#music

Woven Time: Thoughts on Our Experience of Time in a Mashup
▻https://nightingaledvs.com/woven-time

Our experience of time is simplest described like this: we move forward, and we measure periods by units like seconds, minutes, hours, etc. But I..

#Data_Visualization #music #spotlight

Plus de 900 nouveaux artistes rejoignent #MusiciansforPalestine qui réunit aujourd’hui 1500 artistes en solidarité avec le peuple palestinien

https://entreleslignesentrelesmots.files.wordpress.com/2022/10/musiciens-soutien-palestine.jpg

Plus de 900 nouveaux artistes ont rejoint l’initiative #MusiciansforPalestine, appelant leurs pairs à ajouter leurs noms pour « refuser de se produire dans les institutions culturelles complices d’Israël ».
▻https://musiciansforpalestine.com

Parmi les signataires figurent Marianne Faithfull, Seun Kuti, UB40, Massive Attack, Arca, FKA Twigs, Brian Eno, James Poyser, Mélissa Laveaux, Bachar Mar Khalifé, Sako, Rocé, Michel Bühler, CocoRosie, Lido Pimienta, Zoë McPherson, Ana Tijoux, Le Trio Joubran, The Edward Said National Conservatory of Music, Robert Wyatt…

▻https://entreleslignesentrelesmots.wordpress.com/2022/10/04/plus-de-900-nouveaux-artistes-rejoignent-music

#international #palestine

Voici une nouvelle que je traînais depuis un bon moment, que j’ai repris en début d’année. Ça parle de bouche à oreille, de musique et de domination...
Chaque partie est placée sous l’égide d’un album de post-punk des années 80 (en gros).
Voici le premier chapitre : Another music in a different kitchen des Buzzcocks.
En cliquant sur le nom du groupe vous ouvrirez un lien vers l’un des morceaux de l’album.

Bonne lecture :)

#sf #fiction #postpunk
▻https://portapluma.blogspot.com/2022/09/metaphormose-chapitre-1.html

BIRTH – Born (2022)
Studio Album, released in 2022
“There are two kinds of fools. One says, “This is old, and therefore good.” And one says, ” This is new, and therefore better.” John Brunner, The Shockwave Rider.
▻https://www.youtube.com/watch?v=XVLfowcuUSI

There won’t be comets crashing all around, no great lick of a sun’s flare nor a great flash of nuclear fission set to rend our atmosphere into collapse, there won’t be a hundred years long war to cloud the air with the smoke of burning bodies and fossil fuel’s sabotaged fonts. There will be no glorious warrior death for humanity enough to warrant any such miserable romancing of the end. There will be no grand spaceship escape or tunnel underground to wait out the rebirth of the Earth’s poisoned soul, only the slow and unbearable onset of hapless and hopelessly complacent denial-fiending we’ve experienced over the course of the last few years wherein merchants of death-en-masse’s profitable constriction becomes a new normative low, comfortably sinking more into destitution and servitude month over month. Mankind will eventually simply set down in place, set weary skull into each palm and quietly resign to a fetal balling-up under the stress of poisonous environmental collapse. The few who cling to hope among us are simply waiting for someone else to do the work, anyhow. San Diego, California-based progressive psychedelic rock trio Birth manifest an introspective examination of the macrocosm of nature, technology, and human behavior as these collectively degrading elements represent tandem collapse of society and environment. ‘Born‘ is not a self-involved statement of a project sorceled into being out of hardship but a very direct meditation upon impermanence, leaving the other half of the equation, Death, up to the logic of the listener.

You’re gonna get hung-up on it, man. Lost. — Since the initial free download of ‘Birth‘ now appears to have been about half of the full-length experience verbatim and sits off the digital shelf at the moment, the search for meaning and precedence will inevitably find us looking to past works for foundation. This might end up being a blurring brushstroke, a distraction from the main event in the long run but the context is damned impressive when we consider the varietal body of work from the musicians involved. Approaching Birth‘s debut with the preface of some of the members’ previous spiritual predecessorship in Astra is a double-edged sword in the sense that yes, these are (some of) the same musicians involved in creating a similarly intoxicating mode of progressive psychedelic rock aspect yet it doesn’t necessarily build the right expectation, nor does ‘Born‘ read as a set of songs from the same headspace or intent; Expect a touch more late 60’s heavy blues, more immediately struck theatric hooks, and glorious feature of sublimely unfettered showmanship on guitar and electric piano performances with -none- of the epic longform stretches of build up, which the very popular Astra were known for. Not every second of the full listen is comparatively rousing in its conjure, they are a bit more to the point with the heavier stuff early on and sleepier when things lean celestial, so, you can set your copy of ‘The Weirding‘ aside and stop expecting a revival of that band.

