Podcasts about adagietto

On this episode of Songs of Our Lives, it's Katy Henriksen! Season three of her excellent podcast, Sound Off, debuts on March 6th, so we talk about what to expect from the upcoming episodes, and the challenges in producing podcasts on your own. Once we get into the music, we talk Thelonius Monk, Etta James, Beirut, Mingus, Tumi Mogorosi, all the incredible versions of “Sometimes I Feel Like A Motherless Child,” and plenty more!Listen to all of Katy's picks HERESound Off PodcastTrillium Salon SeriesLiz Pelly “Mood Machine”Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyThe Jewel GardenSong List“My Favorite Things”Mahler's Adagietto (from the 5th Symphony)Charles Mingus “Haitian Fight Song”Nina Simone “Funkier Than a Mosquito's Tweeter”Beirut “Gulag Orkestar”Etta James “I'd Rather Go Blind”Joni Mitchell “A Case of You”Ella Fitzgerald “Summertime”Terry Callier “You Goin' Miss Your Candyman”Thelonious Monk Quartet “Monk's Dream”Tumi Mogorosi “Sometimes I Feel Like A Motherless Child”

Interview réalisée au Théâtre des Nouveautés par Eliane Pérus.Olivier JEANNELLE, comédien, metteur en scène, directeur de la Compagnie Le Bruit des Gens est actuellement en résidence  dans le cadre du "Pari hors les murs" au Théâtre des Nouveautés pour "Bérénice" de Jean RACINE.Après la répétition publique de samedi dernier, Olivier JEANNELLE lira des extraits de "La chute" d'Albert CAMUS  le jeudi 31 mai à 18h30 au Th des Nouveautés.Il nous présente ses choix pour "Bérénice ; public sur le plateau, décor très simple, 1 actrice et 2 acteurs sur la scène : Titus (Olivier JEANNELLE), Bérénice (Camille PETIT) et Antiochus (Ibrahim HADJAIEB)  ainsi qu'un musicien Aurel GARCIA .Il expose le contexte historique, l'intrigue de ce drame en 5 actes et en alexandrins et  nous explique pourquoi il a choisi  les extraits musicaux que vous entendrez durant ce podcast :1/ Symphonie n°5 – Adagietto de Gustav MAHLER2/ Oum KALTHOUM “Enta Omry” 3/ extrait de Bérénice, avec Ludmila MikaëlLecture d'extraits de "La chute" d'Albert CAMUS par Olivier JEANNELLE le jeudi 31 octobre à 18h30 au Théâtre des NouveautésReprésentations "Bérénice" - Théâtre des Nouveautés:- le mardi 5 novembre à 20h30 (AP)- mercredi 6 novembre à 19h- le vendredi 8 et le samedi 9 novembre à 20h30- le dimanche 10 novembre à 16h Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:28:26 - Guillaume Perilhou, écrivain et journaliste littéraire - Quiconque a vu le film "Mort à Venise" de Luchino Visconti, repense à l'ange blond Tadzio, le bras levé vers le soleil couchant sur les notes du célèbre Adagietto de Mahler. Dans son roman "La Couronne du serpent", Guillaume Perilhou nous raconte le destin tragique de son interprète, Björn Andrésen.

durée : 02:05:01 - Musique matin du lundi 30 septembre 2024 - par : Jean-Baptiste Urbain - Quiconque a vu le film "Mort à Venise" de Luchino Visconti, repense à l'ange blond Tadzio, le bras levé vers le soleil couchant sur les notes du célèbre Adagietto de Mahler. Dans son roman "La Couronne du serpent", Guillaume Perilhou nous raconte le destin tragique de son interprète, Björn Andrésen. - réalisé par : Yassine Bouzar

M

DescriptionThe Tearful Power of Classical Music: Emotion in Every Note in 60 Seconds. Take a minute to get the scoop!Fun FactIf you're looking for three pieces that will move you to tears: Beethoven's "Moonlight Sonata" is a tear-jerking masterpiece with its haunting, lyrical piano. Barber's "Adagio for Strings" pulls heartstrings with its sweeping, sorrowful notes. Mahler's "Symphony No. 5, Adagietto" is an emotional rollercoaster, blending lush orchestration and tender themes that hit you right in the feels.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Gustav Mahler (1860 - 1911): Sinfonia n. 5 in do diesis minore - In cinque tempi per orchestra Part I00:00 1. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt (Marcia funebre, Con andatura misurata, Severamente, Come un corteo funebre)13:04 2. Stürmisch bewegt. Mit größter Vehemenz (Tempestosamente mosso, Con la massima veemenza) Part II27:34 3. Scherzo. Kräftig, nicht zu schnell (Scherzo, Vigoroso, non troppo presto) Part III44:33 4. Adagietto. Sehr langsam (Adagietto, Molto lento)54:06 5. Rondo-Finale. Allegro. Allegro giocoso. Frisch (Rondo-Finale, Allegro, Allegro giocoso, Brioso)Berliner PhilharmonikerSimon Rattle, conductorMore info: https://www.flaminioonline.it/Guide/Mahler/Mahler-Sinfonia5.html

Saates kõlav muusika: * Igor Stravinski - Sonaat klaverile: 1.osa; 2.-Adagietto; 3.osa, esitab Peep Lassmann * Igor Stravinski - Kontsert klaverile ja puhkpillidele, esitavad Peep Lassmann ja Eesti Puhkpillisümfoonikud Stuudios on muusikateadlane Tiia Järg.

1. J.S. Bach Wariacie Goldbergowskie - Aria i wariacje 4,5,6, Glen Gould (1981) 2. P. Czajkowski - Symfonia 5, cz. II, Andante Cantabile, co alcuna licenza, Berliner Philharmoniker, Kirill Petrenko. 3. G. Mahler - Symfonia 5, cz. IV, Adagietto, Berliner Philharmoniker, Sir Simon Rattle. 4. L.van Beethoven - Symfonia 5, cz. II, Simon Bolivar Symphony Orchestra Of Venezuela, Gustavo Dudamel. 5. L.van Beethoven - V Koncert fortepianowy Es-dur op. 73, cz.2 Adagio un poco moto, Krystian Zimerman, Wiener Philharmoniker, Leonard Bernstein. 6. Sting - Seven Days.

Die älteste Tochter von Thomas Mann brach mit vielen Konventionen ihrer Zeit. In «Musik für einen Gast» gab sie 1964 einen Einblick in ihr Leben als politische Kabarettistin, Weltreisende, amerikanische Kriegsberichterstatterin und Rennfahrerin. «Der Ehrenplatz ist zwischen allen Stühlen. Ein unbequemer Platz, auf dem ich nun schon sehr lange sitze», sagt Erika Mann im Rückblick auf ihr rastloses Leben. Im Gespräch mit der Moderatorin Roswitha Schmalenbach erzählt die 58jährige, die damals schon viele Jahre in Zürich lebte, wie sie 1933 von Schweizer Frontisten mit Stinkbomben beworfen wurde, als sie mit dem politisch-literarischen Kabarett «Die Pfeffermühle» auftrat. Diese einflussreiche kulturelle Unternehmung mit antifaschistischer Stossrichtung, die sie in die Emigration zwang, sei ihr von all ihren Projekten das liebste gewesen, sagt Erika Mann. Zwischen ihren Musikwünschen erzählt sie von ihrer Zeit im Exil als Vortragsrednerin in den USA und vom Ende des 2. Weltkriegs in Deutschland, das sie als amerikanische Kriegsberichterstatterin miterlebte. Sie erinnert sich an Weltreisen, eine Auto-Rallye, die sie am Steuer eines Fords gewann, und sie spricht über die grosse Bedeutung, die Musik in ihrem Elternhaus spielte und die Bücher ihres Vaters prägte. Sendung vom 07. Juli 1964 Die gespielten Titel: Heinrich Marschner – Hans Heiling. Romantische Oper in 1 Prolog und 3 Akten, Op.80 Act I: Aria: An jenem Tag, da du mir Treue versprochen Heinrich Schlusnus / Studio Orchestra / Bruno Seidler-Winkler, Leitung Georg Kreisler – Der Bluntschli Robert Schumann – Liederkreis. 12 Lieder für Singstimme und Klavier, Op. 39 5. Die Mondnacht Dietrich Fischer-Dieskau, Bariton / Gerald Moore, Klavier Johann Sebastian Bach – Cantatas – Jesu, der du meine Seele, BWV 78 No.2, Wir eilen mit schwachen, doch emsigen Schritten Thomanerchor Leipzig / Gewandhaus Orchester Leipzig / Günther Ramin Charles Trenet – La polka du roi Gustav Mahler – Symphony No. 5 3. Adagietto. Sehr langsam New York Philharmaonic / Bruno Walter Samuel Barber – Excursions. 4 Stücke für Klavier 2. In slow blues tempo / 3. Allegretto / 4. Allegro molto Andor Földes, Klavier

Es ist die erste Sinfonie des Komponisten, die sich nicht auf die Gedichtsammlung „Des Knaben Wunderhorn“ bezieht. Die Fünfte wurde vom Publikum sehr gut aufgenommen und gehört heute zu seinen beliebtesten Sinfonien. Der Komponist allerdings hielt sie selbstkritisch für ein verfluchtes Werk, weil niemand das Stück so richtig kapiere. Berühmt geworden ist der langsame Satz, das Adagietto, als Filmmusik in „Tod in Venedig“ von Luchino Visconti. Blind verkostet von Christine Lemke-Matwey, Kai Luehrs-Kaiser und Andreas Göbel. Moderiert von Christian Detig.

