Jonty Watt, of Oxford, England; Ben Schweitzer, of the University of Massachussetts Amherst, and Thomas McGee, of Williams College.  All three have one thing in common: they have all worked with me as private composition students over Skype, and though I have worked with some of them for years, we have never met in person.  They are candid about the challenges they are facing, as well as some of the ways in which the world of composition seems to be evolving.

More about Ben Schweitzer
More about Jonty Watt
More about Thomas McGee

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Clarinetist Richard Haynes performs music spanning the 18th to 21st centuries all over the world in a multitude of contexts. During the course of undergraduate study at the Queensland Conservatorium of Music and further study at the University of Arts Bern his teachers included Brian Catchlove, Paul Dean, Ernesto Molinari, Diana Tolmie, Donna Wagner-Molinari and Floyd Williams. 

Since his solo debut with the Queensland Symphony Orchestra at the age of 17 performing the Clarinet Concerto by John Veale, Richard Haynes has performed further concerti by Copland, Mozart, Rankine, Smetanin, Westlake and Xenakis to acclaim, won the title of Australia's Young Performer of the Year and the Australian Art Music Award for Performance of the Year and has received invitations to the academies of Acanthes, Bang on a Can, Darmstadt, Ensemble Modern, impuls and Lucerne Festival. Richard Haynes has maintained regular concert activity in Europe, the USA, Asia, Australia and New Zealand over the last 15 years and is a 1st Prize Winner of the International Concours Nicati Switzerland and the 2008 recipient of the Tschumi Music Prize.

More about Richard Haynes here
Order Richard's new CD, Ghosts of Motion

Musical excerpts, in order:
Samuel Andreyev, A Line Alone, for solo clarinet d’amore (2020)
Chris Dench, Ghosts of Motion, for solo clarinet d'amore (2020)
Richard Haynes, clarinet d'amore
from the new CD, Ghosts of Motion (www.cubus-records.ch)

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Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham’s School of Music, The Queen’s College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók.

He has played in many countries, recorded over 40 CDs, and given over 300 world premieres. He is Head of the Department of Music at City, University of London, where he has worked since 2010, having previously worked at Southampton University and Dartington College of the Arts.

More about Ian Pace

Excerpts from Ian Pace's forthcoming CD of the complete piano music of Brian Ferneyhough on Divine Art Records (in order of appearance):

• Brian Ferneyhough, Quirl (2011-13)
• Brian Ferneyhough, Lemma Icon Epigram (1981)

Thanks to Divine Art records for kindly authorizing the use of these excerpts.

**

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In this episode, Samuel Andreyev presents a short introduction to the world of 'extended techniques', those unconventional ways of playing musical instruments that have become an almost ubiquitous feature of contemporary composition.

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The Canadian composer, pianist and percussionist Andrew (Andy) Creeggan is equally at home in the worlds of classical composition and pop music. A member of the wildly successful Canadian band Barenaked Ladies from 1989 to 1995, he experienced fame early in life. Deciding that being a member of a band was not for him in the long run, he left to study composition at Montréal's McGill University. Since then, he has recorded and performed in The Brothers Creeggan, a band formed with his brother Jim Creeggan, and released three CDs of his compositions: Andiwork I, II and III (order from Bongo Beat Records). In addition, he has composed chamber music and worked as an arranger.

Musical excerpts, in order of appearance:
• Viola n° 5 (from Andiwork II)
• Tongue A (from Andiwork III)

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Bill Harkleroad was the longest-serving guitarist of Captain Beefheart's Magic Band, playing on such essential recordings as Trout Mask Replica, Lick My Decals Off, Baby and Clear Spot. His significant artistic and practical contributions to these works have largely gone unacknowledged. Bill subsequently formed the band Mallard, released masterful solo recordings including 2001's We Saw a Bozo Under the Sea, authored the book Lunar Notes, and taught extensively. He can be contacted for lessons here.

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Anthony Etherin is a formalist poet, a publisher, and a musician. He tweets poetry @Anthony_Etherin and archives his published works online at anthonyetherin.wordpress.com. He founded Penteract Press and he invented the aelindrome. He hosts a (neglected, but soon to be revised) YouTube channel. He lives in the United Kingdom, on the border of England and Wales.