Without Richard Vaughn, whom was a third dimensional aspect of the Silver Sunshine/Astra sound from what I gather, the duo of Conor Riley and Brian Ellis appears to be aimed the U.K.’s still maturing near-second generation era progressive rock sound, somber in a bluesy sort of way but still very much eating at the early 70’s diner of ambitious wonderment incarnate in shaping their core conceit, and in the process of doing so they go bit more heavy psychedelic rock -and- spaced-out, gloomy prog-rock than Astra ever had. In this sense we can loosen up on the obvious comparisons to pre-‘Relayer‘ Yes and Armageddon‘s self-titled record without setting them aside, you’ve got myriad groups like Wobbler whom fully go there in an inspired way nowadays anyhow. This might seem like a bit of a contradiction with reality once you’ve heard lead single “For Yesterday” paired with the spaced, odd-time tension of “Cosmic Tears” but ‘Born‘ simply has a different presence, a more direct line to throwback kitsch and synthesizer worship without trying to be future-past submerged stuff. Though I am aware this’ll all read as heady drivel parsing away deep expectations, that choppy reconsideration of any direct association with past works will likely be the typical listener’s reaction as they inevitably contextualize Birth as separate from Astra. The important thing is to sit back, knock it off and let the theatric Crimson-ian ebb of the record (see: “Long Way Down”) do its thing and get to the point on its own time.

Opener “Born” and its striking into simple riff/organ doubled rhythm immediately read to me as something like Atomic Rooster‘s “Vug”, that era of virtuosic electric piano and/or Hammond organ grinding minus the ‘tonk of Crane‘s rhythmic sensibilities. This turns out to be the wrong first impression all things considered, we’re not exactly in such an extroverted early Uriah Heep mood from the get go anyhow. The band right this wrong quickly with the suggestion of something a bit more moody, specifically the easier-going side of King Crimson‘s ‘Red‘, whereas my mind had been expecting a ‘Tarkus‘ sort of gig up front. We won’t necessarily hear this side of the band again until “Another Time” strikes back into it as a deep cut on Side B, so don’t read into the get-up of the opener too righteously.

The sleepy, easier drift of previously released singles “Descending Us” and “For Yesterday” are the bulk of the full listen’s vital statement both in terms of defining style and lyrical voice as Birth explore various synth/keyboard voicing in pair with drawn out swells of lead guitar and exasperated, occasionally folkish vocal cadence. “Descending Us” is more-or-less unmatched per its surroundings in terms of pulling together something soulful yet heavy psych in its trade-off of inspired verses and fiery guitar solos which peak in the last two minutes of the piece. “For Yesterday” is the major work done on ‘Born‘ to convince the listener of its viability and/or lasting value, an opus which showcases the cloudy run-on compositional space where Riley excels most and presents a very clear love for the exaggerative arc of peak prog rock songcraft. Eh, albeit a succinct one even at ~10 minutes, which depicts the soul lamenting its inevitable dissolve in relation to others, a peak moment either way. The song does however feel like it drones on without a third act, which we must assign to very worthy Side B starter “Cosmic Tears”.

See it as an intentional descent, a dissolution, a passage between mindset unto a darker new reality but I’d eventually find ‘Born‘ an in-quest of an original idiom that’d been difficult to expand as the songwriting process continued, what we experience is their working around a very persistent mood in order to shape a disparate narrative. What I’d imply therein is this sense that a second record from Birth will likely be entirely different, potentially a bit more on the emotional spectrum of the expressive, dread exhaling relief of closer “Long Way Down”. This’d end up being the most inspirational piece for my taste and in no small part due to it following the bustle of “Another Time”. Again, these songs feel like they were ripped from the same sessions as opener “Born” with a bit more severe twist on electric blues in their core statement which almost sounds like the band had transformed into themselves mid-album and wanted to stick with a running order that expressed this directly. The feeling is that of getting a bit lost, collapsing into torpor and waking up refreshed with a bit of a lingering dread in mind. Either that or I’m projecting the sullen arc of everyday life onto a very entertaining, retro-brained heavy rock record.