Caution! Spoilers ahead! (Many, many, many spoilers.) Listen to this episode after you read The Mysterious Affair at Styles. Caitlin and Chad discuss The Mysterious Affair At Styles, chapter by chapter. You can read The Mysterious Affair at Styles for free on Project Gutenberg and listen to the book for free on the Pheobe Reads a Mystery podcast. Listen to The Mysterious Affair at Styles reading playlist on Spotify (curated by us) as you read. Share the highlights of your reading experience and your thoughts about books, Agatha Christie, Hercule Poirot, or anything else we mention. Email us or send us an audio recording at poirotpals@gmail.com. Music Credits  Theme Music: The Black Cat by Aaron Kenny.Hastings in Love Music: Symphony No. 5, Adagietto by Gustav MahlerSources: “Ceramic Spill Vase (U.S. National Park Service).” National Parks Service, U.S. Department of the Interior, www.nps.gov/articles/000/ceramic-spill-vase.htm#:~:text=A%20spill%20vase%20was%20originally,tobacco%20in%20a%20smoking%20pipe. Accessed 18 Aug. 2023. Christie, Agatha. “The Mysterious Affair at Styles by Agatha Christie - Reading Guide: 9780525565109 - Penguinrandomhouse.Com: Books.” PenguinRandomhouse.Com, Knopf, www.penguinrandomhouse.com/books/27561/the-mysterious-affair-at-styles-by-agatha-christie/9780525565109/readers-guide/. Accessed 18 Aug. 2023. French, David. “Spy Fever in Britain, 1900–1915*: The Historical Journal.” Cambridge Core, Cambridge University Press, 11 Feb. 2009, www.cambridge.org/core/journals/historical-journal/article/abs/spy-fever-in-britain-19001915/B22197206C761AA3D8B82F736D67D635.Maloney, Wendi A. “World War I: The Women's Land Army: Timeless.” The Library of Congress, 26 Mar. 2018, blogs.loc.gov/loc/2018/03/world-war-i-the-womens-land-army/. “Study of a Land Worker.” Imperial War Museums, www.iwm.org.uk/collections/item/object/23978. Accessed 18 Aug. 2023. Follow us on Instagram! https://www.instagram.com/poirotpals?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==Send us emails!poirotpals@gmail.com

 Para muitos o mais bonito andamento lento de sempre, o famoso Adagietto de Mahler pode dever a sua beleza à felicidade de umas boas férias de verão.See omnystudio.com/listener for privacy information.

Prima Venezia, subito dopo Firenze In sottofondo "Sinfonia n.5 di Mahler: Adagietto” eseguita dai Berliner Philharmoniker diretti da Claudio Abbado (etichetta Deutsche Grammophon-1993 all rights reserved). Nell'immagine, "Notturno: azzurro e oro - La cattedrale di San Marco, Venezia" di James Abbott Mcneil Whistler (olio su tela-1879-National Museums and Galleries of Wales-all rights reserved)

Om rädslan för att vara stilla och tänka efter pratar Conny Årlind i andakten. Han är katolsk präst i Stensele, Lappland. Conny Årlind pratar i andakten om att välja tystnad, en uppmaning som fanns redan hos profeten Jesaja.I tystnaden möter jag mig själv, men framför allt den Andre, han som ser mig och älskar mig, han som ber i mig och har gett mig sin Ande. Han ser mig och känner mig, och han gör livet värt att leva, säger Conny Årlind i andakten.TextJesaja 30:15-17MusikSymfoni nr 5 i ciss-moll, sats 4 Adagietto av G Mahler – Wienerfilharmonikerna, Leonard BernsteinProducent Helena Andersson Holmqvistliv@sverigesradio.seMoskit mediaför Sveriges radio Västerbotten

I left you last week after Part 1 of Mahler's 5th symphony, dazed and defeated.  There seems to be no hope, and no way out.  But as many of you know by now, Mahler reaches for the entire emotional spectrum in his music, and what Mahler builds out of the ashes of the first two movements is a complicated, difficult, and fascinating Part II, and a warm, sunny, and loving Part III.  Part II is a single movement, a massive 17 minute scherzo that serves as a bridge to Part III and also is practically a full piece on its own.  Part III of course contains the famous Adagietto, a love letter that leaves the listener full of questions that Mahler attempts to answer in the 5th movement, a sunny romp and the most unquestionably cheery movement that Mahler ever wrote.   Why does Mahler build the symphony this way?  How does a performer or an audience member deal with these hugely varied emotions?  And how does Mahler build his complicated scherzo, his apparent love letter to Alma, and his both highly unusual and highly traditional Rondo 5th movement? Join us to find out!

Robert Powell is one of our best-known actors, with a career that began in the late sixties and exploded into almost instant fame; since then, there have been some fifty films, including “The Thirty-Nine Steps” and “The Italian Job”, numerous theatre roles, and television appearances which have included six years on Holby City. For many people, though, he will always be Gustav Mahler thanks to Ken Russell's 1973 biopic; for some, he became a memorable representation of Jesus Christ, thanks to his starring role in Zeffirelli's six-hour epic. Robert Powell begins by choosing Mahler's famous Adagietto from the Fifth Symphony. He listened to Mahler non-stop when rehearsing for the role, but was still surprised by some of the eccentric things Ken Russell asked him to do: he will never forget floating for hours in a freezing lake. He talks about the impact of early fame, conjuring up the excitement of the King's Road in the “swinging sixties”, and meeting his wife, Babs, who danced with Pan's People. And he tells the story of how, when he was playing Jesus, he delivered the Sermon on the Mount and “something really extraordinary happened”. These days he is a devoted grandfather, making up for the time he couldn't spend with his family when he was away filming. Other music choices include Stravinsky, Bach, Janacek, and his hero Bob Dylan. A Loftus Media production for BBC Radio 3 Produced by Elizabeth Burke

Synopsis On today's date in 1948, Leonard Bernstein, age 29, conducted the Boston Symphony in the premiere of a new orchestral work by Harold Shapero, age 27. This was Shapero's “Symphony for Classical Orchestra,” a work modeled on Beethoven but sounding very much like one of the Neo-Classical scores of Igor Stravinsky. This was exactly what Shapero intended, but some found the music perplexing. Aaron Copland, for one, wrote: “Harold Shapero, it is safe to say, is at the same time the most gifted and baffling composer of his generation.” That comment by Copland, one should remember, came at a time when Shapero's generation included the likes of Barber, Bernstein, Menotti and Rorem. But Copland continued, “Stylistically, Shapero seems to feel a compulsion to fashion his music after some great model. He seems to be suffering from a hero-worship complex – or perhaps it is a freakish attack of false modesty.” “Copland was so original,” Shapero responded, “that he just couldn't understand anyone who wasn't.” Even so, Shapero's superbly crafted orchestral imitations suffered many decades of neglect. In the 1980s, however, conductor and composer Andre Previn fell in love with Shapero's Symphony, performing and recording it with the LA Philharmonic, and declared its Adagietto movement the most beautiful slow movement of any American symphony. Music Played in Today's Program Harold Shapero (b. 1920) Symphony for Classical Orchestra Los Angeles Philharmonic; André Previn, conductor New World 373 On This Day Births 1697 - German composer and flutist Johann Joachim Quantz, in Oberscheden, Hannover; 1861 - French-born American composer Charles Martin Loeffler, in Alsace; 1862 - German-born American composer and conductor, Walter Damrosch, in Breslau; Deaths 1963 - French composer Francis Poulenc, age 64, in Paris; Premieres 1724 - Bach: Sacred Cantata No. 81 ("Jesus schläft, was soll ich hoffen?") performed on the 4th Sunday after Epiphany as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1735 - Bach: Sacred Cantata No. 14 ("Wär Gott nicht mit uns diese Zeit") performed in Leipzig on the 4th Sunday after Epiphany; 1892 - Rachmaninoff: “Trio élégiaque” No. 1 in G minor (Gregorian date: Feb. 11); 1893 - Brahms: Fantasies for piano Nos. 1-3, from Op. 117 and Intermezzo No. 2, from Op. 117, in Vienna; 1917 - Zemlinsky: opera "A Floretine Tragedy," in Stuttgart at the Hoftheater; 1920 - Frederick Converse: Symphony in c, by the Boston Symphony, Pierre Monteux conducting; 1942 - Copland: Orchestral Suite from "Billy the Kid" ballet, by the Boston Symphony; 1948 - Harold Shapero: "Symphony for Classical Orchestra," by the Boston Symphony conducted by Leonard Bernstein; 1958 - Walton: "Partita" for orchestra, in Cleveland; 1959 - Hindemith: "Pittsburgh Symphony," by the Pittsburgh Symphony, conducted by the composer; 1970 - William Schuman: "In Praise of Shahn," in New York; 1985 - Libby Larsen: Symphony ("Water Music"), by the Minnesota Orchestra, Sir Neville Marriner conducting. Links and Resources On Harold Shapero

