In his early career, Boulez played a key role in the development of integral serialism, controlled chance and electronic music. This, coupled with his highly polemical views on the evolution of music, gained him the reputation as an enfant terrible
Piano Concerto No. 2, Allegro, Opus 102 by Dmitri Shostakovich. Based on the fairy tale “The Steadfast Tin Soldier” by Hans Christian Andersen, a broken toy soldier with one leg falls in love with a toy ballerina and protects her from an evil jack-in-the-box. Unlike the original story, this version has a happy ending. Introduced by Bette Midler featuring (youtube) pianist Yefim Bronfman.
Soseki’s novel was not only to become Gould’s favorite book (previously it had been Thomas Mann’s 1924 novel “The Magic Mountain”), but one that would obsess him for the last 15 years of his life. Despite having no particular interest in Japan, nor having ever visited, Gould ended up owning four copies of the book, two in English and, unexpectedly, two in Japanese. He owned the English translations of Soseki’s other novels and had more of the Japanese novelist’s books in his library than those of any other writer.
To his cousin, Jessie Greig — the person closest to him throughout his life — he expressed his love for “The Three-Cornered World” by reading the entire novel out to her over the telephone over the course of two evenings.
By Joshua Kosman Updated 12:54 pm, Monday, June 22, 2015
The prolific and influential composer-performer turns 80 on Wednesday, a milestone that will be celebrated this weekend with a three-concert series by his longtime collaborators, the Kronos Quartet. And in addition to his artistic legacy — a long and varied creative record that includes some of the most notable works in the history of minimalism and post-minimalism — Riley must hold some kind of record as the happiest and least stress-afflicted musician now working.
He began as a neo-classicist, writing short pieces in imitation of Milhaud and Poulenc, as well as a jazz pianist. Then Young, whom he met at UC Berkeley in the ’50s, drew him into the world of experimentalism — a chapter that led to the 1964 creation of “In C,” the masterpiece of structured freedom that remains his best-known work. Throughout the late 1960s and ’70s, Riley immersed himself in musical improvisation, producing such groundbreaking albums as “Rainbow in Curved Air” but not writing anything down. (“During that decade, you won’t find any notes from me,” he says, “but a lot of music.”) He also became an adept at Indian music, studying with the Indian singer Pandit Pran Nath.
Kronos and Terry Riley
Perhaps his most long-standing commitment has been to his collaboration with Kronos, for which he has written more than a dozen quartets. It was the group’s founder and artistic director, David Harrington, who put Riley back on the path of notating music.
When I first started playing saxophone and discovered Ornette Coleman he freed me up. He put me on a path that made sense for me to follow.
I would search the Worcester Public Library for anything about jazz and found a book about him and Cecil Taylor. For some reason the line that stayed with me that Ornette said was, “I knew I was on to something when I found I could make mistakes.” That hit me so profoundly. Yeah, that is exactly right, even if no one but you knows, you are on to something if you can make mistakes.
I managed to see him play often. When he took his solo at the end of Skies in America at Carnegie Hall, Bill Noel turned to me and said, “he just stopped time.”
Which was also exactly right.
Later, when the Lounge Lizards started he was remarkably supportive and helpful to the young band leader following in his footsteps.
And much much later, when I had found my musical voice, I had some of the guys in my band that he used to hire, but was having a really rough time with them.
So I called Ornette and we had an amazing two hour conversation
about running a band.
Ornette’s passing hit me really hard. He meant something to me and not because of all the musical innovations that he made, which are many but because of the sweetness in him. Almost like an angel.
Boris Vian (French: [bɔʁis vjɑ̃]; 10 March 1920 – 23 June 1959) was a French polymath: writer, poet, musician, singer, translator, critic, actor, inventor and engineer. He is best remembered today for his novels.
Vian was also an important influence on the French jazz scene. He served as liaison for Hoagy Carmichael, Duke Ellington and Miles Davis in Paris, wrote for several French jazz-reviews (Le Jazz Hot, Paris Jazz) and published numerous articles dealing with jazz both in the United States and in France. His own music and songs enjoyed popularity during his lifetime, particularly the anti-war song “Le Déserteur”
Mood Indigo (French: L’Écume des jours) is a 2013 French film co-written and directed by Michel Gondry and co-written and produced by Luc Bossi, starring Romain Duris and Audrey Tautou. It is an adaptation of Boris Vian’s 1947 novel Froth on the Daydream.