Glenn Gould was born in Toronto in 1932, and enjoyed a privileged, sheltered upbringing in the quiet Beach neighborhood. His musical gifts became apparent in infancy, and though his parents never pushed him to become a star prodigy, he became a professional concert pianist at age fifteen, and soon gained a national reputation. By his early twenties, he was also earning recognition through radio and television broadcasts, recordings, writings, lectures and compositions.

Early on, Gould's musical proclivities, piano style and independence of mind marked him as a maverick. Favoring structurally intricate music, he disdained the early-Romantic and impressionistic works at the core of the standard piano repertoire, preferring Elizabethan, Baroque, Classical, late-Romantic and early-twentieth-century music; Bach and Schoenberg were central to his aesthetic and repertoire. He was an intellectual performer, with a special gift for clarifying counterpoint and structure, but his playing was also deeply expressive and rhythmically dynamic. He had the technique and tonal palette of a virtuoso, though he upset many pianistic conventions - avoiding the sustaining pedal, using détaché articulation, for example. Believing that the performer's role was properly creative, he offered original, deeply personal, sometimes shocking interpretations (extreme tempos, odd dynamics, finicky phrasing), particularly in canonical works by Mozart, Beethoven and Brahms.

Gould's American début, in 1955, and the release, a year later, of his first Columbia recording, of Bach's Goldberg Variations, launched his international concert career. He earned widespread acclaim despite his musical idiosyncrasies, while his flamboyant stage mannerisms, as well as his hypochondria and other personal eccentricities, fuelled colorful publicity that heightened his celebrity. But he hated performing – "At concerts I feel demeaned, like a vaudevillian" – and though in great demand, he rationed his appearances stingily (he gave fewer than forty concerts overseas). Finally, in 1964, he permanently retired from concert life.

Gould harbored musical, temperamental and moral objections to concerts, and aired them publicly: "The purpose of art," he wrote, "is not the release of a momentary ejection of adrenalin but is, rather, the gradual, lifelong construction of a state of wonder and serenity." Even before he retired, he was not satisfied with being a concert pianist; he made radio and television programs, published writings on many musical and non-musical topics, continued to compose. After 1964, this work away from the piano only intensified. He liked to call himself "a Canadian writer, composer, and broadcaster who happens to play the piano in his spare time."

His retirement was also fuelled by his devotion to the electronic media. Gould was one of the first truly modern classical performers, for whom recording and broadcasting were not adjuncts to the concert hall but separate art forms that represented the future of music. He made scores of albums, steadily expanding his repertoire and developing a professional engineer's command of recording techniques. He also wrote prolifically about recording and the mass media, his ideas often harmonizing with those of his friend Marshall McLuhan.

Though he never became the significant composer that he longed to be, Gould channeled his creativity into other media. In 1967, he created his first "contrapuntal radio documentary," The Idea of North, an innovative tapestry of speaking voices, music and sound effects that drew on principles from documentary, drama, music and film. Over the next decade, he made six more such specimens of radio art, in addition to many other, more conventional, recitals and talk-and-play shows for radio and television. He also arranged music for two feature films.

Gould lived a quiet, solitary, spartan life, and guarded his privacy; his romantic relationships with women, for instance, were never made public. ("Isolation is the one sure way to human happiness.") He maintained a modest apartment and a small studio, and left Toronto only when work demanded it, or for an occasional rural holiday. He recorded in New York until 1970, when he began to record primarily at Eaton Auditorium in Toronto.

In the summer of 1982, having largely exhausted the piano literature that interested him, he made his first recording as a conductor, and he had ambitious plans for several years' worth of conducting projects; he planned then to give up performing, retire to the countryside, and devote himself to writing and composing. But shortly after his fiftieth birthday, Gould died suddenly of a stroke.

Since then, he has enjoyed a remarkable posthumous "life." His multifarious work has been widely disseminated. He has been the subject of an enormous and diverse literature in many languages. And he has inspired conferences, exhibitions, festivals, societies, radio and television programs, novels, plays, musical compositions, poems, visual art and a feature film (Thirty-Two Short Films About Glenn Gould).

Moreover, his ideas – like McLuhan's – still resonate strongly today in the world of digital technology, which was in its infancy when he died. His postmodernist advocacy of open borders between the roles of composer, performer and listener, for instance, anticipated digital technologies (like the Internet) that democratize and decentralize the institutions of culture. There is no question that Gould, more than any other classical musician, would have understood and admired digital technology – and would have had fun playing with it.