Synopsis On this day in 1904, in Cologne, Germany, Gustav Mahler conducted the first performance of his Fifth Symphony. It was not a success. Applause was light, with loud hissing from some in the audience. Even Mahler's wife, Alma, complained so much about the orchestration that Mahler kept tinkering with the score until the last year of his life. Despite this inauspicious beginning, Mahler's Fifth has become a popular showpiece for virtuoso orchestras and its slow movement, marked Adagietto -- supposedly Mahler's musical love to Alma -- has become one of Mahler's best-loved pieces. The American composer Jerome Moross also had a symphony premiered on today's date. The year was 1943, Moross was 30 years old, and Sir Thomas Beecham conducted its premiere performance with the Seattle Symphony. Unlike Mahler, Moross wrote only ONE symphony, and the American hobo tune inspired the slow movement of his “The Midnight Special.” Jerome Moross is best known his work in Hollywood. His 1958 score for “The Big Country” was nominated for an Academy Award. Moross also wrote the music for “Wagon Train,” a popular TV Western. As Moross once said: “a composer must reflect his landscape and mine is the landscape of America. I don't do it consciously, it is simply the only way I can write.” Music Played in Today's Program Gustav Mahler (1860-1911) Symphony No. 5 Chicago Symphony; Claudio Abbado, cond. DG 427 254 Jerome Moross (1913-1983) Symphony No. 1 London Symphony; JoAnn Falletta, cond. Koch 7188

On 6 May 1937, four camera crews were on hand as the German Zeppelin airship the Hindenburg burst into flames. Separately, radio journalist Herbert Morrison was on the scene and his commentary of the event is forever associated with the tragedy. In this episode, I explore the Hindenburg disaster. What went wrong? What did it mean for Nazi Germany? And what was the dark past of one of its victims Ernest Lehman. Sound & Music Richard Wagner Ride of the Valkyries Conductor: James Allen Gähres Ensemble: Ulm Philharmonic Location: CCU Einsteinsaal, Ulm EFF Open Audio License - version 1 June 2014 Richard Wagner Ride of the Valkyries Public Domain Richard Straus "Wiener Blut", a waltz by Johann Strauss II Public Domain Mahler Symphony No. 5, IV. Adagietto.ogg Peabody Symphonyt Orchestra Public Domain November 19 2006 Pixabay Herbert Morrison WLS-AM Radio in Chicago (19:25, 6 May 1937, EST) Public Domain Photo: By Murray Becker/Associated Press - eBayfrontback, Public Domain, https://commons.wikimedia.org/w/index.php?curid=27765273 --- Send in a voice message: https://anchor.fm/daniel-mainwaring5/message

23. augustā koncertā “No Mendelszones līdz Māleram” debiju ar Orķestris "Rīga" piedzīvos diriģents Artūrs Oskars Mitrevics – šā gada JVLMA un LMT Gada balvas laureāts. Pie ērģelēm būs Ilze Reine, bet programmu kuplinās baritons Rihards Millers. Programmā: Fanija Mendelszone - Uvertīra do mažorā, aranž. Anders Hogsteds Fēliks Mendelszons - Sonāte op. 65/6, Korālis ar variācijām  Gustavs Mālers - "Ceļojošā mācekļa dziesmas", aranž. Ēriks Sommerss Makss Rēgers - Benedictus op. 59/9 Gustavs Mālers - Piektās simfonijas Adagietto, aranž. Kohs Šišikura Kamils Sensānsa - Allegro giocoso un Fināls no Trešās ērģeļsimfonijas, aranž. Marks Hindslijs Kādu iespaidu atstāj vārdi „debijas koncerts”? Ir plaši izziņots, ka pirmoreiz koncerts ar Orķestra „Rīga”. Vai nebūtu gribējies, ka tas drīzāk paliek aizkadrā, lai pēc tam, it kā „starp citu”, varētu pateikt – tā bija debija? Protams, tas uzliek zināmu atbildību, bet taisnības labad jāsaka, ka tā nav pilnīga debija orķestra priekšā – šī nav pirmā tikšanās ar Orķestri „Rīga”, mums arī iepriekš bijusi iespēja strādāt kopīgi. Tas notika, pateicoties pandēmijai, jo mums kā Mūzikas akadēmijas studentiem bija iespēja doties strādāt pie orķestra un piedalīties akadēmijas komponistu jauniestudējumu konkursā tieši ar šo orķestri. Tātad nav gluži pirmā reize, bet nopietnu koncertu kontekstā – jā. Tad jau pārbaudīšana aiz muguras. Pieņemu, ka arī Orķestris „Rīga” sākumā pārbauda – vai šis diriģents dzird, kurš pūš šķībi, vai nedzird? Vai bija kaut kas tāds? Es jau teiktu, ka pārbaudīšana, filtrēšana notiek visu laiku. Bet jāteic gan, ka neviens šeit šķībi nespēlē. Programmas izvēle bija pilnīgi paša ziņā, vai kaut ko ieteica orķestra galvenais diriģents Valdis Butāns vai profesors Andris Vecumnieks no Mūzikas akadēmijas? Šoreiz orķestris man piedāvāja jau gatavu programmu, un izvēle nebija manā varā, bet esmu ļoti priecīgs par šo programmu. Tā iedvesmo -  tik daudz dažādu šķautņu! Jāsaka gan, ka tie visi ir pārlikumi no simfoniskā repertuāra, bet būs gan kaut kas, ko Latvijas publika, iespējams, nav dzirdējusi, gan kaut kas labi pazīstams, piemēram, Mālera opusi, kuri man personīgi ir sevišķi tuvi. Koncerta sākumā divi Mendelszoni – Fanija un Fēlikss, tad sekos opuss, kura atskaņojumā piedalīsies arī dziedātājs Rihards Millers. Šķiet, jau kādu laiku gaisā virmojusi doma, ka vajadzētu ķerties pie Mālera „Klejojošā mācekļa dziesmām”. Šis ir tāds skaists atgadījums. Mēs ar Rihardu esam kolēģi LKA jauktajā korī „Sōla” – es kā diriģents un Rihards kā vokālais pedagogs. Pirms pāris mēnešiem sarunājoties pirms mēģinājuma, kaut kā neviļus nonācām pie šīm Mālera dziesmām. Izrādījās, ka mums abiem ir interese par šo ciklu – Rihards tobrīd to cītīgi mācījās, lai atskaņotu versijā balsij un klavierēm, savukārt es šo ciklu biju pētījis paša intereses dēļ. Bijām to aplūkojuši Akadēmijā, un tas mani patiesi ieinteresēja. Un re, cik interesanti – pēc pāris mēnešiem zvans no Orķestra „Rīga” ar jautājumu, vai es vēlētos diriģēt to kopā ar orķestri un tieši Rihardu Milleru! Īstajā brīdī palaidāt domu kosmosā. Bet pieļauju, ka akadēmijā tika pētīta versija simfoniskajam orķestrim, nevis pūtēju. Tieši tā. Jāsaka, ka šī pat nav versija pūtēju orķestrim, es to drīzāk sauktu par pārlikumu pūtēju ansamblim. Instrumentācija ir viegla, krāsaina un arī ļoti pateicīga vokālistam, jo nav papildus slogs pārvarēt šos instrumentālos spēkus. Cik bieži pasaulē atskaņo šo instrumentācijas versiju? Neesmu atradis nevienu ierakstu variantam, kuru atskaņosim, līdz ar to informācijas man nav. Pirmie noteikti nebūsim, bet neesmu drošs, ka atskaņojumu ir bijis ļoti daudz. 23. augusta koncertā piedāvāsiet klausītājiem ļoti daudzveidīgas emocijas – būs dzīvespriecīgā Fanija Mendelszone, tad apcerīgais Fēlikss Mendelszons, Gustavs Mālers un beigu beigās – Kamils Sensānss. Un atkal – grandiozi. Manuprāt, Sensānsa ērgeļsimfonijas fināla atskaņojumu tiešām nevaru sagaidīt. Ļoti vēlos dzirdēt, kā tas izklausās tieši ar Rīgas Doma ērģelēm, to mēs uzzināsim tikai otrdien. Manuprāt, izcils skaņdarbs, ar ko noslēgt, izcils skaņdarbs, kurā izsliet galvu un tad doties tālāk dzīvē, jo fināls ir pacilājošs un uzmundrinošs. Satiekoties šīm divām stihijām – pūtēju orķestrim, kas jau mēģinājumos ir tiešām spožs, un Doma baznīcas ērģelēm, kas ir sevišķi krāšņs instruments – man liekas, ka simbioze būs varena.  

