Podcasts about Alban Berg

durée : 00:14:52 - par : Lionel Esparza - Entre 1972 et 1974, Herbert von Karajan consacre une série de disques à la seconde école de Vienne. Un répertoire qu'on lui associe peu, mais le projet lui tient à cœur : à la tête du Philharmonique de Berlin, il relie Arnold Schönberg, Alban Berg et Anton Webern à leur passé romantique. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:14:52 - par : Lionel Esparza - Entre 1972 et 1974, Herbert von Karajan consacre une série de disques à la seconde école de Vienne. Un répertoire qu'on lui associe peu, mais le projet lui tient à cœur : à la tête du Philharmonique de Berlin, il relie Arnold Schönberg, Alban Berg et Anton Webern à leur passé romantique. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Today's lengthy episode (I probably should’ve divided it in half!) is another devoted to orchestral song, in this case Deutsche Orchesterlieder. But, in a twist, you will not be hearing any music by either Mahler or Strauss today. (Their orchestral songs have already been amply represented on Countermelody. No, today I am featuring songs ranging from the late nineteenth century through the mid-twentieth century. Some of the composers presented – Alban Berg, Max Reger, Hugo Wolf, Arnold Schoenberg – will be familiar to listeners; others – Alexander Zemlinsky (pictured), Hans Pfitzner, Paul Hindemith, Hans Werner Henze, Franz Schreker – perhaps more as names familiar for musical historical reasons than for their actual compositions. Still others – Ernst Toch, Wolfgang Fortner, Joseph Marx – may be new discoveries altogether. What links them is that they are all fascinating composers whose works run the gamut from lush post-romanticism to exotic orientalism to Neue Sachlichkeit clarity. Texts include the great German lyric poets; anonymous Italian folk poetry; German translations of American poets such as Walt Whitman and major figures of the Harlem Renaissance; and translations of ancient Chinese poetry and the verse of Rabindranath Tagore. Similarly varied are the singers (Elisabeth Söderström, Friedrich Schorr, Edith Mathis, Willard White, Elly Ameling, Irmgard Seefried, Roberta Alexander, Barry McDaniel, Christine Brewer, Christa Ludwig, Helen Donath) and conductors (Michael Tilson Thomas, Riccardo Chailly, Rafael Kubelik, Sergiu Celibidache, Erich Leinsdorf, Carl Schuricht, Hermann Scherchen), heard. Settle in for a ride across a varied, surprising, and always engaging musical landscape. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

durée : 01:29:10 - par : Lionel Esparza - Le violoniste autrichien Günter Pichler nous a quittés le 24 avril dernier, à l'âge de 85 ans. Premier violon et fondateur du Quatuor Alban Berg en 1970, il a accompagné la formation pendant trente-huit ans, jusqu'à sa dissolution en 2008. On passe une heure dans la riche discographie du quatuor. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:29:10 - par : Lionel Esparza - Le violoniste autrichien Günter Pichler nous a quittés le 24 avril dernier, à l'âge de 85 ans. Premier violon et fondateur du Quatuor Alban Berg en 1970, il a accompagné la formation pendant trente-huit ans, jusqu'à sa dissolution en 2008. On passe une heure dans la riche discographie du quatuor. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:27:55 - par : Aurélie Moreau - "Nous avons toujours visé la limite extrême de nos possibilités"*. Günter Pichler, 1er violon fondateur du Quatuor Alban Berg qu'il a marqué de sa forte personnalité, nous a quittés récemment. Retrouvons "les Berg" à travers leurs enregistrements. - réalisation : Cécile Bonnet des Claustres, Thomas Guinegagne - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:16:36 - par : Lionel Esparza - La disparition de Günter Pichler, premier violon et fondateur du Quatuor Alban Berg, nous a donné envie d'évoquer l'un de ses sommets discographiques : l'intégrale irradiante des quatuors de Brahms gravée pour Teldec en 1978, où le jeune ensemble viennois imposait déjà son esthétique. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:16:36 - par : Lionel Esparza - La disparition de Günter Pichler, premier violon et fondateur du Quatuor Alban Berg, nous a donné envie d'évoquer l'un de ses sommets discographiques : l'intégrale irradiante des quatuors de Brahms gravée pour Teldec en 1978, où le jeune ensemble viennois imposait déjà son esthétique. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Franz Wozzeck durchzittert sein Leben in Alban Bergs Oper als riesigen, alles verschlingenden Alptraum. Alban Berg lässt einen den Schwindel, den Abgrund, die ganze Zeit spüren. Ist mit der Musik sozusagen der Zeit voraus, symphonisch durchkomponiert erzählt er das Drama.