Though ‘Born‘ occasionally feels like it’d been salvaged from the band suddenly realizing “Hey, we’ve got something here. Now we need to do something.” and making timely statement out of it in terms of a release it nonetheless lands substantial and well in keeping with the best tradition of ambitious yet personal progressive rock. Though the sleepier shades of dread on this album are its most imaginative cerebrum, and surely the thing to emphasize for newcomers, the restless showmanship and yearning introspection found on Birth‘s debut ultimately sold it upon repeated listens. I’ll resign myself to hindsight and any further iteration to frame the experience in mind accordingly. A moderately high recommendation.
Source : ▻https://grizzlybutts.com/2022/07/10/birth-born-2022-review

Songs / Tracks Listing
1. Born (4:48)
2. Descending Us (6:56)
3. For Yesterday (9:14)
4. Cosmic Tears (7:41)
5. Another Time (5:36)
6. Long Way Down (7:17)

Total Time 41:32

Line-up / Musicians
– Conor Riley / vocals, synthesizer, electric piano, organ, acoustic guitar
– Brian Ellis / guitar, electric piano, percussion
– Trevor Mast / bass
– Paul Marrone / drums

#musique #full_album #progressive_rock #psychedelic_rock #prog_rock #music

#Arachnoid - Arachnoid (1979) 🇫🇷
Biography
Founded in Gournay sur Marne, France in 1970 - Reformed in 1978-1981 and 1990-1995 (as a duo)
▻https://www.youtube.com/watch?v=HTOaPNANu0g

ARACHNOÏD is a French major progressive band whose #music was combined with the strengths of other French symphonic groups and dark progressive rock that recalled the style of KING CRIMSON. The dark sound, almost like UNIVERS ZERO, is accomplished mostly by employing melodic structures in the vein of KING CRIMSON’s “Larks’ Tongues In Aspic”. The dramatic vocals are similar to that of Christian Decamp from ANGE. ARACHNOÏD’s music expresses a continuous tension with flashy guitar’s parts and tormented keyboard interventions. ARACHNOID is a unique band with nods to KING CRIMSON, PULSAR, SHYLOCK & PINK FLOYD!
The band lineup consists of Francois Faugieres on organ, Mellotron, Pierre Kuti on acoustic and electric pianos, synths, Bernard Mini on drums, Marc Meryl on lead vocals, tambourine, Philippe Honore on flute, saxophone, and vocals by Yves Javault, Christine Mariey, Martine Rateau and Patrick Woindrich, also on bass, and guitar. Nicolas Popowski also features on guitar and vocals.
ARACHNOÏD’s 1978 self-titled album is one of France’s finest progressive albums of the 70’s, but by no means a classic. The album often receives 4 star ratings by reviewers as it is an example of excellent Symphonic Prog, with it’s striking creepy cover, easily recognisable. The first four tracks of the seven are the best examples of their sound, and these are the most complicated and intriguing. The band have played classically-inspired instrumentals, but their vocalist lacks the power to carry the heavier symphonic passages. Recommended for all adventurous progsters! AtomicCrimsonRush (Scott Tuffnell)

Arachnoid - Arachnoid (1979)
Songs / Tracks Listing
1. Le Chamadère (13:57)
2. Piano Caveau (7:24)
3. Toutes Ces Images / Segamisec Setout (8:15)
4. La Guêpe (8:44)
5. L’Adieu Au Pierrot / Final (4:00)

Total time 42:20
Bonus track on 1988 & 1996 reissues:
6. In The Screen Side Of Your Eyes (4:04)

Extra bonus tracks on 1996 CD release:
7. Les Quatre Saisons De L’Enfer, 1ère Partie: L’Hiver (live ) (4:39)
8. Le Pierrot (live ) (5:08)
9. L’Adieu (live $) (3:23)
10. Piano Caveau (instrumental & Different Mix) (7:17)

* Recorded at La Péniche, Paris, 27 March 1977
$ Recorded at The Mille-Club, in Vaires-sur-Marne, December 1976

Line-up / Musicians
– Marc Meryl / lead vocals, tambourine (9)
– Nicolas Popowski / guitar, vocals
– François Faugieres / Farfisa organ, Mellotron, vocals
– Pierre Kuti / piano, Fender Rhodes, MS10 & Korg synths
– Patrick Woindrich / bass, guitar (6), vocals, producer
– Bernard Mini / drums