The last season of the TSO came to a close with Mahler's Resurrection symphony, and now the new season opens with Mahler in full force for the Symphony No. 5 – which includes that heart-achingly beautiful Adagietto movement. Mahler expert Effie Papanikolau joins our panel for a discussion of the composer and his symphony, and the fascinating woman who inspired it, Gustav's wife, Alma.

DIBUJO DE LA MUERTE Guillermo Carnero (Valencia, 1947) Publicado por vez primera en 1967, Dibujo de la muerte era el rompedor poemario de un jovencísimo Guillermo Carnero (contaba tan solo 20 años) con el que inauguraba su trayectoria poética y confirmaba una nueva etapa para la lírica española, dejando atrás no sólo la llamada poesía social sino también el intimismo vitalista de sus más inmediatos predecesores generacionales. Podría decirse que, saltando por encima de ellos, entroncaba con el proceso literario interrumpido con la guerra civil y que tenía como punto de partida el Modernismo de finales del XIX y como término las vanguardias y la conocida como generación del 27. Dos son las notas que caracterizan a Dibujo de la muerte. En primer lugar, la representación de un mundo artístico de Belleza. Nos encontramos, aquí, ante la Belleza creada por el Arte: el monasterio de Las Huelgas, Citerea, Aranjuez, Venecia…O con individuos que encarnan la persecución de ese ideal: Scarlatti, Oscar Wilde, Watteau, o, incluso, el ficticio Detlev Spinell (protagonista de la nouvelle de Thomas Mann Tristán, que reemplaza en el poema de Carnero al compositor Gustav von Aschenbach de Muerte en Venecia). Y Belleza también del lenguaje con el que se describen objetos, espacios, sensaciones. Y junto a la Belleza, la omnipresencia de la Muerte, ángel debelador que transforma el Arte en artificio, que resuelve todo en ruinas: cómo lamenta Scarlatti la irrupción de las voces humanas (inexorablemente sometidas a la muerte) en medio de la belleza sonora de su Concertato, en qué pétreo silencio se ha convertido la vida en el monasterio de Las Huelgas, qué agónico el final de Detlev Spinell, tras haber comido un puñado de fresas, atrapado por su pasión amorosa en una Venecia apestada, con qué desprecio mira Watteau a los vulgares paseantes de los Campos Elíseos (¡los paradisíacos Campos Elíseos, nada menos!) siendo como es él dueño de un universo fabuloso surgido de su imaginación, con qué inútil obstinación se recluye Oscar Wilde en su mundo para preservarse del dolor. Y, finalmente, con qué piadoso desencanto ve el sujeto poético de “Embarco a Citerea” zarpar la nave hacia la isla de la eternidad. CRÉDITOS (Poema / Voz / música): Presentación / Fernando Alcaine / Mahler, symphony nº 5 - (Fragmento-Travermarch-1) 1-Amanecer en Burgos / Mingo España / Mahler, symphony nº 5 - (Fragmento-Travermarch-2) 2-Muerte en Venecia / Elena Parra / Mahler, symphony nº 5 - (Fragmento-Adagietto-1) 3-Watteau en Noguent-Sur-Marne / María José Sampietro / Mahler, symphony nº 5 - (Frag.Adagietto-2) 4-Óscar Wilde en París / Manuel Alcaine / Mahler, symphony nº 5 - (Fragmento-Adagietto-3) 5-Concertato / Lola Orti / Scarlatti (Sonata para clave) 6-El Serenísimo príncipe Ludovico… / Ica Ventura / Mahler, symphony nº 5 - (Frag.-Scherzo-1) 7-Capricho en Aranjuez / Mingo España / Mahler, symphony nº 5 - (Fragmento-Scherzo-2) 8-Embarco para Cyterea / Lola Orti / Mahler, symphony nº 5 - (Fragmento-Scherzo-3)

La musique est un art vivant et ce programme en offre une magnifique démonstration. Tout à fait dans la ligne de ce à quoi Daniel Hope nous a habitués depuis de nombreuses années, il nous donne à réentendre plusieurs chefs-d'œuvre dans des robes rares voire inédites pour violon et orchestre à cordes. À l'image de cette suite de West Side Story arrangée à sa demande par Paul Bateman, de la Cavatine du Quatuor n° 13 de Beethoven transcrite pour cordes, ou encore du sublime Adagietto de la Cinquième de Mahler dans une lecture plus intimiste pour orchestre de chambre.

Musik ist eine lebendige Kunst, was dieses Programm eindrucksvoll unterstreicht. Es folgt ganz der Linie, die wir von Daniel Hope seit vielen Jahren kennen. Er lässt verschiedene Meisterwerke in neuem Gewand, nämlich in Bearbeitungen für Geige und Streichorchester, erklingen. So zum Beispiel die West Side Story Suite, die auf seinen Wunsch von Paul Bateman arrangiert wurde, die Cavatina aus Beethovens Streichquartett Nr. 13 in einer Transkription für Streicher oder das erhabene Adagietto aus Mahlers Sinfonie Nr. 5 in einer intimeren Fassung für Kammerorchester.

Start: The Magnificat Prayer 1:12 1 John:1-7 2:40 Ephesians 1:15-23 4:13 Acts 4:29-33 5:15 Crusade Prayer 160 (Help Me to Love you More) 6:10 The Memorare 7:02 Prayer to St. Michael the Archangel Background Music: Gustav Mahler- Symphony No. 5 Adagietto

That's the title of a Bernstein song: “I Hate Music” (“but I like to sing”). In this episode, Jay has Barbara Bonney sing it. There's also music by Mozart and other familiar composers. And music off the beaten path: Catoire? And a brand-new work by the American Scott Wheeler. And more. The episode ends as the previous one did: with a piece by Leroy Anderson. After Phil Smith and some of his friends played this piece at Lincoln Center, Smith said, “Well, that was a gasser.” For sure. Bach, Carl Philipp Emanuel, “La complaisante” Bernstein, “I Hate Music” Catoire, “Étude fantastique” Mozart, “Deh vieni non tardar,” from “The Marriage of Figaro” Wheeler, Scott, Adagietto from “Birds of America”: Violin Concerto No. 2 Trad., arr. Carl Davis, “Shenandoah” Anderson, “Bugler's Holiday”

That's the title of a Bernstein song: “I Hate Music” (“but I like to sing”). In this episode, Jay has Barbara Bonney sing it. There's also music by Mozart and other familiar composers. And music off the beaten path: Catoire? And a brand-new work by the American Scott Wheeler. And more. The episode ends as the previous one did: with a piece by Leroy Anderson. After Phil Smith and some of his friends played this piece at Lincoln Center, Smith said, “Well, that was a gasser.” For sure. Bach, Carl Philipp Emanuel, “La complaisante” Bernstein, “I Hate Music” Catoire, “Étude fantastique” Mozart, “Deh vieni non tardar,” from “The Marriage of Figaro” Wheeler, Scott, Adagietto from “Birds of America”: Violin Concerto No. 2 Trad., arr. Carl Davis, “Shenandoah” Anderson, “Bugler's Holiday”

From humble beginnings to becoming one of the leading conductors of his time, the life of Gustav Mahler certainly has the makings of a rags-to-riches storyline. Yet Mahler's talents as a composer weren't truly appreciated and recognized until 50 years after his death. Learn more about Mahler's fascinating life and enjoy some of his music in this episode of Busy Kids Love Music. Link Mentioned in this Episode Busy Kids Play Christmas Music course Musical Samples You'll Hear in this Episode: Symphony No. 1 in D Major: II. Kraftig bewegt, doch nicht zu schnell Mahler's 8th symphony Finale Mahler: Symphony No. 5 in C-Sharp Minor – IV. Adagietto. Sehr langsam Music Listening Schedule for Episode 58 I've created a YouTube playlist for you with music from today's episode as well as other performances of Mahler's work. Check it out here. Subscribe & Review in iTunes Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in iTunes! If you're feeling extra magnanimous, I would be really grateful if you left a review over on iTunes, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!