durée : 00:30:45 - avec Christian Wasselin - par : Philippe Venturini - Christian Wasselin fait paraître "Alban Berg - Une biographie fantastique" aux Éditions Le Condottiere, un livre aux frontières de la fiction et du récit documentaire sur le compositeur autrichien. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Hace una década que el pianista alemán Michael Wollny formó este trío con su compatriota el baterista Eric Schaefer y con el bajista estadounidense Tim Lefebvre. Un trío capaz de unir en una misma pista al rockero Nick Cave y al músico medieval Guillaume de Machaut. Cuatro largos desarrollos, denominados 'sets', cada uno con dos o tres composiciones, dan forma a estos 'Living ghosts' (Fantasmas vivientes) grabados en concierto en Illingen, Alemania, en abril de 2024. Set I: 'Nacht' de Alban Berg y 'Rufe In Der Horchenden Nacht' de Paul Hindemith; Set II: 'Hauntology' de Michael Wollny, 'In A Sentimental Mood' de Duke Ellington y 'Little Person' de Jon Brion y Charlie Kaufman; Set III: 'Hand Of God' de Nick Cave y Warren Ellis y 'Lasse!' de Guillaume de Machaut; Set IV: 'Willow's Song' de Paul Giovanni y 'This West' de Jeff Babko. Escuchar audio

Berlin, 1925. Vor 100 Jahren geht „Wozzeck“ zum ersten Mal über die Bühne und der Jubel ist groß. Aber wenn etwas so viel Beifall bekommt, kann es nicht gut sein, findet der Komponist Alban Berg und verlässt enttäuscht die Premiere seiner Oper … Von Ben Süverkrüp.

Vor 100 Jahren uraufgeführt, und nach wie vor die ideale Einstiegsdroge für die immer noch so genannte „Neue Musik". Mit Musikbeispielen aus der Aufnahme unter Pierre Boulez mit dem idealen Wozzeck-Interpreten Walter Berry.

Se cumplen cien años del estreno de esta ópera magistral de Alban Berg. Este programa de Ars canendi completa y amplía la emisión de la obra en la tarde del sábado 29, una interpretación de la Orquesta Nacional dirigida por David Afkham. Nosotros empleamos la versión discográfica dirigida por Claudio Abbado. Comentamos y escuchamos diversas escenas: I y IV del primer acto; I y V del segundo acto; II, IV y V del tercer acto.Escuchar audio

Claude Debussy (1862-1918) - Quartetto per archi in sol minore, op. 10, L 911.      Animé et très décidé 2.      Assez vif et très rythmé 6:043.      Andantino, doucement espressi  9:514.      Très modéré 16:23Alban Berg Quartet Gerhard Schulz, violinoGünter Pichler, violinoThomas Kakuska, viola Valentin Erben, violoncello

Alban Bergs Konzert für Violine und Orchester verbindet die emotionale Tiefe der Spätromantik mit der Komplexität der Zwölftonmusik. Das Werk ist ein faszinierendes Spannungsfeld zwischen Tradition und Moderne, das immer wieder neue Hörer begeistert. Blind verkostet von Christine Lemke-Matwey, Kai Luehrs-Kaiser und Andreas Göbel. Moderiert von Christian Detig.

