Hello, and welcome to our podcast, which features professional artists, performers and researchers, primarily from the field of music, talking about their practice. Our idea with this series is to reach out to music students and young professionals who wish to gain more insight into the minds of established artists, teachers and researchers in order to learn more about what it takes to build an independent professional artistic practice. We are both percussionists ourselves, and approach the different areas from that perspective. Topics covered across different episodes are artistic influences, practicing and time management, creativity, composer/performer collaborations, approaches to creating and funding artistic projects, how to create an ensemble, artistic research, how one's perspectives on the practice of music changes over time…and much more.
We hope you enjoy listening!
…and please send us a note if there are topics you'd like to see covered.
Håkon Mørch Stene & Henrik Knarborg Larsen.
Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep. 19: Einar Nielsen (DK, professor emeritus at The Academy of Music and Drama, Gothenburg University)
32:32In this episode we dive into the historical 60’s and 70’s percussion scene in Northern Europe, Instrumental Theatre and aspects of teaching and interpretation: Einar Nielsen is professor emeritus at The Academy of Music and Drama, Gothenburg University, now living in Copenhagen. Since the early seventies, he has toured Europe and North and South America together with some of the finest musicians and composers within classical avant-garde music, like the ensembles Trio Celeste (dk), Elsinore Players (dk), Studiegruppen (dk), Sub Rosa (dk), Transit Ensemble (de), Duo Kontarsky (de), Corona Danseteater (dk), Essential Music (New York), Cinnober Teater (se), and he also had close long-term collaborations with especially the composers Mauricio Kagel (de), Per Nørgård (dk), Karl Aage Rasmussen (dk) and Charles Morrow (New York). In 1974 he won the Salabert Prize at the Rencontre International de Percussion in La Rochelle, France, and since then he has taught at several universities in Scandinavia. As a soloist, chamber musician, performer, actor, conductor, etc., he has performed more than 600 contemporary works, including many premieres.Very early on, Einar Nielsen started playing in professional symphony orchestras, but the meeting with Argentinian-German Mauricio Kagel and his instrumental theater in 1968 opened up an insight into the more soloistic possibilities that one would get as a performer, developing the performer's juggling game between tragedy and humor, crying and laughter, typical for the absurdly experimental instrumental theater. Beside still acting as a performing artist, he is engaged in pedagogical research associated with interpretative processes in music with a special focus on assessment aspects. Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep. 18: Vanessa Tomlinson (Percussionist, Artistic Director, Researcher, Composer)
48:04Vanessa is a percussive artist dedicated to exploring how sound shapes our lives, awakening our ears to new sounds, in new spaces, with the hope that attentive listening will lead to attentive custodianship of place. With a long history in experimental music, Vanessa uses this body of knowledge to consider how we listen through site-specific explorations and collaborations. Trained as a percussionist in Australia, Germany and the USA, Vanessa relies on this sonic investigation of objects to build compositions, create contexts for improvisation, interpret the voices of other composers and collaborate across art-forms and disciplines. She has toured the world for 25 years, premiering over 100 works by significant national and international composers, presenting work at major international festivals, and collaborating with improvisers, dancers, artists and more. Key projects include The Immersive Guitar (with Karin Schaupp at Curiocity Brisbane), The Piano Mill (a purpose built structure in the Australian bush), Sounding the Condamine (examining the history of the Condamine Bell in outback Queensland), Water Pushes Sand (examining intersections between Sichuan Opera and improvisational practices with Australian Art Orchestra), Sonic Dreams (a series of compositions about extinct and imaginary sounds) and Here and Now (her first book, examining approaches to music making in an Australian context). She studied at the University of Adelaide, Hochschule fur Musik in Freiburg and received her Masters and Doctorate from the University of California, San Diego where she worked closely with Steven Schick and George Lewis. In addition Vanessa has studied Sichuan Opera with Master Zhong Kaichi in Chengdu, China. She has been on the faculty of the Queensland Conservatorium of Music for 18 years, transforming the field of percussion in Australia, helping to define the field of Artistic Practice in music internationally, and pioneering the performer/composer, interpreter/improviser pathway for students. She is currently Director of Creative Arts Research Institute at Griffith University where she continues to drive research projects that help define the agenda for performing artists in the academy.The episode includes sounds from Excerpt from Lonely Hearts Pandemic Bandhttps://www.youtube.com/watch?v=DaqzLu_AhuQ&list=PLM-eAZLeWDtlmg4hRNW0DKuJKt-aAHfWEand Vibrations in a landscape by Vanessa Tomlison and Erik GriswoldPerformed at The Piano Mill with students from BaDaBoom Percussion (Queensland Conservatorium Percussion Department)https://www.youtube.com/watch?v=3Ed8VKVq5wwSolo tamtam https://room40.bandcamp.com/album/the-space-insideFound object masterclasshttps://www.youtube.com/watch?v=lXS67tbHC74Playing vibraphonehttps://vimeo.com/331963991 Hosted on Acast. See acast.com/privacy for more information.