Præludium: Léon Boëllmann: Adagietto. Ord til dagen: af Martin Luther. Salme: 683 "Den nåde, som vor Gud har gjort". Fra det N.T.: Matthæusevangeliet 5, 43-48. Korvers: Hans Leo Hassler: Fader vor udi Himmerig (tekst: Martin Luther 1539, overs. anonym). Salme: 385 "Op, alle folk på denne jord". Postludium: Marcel Dupré: Invention nr. 12 (Vivace). www.dr.dk/P2/Morgenandagten

In the second part of Charlie's chat with Vic Reeves, the Jim/Vic/Chin name discussion continues, with both Vic and Charlie adding more names to the pile. Vic describes his first ever comedy gig and the creation of 'Vic Reeves', and he picks more musical favourites, including the classical music equivalent of a Black Sabbath track and the saddest piece of classical music ever written. This episode features extracts from Shostakovich's Symphony No.8, performed by the London Symphony Orchestra with Gianandrea Noseda, available on the London Symphony Orchestra's own label, LSO Live: https://lsolive.lso.co.uk/. We also heard the London Philharmonic Orchestra, conducted by Bernard Haitink, performing Nimrod from Elgar's Enigma Variations, and later we heard the LPO, conducted by Jaap van Zweden, with part of the Adagietto from Mahler's Symphony Number 5. Both recordings available to buy at lpo.org.uk. The other clip was from Vaughan Williams' Norfolk Rhapsody No.1, performed by the Halle Orchestra and Sir Mark Elder, taken from an album called English Landscapes which is available at halle.co.uk

Episode #8: Conductors Three Uploaded: April 17, 2021 Richard Wagner: Rienzi (Overture) [12:36] Orchestra del Teatro alla Scala Hermann Scherchen, conductor Gustav Mahler: Symphony No. 5 in C-sharp Minor IV. Adagietto [13:12] Orchestra della RAI di Milano Hermann Scherchen, conductor STRADIVARIUS STR 13600 Carl Maria von Weber: Oberon, J.306 (Overture) [8:58] Franz Schubert: Symphony No. 8 in B Minor, D. 759 I. Allegro moderato [14:50] II. Andante con moto [11:29] Leningrad Philharmonic Orchestra Yevgeny Mravinsky, conductor JVC MELODIYA VDC-1009 Paul Hindemith: Symphonic Metamorphosis on Themes by Carl Maria von Weber I. Allegro [4:06] II. Turandot, Scherzo (Moderate – Lively) [7:55] III. Andantino [4:03] IV. March [4:44] Konzertmusik for String Orchestra and Brass, Op. 50 I. Mässig schnell, mit Kraft – Sehr breit, aber stets fließend [8:30 II. Lebhaft – Langsam – Im ersten Zeitmaß (Lebhaft) The Philadelphia Orchestra Eugene Ormandy, conductor EMI ANGEL CDC-7 47615 2 Jed Distler's Websites The radio station: wwfm.org Between the Keys: https://www.wwfm.org/programs/between-keys-jed-distler#stream/0 https://www.mccc.edu/news/2017/arts/WWFM_Distler_Award.html Facebook page:https://www.facebook.com/betweenthekeys Personal website: www.jeddistler.com

The third part of the symphony starts with the fourth movement, a tender Adagietto, one of the most intimate compositions of Mahler and certainly therefore one of the most famous, but also because Visconti used it in his film Death in Venice. After the rather trivial Scherzo, we encounter emotion and sensuality, it is pure poetry transformed into music.One feels that after the Scherzo, there was a rupture out of which a new start arises and thus the Adagietto becomes the prelude of the last movement. The orchestration is in no way inferior to the tenderness of the composition divided in three parts: Strings are exclusively used to play a clear and longing tune accompanied by a harp playing in a way the role of a Basso Continuo. In the middle part, a bit more vivid, where the harp is missing, the accessory theme of the Finale is introduced. After the Glissando of the culminating point, the harp returns and the yearning tune reaches its highest emotion before the Adagietto softly dies away.---A listening guide of Symphony No. 5 - 4th Movement with Lew Smoley.

The Symphony No. 5 by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's cottage at Maiernigg. Among its most distinctive features are the trumpet solo that opens the work with the same rhythmic motive as used in the opening of Beethoven's 5th symphony and the frequently performed Adagietto.The musical canvas and emotional scope of the work, which lasts over an hour, are huge. The symphony is sometimes described as being in the key of C? minor since the first movement is in this key (the finale, however, is in D major). Mahler objected to the label: “From the order of the movements (where the usual first movement now comes second) it is difficult to speak of a key for the ‘whole Symphony', and to avoid misunderstandings the key should best be omitted.”---A listening guide of Symphony No. 5 - Intro with Lew Smoley from ClassicalPodcasts.com.

On today’s date in 1902, composer Gustav Mahler, age 41, married Alma Schindler, age 22. Mahler was the famous director of the Vienna Court Opera, and by 1902 had written four symphonies. Alma was considered one of the most beautiful women in Vienna, and also an independent, unpredictable, and remarkably free-spirited one. Perhaps that, as much as her beauty, appealed to Mahler, but many of the composer’s long-time friends did not approve and predicted disaster. One of them even suggested that the composer convert to Protestantism, which would make getting a divorce easier in ultra-Catholic Vienna. On today’s date in 1902, a large crowd of curious onlookers gathered in Vienna’s majestic Baroque Karlskirche at 5:30 p.m, the time the wedding was thought to take place, only to discover they had been married hours earlier in the privacy of its sacristy with just the immediate family present. The next symphony that Mahler wrote, his Fifth, contains a lovely Adagietto movement that Mahler’s friend, the Dutch conductor Willem Mengelberg claims was inspired by Alma: “It was his declaration of love. Instead of a letter, he confided it in this manuscript without a word of explanation. She understood. He tells her everything in music.”

On today’s date in 1902, composer Gustav Mahler, age 41, married Alma Schindler, age 22. Mahler was the famous director of the Vienna Court Opera, and by 1902 had written four symphonies. Alma was considered one of the most beautiful women in Vienna, and also an independent, unpredictable, and remarkably free-spirited one. Perhaps that, as much as her beauty, appealed to Mahler, but many of the composer’s long-time friends did not approve and predicted disaster. One of them even suggested that the composer convert to Protestantism, which would make getting a divorce easier in ultra-Catholic Vienna. On today’s date in 1902, a large crowd of curious onlookers gathered in Vienna’s majestic Baroque Karlskirche at 5:30 p.m, the time the wedding was thought to take place, only to discover they had been married hours earlier in the privacy of its sacristy with just the immediate family present. The next symphony that Mahler wrote, his Fifth, contains a lovely Adagietto movement that Mahler’s friend, the Dutch conductor Willem Mengelberg claims was inspired by Alma: “It was his declaration of love. Instead of a letter, he confided it in this manuscript without a word of explanation. She understood. He tells her everything in music.”

MATÍAS SANTOS A poco de comenzar sus estudios de Danzas Clásicas, a los 18 años, en Entre Ríos, su provincia natal, ingresó al instituto Superior de Arte del Teatro Colón, integrando así el Ballet Joven del ISA, con el que realizó diversas giras como Bailarín principal por el país y el exterior, interviniendo en el “Aberdeen International Youth Festival”, realizado en Escocia, dirigidos por Lidia Segni; como también en el "Festival Barrio Antiguo" en México, entre otros. En el año 2005, ingresa por concurso abierto, y ante jurado internacional al “Ballet Estable del Teatro Colón”, donde se destacó como solista en diversas obras tales como “Who Cares”, “Symphony in C”, “Allegro Brillante” de G. Balanchine, “La Bella Durmiente del Bosque”, “Don quijote”, “El Combate”, “El Lago de los Cisnes”, “Giselle” “Raymonda”, “Pulsaciones”, “El Cascanueces” de R. Nureyev, “Sylvia” de F. Ashton, “Petrushka”, “Adagietto” de O. Araiz, “Por vos Muero” de N. Duato. Como bailarín principal, protagonizó “Before Nightfall” de Nils Christe, “Cenicienta” de Renato Zantella, “Bruch” de Clark Tippet, “Rodín” de Boris Eifman, “Onieguin” de John Cranko, entre otros. Asimismo, intervino en las giras internacionales del BETC por Muscat, Omán, y del Festival Internacional de La Habana, Cuba. Es convocado para realizar una gira por Centroamérica como bailarín principal de la Compañía Tango Pasión y, seguidamente, fue invitado al festival de Cabo Frío, Brasil junto a Estrellas Internacionales de la Danza. En el año 2016, fue elegido y preparado por los maestros Victor y Agneta Valcu en el rol de Onieguin, para el ballet homónimo de John Cranko. Formado artística y académicamente por el Maestro Martín Miranda, ha preparado junto a él, como protagonista, las versiones integrales de “Giselle”, “Coppelia”, “Chopiniana” y “El Corsario”, entre otros; realizando diversas giras. En Junio de 2013, se presentó en el “XII Concurso Internacional de Ballet del Teatro Bolshoi de Moscú” acompañando a Luana Brunetti, recibiendo el premio a la Maestría Artística. Seguidamente, participa en representación del BETC en la Gala Internacional de Ballet en Asunción, Paraguay. En el año 2019, realiza una extensa gira por la República Popular de China como bailarín principal del “Roma City Ballet”. Actualmente, continúa con su formación actoral. Además, como coreógrafo, ha creado las obras "Balletango" y "Sumaj Pachamama", estrenada en el CETC del Teatro Colón junto a La Charo y su música.

