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/
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IAN PACE WRITINGS
https://openaccess.city.ac.uk/view/creators_id/ian=2Epace=2E1.html

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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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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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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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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
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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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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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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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Podcast artwork photograph © 2019 Philippe Stirnweiss

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