Franz Schubert (1797 - 1828) - Quartetto per archi n. 13 in la minore, op. 29, D. 804 "Rosamunda" 1.       Allegro ma non troppo2.       Andante [12:24]3.       Menuetto (Allegretto) & Trio [19:06]4.       Allegro moderato  [26:39] Alban Berg QuartettGunter Pichler - ViolinoGerhard Schulz - ViolinoThomas Kakuska - ViolaValentin Erben - Violoncello

Claude Debussy (1862 - 1918) - Quartetto per archi in sol minore, op. 10, L 911.       Animé et très décidé (0:00)2.       Assez vif et très rythmé (6:04)3.       Andantino, doucement expressif (9:51)4.       Très modéré (16:23) Alban Berg Quartet Gerhard Schulz, violinoGünter Pichler, violinoThomas Kakuska, violaValentin Erben, violoncello

Ambur Braid is a Canadian soprano who's taken on some of the most coveted roles in opera. But it wasn't until she saw Alban Berg's “Wozzeck” as an undergraduate student that she knew opera would be her life. Now, Ambur is playing Marie in a new production of “Wozzeck” coming soon to the Canadian Opera Company. She sits down with Tom Power to talk about this full circle moment and her passion for classical music. Looking for more conversations about opera? Check out Tom's interview with composer John Adams on the role of opera in tackling contemporary issues.

Das Landestheater Niederbayern wagt sich zum ersten Mal an Alban Bergs unvollendete Zwölftonoper "Lulu" - ein Abenteuer! Am Passauer Stadttheater hatte die Neuproduktion jetzt mit einer umwerfenden Titelheldin Premiere.

Wer hat sich alles bei den Komponisten der „Zweiten Wiener Schule“ – den Pionieren der modernen Kunstmusik im 20. Jahrhundert – bedient? Tatsächlich einige, hat Leonie Reineke herausgefunden. Anton Webern, Arnold Schönberg und Alban Berg waren durchaus beliebt bei den Musikern der späteren Jahrzehnte.

Muusikateadlane Tiia Järg sirvib oma märkmeid kultuuriloost.

SynopsisAs today is International Women's Day, we thought we'd tell you about a wonderful French composer you may or may not have heard of before.Mélanie Hélène Bonis, or Mel Bonis as she preferred to be called, was a prolific composer of piano and organ works, chamber music, art songs, choral music, and several orchestral pieces. She studied at the Paris Conservatoire, where her teachers included César Franck. She was born in 1858 and died in 1937, so her lifetime spanned the age of Hector Berlioz to Alban Berg.In the 1890s, Bonis reconnected with her first love, a man she had met while still a student, who had encouraged her musical talent. So she left her husband, who did not encourage her, to devote herself full-time to her music. Initially performed and admired in Paris, after World War I her music was neglected, and she became bedridden from arthritis. Despite everything, she continued to compose up to the time of her death at 79.Among her works are seven piano portraits of women, collectively titled Femmes de Légende, or Legendary Women — some of which, like Salomé, she arranged for full orchestra.Music Played in Today's ProgramMel Bonis (1858-1937): Salomé; Orchestre du Capitole de Toulouse; Leo Hussain, conductor; Bru Zane BZ-2006