Famous musician Billy Joel has said, “I think music in itself is healing. It's an explosive expression of humanity.” Seeing the humanity in each other is an essential part of sharing music. In this episode, relax to a soothing soundscape of strings, piano, and percussion from works by Claude Debussy, Joe Tompkins, Arvo Pӓrt, and Gustav Mahler. We recommend looking at the stars while you listen to Episode 4. Meet your host, Music Director Michael Sachs.@1:00 Jamey Lamar reflects on meditation, or meditates on reflection. How do musicians listen to their music to understand? “[Mindfulness] is opening yourself up to the world, truly, by stopping all of that inner noise. The same can be true when we stop to listen to a piece of music.”@04:56 Jump to the Debussy, performed by Joyce Yang @08:18 Percussionist Joe Tompkins talks about composing for a place as unique as The Tank, and the experience of driving hours through  Colorado to arrive at the one-of-a-kind recording space. “In my opinion it was like walking into Mad Max beyond the Thunderdome, and saying we’re going to record a piece here in the middle of the desert. You kind of expected Mel Gibson to come around the corner in a crazy truck.”@13:18 Jump to 4Round@23:06 Did you know Arvo Pärt combined numerology and harmony? Vijay Gupta, violinist and founder of Street Symphony, discusses the form of the piece, which is “a kind of musical miracle … that fluttering light that is constant in all of us, all the time.”@26:35 Jump to the Pärt, performed by Vijay Gupta and the Strings Festival Orchestra@37:57 Michael Sachs’ favorite piece of music ever written: Mahler’s Adagietto movement in Symphony No. 5. “Being married to a harpist … I always take this moment to reflect on our many years together, how much we’ve shared, and like this is my love letter to my own wife.”@39:38 Jump to the Mahler, conducted by Brett Mitchell and performed by the Strings Festival Orchestra Pieces PerformedDEBUSSY Préludes - Book 2, No. 5, BruyèresJoyce Yang, PianoPerformed at Strings Music Festival in 2016TOMPKINS 4Round Marc Damoulakis, PercussionJeremy Epp, PercussionJoseph Tomkins, Percussion and ComposerKevin Watkins, PercussionPerformed at The Tank in Rangely, CO in 2018PÄRT Fratres (for Solo Violin, Strings, and Percussion) Vijay Gupta, ViolinStrings Festival Orchestra/Michael Sachs, ConductorPerformed at Strings Music Festival in 2017MAHLER Symphony No. 5 IV. Adagietto Strings Festival Orchestra/Brett Mitchell, ConductorPerformed at Strings Music Festival in 2018About Strings Music Festival in Steamboat Springs, Colorado: Strings Music Festival presents music of the highest quality in an intimate mountain setting. Our summer festival includes a genre-spanning lineup featuring classical musicians from the nation’s top orchestras and chart-topping popular contemporary artists, all of whom perform in an intimate, 569-seat Pavilion nestled at the base of Steamboat’s mountains. Outside of our venue, we serve the community with a variety of free programming and an in-school education program called Strings School Days. This offering cultivates music appreciation and ability in Northwest Colorado’s K-12 students.StringsMusicFestival.com/donateFacebook.com/stringsmusicfestivalInstagram @stringsmusicfestival

Die Fünfte gehört zu den beliebtesten Sinfonien von Gustav Mahler. Der Komponist allerdings hielt sie selbstkritisch für ein verfluchtes Werk, weil niemand das Stück so richtig kapiere. Berühmt geworden ist das Adagietto als Filmmusik in „Tod in Venedig“ von Luchino Visconti. Blind verkostet von Christine Lemke-Matwey, Kai Luehrs-Kaiser und Andreas Göbel. Moderiert von Christian Detig

Vilniaus festivalio 2017 m. koncerto „Vidurnakčio saulė“ įrašas iš NF. Dalyvauja Mario Brunello (violončelė, Italija) ir Lietuvos nacionalinis simfoninis orkestras. Dirigentas Modestas Pitrėnas. Programoje Gustavo Mahlerio Simfonijos Nr. 5 IV dalis Adagietto, Justės Janulytės „Vidurnakčio saulė“ violončelei ir simfoninio orkestro styginiams su naktinėmis surdinomis, Felixo Mendelssohno Koncertinė uvertiūra „Rui Blas“. *Heitoro Villa-Loboso siuitos „Amazonės miškas“ įrašas iš NF. Atlieka Viktorija Miškūnaitė (sopranas), choro „Vilnius“ vyrų grupė ir Lietuvos nacionalinis simfoninis orkestras. Dirigentas Yury Serov. Ved. Gabija Narušytė.

In deze podcast van muziekmagazine Preludium maak je kennis met Gustav Mahlers Vijfde symfonie. Geschreven in de bloei van zijn leven, vol ideeën. Het verstilde Adagietto, 'nachtmuziek' werd wereldberoemd dankzij de film Death in Venice. En het bombastische slot is misschien wel de laatste vrolijkste muziek die Mahler schreef...

13.martā Lielajā ģildē Latvijas Nacionālais simfoniskais orķestris kopā ar RIX klavieru kvartetu diriģenta Andra Pogas vadībā atskaņos Olivjē Greifa „Četrkāršo koncertu “Nāvesdeja” un Gustavs Mālera Piekto simfoniju. Pulksten 18.18 Minsteres zālē sāksies saruna pirms koncerta par Māleru. "“Nāve, kas dejā atceļ tradicionālo sabiedrības šķelšanos,” – tā sava koncerta iedvesmas avotu – nāvesdeju – raksturojis franču komponists Greifs, ar kuru mūs iepazīstinās klavieru kvartets RIX. Pilnā sastāvā viņus nemaz tik bieži pie mums nesastapt, jo mūziķu ikdiena aizrit dažādos Eiropas orķestros.  Daudz biežāk dzirdama Mālera Piektā, bet visi Viskonti un Venēcijas cienītāji apliecinās, ka nekā skaistākā par Adagietto nav un to var klausīties vēl un vēl," tā vēsta koncerta apraksts. Vai Mālera Piektās simfonijas IV daļā, ko mēdz saukt par „Gustava mīlasvēstuli Almai”, ir vairāk mīlestības vai vientulības? Latvijas Nacionālā simfoniskā orķestra blogā jautā Orests Silabriedis, bet Kultūras Rondo studijā mēs viņam vaicājam, kāpēc Mālers viņu kaitina un kāpēc Māleru neatskaņoja padomju laikā. Vēl interesējamies, vai kino režisoru Dāvi Sīmani var saukt par māleristu? Režisors uzskata, ka viņu dēvēt par māleristu ir pārpratums, lai arī viņam ir tuva Mālera mūzika ir tuva. "Pēdējos desmit gadus Māleram bijusi patiešām viena no nozīmīgākajām muzikālajām ietekmēm manā dzīvē, turklāt arī ne tikai ikdienas režīmā, bet arī kino, jo, savu  dokumentālo filmu "Pēdējā tempļa hronikas" es veidoju, ņemot par muzikālo pamatu Mālera Pirmās simfonijas 1.daļu un mazliet arī no 4. daļas," atzīst Dāvis Sīmanis.  

durée : 00:17:25 - Disques de légende du vendredi 08 novembre 2019 - Le film 'Mort à Venise' de Luchino Visconti sort en 1971 sur les écrans. Sa bande originale, conçue par le chef d'orchestre et compositeur Franco Mannino, a marqué les oreilles et les esprits grâce à l'omniprésence du magnifique Adagietto de la Symphonie n° 5 de Gustav Mahler...

The last season of the TSO came to a close with Mahler's Resurrection symphony, and now the new season opens with Mahler in full force for the Symphony No. 5 – which includes that heart-achingly beautiful Adagietto movement. Mahler expert Effie Papanikolau joins our panel for a discussion of the composer and his symphony, and the fascinating woman who inspired it, Gustav's wife, Alma.

Jess Gillam is joined by the Lithuanian accordionist Martynas Levickis, known for his exciting arrangements of everything from Bach to Daft Punk. Together they have chosen Teodor Currentzis conducting Mozart, the Adagietto from Mahler's 5th Symphony, Bjork and some electro swing from Parov Stelar. From musical beginnings in a carnival band, to being the first ever saxophone finalist in BBC Young Musician, and appearances at the Last Night of the Proms in 2018 and at this year’s BAFTA awards, Jess is one of today’s most engaging and charismatic classical performers. Each week on This Classical Life, Jess will be joined by young musicians to swap tracks and share musical discoveries across a wide range of styles, revealing how music shapes their everyday lives. This Classical Life is also available as a podcast on BBC Sounds.