- Kevin Bazzana

Berlin based ensemble focused on 20th and 21st century´s music
 //  lines to early music, traditional music,  experimental music and electronic club music. 
// ensemble in residence @ festival "neue musik im stadthaus ulm" 
// artistic director Juergen Groezinger

principal members:
Karin Schweigart - Hilario - flutes
Mario Frezzato - oboe / english horn
Matthias Jann & Hilary Jeffery - trombone
Juergen Groezinger - percussion / dj
Antonis Anissegos - piano / keyboards / electronics
Wolfgang Bender, Chatschatur Kanajan & Salma Sadek - violin
Miriam Götting - viola
Mathis Mayr - cello



LEWITT creates audio gear for better sound. Perfect for recording, live, and content creation. 

#LEWITT

Mohamed Najem Ouvert sur le monde, Mohamed Najem traverse les continents en utilisant des techniques classiques et une interprétation arabe afin de créer un son et un style originaux sur sa clarinette. Ses compositions, inspirées par les histoires de son grand-père à propos de sa ville natale, Jaffa, racontent son passé, son présent et son avenir. Elles reflètent une combinaison éclectique de rythmes et de mélodies au cœur desquelles il partage des histoires musicales et fait voyager le public, avec les musiciens de son quartet, qui ajoutent une touche de jazz moderne. Né à Jérusalem et ayant grandi à Bethléem, Mohamed a obtenu le premier prix en musique arabe dans le cadre de la competition nationale palestinienne en 2005. Il a commencé la clarinette et le ney au Conservatoire national de musique Edward Saïd (CNMES) en Palestine, et est diplômé du Conservatoire à rayonnement régional (CRR) d'Angers. Il a joué en tant que soliste pour l'Orchestre des jeunes palestiniens pendant plusieurs années. Il a donné des représentations et enregistré avec différents groupes et projets musicaux, dont des ensembles traditionnels, populaires et classiques, dans des festivals locaux et internationaux comme le Montreux Jazz Festival, La Défense Jazz Festival, Layali Birzeit, et l’European Jazz Festival au Qatar. Mohamed vient de terminer l’enregistrement, en quartet, de son 2ème album nommé Jaffa blossom, qui sortira en 2024.

Cellist. live in Tokyo,love Haydn,getting inspiration by all genre of Music!

https://www.instagram.com/kyonga_vc

info@serpentwithfeet.co

DAMN GLOVES out now. GRIP, the album coming out 2.16.2024

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.

Ms. Lauryn Hill’s prolific rhymes catapulted her into the public eye as a member of the Fugees & as a solo artist with her debut The Miseducation of Lauryn Hill

Founded in Grenoble, France, in 1999, Arturia specialises in the development of music software and hardware for professional, home studio producers and audio enthusiasts.
Focusing on innovation, we aim at providing musicians with unique means of creation for unforgettable performances.

💿 Here you can find tracks composed with presets from some of our soundbanks.

📻 Don’t hesitate to send us the tracks you made with our products, we will be pleased to share them in our dedicated playlist!


📍   Grenoble/Los Angeles/Mexico/London

47SOUL is an electro-mijwez, shamstep, choubi band formed in Amman Jordan in 2013.

The members are rooted in Bilad Al-Sham, spanning the divides from Amman to the Galilee, the Golan Heights to Ramallah. This new sound of 47SOUL has rapidly amassed fans in the Middle East and Europe by blasting the electric Arabic debka sound through underground music scenes.

On top of the beats that have been bumping in the Middle East for centuries, 47SOUL hypes it up with analog synthesizers, hypnotic guitar lines, and shattering verses from the four singers. Every show ends in relentless dance and trance from all parties involved.
Their lyrics, mixing Arabic and English, call for celebration and freedom in the struggle for equality, inside Bilad Al Sham and throughout the world.


Z the People (vocals & synths)
https://soundcloud.com/zthepeople
El Far3i (Derbakeh, Mc/Vocals)
https://soundcloud.com/el-far3i
Walaa Sbeit (percussion, Mc/vocals)
https://soundcloud.com/dub-key
El Jehaz (guitar & vocals)
https://soundcloud.com/el-jehaz


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