With:
– Christine Mariey / child voice (1,4)
– Yves Javault / vocals (4)
– Martine Rateau / spoken word (4)
– Philippe Honore / saxophone (4), flute (6)

Artwork: Alain Robert
#musique #symphonic_prog #progressive_rock #french_prog_rock

America is a continent. USA is just a part of it. Residente video out today.
►https://www.youtube.com/watch?v=GK87AKIPyZY

L’inquiétant #boycott des #musiciens #russes
▻https://www.lemonde.fr/culture/article/2022/03/10/l-inquietant-boycott-des-musiciens-russes_6116973_3246.html

Encore moins compréhensible, le Concours international de piano de Dublin (DIPC), qui se tiendra du 17 au 24 mai, débarquant les candidats russes. « En accord avec les organisations artistiques du monde entier, en cette période difficile, nous avons le regret de vous informer que le DIPC ne sera pas en mesure d’inclure des concurrents russes dans le concours 2022. » Le courriel, envoyé à une dizaine de musiciens, a été posté, le 3 mars, sur le compte Facebook du pianiste Roman Kosyakov – formé à #Moscou, mais aussi à Birmingham. Les frais de dossier seront remboursés.

[...]

Le gel musical entre la Russie et les pays occidentaux serait, « pour l’humanité, une catastrophe », insiste Olivier Mantei. Au plus fort de la #guerre_froide, c’est un pianiste américain, Van Cliburn, qui avait remporté, en 1958, la première édition du Concours international #Tchaïkovski. « Il faut distinguer le pouvoir dictatorial de l’histoire du pays et de son patrimoine culturel, qui résiste depuis très longtemps, estime Olivier Mantei. L’apport des artistes russes à la musique est considérable. » Une vérité qu’il n’est pas inutile de rappeler en ces temps troublés.

République de mecs
#MeToo et Macron : grande cause du quinquennat ou cinq ans de « cause toujours » ?
▻https://www.liberation.fr/politique/metoo-et-macron-grande-cause-du-quinquennat-ou-cinq-ans-de-cause-toujours
Article réservé aux abonnés
Présentée comme une priorité en 2017 et objets de plusieurs mesures lors du quinquennat Macron, les droits des femmes n’ont pourtant pas été au cœur des préoccupations politiques. La défense de ministres accusés d’agressions sexuelles par l’exécutif en témoigne.

https://images.rtl.fr/~c/1540v1026/rtl/www/1254806-le-gouvernement-au-complet-autour-d-emmanuel-macron-le-18-mai-2017.jpg

Confessions Of A Garage Cat , l’histoire orale de Gildas Cospérec, fondateur de l’emblématique fanzine toulousain Dig It !
▻https://www.musicophages.org/journees-du-patrimoine-le-18-et-19-septembre

Gildas Cospérec fut pendant plus de vingt ans l’animateur-locomotive d’un #fanzine et d’un radio show devenus mythiques et qui portaient tous les deux le même nom : Dig It ! Il sut allier élégance et énergie, curiosité et bon esprit, bienveillance et exigence pour développer sa vision et créer un réseau d’amis et de collaborateurs extrêmement pointus et passionnés. Gildas est décédé en 2020. Peu avant sa mort il a livré son histoire et celle de Dig It ! au travers de rencontres et d’interviews consignées par Patrick Cazengler et Patrick Bainée. Gildas raconte ici cette aventure exceptionnelle au pays magique de l’underground et partage comme il l’a toujours fait ce festin avec une cinquantaine de témoins : Diggers renommés pour la plupart, comme Alain Feydri et Lo’Spider, mais aussi ceux que Kim Fowley appelait the International Heroes, Beat-Man, Ben Vaughn, JJ Rassler ou encore Mike Mariconda. Ce cercle d’amis inclut aussi des patrons de bars, des animateurs et des animatrices de #radio, des musiciens et des ratons laveurs, comme aimait à le dire lui-même Gildas. Vous trouverez à la suite de l’oral history un Best Of d’articles de #Dig_It !, choisis par Gildas et les Diggers.