Last weekend, Virginia Arts Festival brought us a world premiere and a weekend of spectacular dance at Norfolk’s Chrysler Hall. Dance Theatre of Harlem was born 50 years ago as the first African American classical ballet company. In this engagement at Virginia Arts Festival, Dance Theatre of Harlem performed the pieces “Valse Fantaisie,” “Adagietto,” and “Dougla,” in addition to the world premiere of “Passage,” choreographed by Claudia Schreier with music by Jessie Montgomery.

Am 9., 10. und 11. Mai sind Daniel Harding und der Geiger Leonidas Kavakos zu Gast beim Symphonieorchester des Bayerischen Rundfunks. Auf dem Programm stehen Werke von Berg und Mahler. Genau wie Bergs Violinkonzert erfreut sich auch Mahlers Fünfte mit dem berühmten Adagietto großer Beliebtheit. Warum diese Symphonie so modern wirkt, verrät Daniel Harding im Interview.

Si parla di Donatoni a Rondò (e si ascolta uno stralcio di "Hot"). Intervista a Carlo Galante in occasione dei suoi "Racconti di Pioggia e di Luna" (EMA Vinci Contemporanea). Recensioni di "Italienisches Liederbuch" di Hugo Wolf (Damrau, Kaufmann, Deutsch) Warner Classics & Erato e "Adagietto" di Misha Maisky (Deutsche Grammophon).

Si parla di Donatoni a Rondò (e si ascolta uno stralcio di "Hot"). Intervista a Carlo Galante in occasione dei suoi "Racconti di Pioggia e di Luna" (EMA Vinci Contemporanea). Recensioni di "Italienisches Liederbuch" di Hugo Wolf (Damrau, Kaufmann, Deutsch) Warner Classics & Erato e "Adagietto" di Misha Maisky (Deutsche Grammophon).

Si parla di Donatoni a Rondò (e si ascolta uno stralcio di "Hot"). Intervista a Carlo Galante in occasione dei suoi "Racconti di Pioggia e di Luna" (EMA Vinci Contemporanea). Recensioni di "Italienisches Liederbuch" di Hugo Wolf (Damrau, Kaufmann, Deutsch) Warner Classics & Erato e "Adagietto" di Misha Maisky (Deutsche Grammophon).

Adagietto de la 5ème symphonie de mahler. Wiener philharmoniker sous la direction de Léonard Bernstein.

“Una mañana, tras un sueño intranquilo, Gregorio Samsa se despertó convertido en un monstruoso insecto. Estaba echado de espaldas sobre un duro caparazón y, al alzar la cabeza, vio su vientre convexo y oscuro, surcado por curvadas callosidades, sobre el que casi no se aguantaba la colcha, que estaba a punto de escurrirse hasta el suelo. Numerosas patas, penosamente delgadas en comparación con el grosor normal de sus piernas, se agitaban sin concierto… ¿Qué me ha ocurrido?” La Metamorfosis, de Franz Kafka Hoy vamos a comentar una novela, enmarcada dentro de lo que se llamó el expresionismo, cuyo ámbito generacional fue la Europa Central y que surgió en el decenio de la primera guerra mundial. El expresionismo se puede considerar como la aportación alemana al proceso de una renovación intelectual de una Europa definitivamente abocada a la desintegración de los valores del antiguo orden burgés. Se trata de “La metamorfosis”, de Franz Kafka. Su autor, el checoslovaco Franz Kafka, y por cierto, recordemos que en la época este país formaba parta del Imperio Alemán, nació en Praga el 3 de Julio de 1.883 y falleció en Viena el 3 de Junio de 1.924, a la temprana edad de 40 años. Estudió derecho y alternó la literatura con su trabajo en una compañía de seguros hasta dos años antes de su muerte. Kafka publicó poco, a pesar de la insistencia por hacerlo de su amigo Max Brod, y además, destruyó buena parte de sus escritos. Es a ese amigo a quien, a sabiendas de que en su testamento el autor dispuso que se destruyeran todos sus manuscritos inéditos, debemos la publicación de sus grandes novelas: “El proceso”, “El Castillo” y “América”, entre otras. La novela nos cuenta que, tras una noche llena de inquietos sueños, el viajante de comercio Gregorio Samsa, se despierta una mañana para verse transformado en un monstruoso insecto. Cree seguir soñando, pero la visión de su cuarto y de una serie de objetos familiares empieza a convencerlo de lo contrario. Intenta, no obstante, dormir un poco más y olvidar esa locura, pero ahora es su propio cuerpo el que lo convence: dada su nueva configuración física le resulta imposible echarse de lado, posición en la que suele dormir. Y entonces comienza su aterradora pesadilla, narrada por el autor con su objetividad y detallismo habituales, esa minuciosidad descriptiva de una forma elevada por Kafka, a la categoría de método creativo, de ir dislocando la realidad a base de registrar pequeños signos, indicaciones y síntomas de desplazamientos generadores, a su vez, de angustia y desorientación. Gregorio Samsa, ante la insistencia de su familia, comparece ante ellos y tras la sorpresa inicial de su padre por la aparición del escarabajo en su dormitorio, reacciona violentamente y, silbando y pataleando en forma grotesca, lo obliga a volver a su cuarto sin ninguna consideración. Cuando Gregorio, de nuevo, se aventura fuera de su habitación, es literalmente bombardeado por el Sr. Samsa que, de aspecto terrible a los ojos del insecto (por ejemplo; levantaba los pies hasta una altura inusual y se asombró de lo gigantescas que eran las suelas de sus zapatos), va arrojando manzanas sobre el infeliz y lo hiere con una de ellas en la espalda. La hermana de Gregorio, compasiva con el escarabajo al principio, acaba por desear también su desaparición, y hasta la madre se resigna a esa idea. La muerte del protagonista supone una liberación para los tres, y los padres constatan en el curso de un paseo en tranvía, con el que cierra el relato, que su hija se había convertido entre tanto en una muchacha hermosa y muy desarrollada, imagen de la vitalidad que sustituye a la de la ruinosa desolación del hijo muerto. La metamorfosis fue publicada en 1.916 y constituyó, junto con casi todo lo escrito por el autor, uno de los motivos esenciales y recurrentes en la producción del genial escritor checo: su rechazo visceral a la institución familiar y, sobre todo, a la figura del “pater familiae”, y el conflicto padre – hijo, tan recreado en la literatura expresionista de su generación. Pero en la imagen paterna se ha visto también un símbolo del poder absoluto en cuanto tal, del autoritarismo y la arbitrariedad sin límites basados en una relación jerárquica de dependencia que conlleva a la degradación del ser humano. En La Metamorfosis, el horrible cuerpo de Gregorio lo expone implacablemente al desprecio y al olvido gradual de su familia, cuyo sostén material había sido él hasta entonces. La humillación, otro de los motivos fundamentales de la obra kafkiana, opera en este caso un proceso irreversible: la familia condena al insecto a ser lo que es en forma definitiva, olvidándose incluso de hacer desaparecer sus restos, tarea de la que los exime la criada, algo que ha sugerido a más de un estudioso el sometimiento extremo del ser humano bajo los regímenes totalitarios. La tremenda autenticidad del universo kafkiano, adjetivo cuya popularización como sinónimo de lo absurdo/siniestro es ya harto elocuente, hicieron de este autor uno de los más importantes de la literatura europea y mundial del pasado siglo. Ambientación musical: Gustav Mahler, Adagietto 5ª Sinfonía.

This week we finish our two week look at Mahler's monumental 5th symphony. We'll explore Part II, a massive 17 minute scherzo that is as complicated to understand as it is difficult to play and conduct. Then, of course, there is the Adagietto, the most famous of all Mahler movements. We'll talk about the all important tempo of the movement, which informs so much of about we understand its meaning. To finish things up, we'll talk about Mahler's both highly traditional and deeply unusual 5th movement.