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Chris Dench was born in London in 1953. After periods living in Tuscany and West Berlin, the latter as a guest of the DAAD Berliner Kunstlerprogramm, he finally arrived to settle in Australia; he became an Australian citizen in 1992.

He has had works commissioned by ensembles and individuals on three continents and is particularly recognized as a composer for solo woodwind instruments, having composed fourteen pieces for the genre at last count.  He has enjoyed a close relationship with Australia's ELISION ensemble for over fifteen years; he has also had fruitful collaborations with other musicians, including, in the last few years, Kathleen Gallagher, Mark Knoop, Geoffrey Morris, Peter Neville, Marilyn Nonken, Michael Norsworthy, Carl Rosman, and the Libra ensemble.

His works have enjoyed extensive performances, recordings, and broadcasts in Europe, Australia, North America, and Asia, including the Huddersfield Festival, the Darmstadt Ferienkurse fur Neue Musik, Music of Changes in Los Angeles, the Clarice Smith Performing Arts Center at Maryland, the Hong Kong ISCM/ACL World Music Days, ForumMusic Taipei, and the Gobi Desert.

In 2002 Peter Neville, Guy DeBlét, Elizabeth Davis, Eugene Ughetti, Mark Knoop, and conductor Carl Rosman gave the long-delayed first performances of his 1994 percussion quartet beyond status geometry. More recently, ELISION recorded for NMC a disc of his music including ik(s)land[s] and the blinding access of the grace of flesh.

Chris Dench’s website

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MUSICAL EXCERPTS (in order):

Funk, by Chris Dench
Carl Rosman, clarinet; Peter Neville, percussion
From the NMC Records release ik(s)land[s]

Ik(s)land[s], by Chris Dench
ELISION
Deborah Kayser, mezzo-soprano
Carl Rosman, conductor

**
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The music of Franco-British composer Jonathan Bell is influenced by Franco-Flemish polyphony, American minimalism (Morton Feldman), and spectral music. He graduated from the Paris Conservatoire with 4 prizes, and the Guildhall School of Music and Drama (Doctorate in Musical Composition). Since 2007, he has collaborated intensely with the vocal ensemble De Caelis, which produces his music in numerous festivals (Île-de-France, European church music festival…), France Musique, and in collaboration with other ensembles (Links ensemble, choirs of several cathedrals). In Germany, he has received commissions from the Zafraan ensemble (Berlin) and SKAM (Stuttgart). In 2014-16, he followed a two-year IRCAM residency, where he developed the SmartVox web application, dedicated to the interpretation of computer-assisted speech polyphony. Since September 2017 he has been a lecturer in music at Aix-Marseille University and researcher at PRISM-lab-CNRS. In 2018, he was named a resident at the Casa de Velasquez/Membre de l’académie de France à Madrid; His music is played and presented in computer music symposiums ICMC (New-York), NIME (Porto Allegre), SMC and Tenor (Melbourne).

Jonathan Bell's website

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MUSICAL EXCERPTS (in order):

Fumeux Fume par Fumée, by Solange (14th century)
Ensemble P.A.N.

Common Ground, by Jonathan Bell
Judith Dodsworth, conductor

De joye interdict, by Jonathan Bell
Ensemble De Caelis
Laurence Brisset, conductor

**
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Percussionist and drummer Art Tripp talks with composer Samuel Andreyev in a wide-ranging interview about his fascinating career working with John Cage, Frank Zappa, Don Van Vliet (Captain Beefheart), Robert Austin Boudreau, and many others. He also discusses meeting such luminaries as Morton Feldman, and performing avant-garde music by Stockhausen and others in the 1960s. His important contributions to albums such as Uncle Meat and Lick My Decals off Baby are covered in detail.

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This episode reproduces the audio from my May 10th, 2020 Livestream Q&A on YouTube. Viewers typed their questions into a chat window and I answered them in real time. Due to the large volume of questions received, and my inability to answer even a small fraction of them, I am considering making this a weekly feature of my channel.

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Toronto-based pianist Cheryl Duvall has established herself as one of Canada’s foremost contemporary music interpreters. A dynamic soloist and in-demand collaborator, Duvall has immersed herself in a wide variety of compositional aesthetics and collaborative endeavours.