Les Musicophages (2021) 448 pages de saine lecture pour moi qui ai découvert Dig It ! sur le tard. The Goodbye Show 16/01/2020 - 4 h 30 d’émission, un peu la bande son du bouquin. la liste des titres est dans le livre, fantastique !
▻http://digitradio.unblog.fr/2020/01/17/dig-it-16-janvier-2020-the-goodbye-show
▻http://www.musicophages.com/2020/03/17/dig-it-grand-esprit-rocknroll
Gildas Cosperec 1956 - 2020 mais son esprit brûle encore.
►http://digitfanzine.chez.com/digit.html
d’autres ressources sur #Canal_Sud
▻https://www.canalsud.net/Dig-it
▻https://www.canalsud.net/bebes-dinosaures-10-octobre-2021
The Fabulous Furry Shoo Chain Brothers
▻https://padlet.com/digitfanzinearchives/kb3mbwes405752g0
Le Bandcamp d’une partie de la production de ces diggers
▻https://swamplandrec.bandcamp.com
#musique #rock'n'roll #garage #Toulouse #musicophages

Data-Driven #album_covers
▻https://nightingaledvs.com/data-driven-album-covers

While there have been several great album covers that feature #Data_Visualization (Joy Division’s Unknown Pleasures is based on a scientific diagram of Pulsars and..

#Community #Data_Art #music #sonification #spotlight

Le collectif #MusiciansForPalestine poste cette lettre signée par plus de 600 musiciens à travers le monde, dont en France DJ Snake, Dominique Grange, Elli Medeiros, HK, Imhotep (IAM), Keny Arkana, Léonie Pernet, Médine, Mourad Musset (La Rue Ketanou), Mouss et Hakim, Naïssam Jalal, Nawel Ben Kraiem, Sidi Wacho, Skalpel, Titi Robin...

Mais aussi dans le reste du monde Patti Smith, Roger Waters, Rage Against the Machine, Asian Dub Foundation, Digable Planets, Cypress Hill, Run The Jewels, Tune-Yards, Belly, Checkpoint 303, Godspeed You ! Black Emperor, Eryn Allen Kane, Talib Kweli, Vic Mensa, Nicolas Jaar, A-Trak, Mustafa The Poet, Omar Offendum, Pharoahe Monch, Royce da 5’9″, Narcy, Owen Pallett, Malika Tirolien, Nai Barghouti, Shadia Mansour, Lowkey, Noname, Habibi Funk, Yasmine Hamdan, Emel Mathlouthi, Fousey, Lastesis, Machel Montano, des membres de Arcade Fire, The Roots, Sonic Youth, The Strokes, System of a Down, Cocorosie, Chromeo, Mashrou Leila et d’autres…

Musiciens pour la Palestine
Le 27 mai 2021
▻https://www.bdsfrance.org/musiciansforpalestine

https://seenthis.net/local/cache-vignettes/L600xH600/2png-e6dbe01e6db-0ae21.jpg

La presse américaine, et même la presse israélienne reconnaissent que c’est la plus impressionnante initiative de ce genre, mais aucun média français n’en parle (sauf Révolution Permanente, et Médiapart qui reproduit la lettre)

#Musique #Musique_et_politique #Palestine #BDS

Our Letter | Musicians For Palestine
▻https://musiciansforpalestine.com/our-letter

https://img1.wsimg.com/isteam/ip/8a8a0f03-5f1c-41de-889e-ccb04637036a/2.png

Beethoven String Quartet No 10 Op 74 Harp in E flat major Alban Ber...
▻https://diasp.eu/p/12738492

Beethoven String Quartet No 10 Op 74 Harp in E flat major Alban Berg Quartet

#LudwigvanBeethoven #classical #string #music

Musicians in lockdown: ’My piano kept me going’ - BBC News
▻https://www.bbc.com/news/in-pictures-56186505

https://ichef.bbci.co.uk/news/1024/branded_news/A833/production/_117195034_musician_comp.jpg

Bolton-based photographer Marge Bradshaw asked musicians to share their personal stories of life in lockdown, after the pandemic left thousands of jobs at risk and hundreds of UK music venues under threat of closure.

#musiciens #musique #corona #confinement #résilience

ha!... searching for #bass #clarinet #music I stumbled upon 4 #gals...
▻https://diasp.eu/p/12502639

ha!... searching for #bass #clarinet #music I stumbled upon 4 #gals from #Vienna #Austria...

