Pianist John Bitoy performs an excerpt of Isaac Albéniz’s "Cantos de España," Op. 232, Preludio (Asturias [Leyenda]), composed in the late nineteenth-century.

Isaac Albéniz’s flamenco piano piece pairs with Albert Gleizes’ abstracted depiction of a dancer. Gleizes produced a series of paintings of Spanish dancers while he was in Barcelona from spring to December of 1916.

About the Performer
John Bitoy is an Afro-Dominican pianist and composer originally from Chicago, where he enjoys a multi-faceted career as a soloist and collaborative pianist. His recent solo engagements include performances of Rachmaninoff’s Piano Concerto No. 2 with the South Loop Symphony and Symphony of Oak Park. He has performed in esteemed halls such as the Eastman Theatre, Chicago Symphony Center, the Jay Pritzker Pavilion at Millenium Park, Perelman Theater, Edward Pickman Hall, Krannert Center for the Performing Arts, The American Repertory Theater, Mary B. Galvin Recital Hall, and the Copernicus Center. 

John is a passionate advocate for new music in performance spaces. Past projects include the recording and world premiere of several pieces from Steve Wallace’s Solo piano and chamber compositions in 2020, followed by his opera in 2021. As an avid chamber musician, John has been invited to play at the Gateways Music Festival, The Boston Celebrity Series, the Philadelphia Chamber Music Society, The Bienen School of Music, the Philarmonic Society of Orange County, the American Repertory Theater, Caramoor, The Bold Tendencies festival, and has performed works by Marcus Norris, Tyshawn Sorey, Davóne Tines, Ahmed Alabaca, and Brian Raphael Nabors. 

Mr. Bitoy enjoys playing standard repertoire, yet he is simultaneously devoted to shedding light on the new music of composers of the African Diaspora. In addition to taking pleasure in his classical engagements, John is well versed in other genres. He was invited to perform with Sigur Ros during their 2019 United States Tour of "Riceboy Sleeps," and has been a featured artist at the Jazz Showcase and Andy’s Jazz Club.

Exhibition Website

"Cantos de España," composed in the late nineteenth-century

Pianist John Bitoy performs Ludwig van Beethoven’s "Piano Sonata No. 27 in E minor," Op. 90, composed in 1814.

The American Synchromists Morgan Russell and Stanton Macdonald-Wright revered the Classical period music composer Ludwig van Beethoven and loosely transposed musical concepts to their paintings. Joining four parts, like Beethoven’s piano sonatas, most of which are in three or four movements, Russell’s gesture reveals his aspiration for abstraction in painting to be analogous to music, the most ephemeral of the arts at the time.

About the Performer
John Bitoy is an Afro-Dominican pianist and composer originally from Chicago, where he enjoys a multi-faceted career as a soloist and collaborative pianist. His recent solo engagements include performances of Rachmaninoff’s Piano Concerto No. 2 with the South Loop Symphony and Symphony of Oak Park. He has performed in esteemed halls such as the Eastman Theatre, Chicago Symphony Center, the Jay Pritzker Pavilion at Millenium Park, Perelman Theater, Edward Pickman Hall, Krannert Center for the Performing Arts, The American Repertory Theater, Mary B. Galvin Recital Hall, and the Copernicus Center. 

John is a passionate advocate for new music in performance spaces. Past projects include the recording and world premiere of several pieces from Steve Wallace’s Solo piano and chamber compositions in 2020, followed by his opera in 2021. As an avid chamber musician, John has been invited to play at the Gateways Music Festival, The Boston Celebrity Series, the Philadelphia Chamber Music Society, The Bienen School of Music, the Philarmonic Society of Orange County, the American Repertory Theater, Caramoor, The Bold Tendencies festival, and has performed works by Marcus Norris, Tyshawn Sorey, Davóne Tines, Ahmed Alabaca, and Brian Raphael Nabors. 

Mr. Bitoy enjoys playing standard repertoire, yet he is simultaneously devoted to shedding light on the new music of composers of the African Diaspora. In addition to taking pleasure in his classical engagements, John is well versed in other genres. He was invited to perform with Sigur Ros during their 2019 United States Tour of "Riceboy Sleeps," and has been a featured artist at the Jazz Showcase and Andy’s Jazz Club.

"Piano Sonata No. 27 in E minor," 1814

Kate Ragan presents her original composition “blink blank, blink blot,” 2024.

“Blink blank, blink blot” embodies Archipenko’s polychromatic palette and circular sense of motion in "Carrousel Pierrot," 1913 by passing material and repeated pitches between different instruments. The piece captures Archipenko’s negative space through a sparse texture populated with rests and exposed moments of repose. 