In 2012, she co-founded the “adventurous and smartly programmed” (Musicworks Magazine) chamber group Thin Edge New Music Collective, commissioning over 70 works, mounting multidisciplinary productions, touring worldwide, and collaborating with leading artists including Sarah Hennies, Linda Catlin Smith, and Ensemble Paramirabo.

She has also worked with the likes of choreographer Peggy Baker, cellist Paul Pulford, film composer Darren Fung, and Essential Opera, and is currently commissioning new solo repertoire from several Canadian composers.

Her new CD, Harbour (Red Shift Records) is devoted to the complete solo piano music of Canadian composer Anna Höstman. Order it here.

Excerpts from the CD included in this podcast (in order):
Harbour (2015) and Late Winter, for the left hand (2019).

Cheryl Duvall’s website
More about Anna Höstman

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Luigi Gaggero has been performing as cimbalom and percussion player and as a conductor at important concert halls and festivals all over Europe, USA, and China. With an endless passion for Medieval painting; Dante and Cavalcanti; the cinema of Tarkovsky and Tarr; Bach, Mozart and Kurtág; Heidegger and Nietzsche -  Luigi is very sensitive to artists who express the Transcendental in art and therefore prioritizes, as an interpreter, a phenomenological approach to both classical and contemporary music. His interpretations are based on the empathic encounter between  interpreter, composer and audience. This results in moving, colorful interpretations, where the classical repertoire gets colored with the typical freedom of interpretation of contemporary music, which, in turn, despite its complexity, abandons itself to the sweep of ‘classical’ phrasing.

This is also the spirit in which Luigi conducts the Ukho Ensemble Kyiv (which he co-founded as artistic and musical director in 2015), and leads the Kyiv Symphony Orchestra (of which he is chief conductor since 2018). Luigi is also guest conductor of several European Orchestras and Ensembles and, at the head of his Ukho Ensemble, has recently conducted three sold-out opera productions at the National Opera of Ukraine.

In 2012 he founded the vocal ensemble La Dolce Maniera with whom he recorded 2 discs dedicated to Monteverdi and Gesualdo. Vittorio Ghielmi wrote: “these fresh interpretations, far away from any ‘museality’, remind closely of Caravaggio’s chiaroscuro and the Baroque sculpture, letting this music powerfully come to life again before our eyes”.

As a conductor, Luigi Gaggero has recorded monographic CDs devoted to Gervasoni (Winter & Winter), Hosokawa and Andreyev (Kairos), Solbiati (EMA Vinci Records), Monteverdi and Gesualdo (Stradivarius). As a cimbalom player he recorded works by Kurtág, Eötvös, Fedele, Francesconi, Gervasoni, Hosokawa, Kurtág, Lévinas and Solbiati (Audite, Aeon, Neos), as well as the  Háry János Suite by Kodály on blu-ray with the Berliner Philharmoniker conducted by Sir Simon Rattle.

Luigi Gaggero is professor of cimbalom at the Conservatoire and at the Académie supérieure de musique in Strasbourg, where he also founded the Contemporary music ensemble of the Académie.

More about Luigi Gaggero:
http://www.luigigaggero.com/

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Thomas Lacôte is organiste titulaire at the Eglise de la Trinité in Paris, a post that Olivier Messiaen held for 60 years. He worked at the Paris Conservatory for six years as the assistant of Michaël Levinas, before being named professor of analysis in 2014. He was educated at this institution, receiving five first prizes with distinction between 2002 and 2006. His manifold musical activities bring together composition, improvisation, performance, teaching and research. His cycle Etudes pour orgue (2006–2015) presents a new approach to the instrument and its sonority. In 2013, his first solo CD entitled The Fifth Hammer was recorded at the Eglise de la Trinité, and released by Hortus.

He is regularly invited for recitals, master classes and lectures by many international institutions, including The Royal College of Organists, Eastman School of Music, Mozarteum Salzburg, Gothenburg Music Academy, Haarlem Organ Academy, Bologna Conservatorio, etc. Along with musicologists Yves Balmer and Christopher Murray, Thomas Lacôte has devoted several years to important research on the works of Olivier Messiaen, leading to the publication of several articles in international journals (XXth Century Music, Journal of the American Musicological Society) and a book (Le modèle et l'invention: Olivier Messiaen et la technique de l'emprunt, Editions Symétrie, 2017).