The Austrian Bass Clarinet Quartet

Le témoignage glaçant de Flore Benguigui - C à Vous - 11/12/2020
▻https://www.youtube.com/watch?v=6ptFzs8Uino

#Sexisme et #violences_sexuelles dans la #musique. Flore du groupe L’Impératrice brise une omerta dans un long entretien accordé à Tancrède Bonora pour #CàVous​. #male_gaze

L’Impératrice — Peur des filles
▻https://www.youtube.com/watch?v=VUH-z_SBlj0

Compile ci-dessous faite par ▻https://twitter.com/attica45/status/1339108908875599877

„Wohin ?“-Podcast (Audio)

▻https://youtu.be/vBL7lwdLUhc

Dieser Podcast ist das Ergebnis eines mehrmonatigen Prozesses, der durch Corona immer wieder flexibel angepasst werden musste. Endlich haben wir nun eine Form gefunden, um in die Welt zu bringen, was uns beschäftigt und bewegt: Die Situation geflüchteter Menschen in Europa nicht aus dem Blick zu verlieren, von unseren Begegnungen zu erzählen, zu verweilen, nachzudenken. Wütend zu sein und traurig, anzumahnen und trotz allem Hoffnung – wie einen Vogel – in die Welt ziehen zu lassen.

Ergänzend zum Podcast empfehlen wir den ca. achtminütigen, spontanen Probenmitschnitt (Video) des kompletten Zyklus‘ von Erna Woll vom 18.10.2020, der kurz vor dem 2. Lockdown unter corona-gerechten Bedingungen entstand: ▻https://youtu.be/qgpWBsk0enc

Spendenaufruf
Sie können spenden an:

MedEquali Deutschland e.V.
►https://medequali.de
IBAN: DE05 4306 0967 1046 4829 00
GLS Bank eG

Cölber Arbeitskreis Flüchtlinge
►https://facebook.com/CAFCoelbe
Zahlungszweck: Weihnachtsspende
IBAN: DE12 5335 0000 0038 0007 64
Sparkasse Marburg-Biedenkopf

Mitwirkende
Konzeption und Idee: Johanna Bank, Mareike Hilbrig, Lydia Katzenberger, Friederike Monninger, Kim Siekmann
Autorinnen und Sprecherinnen: Mareike Hilbrig, Lydia Katzenberger, Friederike Monninger
Schnitt: Johanna Bank
Marburger Vokalensemble:
Sopran: Friederike Monninger, Kim Siekmann, Gertrud Monninger-Wolff
Alt: Claudia Heidl, Lotte Jacobs, Lydia Katzenberger
Tenor: Jakob Huelsmann, Manuel Wagner
Bass: Matthias Rutt, Jörg Schlimmermann, Matthias Vogt
Leitung: Mareike Hilbrig
Klavier: Claudia Meinardus-Brehm
Frauenkammerchor Marburg, Leitung: Mareike Hilbrig
Tonaufnahme: Frank Wagner

Dank

Danke an Kurt Bunke und dem Cölber Arbeitskreis Flüchtlinge e.V. für die große Unterstützung dieses Projekts.
Danke an den Frauenkammerchor Marburg und Claudia Meinardus-Brehm für die Bereitstellung der Aufnahmen des Konzertmitschnitts vom März 2020.
Danke an Henrike Monninger für die Gestaltung des Designs.
Danke ans Archiv Frau und Musik für die Unterstützung bei der Veröffentlichung. Alle Musikstücke des Podcasts stammen aus der Feder von Komponistinnen (nur beim Hilde-Domin-Kanon ist die komponierende Person unbekannt). Erna Wolls Zyklus war auch Gegenstand der digitalen Chorprobe bei den „Digitalen Chorfachtagen“ des Archivs im Herbst 2020, die ebenfalls auf dem Archiv-Youtube-Kanal zu finden ist.
Gefördert wurde das „Wohin?“-Projekt vom Hessischen Ministerium für Wissenschaft und Kunst.

Weiterführende Links
►https://medequali.de
►https://facebook.com/CAFCoelbe
▻https://archiv-frau-musik.de
▻https://frauen-kammerchor-marburg.de
▻https://mittelhessischer-landbote.de

Kontakt: Mareike Hilbrig, Email-Adresse: Frauen-Kammerchor-Marburg@web.de

Musik

Maria Teresa D’Agnesi Pinottini (1729-1795), Sonata prima per il Cembalo (Ausschnitte)
Klavier: Claudia Meinardus-Brehm, März 2020

Erna Woll (1917 - 2005), Wohin ich immer reise (Ausschnitte aus dem Chorzyklus)
Text: Mascha Kaléko (1907 – 1975)
Probenmitschnitt vom 18.10.2020 mit dem Marburger Vokalensemble
Aufnahme: Frank Wagner
I.
Wohin ich immer reise, ich fahr nach Nirgendland.
Die Koffer voll von Sehnsucht, die Hände voll von Tand.
So einsam wie der Wüstenwind, so heimatlos wie Sand:
Wohin ich immer reise, ich komm nach Nirgendland.

