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This week, we're putting The Tonearm's needle on five-time Grammy-nominated composer Suzanne Ciani.
Suzanne has spent decades innovating electronic music on the Buchla synthesizer, an instrument as intimate to her as any acoustic musician's.
Suzanne has multiple projects out this year: CIANI/ORKEST, a live album with the fifty-piece Metropole Orkest, conducted by Simon Dobson; a collaborative live album with British electronic producer Actress; and the score for John Wilson's idiosyncratic new documentary, The History of Concrete.
We talk about why an artist who's needed total control throughout her career said yes to an orchestra, a producer, and a filmmaker all in one year, what it's like hearing an instrument built for one pair of hands answered by fifty more, and her pet peeve about volume at live shows.
(The musical excerpts heard in the interview are from Suzanne Ciani’s CIANI/ORKEST)
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• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.
• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.
• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.
• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com
Hosted on Acast. See acast.com/privacy for more information.
By Lawrence Peryer5
3030 ratings
This week, we're putting The Tonearm's needle on five-time Grammy-nominated composer Suzanne Ciani.
Suzanne has spent decades innovating electronic music on the Buchla synthesizer, an instrument as intimate to her as any acoustic musician's.
Suzanne has multiple projects out this year: CIANI/ORKEST, a live album with the fifty-piece Metropole Orkest, conducted by Simon Dobson; a collaborative live album with British electronic producer Actress; and the score for John Wilson's idiosyncratic new documentary, The History of Concrete.
We talk about why an artist who's needed total control throughout her career said yes to an orchestra, a producer, and a filmmaker all in one year, what it's like hearing an instrument built for one pair of hands answered by fifty more, and her pet peeve about volume at live shows.
(The musical excerpts heard in the interview are from Suzanne Ciani’s CIANI/ORKEST)
—
Dig DeeperArtist and Album:
Collaborators:
Instruments and Makers:
Film:
Live and Catalog:
—
—
• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.
• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.
• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.
• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com
Hosted on Acast. See acast.com/privacy for more information.

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