About the Composer
Kate Ragan is a DMA candidate in composition at Eastman School of Music. She received an MM in composition at Eastman and a BA in piano performance and political science from the University of Notre Dame, graduating summa cum laude. Her compositions often explore kaleidoscopic colors among instruments and stark, unpredictable contrast in register, texture, dynamics, and articulation. Also an active pianist, Kate strongly advocates for 20th and 21st century works, performing pieces by composers such as Olivier Messiaen, Tōru Takemitsu, Amy Williams, Tania León, and John Liberatore as well as premiering works by composers such as Marlies Hollevoet, Reilly Spitzfaden, and Trinity Hlynn Prater. As a passionate teacher, Kate has taught courses and lessons in composition, orchestration, and engraving for Eastman and University of Rochester undergraduate and graduate students. Through a research collaboration with Eastman Performing Arts Medicine and Eastman Community Music School, Kate is a piano instructor for adult students with Mild Cognitive Impairment and an accompanist for ENCORE, a choir dedicated to community members with an Alzheimer’s diagnosis. Her composition teachers include Daniel Pesca, Carlos Sanchez-Gutierrez, Robert Morris, Ricardo Zohn-Muldoon, and John Liberatore.  

Additional Support From
Tucker Johnson – Recording Technician 
Kaja Hammerschmidt – Flute 
Jacob Eichhorn – Clarinet 
Landon Chang – Alto Saxophone 
Noah Eastman – Bassoon 
Cynthia Chun-Hsin Liu – Piano

Orphism

“blink blank, blink blot,” 2024

Nicolas Chuaqui performs his original composition “Ich fühle Luft von anderem Planeten," 2024. 

Chuaqui’s “Ich fühle Luft von anderem Planeten” (“I feel air from another planet”) connects Kandinsky’s painting to Arnold Schoenberg’s String Quartet No. 2 (1908), drawing from Schoenberg’s setting of his string quartet on Stefan George’s poem “Entrückung” and the groundbreaking inclusion of a soprano soloist in its final two movements. Through frequency shifting, delay lines, and spatialization, Chuaqui’s work evokes the imaginative and striking worlds expressed by Schoenberg and Kandinsky.

About the Performer
Nicolas Chuaqui (b. 1990) is a composer of wide-ranging music for voices, instruments, and Composer Nicolas Chuaqui has been praised for his "sharp and precise imagery" (The Utah Review) and recognized as a composer of depth and imagination. Most recently, he was winner of the Khorikos ORTUS International New Music Competition and winner of the Bernard Rogers Prize from the Eastman School of Music for his orchestral work Cantus. Equally at home in acoustic and electroacoustic settings, Chuaqui composes music for a broad range of performers, all of which is influenced by his background as a performer and his fascination with musical memory, time, and impression. He has worked with the Oregon Symphony, Ensemble Signal, The Crossing, New Voices Opera, pianist Jason Hardink, and many others. His work has appeared at many venues including the NYC Electroacoustic Music Festival, American Composers' Orchestra's EarShot Program, and the SEAMUS National Conference. In addition to composition, Chuaqui takes an active role in music as both a performer and educator. He has performed newly written compositions as conductor, pianist, and vocalist, and, in 2023, he founded Become New Music, a New York-based ensemble dedicated to currently living composers. Chuaqui is a dedicated teacher of composition, theory, and technology, and has served as Visiting Assistant Professor of Composition and Theory at the University of Wyoming and a teaching assistant at the Eastman School of Music. He holds a doctorate in composition from Eastman, where his primary teachers were Carlos Sanchez-Gutierrez, David Liptak, and Robert Morris, and he also holds degrees from Indiana University and Dartmouth College.

“Ich fühle Luft von anderem Planeten,” 2024

Transcript
Tracey Bashkoff: Welcome to the Guggenheim. I’m Tracey Bashkoff, Senior Director of Collections, and Senior Curator.  

Vivien Greene: And I’m Vivien Greene, Senior Curator of 19th and Early 20th Century Art. We curated this exhibition, "Harmony and Dissonance: Orphism in Paris, 1910–1930."  

Bellara Huang: I am Bellara Huang, Curatorial Assistant of Exhibitions, and I supported Tracey and Vivien over the last two years on this project.  

Bashkoff: Here you’ll see artworks that explore themes of Orphism. Artists associated with Orphism sought to channel the innovations of the early twentieth century, which radically altered how people lived and thought, by capturing the simultaneity of modern existence in their art. Newer, faster modes of transport and communication changed conceptions of time and space, the aerial perspectives of early flight offered manifold viewpoints, and electric lighting animated the texture of the city streets at night. In their works artists also made tangible the dynamic rhythms of popular music and dance, especially early jazz and tango, by articulating the multiple physical sensations and movements occurring synchronously in contemporary cafés and dance halls. 

Greene: Artists such as Marc Chagall, Robert Delaunay, Sonia Delaunay, Marcel Duchamp, Mainie Jellett, František Kupka, Francis Picabia, Amadeo de Souza-Cardoso, Stanton Macdonald-Wright, and Morgan Russell created kaleidoscopic compositions that often encompass disks of brilliant color and evoke multisensory experiences. When pushed to its limits, Orphism meant total abstraction. 

Huang: A poet and critic, Guillaume Apollinaire invented the word “Orphism” to describe this art. He based it on the Greek myth of Orpheus, who played the lyre and whose magical music and song even moved stones and allowed him, if briefly, to beat death and save his love, Eurydice, from the underworld. The idea behind this term was that music is transcendent. It can convey feelings and sensations in the most ethereal and abstract form.  