Die Wälder sind verschwunden, die Häuser sind verbrannt.
Hab keinen mehr gefunden, hat keiner mich erkannt.
Und als der fremde Vogel schrie, bin ich davongerannt.
Wohin ich immer reise, ich komm nach Nirgendland.

II.
Jage die Ängste fort und die Angst vor den Ängsten.
Für die paar Jahre wird wohl alles noch reichen.
Das Brot im Kasten und der Anzug im Schrank.

Sage nicht mein. Es ist dir alles geliehen.
Lebe auf Zeit und sieh, wie wenig du brauchst.
Richte dich ein und halte den Koffer bereit.

III.
(...)
So weht wohl auch die Landschaft unsres Lebens
an uns vorbei zu einem andern Stern
und ist im Nahekommen uns schon fern...
„Lieb Heimatland, lieb Heimatland, lieb Heimatland ade...“

Abbie Betinis (*1980), Be like the bird
Text: Victor Hugo
Solo: Kim Siekmann, Nov. 2020

Be like the bird that, pausing in her flight a while on boughs too slight, feels them give way beneath her, and sings and sings, knowing she hath wings.

Anonymus, Nicht müde werden
Text: Hilde Domin (1909 – 2006)
Solo: Matthias Vogt, Nov. 2020

Nicht müde werden, sondern dem Wunder leise wie einem Vogel die Hand hinhalten.

Susan LaBarr (*1981), Hope is the thing with Feathers
Text: Emily Dickinson (1830 – 1886)
Konzertmitschnitt: Frauenkammerchor Marburg, März 2020

Hope is the thing with feathers that perches in the soul
and sings the tune without the words and never stops at all.
And sweetest in the gale is heard and sore must be the storm
that could abash the little bird that kept so many warm.

I’ve heard it in the chillest land and on the strangest sea,
yet never in extremity it asked a crumb of me.

►https://www.youtube.com/watch

#podcast #audio #migration #Europe #covid-19 #refugee #music #art #choir #song #testimony

ping @cdb_77

Black Lilith Records, label féministe rennais, sort un premier album ! - expansive.info
▻https://expansive.info/Black-Lilith-Records-label-feministe-rennais-sort-un-premier-album-2521

https://expansive.info/IMG/arton2521.jpg?1607688516

Née autour du comptoir de la Part des Anges, bar militant féministe LGBTQI+ installé rue Sainte-Mélaine à Rennes, le label Black Lilith donne naissance en cette fin d’année à un premier projet étonnant, détonant et entraînant.

▻https://blacklilithrecords.com/black-lilith-records
Black Lilith Records, une association et un label pour défendre et soutenir les femmes artistes.
▻https://france3-regions.francetvinfo.fr/bretagne/ille-et-vilaine/rennes/black-lilith-records-association-label-defendre-souteni

https://f4.bcbits.com/img/0022809956_100.png

Enorme collection #photos #jazz #music
▻https://jazzinphoto.wordpress.com

https://jazzinphoto.files.wordpress.com/2018/10/aretha-franklin-photographed-on-october-14-1968-c2a9-richard-avedon.jpg?w=450 https://jazzinphoto.files.wordpress.com/2018/05/chet-baker-and-lili-hollywood-1955-c2a9-william-claxton.jpg?w=450 https://jazzinphoto.files.wordpress.com/2017/04/miles-davis-hackensack-nj-1954-c2a9-francis-wolff.jpeg https://jazzinphoto.files.wordpress.com/2014/03/old-ladies.jpg

#bonne_nouvelle

#Eugenio_Bennato - #Brigante_se_more
▻https://www.youtube.com/watch?v=wT_LVXNRFVY

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On en parle notamment dans cet article paru dans la revue Nunatak :

https://seenthis.net/local/cache-vignettes/L547xH700/A5d3XnJpng-44e57-56cc2.png

ping @sinehebdo

Les bienfaits de la musique
Pierre-Etienne Caza, Actualités UQAM, le 1er octobre 2020
▻https://www.actualites.uqam.ca/2020/les-bienfaits-de-la-musique-sur-le-stress

On ne peut qu’encourager les gens à jouer d’un instrument et à joindre un ensemble, affirme la professeure du Département de musique Audrey-Kristel Barbeau. Même en tenant compte de l’inévitable stress lié aux répétitions et aux concerts, les bienfaits de la musique sont évidents.