Gå ikke glip af nogen episoder af “Percussion Perspectives Podcast” - abonnér på podcasten med gratisapp GetPodcast.
Percussion Perspectives ep.17: Andy Meyerson (The Living Earth Show, Commando, Post:ballet, solo artist)
1:14:20Andy Meyerson is a drummer and percussionist based in San Francisco, California. He is the Artistic Director, co-founder, and percussionist of The Living Earth Show, one of the premiere experimental classical ensembles in the United States. Named one of the “22 performers to watch in ‘22” by the Washington Post, The Living Earth Show has presented over a decade of “outstanding” (San Francisco Chronicle) and “transcendent” (Charleston City Paper) new music that pushes the boundaries of technical and artistic possibility while amplifying voices, perspectives, and bodies that the classical music tradition has often excluded. He is also the drummer and co-founder of queer nü metal collective COMMANDO, music director of renegade dance company Post:ballet, and the artistic director and CEO of uncompromising experimental chamber music record label Earthy Records.Here are links to some of the topics discussed in this episode: Mark Appelbaum – The Mad Scientist of Muisc (TED talk) Brian Ferneyhough – Renvoi/Shards (2010) (live performance by The Living Earth Show) Sarah Hennies – A Kind of Ache https://www.thelivingearthshow.com/productions/a-kind-of-acheAmadeus Regucera– IMY/ILYAlso check out the podcast on the Album “Lyra” by Samuel Adams and The Living Earth Show here. Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep. 16: Leif Karlsson (conductor / percussionist in Kroumata 1979–2008)
1:17:21Leif Karlsson is a renowned Swedish conductor, chief conductor for the State Wind Symphony Trimitas in Lithuania and the Inspector of Music in the Swedish Armed Forces. He has worked with a great number of orchestras in Scandinavia over the last decades and has premiered more than 250 compositions. As a percussionist Leif Karlsson was one of the founding members of the world renowned percussion ensemble Kroumata, with which he recorded, toured and preformed for 30 years. With Kroumata, he was a soloist with Los Angeles Philharmonic, Berliner Symphoniker, WDR Rundfunkorchester, Singapore Symphony, Gothenburg Symphony orchestra, Islands Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Swedish Radio Symphony Orchestra, amongst others. Over the years, Kroumata performed in 43 countries and almost 600 cities worldwide and recorded 19 critically acclaimed records.As a Swedish ambassador for the arts, Leif Karlsson was honored with the Positive Sweden honorary award. He has performed at international state visits of Their Majesties the King and Queen of Sweden. Leif Karlsson is a member of the Royal Swedish Academy of Music.You may watch Kroumata's 1999 performance of Xenakis' "Peaux" here, and a full concert from 1993 here. Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep.15: Vanessa Porter (soloist, chamber musician, Stuttgart/DE)
1:08:06Vanessa Porter is a German percussionist based in Stuttgart. She is one of the most active percussionists in her generation internationally. Her performances often combine composed works with improvisation, also employing electronics and visual media. In the 2033/23 season she will perform as a soloist of ECHO (European Concert Hall Organisation) in the most renowned European concert halls such as Concertgebouw Amsterdam, Elbphilharmonie Hamburg, Barbican Centre London, Philharmonie Paris, L’Auditori Barcelona, and many more. She collaborates with many renowned composers and is regularly performing with groups such as Ensemble Modern, Ascolta Ensemble, and Les Percussions de Strasbourg. Check out Vanessa's recent solo albums here. Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep. 14: Christian Windfeld (Improviser/Composer/Percussionist)