In 2012, Thomas Lacôte was awarded the Del Duca prize from the Académie des Beaux-Arts-Institut de France. In 2019 he received the Hervé Dugardin composition prize from the SACEM. He is artist in residence at the Royaumont Foundation, and a member of the musical committee of the Prince Pierre Foundation in Monaco.

Thomas has a new work being premiered in Paris on February 9th, 2020 in which he will participate as soloist. More information here.

More about Thomas Lacôte:
Official website
Soundcloud page
Youtube channel

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Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Samuel Andreyev presents an overview of Stravinsky's late style, beginning with the pivotal work Agon, and continuing through Threni, Movements for Piano and Orchestra, and Variations Aldous Huxley in Memoriam.

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https://www.youtube.com/watch?v=AIWn7z7t3ZA

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Nick Storring is a Toronto-based composer, writer, musician and curator. His extensive worklist includes both instrumental chamber music and studio creations that he playfully refers to as 'solorchestral' music. In this episode, Nick talks with Samuel Andreyev about his influences, his musical philosophy and the inspiration behind some of his pieces.

Nick has an LP forthcoming in early 2020 from Orange Milk Records, titled 'My Magic Dreams Have Lost Their Spell'. More information here.

Pieces excerpted in the podcast (in order), with links to Soundcloud:
Senesce for string quartet
Hypnic Jerk for ensemble
Quillow for ensemble
Byland for solo piano

More about Nick:
Official website
Bandcamp site
Soundcloud page


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In this episode, Samuel Andreyev responds to a viewer’s question: how does a composer write music?

Watch the original YouTube video (now over 20,000 views!)

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In this episode, Samuel Andreyev talks with Dan Albertson, music writer, critic, translator and creator of Composers21.com. They discuss the state of new music in the world today, both aesthetically and in terms of its institutions; and the challenges and opportunities facing young composers in the 21st century. See below for Dan's recommendations of who to follow, as referenced in the podcast.

More about Dan


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DAN ALBERTSON'S RECOMMENDATIONS OF COMPOSERS TO FOLLOW

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On 10 October 2017, I presented a lecture on my work at the University of Chicago. This lecture deals, apart from general aesthetic issues specific to my compositions, with the pieces Bern Trio for oboe d’amore, viola and harp, and Midnight Audition for solo viola. The lecture is followed by questions from the students in attendance.

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Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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In this episode, guitarist Jeff Cotton (known as 'Antennae Jimmy Semens') talks for the first time ever in public about his experience working with Captain Beefheart and his Magic Band on the albums Strictly Personal, Mirror Man and of course, Trout Mask Replica.

Famously publicity-shy, Jeff granted me the honour of this first ever interview, filling in crucial details of his story, and providing a new perspective on the making of some of the most beguiling albums ever recorded. He also discusses his subsequent musical projects, and talks about where he is at today.

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French composer Franck Bedrossian speaks with Samuel Andreyev about his work, which is often associated with saturation music. He talks about his brief studies under Gérard Grisey, interrupted tragically by the latter's untimely death in 1998; as well as the formation of his radical aesthetic, the importance of electronics to his work, the influence of popular music, and the general situation of contemporary aesthetics today.

See the video here:
https://www.youtube.com/watch?v=OJSNb0xXb2w

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British composer Julian Anderson talks to Samuel Andreyev about his work, the avant garde, composition today and spectralism, among other topics.

HEAR JULIAN ANDERSON’S MUSIC
Khorovod for ensemble
Heaven is Shy of Earth for chorus and orchestra
Fantasias for orchestra

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Composer Samuel Andreyev presents a concise introduction to the work of Austrian composer Arnold Schoenberg (1874-1951), one of the most controversial composers of the modern period.

See the video here:
https://www.youtube.com/watch?v=bjV3PBIWO2I

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Composer Samuel Andreyev talks with bassist Mark Boston ('Rockette Morton') about his work with the Magic Band on Trout Mask Replica and other Captain Beefheart albums, as well as his involvement with the band Mallard, and his solo work.