Le maître de la littérature belge nous a quittés ce dimanche ; Pierre Mertens avait 85 ans. Il venait de publier son dernier roman, 'Paysage sans Véronique', paru aux Impressions Nouvelles, qui était en gestation en lui depuis le décès de Véronique Pierroton dans une chambre d'hôtel à Ostende. Il ne croyait pas à la thèse du suicide de son amie. Je suis soulagée qu'il ait pu tenir son roman en mains avant de fermer les yeux pour de bon. Né le 9 octobre 1939 à Berchem-Sainte-Agathe, l'écrivain était docteur en Droit, spécialiste du Droit international et directeur du Centre de Sociologie de la Littérature à l'Université libre de Bruxelles. Juriste engagé, il s'exprimait régulièrement sur la scène publique et n'hésitait pas à mêler fiction et témoignages historiques dans son œuvre, comme dans sa splendide nouvelle 'L'ami de mon amie'. Né de père résistant et de mère juive, il aura été un 'enfant caché' durant la Seconde Guerre mondiale et n'en parlera jamais avant ses septante ans. Jean-Pierre Orban évoque cette page de son histoire dans 'Le siècle pour mémoire', une biographie magistrale et passionnante, publiée en 2018, qui retrace sa vie et son œuvre. Prix Médicis pour 'Les Eblouissements' en 1987, Prix Rossel pour son premier roman 'L'Inde ou l'Amérique', il était membre de l'Académie royale de Langue et de Littérature françaises de Belgique et nommé chevalier de l'Ordre des Arts et des Lettres de la République française. Voici pour les honneurs. C'était surtout un homme drôle, d'une intelligence verbale prodigieuse, ouvert aux autres et d'une remarquable écoute des écrivains. J'ai eu la chance de le recevoir plusieurs fois dans mes émissions. Il parlait avec bonheur de ses écrivains fétiches, Kafka, le premier, l'annonciateur pour lui de la littérature dans sa vie, Pasolini dont il imitait la voix d'étoupe, Milan Kundera qui lui fut proche. Il détaillait aussi les alliances entre la médecine et la littérature et se faisait alors le chantre de Tchekhov et de son humanité à toute épreuve. Il signait un splendide texte sur Alban Berg, qui mourut d'une piqûre de guêpe à 50 ans. Car la musique était sa seconde passion et sa rencontre avec Arvo Pärt lui fut un émerveillement. Avec 'Une paix royale', il passa, comme il le disait lui-même, de la chronique littéraire à la chronique judicaire. Œuvre majeure où il replongea dans le bain de l'enfance et du vélo, la petite reine qui lui fit croiser la route du roi Baudouin dont la voiture accrocha le vélo du garçon. Signe des dieux et des déesses, il donna dans 'Une paix royale' un portrait émouvant du roi Léopold et d'une Belgique menacée par les eaux d'un grand chambardement maritime. La veuve de Léopold n'apprécia pas certains passages. Il faut lire ou relire cette oeuvre flamboyante et baroque où l'écriture de Pierre Mertens est à son acmé. Pierre Mertens rend sa plume et nul ne peut s'en saisir. Il nous reste ses romans comme héritage et sa voix enjouée dans nos échanges passés. Photo : Discours de Pierre Mertens au Prix Rossel, 2012 - BELGA IMAGE/ KRISTOF VAN ACCOM Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