#Musique #Stress #musicothérapie

#Louise_Farrenc : biographie, actualités et musique à écouter
▻https://www.francemusique.fr/personne/louise-farrenc

https://cdn.radiofrance.fr/s3/cruiser-production/2019/06/7f1c99e3-9379-49f7-90ef-1fd9f0f831d0/200x200_farrenc_louise.jpg

Avec Fanny Mendelssohn ou Clara Schumann, Louise Farrenc fait partie des grandes compositrices de la période romantique. Avec le soutien de son mari, Aristide Farrenc et d’autres grands musiciens de son temps, elle réussit une carrière de pédagogue et de compositrice. Ses œuvres furent jouées de son vivant, et remportèrent l’admiration du couple Clara-Robert Schumann.

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1849, Louise Farrenc : Création de sa Symphonie n°3 en sol mineur op 36
▻https://www.francemusique.fr/emissions/musicopolis/1849-louise-farrenc-creation-de-sa-symphonie-ndeg3-en-sol-mineur-op-36

https://cdn.radiofrance.fr/s3/cruiser-production/2019/01/d91df349-a5e0-4f10-8787-7371a8a6ac2e/600x337_farrenc_symphonie_3_musicopolis_.jpg

Le 22 avril 1849, le public parisien découvre la nouvelle symphonie de Louise Farrenc. Anne-Charlotte Rémond revient aujourd’hui sur le parcours de la compositrice, première femme au 19 ème siècle à s’imposer dans des genres de grande envergure...

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Louise Farrenc : Symphonie n°3 en sol mineur op. 36 par l’Orchestre philharmonique de Radio France
▻https://www.francemusique.fr/concert/interpretation/symphonie-ndeg3-en-sol-mineur-op-36

https://cdn.radiofrance.fr/s3/cruiser-production/2018/02/5c8467df-7181-462c-939c-6a33b3a38054/600x337_x240-yvh.jpg

Louise Farrenc : Symphonie n°3 en sol mineur op. 36 par l’Orchestre philharmonique de Radio France

#compositrices #musiciennes

Sendung vom Mi, 1.7.2020 20:03 Uhr, SWR2 Musik, SWR2 (1h 56 min) ht...
▻https://diasp.eu/p/11604954

Sendung vom Mi, 1.7.2020 20:03 Uhr, SWR2 Musik, SWR2 (1h 56 min)

▻https://www.swr.de/swr2/musik-klassik/swr2-schluesselwerke-100.html

SWR2 Schlüsselwerke genial erklärt: #Violinkonzert D-Dur op. 61

(1h 12 Min. äußerst hörenswerte Erläuterungen, daraufhin das gesamte Violinkonzert)

Sendung vom Mi, 1.7.2020 20:03 Uhr, SWR2 #Musik, SWR2

#Music #Musique #Beethoven

In memoty of Julian Bream: Julian Bream at the BBC (►https://www.you...
▻https://diasp.eu/p/11504085

In memoty of Julian Bream: Julian Bream at the BBC

#documentary #guitar #lute #inmemoriam #classical #music #jazz #JulianBream

#MBL (#Musicisti_Basso_Lazio)

http://www.musicistibassolazio.altervista.org/images/Gallery/13724053_10207216807602025_8940494864852973977_o.jpg

#MBL (#Musicisti_Basso_Lazio) è il nome sia di un progetto culturale che di un gruppo folk italiano, fondato dal musicista e cantautore #Benedetto_Vecchio, nel 2000. Da oltre quindici anni il gruppo è impegnato nel recupero e promozione della specifica identità regionale del sud Lazio, grazie alla sua attività di ricerca storica e folclorica sia nel settore della musica che della danza. Leggi altro...

http://www.musicistibassolazio.altervista.org/images/Gallery/musicisticop.jpg

#musique #folk #musique_populaire #Italie #Lazio #Latium #pizzica #tarantelle #tarantella

▻https://www.youtube.com/watch?v=9wQk9Wfchks