Bashkoff: Vivien and I have been curators at the museum for thirty years, but this is the first exhibition we have organized together.  

Greene: It combines our respective areas of interest: I am an expert in Divisionism and Neo-Impressionism, and Tracey is an expert on Vasily Kandinsky and the Blue Rider group. The art and artists of these movements all had significant impact on the Orphist artists.  

Huang: I have expertise in art of the Russian Empire and contributed in particular to research on artists from current-day Ukraine and Russia who were important presences for Orphism. 

A quarter of the exhibition features artwork from our own collection—many even from our founding collection. Some of these paintings have never been exhibited! We spent many hours in our art-storage facilities viewing works and collaborating with our conservators, who had to treat some so we could include them in the show.  

Greene: I’m a member of the Green Team at the museum, which is committed to incorporating sustainability into our work, including exhibition research and production. While organizing this exhibition, we traveled to many public and private collections in the United States and all over Europe (from Dublin to Prague and points in between) to view the artworks we hoped to include and to visit archives to learn more about the artists’ lives. Happily, we were able to combine travel for this exhibition with other work-related responsibilities, such as accompanying artworks on loan to other museums as couriers, which helped contain our carbon footprint.

Read more at guggenheim.org/audio

Harmony and Dissonance: Orphism in Paris, 1910–1930

Learn more about Harmony and Dissonance from the exhibition's curatorial team.

Ron Padgett reads Blaise Cendrars’s poem “Studio,” 1913.

Blaise Cendrars’s poem references Marc Chagall and his studio in the artist colony La Ruche (The Beehive) in Paris.

Transcript
Padgett: "Studio," by Blaise Cendrars.

The Beehive
Stairways, doors, stairways
And his door opens like a newspaper
Covered with visiting cards
Then it closes.
Disorder, total disorder
Photographs of Léger, photographs of Tobeen, which you don’t see
And on the back
On the back
Frantic works
Sketches, drawings, frantic works
And paintings . . .
Empty bottles
“We guarantee the absolute purity of our tomato sauce”
Says a label
The window is an almanac
When the gigantic cranes of lightning empty the booming barges of the
   sky and dump buckets of thunder
Out fall

Pell-mell

Cossacks Christ a shattered sun
Roofs
Sleepwalkers goats
A lycanthrope
Pétrus Borel
Madness winter
A genius split like a peach
Lautréamont
Chagall
Poor kid next to my wife
Morose delectation
The shoes are down at heel
An old jar full of chocolate
A lamp that’s split in two
And my drunkenness when I go see him
Empty bottles
Bottles
Zina
(We’ve talked about her a lot)
Chagall
Chagall
In the graduations of light

"Studio,” 1913

Ron Padgett reads Guillaume Apollinaire’s poem “Across Europe,” 1914.

Marc Chagall painted "Homage to Apollinaire" in 1913 for his friend and poet Guillaume Apollinaire. For Apollinaire, the friendship was reciprocal; he dedicated “Across Europe” to Chagall in the next year.

Transcript
Padgett: "Across Europe," by Guillaume Apollinaire.

            To M. Ch.
Rotsoge
Your scarlet face your biplane that can change into a sea-
   plane
Your round house where a smoked herring swims
I need the key to eyelids
Fortunately we saw Mr. Panado
And we’re reassured on that account
What do you see my old Mr. D . . .
90 or 324 a man in the air a calf that gazes through its
    mother’s belly

I searched a long time on the road
So many eyes are closed along the road
The wind makes the willow groves weep
Open open open open open up
Look but really look
The old man is washing his feet in a basin
Una volta ho inteso dire Chè vuoi
I started to cry remembering your childhoods

And you you show me a frightful shade of violet

This little painting with a cart in it reminded me of one day 
A day made of pieces mauve yellow blue green and red
In which I was going out to the country with a charming
      chimney her dog on a leash
It’s all gone you don’t have your funny little music
       anymore
The smokestack is smoking Russian cigarettes far away
       from me
The dog is barking at the lilacs
The night lamp has gone out
Some petals have fallen on the dress
Two gold rings near the sandals
In the sun have caught fire 
But your hair is the trolley line
Across a Europe dressed in little multicolored lights

“Across Europe,” 1914

In October 2024 the LSE Phelan US Centre spoke to Yeling Tan, Professor of Public Policy at the Blavatnik School of Government at the University of Oxford. They spoke about how China understands economic security and its evolving economic strategy, and how public attitudes in China towards international trade influence the country’s trade policy.

This episode was produced by Chris Gilson and Anderson Tan.  

Further reading
•	Global economic influence and domestic regime support: evidence from China. (2023). Review of International Political Economy.  https://www.tandfonline.com/doi/full/10.1080/09692290.2024.2402817 

LSE: The Ballpark | China’s evolving approach to economic security with Professor Yeling Tan

Find out more

Eletelephony – Ben Parry

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Eletelephony – Ben Parry

Oxford Academic (OUP)