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I was a guest on the May 21st episode of composer Paul Steenhuisen's podcast, Soundlab. Paul kindly allowed me to repost our discussion here. For those who are not familiar with Paul's excellent podcast, I urge you to subscribe — there are links below.

We discussed my compositional background and aesthetics, and talked in some depth about my cantata, Iridescent Notation. The occasion was the work's Canadian premiere in Toronto on May 26th, 2019 at the Betty Oliphant Theatre. Maeve Palmer sang the demanding soprano part, and Robert Aitken conducted the New Music Concerts ensemble.

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Link to the original Soundlab episode

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Edited, recorded and produced by Paul Steenhuisen for his podcast Soundlab
Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Betsy Jolas is one of the most significant composers of her generation, and remains a vital force in contemporary European music. Now in her 90s, she continues to create a steady stream of important new works. Jolas’s substantial catalogue is known for its subtle lyricism, depth, and refinement; yet it is also informed by a staggering erudition, and highly personal view of the history of music. The daughter of Eugène and Maria Jolas, publishers of the influential literary magazine Transition, she was close to many key modernist figures — painters, writers, musicians— throughout the 20th century: James Joyce (whom she knew as a girl), Edgard Varèse, Henri Dutilleux, Pierre Boulez, Karlheinz Stockhausen, Joan Mitchell and many others, some of whom are mentioned in this interview.

We freely discussed the following topics:
• Her recent collaboration with Simon Rattle and the Berlin Philharmonic
• Her studies with Darius Milhaud and Olivier Messaien
• Postwar musical life in Paris
• Her relationship with Pierre Boulez and the Domaine Musical
• Writing for the voice
• Being a female composer in the postwar period and beyond
• The technicalities of harmony and harmonic rhythm
• The conception of Quatuor II, one of her most celebrated works


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Betsy Jolas on Soundcloud
View the video of our discussion

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Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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Adam Neely has a hugely successful YouTube channel devoted to music theory. In this episode, Adam and Samuel Andreyev discuss the role of today's social media and communications technologies in the world of music. They also talk about why the Casio Rapman is so important.

View the video of our discussion


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Podcast artwork photograph © 2019 Philippe Stirnweiss

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Van Dyke Parks' music is situated at the crossroads of vernacular and art music. He has pursued his rich and utterly original musical vision over the course of an extraordinary career that now spans over 60 years. Samuel Andreyev interviews Van Dyke about his career and musical philosophy, as well as the fertile meeting of vernacular and art music.

View the video of our discussion

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Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss

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In this episode, Samuel Andreyev responds to a YouTube viewer's question: how can contemporary composers (and other artists) earn a living? He offers some practical advice as a response to this difficult, and perpetual problem.

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Introduction music: Samuel Andreyev's Piano Piece N° 2, performed by Trami Nguyen

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On April 28, 2017, I took a break from lecturing at UC Berkeley, California, and sat down for an extended discussion with drummer, arranger, composer and singer, John 'Drumbo' French. I wanted to understand the strange, unique and complex working process that led to the creation of the legendary 1969 album, Trout Mask Replica by Captain Beefheart and his Magic Band. A great deal of misinformation, exaggerations and superficial comments have obscured the truth for far too long. No one on the planet knows more about this music and was more intimately involved in its creation than John French, and what he had to say is of great historic interest. Thank you to John for agreeing to this discussion.

View the video of our discussion

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Edition Impronta, publisher of Samuel Andreyev’s scores

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Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss
Introduction music: Samuel Andreyev's Piano Piece N° 2, performed by Trami Nguyen

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In this episode, Samuel Andreyev presents a lecture at the Royal Academy of Music in London, England. The lecture deals with how he solved a compositional problem, as well as the challenge of integrating timbre into the language of contemporary music.

View the video of the lecture

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Edition Impronta, publisher of Samuel Andreyev’s scores

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Spoken introduction: Maya Rasmussen
Podcast artwork photograph © 2019 Philippe Stirnweiss
Introduction music: Samuel Andreyev's Piano Piece N° 2, performed by Trami Nguyen

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