49:15Christian Windfeld, b.1983, is a Danish improviser, composer, percussionist and educated soloist from The Royal Academy of Music in Aarhus, Denmark. Since the age of 19 he has build an international career touring all over Europe, North America and Australia and lived in Stockholm, New York and Berlin.Windfeld has a minimalist but highly expressive approach to the percussive instruments often reducing his set-up to focus on just one instrument e.g. the snare drum to explore its full potential aiming to transcend the general perception of its capabilities.As a composer he has created pieces and installations to art exhibitions and cross media publications with writers and visual artists.Windfeld is featured as a leading figure on more than 30 recordings and have so far recorded two solo albums under the alias FØRSTEPERSONENTAL (FIRSTPERSONSINGULAR) the first released in 2014 and the second, ROTUNDA, in autumn 2016 .He has received a string of honors and grants most notably the prestigious “Young Elite” fellowship awarded to him by the Danish Arts Council in 2015. Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep.13: Arnold Marinissen (composer, solo artist, Conservatorium van Amsterdam)
37:13Composer and percussionist Arnold Marinissen (*1966) Has been a principal subject teacher at the Conservatorium van Amsterdam since 2008. He was artistic leader of Slagwerk Den Haag, and enjoys the classic percussion works of John Cage etc, parallel to exploring and composing new music for percussion. Today his compositions are broadly recognised and performed at festivals internationally. Henrik Knarborg talks with him about being both a composer and percussionist, what motivates him, and what he finds important when managing his time. Sound example are taken from: Arnold Marinissen: ”Von Pferden, Gräsern, Sonnen, Menschen”Arnold Marinissen: ”Totem I and II”Arnold Marinissen: ”Iron Velvet” Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep.12: Aiyun Huang
49:25In this Episode Henrik talks with percussionist and performer Aiyun Huang. Aiyun enjoys a musical life as soloist, chamber musician, researcher, teacher, and producer, and is also the Head of the Percussion Program at the University of Toronto.An expert in Percussion Theatre, her work on the subject has been published in Cambridge Companion to Percussion (2016) and Save Percussion Theater (Mode 242). Aiyun is committed to creating a vibrant new music community for the next generation, and is artistic director of the soundSCAPE festival in Italy. We talk about subjects as her background, theatrical percussion, memory in motion, transplanted roots symposium, and sustainability – both concerning the new works written for smaller setups and the way we travel as artists. Music included: Vivian Fung: The Ice is TalkingIannis Xenakis: Persephassa (binaural recording) Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep. 11: Jonathan Hepfer (Monday Evening Concerts LA, ArtCenter Pasadena, Ensemble ECHOI)
2:07:04This episode features LA-based musician Jonathan Hepfer, who runs the concert series Monday Evening Concerts. In the first part of our talk, Jonathan speaks about his studies at the SUNY Buffalo, the Oberlin Conservatory, UCSD, and Musikhochschule Freiburg, and what his different mentors have meant to him. In the second part, he talks about how he developed his thinking as a curator.The opening music is Jonathan performing Giacinto Sceli's Ko-Tha II; midway you'll hear an excerpt from Salvatore Sciarrino's Le Voci Sottovetro, and at the end a longer excerpt from the 1974 classic Femenine by Julius Eastman.The Jan Williams/Morton Feldman interview mentioned can be read here . (More recently, British percussionist Joby Burgess interview percussion legend Jan Williams online).You may watch a Julius Eastman lecture by Jonathan here, and a talk with Hamza Walker here. Hosted on Acast. See acast.com/privacy for more information.
Percussion Perspectives ep.10: Ross Karre (ICE Ensemble, NYC)
51:05In this episode percussionist, artistic director and documentarist Ross Karre talks about his education from the Oberlin Conservatory and the University of California San Diego; about his work with The International Contemporary Ensemble in NYC, about how the idea of musical taste is a social construct, about the lack of social awareness in his own education, and about issues that engages him as as a curator.The musical excerpts are taken from his recording 10.67 cycles, which you may purchase here.In an episode of Soundmaking Ross talks about the making of this recording. Hosted on Acast. See acast.com/privacy for more information.