What happens when a composer writes music without pen and paper, using machines? How does that change the creative process? How does it morph the art itself?  Today on Meet the Composer, our producer Alex Overington — usually behind the studio glass — takes us on a road trip to unravel the creative process of those composers who write without a score. We meet the synthesists, the samplers, the electronic musicians, and dive deep into the tools they’ve adopted to define their craft.  Join us as we uncover what it means to be a composer who sculpts directly with sound, through conversations with such artists as Matmos, Kaitlyn Aurelia Smith, Tyondai Braxton, Laurie Anderson, Morton Subotnick and more.   Heard a piece of music you loved? Discover it here! 0:21—Kaitlyn Aurelia Smith: Rare Things Grow | Listen 2:27—Terry Riley: A Rainbow in Curved Air | Listen 3:16—Johannes Brahms: Symphony No. 4 in E minor | Listen 4:03—Gustave Mahler: Symphony No. 4, IV. Adagietto | Listen 4:33—Oneohtrix Point Never: Problem Areas | Listen 6:02—Matmos: Ultimate Care II | Listen 6:30—Kaitlyn Aurelia Smith: First Flight | Listen 7:41—Kaitlyn Aurelia Smith: Envelop | Listen 11:29—Matmos: Mister Mouth | Listen 12:59—Morton Subotnick: Silver Apples of the Moon | Listen 13:48—The Vogues: Five O'Clock World | Listen 14:42—Arthur Smith: Banjo Boogie | Listen 15:26—Morton Subotnick: Silver Apples of the Moon | Listen 15:51—Stephen Foster: Camptown Races | Watch 16:04—Johannes Pachabel: Canon in D | Listen 16:55—Kaitlyn Aurelia Smith: Sundry | Listen 18:25—Morton Subotnick: Silver Apples of the Moon | Listen 20:28—Tyondai Braxton: Opening Bell | Listen 20:56—Tyondai Braxton: Gracka | Listen 22:43—Tyondai Braxton: Scout1 | Listen 24:39—Kaitlyn Aurelia Smith: Wetlands | Listen 28:30—Pierre Schaeffer & Pierre Henry: Orphée 53 | Listen 29:25—Mistinguett: Mitsou | Listen 29:38—Pierre Schaeffer & Pierre Henry: Orphée 53 | Listen 29:57—The Sugarhill Gang: Apache [Jump On It] | Listen 30:20—Kanye West: A "Dope Ass Beat" | Watch 30:39—Matmos: Very Large Green Triangles | Listen 31:26—Matmos: Ur Tchan Tan Tse Qi | Listen 32:49—Jingle Cats: Jingle Bells | Listen 33:22—Matmos: California Rhinoplasty | Listen 34:28—Matmos: Lipostudio... And So On | Listen 34:37—Matmos: L.A.S.I.K. | Listen 35:20—Matmos: L.A.S.I.K. | Listen 37:27—Matmos: You | Listen 39:14—Matmos & So Percussion: Aluminum | Listen 40:50—Matmos: Ultimate Care II | Listen 47:46—Matmos: Ultimate Care II | Listen 49:14—Laurie Anderson: Another Day in America | Listen 53:04—Laurie Anderson: Sharkey's Day | Listen 53:59—Edward Grieg: Lyric Pieces for the Piano, op. 43, "Butterfly" | Listen 54:27—Laurie Anderson: My Right Eye | Listen 55:31—Laurie Anderson: Another Day in America | Listen 57:35—Laurie Anderson: The Lake [Instrumental] | Listen   

Gustav Mahler - Symphony nº 5 in C sharp minor Vienna Philharmonic, Leonard Bernstein I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt II. Stürmisch bewegt. Mit größter Vehemenz III. Scherzo. Kräftig, nicht zu schnell IV. Adagietto. Sehr langsam V. Rondo-Finale. Allegro

Piece: Four Bagatelles Op. 2, No. 4 Composer: Hayden Lee Hawkins Piano: Carlos Márquez Image by ND Strupler https://flic.kr/p/5Dyd7q

Piece: Four Bagatelles Op. 2, No. 4 Composer: Hayden Lee Hawkins Piano: Carlos Márquez Image by ND Strupler https://flic.kr/p/5Dyd7q

Weltentrückt, fließend, friedlich - das berühmte Adagietto ist das Herzstück von Mahlers fünfter Symphonie. Populär wurde es durch Luchiano Viscontis Film "Tod in Venedig". Das Symphonieorchester des Bayerischen Rundfunks führt Mahlers Fünfte jetzt unter der Leitung von Mariss Jansons auf - zum Gedenken an Nikolaus Harnoncourt.

선곡표 1.Masaji Watanabe - Crescent 2.Mahler -교향곡 5번 C#단조 중 4mov. Adagietto 3.알비노니 아다지오 Adagio in g minor 4. Kreisler-Liebesfreud 사랑의 기쁨 5. Kreisler-Liebesleid 사랑의 슬픔 6. 뮤지컬 오페라의 유령 중 Think of me 7. -뮤지컬 미스 사이공 중 The Last Night of the world 8. Ravel - 우아하고 감상적인 왈츠 9.임준희- 교향시 용비어천가 중 ‘용들의 비상'

선곡표 1. Stephen Foster- My Old Kentucky Home, Goodnight 2. E. Grieg -첼로 소나타 a단조 Op.36 中 1mov. Allegro agitato 3. G. Mahler -교향곡 5번 c#단조 中 4mov. Adagietto, 5mov. Rondo-Finale. Allegro 4. 알베니즈 에스파냐 모음곡 Suite Espanola Op.47 - Asturias 5. Telemann 트럼펫 협주곡 f단조 1mov. Allegro, 2mov. Largo e piano 3mov. Vivace 전 악장 6. 파가니니 -La campanella from Violin Concerto No.2 7. M. Ravel - La valse 8. 굿윌헌팅 - Between The Bars

The ultimate instrumental showcase, the concerto has inspired composers to torture performers for hundreds of years, relentlessly pushing their physical capabilities. Now that performers have virtually no limits on their technique, how are composers innovating this storied form? Hosted by Seth Boustead Produced by Jesse McQuarters Kimmo Hakola: Concerto for Clarinet and Orchestra, I (excerpt), IV FRSO/Sakari Oramo; Kari Kriikku, clarinet Daron Hagen: Concerto for Koto and Orchestra, I. Genji/Cicada Shell Orchestra of the Swan/David Curtis; Yumi Kurosawa, koto Philip Glass (arr. Amy Dickson): Concerto for Violin and Orchestra, I Royal Philharmonic Orchestra/Mikel Toms Mark O'Connor: The Improvised Violin Concerto, III. Water Boston Youth Symphony Orchestra/Frederico Cortese Gabriel Prokofiev: Concerto for Turntables and Orchestra, II. Adagietto, Irreguluv Heritage Orchestra/Jules Buckley; DJ Yoda, turntables Kalevi Aho: Concerto for Theremin and Orchestra, Acht Jahreszeiten, III. Schwarzer Schnerr Lapland Chamber Orchestra/John Storgårds; Carolina Eyck, theremin Jennifer Higdon: Concerto for Orchestra, III Atlanta Symphony Orchestra/Robert Spano

Adagietto from Mahler's 5th Symphony Mahler wrote his 5th Symphony during the summers of 1901 and 1902. The Adagietto is the 4th movement which is thought to have been inspired by falling in love with Alma who he married around this time. This single movement is Mahler's most well known piece of music. It was famously used in the 1971 Luchino Visconti film Death in Venice And it was also conducted by Leonard Bernstein at the mass at St Patrick's Cathedral, New York on the day of the burial of Robert Kennedy. In this programme, composer David Matthews explains the significance of this piece in Mahler's output. Psychoanalyst Anthony Cantle describes listening to it with his mother during her last days of dementia. Malcolm Reid tells how this piece signified a change in himself as a young man in the British police force with narrow, racist views, to hearing it in Australia and shifting his to becoming a liberal. And Helen Epstein explains why it was played at her mother's funeral. Producer, Rosie Boulton.

Kirsty Young's castaway this week is the bass-baritone Thomas Quasthoff. He has performed in concert halls the world over under the batons of the finest conductors and, while he made his name as a Lieder singer, he's equally popular for his jazz, spiritual and gospel recordings. Music critics say he is "one of the great singers of our time and one of the most remarkable of any time." That his life has been remarkable is a reference to his disability: he was born suffering the effects of Thalidomide and although his early musical talent was spotted, his inability to play the piano meant he was not allowed to take up a place at a conservatoire.In this candid and moving interview, though, he describes how, with his family's support, he went on to build a highly successful career. Now, living contentedly with his wife and daughter, he says his life is a full and satisfying one. He adds that when he sees how readily people become consumed by envy and resentment, he questions whether that too isn't a kind of disability.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: The Adagietto from 5th symphony by Gustav Mahler Book: Long Walk to Freedom by Nelson Mandela Luxury: Good wine.

Kirsty Young's castaway this week is the bass-baritone Thomas Quasthoff. He has performed in concert halls the world over under the batons of the finest conductors and, while he made his name as a Lieder singer, he's equally popular for his jazz, spiritual and gospel recordings. Music critics say he is "one of the great singers of our time and one of the most remarkable of any time." That his life has been remarkable is a reference to his disability: he was born suffering the effects of Thalidomide and although his early musical talent was spotted, his inability to play the piano meant he was not allowed to take up a place at a conservatoire. In this candid and moving interview, though, he describes how, with his family's support, he went on to build a highly successful career. Now, living contentedly with his wife and daughter, he says his life is a full and satisfying one. He adds that when he sees how readily people become consumed by envy and resentment, he questions whether that too isn't a kind of disability. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: The Adagietto from 5th symphony by Gustav Mahler Book: Long Walk to Freedom by Nelson Mandela Luxury: Good wine.