These days I find myself in a pensive, troubled state, very much in need of the kind of consolation that only music can provide. A number of years ago, I published a pair of episodes featuring the sublime Margaret Price performing music of mourning and consolation. Today's episode presents an expanded and refurbished version of the second of those episodes, in a program composed entirely of art song, moving through a sequence of emotions surrounding loss. Composers include Johannes Brahms, Giuseppe Verdi, Robert Schumann, Enrique Granados, Franz Schubert, Grace Williams, Sergei Rachmaninov, Felix Mendelssohn, Philip Cannon, Hugo Wolf, Alban Berg, Maurice Ravel, Franz Liszt, Peter Cornelius, and Richard Strauss, and collaborating pianists and conductors include Claudio Abbado, Wolfgang Sawallisch, Cyprien Katsaris, Geoffrey Parsons, and Neville Marriner, as well as frequent collaborators James Lockhart and Thomas Dewey. A thorough traversal of the song repertoire by one of the supreme recitalists of the late 20th Century. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Chapter 1 What's Arnold Schoenberg by Charles Rosen"Arnold Schoenberg" by Charles Rosen is a comprehensive exploration of the life and works of the influential composer Arnold Schoenberg, a key figure in 20th-century music. Rosen elaborates on Schoenberg's innovative contributions, particularly his development of the twelve-tone technique, which revolutionized compositional approaches and aesthetics. The book delves into Schoenberg's artistic philosophy, examining his relationships with other composers and his impact on modern music. Additionally, Rosen discusses specific works, providing an analysis that highlights Schoenberg's unique style and his place in the historical narrative of classical music. Through this examination, readers gain insights into Schoenberg's complexities as both a person and an artist, illustrating how his experiences shaped his creative output.Chapter 2 Arnold Schoenberg by Charles Rosen Summary"Arnold Schoenberg" by Charles Rosen is a comprehensive exploration of the life, music, and impact of one of the 20th century's most influential composers. The book highlights Schoenberg's revolutionary contributions to music, particularly his development of the twelve-tone technique, which transformed compositional methods and aesthetics.Rosen delves into Schoenberg's early life in Vienna, where he was exposed to various musical influences, including late Romanticism and early modernism. He discusses Schoenberg's evolution as a composer, his move from traditional tonal music to atonality, and the philosophical underpinnings of his work. The author meticulously analyzes Schoenberg's major compositions, providing insights into their structure, emotional depth, and innovative use of harmony. He also addresses Schoenberg's role as a teacher and mentor, influencing a generation of composers who followed, including Alban Berg and Anton Webern.Rosen does not shy away from the controversies surrounding Schoenberg's music, including its reception by audiences and critics, and the challenges of promoting atonal music in a predominantly tonal landscape. The book presents a nuanced view of Schoenberg as both a radical innovator and a deeply introspective artist, exploring his struggles with identity, faith, and the role of the artist in society.In summary, Charles Rosen's work on Arnold Schoenberg is both a biographical account and a critical analysis, capturing the essence of a composer whose music remains a profound and challenging part of the canon of modern classical music.Chapter 3 Arnold Schoenberg AuthorCharles Rosen was a distinguished American pianist, musicologist, and author, widely recognized for his contributions to the understanding of classical music and its history. He was born on March 5, 1927, and passed away on December 9, 2019. In addition to his extensive performing career, Rosen's writings have had a significant impact on musicology. Book DetailsArnold Schoenberg: Charles Rosen's book on the composer Arnold Schoenberg was published in 1975. This work delves into the life, music, and innovations of Schoenberg, who was a pivotal figure in the evolution of 20th-century music. Other Notable WorksCharles Rosen authored several other important books, including:The Classical Style (1971) This book explores the music and style of major composers such as Haydn, Mozart, and Beethoven.Piano Notes: The Hidden World of the Pianist (2002) A collection of essays reflecting on the experience and art of being a pianist.The Romantic Generation (1995) This examines the music and cultural life of the nineteenth century, focusing on composers like Chopin, Wagner, and Liszt.Freedom and the Arts (2010) A collection of essays on various topics concerning art and culture. Best EditionsThe best edition of his works typically considers both critical reception and availability. The...

Kort na de tweede wereldoorlog werd het ook in Oostenrijk duidelijk dat de muziek en de technische verworvenheden van de Tweede Weense school, dus van Arnold Schönberg en zijn leerlingen Anton Webern en Alban Berg, grote gevolgen hadden voor de nieuwe muziek. Dat is te horen in de werken van Gottfried von Einem en Erich […]

Alban Berg ist in finanziellen Nöten. Da kommt ein Auftrag um die Ecke: Der amerikanische Geiger Louis Krasner bittet ihn um ein Konzert und Berg macht sich an die Arbeit. Die Oper Lulu ist noch immer nicht ganz fertig, die wertvollen Tantiemen für seine 1. Oper Wozzeck schmelzen weg (wegen der Ächtung des Stücks durch die Nationalsozialisten). Dann stirbt Manon Gropius, die achtzehnjährige Tochter von Alma Mahler und Walter Gropius. Das Violinkonzert soll ihr Requiem werden. Und wird gleichzeitig auch Bergs eigenes Requiem. Er stirbt im selben Jahr 1935 an einem entzündeten Insektenstich, ohne das Konzert je gehört zu haben. Das Werk wird schnell zum Klassiker der Moderne, es ist zwölftönig und doch tonal, es hat klare Strukturen und ist doch biografisch aufgeladen. Die Geigerin Chouchane Siranossian und der Musikwissenschaftler Hans Hofmann diskutieren einige neuere Aufnahmen.

durée : 01:28:43 - le Quatuor Alban Berg, grande tradition et modernité audacieuse - par : Aurélie Moreau - La carrière internationale du Quatuor Alban Berg démarre de façon fulgurante à Vienne à l'automne 1971 et se poursuivra avec un immense succès jusqu'en 2008. Parmi leurs très nombreux enregistrements : Beethoven, Schubert, Berg, Dvořák et Mozart.

durée : 01:28:26 - Influences et descendance d'un compositeur : Arnold Schoenberg - par : Aurélie Moreau - Pour célébrer les 150 ans d'Arnold Schoenberg, nous vous proposons de remonter aux sources de sa formation musicale avec son unique mentor, Alexander von Zemlinsky, avant découvrir l'univers de ses élèves les plus marquants, notamment Anton Webern et Alban Berg.

Arnold Schönberg war extrem abergläubisch und fürchtete die Zahl 13. So schrieb er eben Zwölftonmusik. Schon das Wort lässt manchem das Blut in den Adern gefrieren. Doch Arnold Schönberg erschöpft sich keinesfalls in spröder Gehrinakrobatik. Davon zeugt der innere Reichtum seiner Variationen für Orchester op. 31 aus dem Jahr 1926. Von Michael Lohse.

The second of my Listeners' Favorites episodes for January is introduced by my dear friend Elliot Levine, a founding member of the Western Wind Vocal Ensemble, with whom he sang bass for 47 years. He is also an exceptional composer (who among his many other works has composed material expressly for me which I have sung with great pleasure and joy), He is also a valued choral singer and clinician. He has been a devoted listener to, and supporter of, Countermelody since its inception and among his many favorite episodes, he has chosen one of my very favorites to highlight, my birthday tribute, first published three years ago, to superbissima Margaret Marshall, who celebrates her birthday on January 4th. Since she burst upon the scene in the late 1970s, Margaret Marshall has been a favorite of lovers of great singing. Her timbre, artistry, and technical facility evoke comparisons with many treasured singers of the past. Though she retired from public performance in 2005, in the year 2020 she launched, in tandem with her daughter Nicola and a group of dedicated supporters, a website called Songbird, which focuses on the early years of her career, and which features many rare soundclips, both live and studio, from that period, many of which have been assembled into a new downloadable release entitled “Margaret Marshall Songbird.” Today's episode features a wide range of her live and studio recordings, including a few samples from the Songbird release. Included are works by Galuppi, Pergolesi, Vivaldi, Bach, Handel, Haydn, Mozart, Salieri, Gluck, Elgar, Finzi, Richard Strauss, and Alban Berg in recordings and performances between 1975 and 1990, with collaborators including conductors Neville Marriner, Riccardo Muti, John Eliot Gardiner, Vittorio Negri, Charles Groves, Antal Doráti, Philip Ledger, and Rafael Kubelik and fellow singers Ann Murray, Francisco Araiza, Alfreda Hodgson, Felicity Palmer, and Sesto Bruscantini. Compiling this episode has provided my ears and spirit with many blissful hours; I wish my listeners the same experience! Many thanks to both Margaret and Nicola for providing advice and guidance in the selection of today's material, and many happy returns to the “Scottish supersoprano”! Since this episode was published, Margaret has published a second series of rare recordings available via download on her website, as well as Apple and Spotify. Margaret Marshall Songbird 2 includes exquisite performances of Bach, Mozart, Schubert, Wolf, and Sacchini, and, like the performances on this recording, simply must be heard to be believed. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

durée : 00:58:39 - Karl Böhm, l'expression du classicisme - par : Aurélie Moreau - Chef admiré dans Beethoven, Wagner, Bruckner, Richard Strauss dont il fut un interprète privilégié, ou Alban Berg, Karl Böhm a toujours exprimé son amour pour Mozart. Sa maîtrise du répertoire symphonique et de l'opéra est restée légendaire.

Mit "Wozzeck" landete Alban Berg 1925 einen Opern-Welthit wider Willen und lieferte die Vorlage zur Duschszene in Hitchcocks "Psycho". Berg verarbeitete in dem packenden Außenseiterdrama über einen Soldaten, der zum Mörder seiner Freundin wird, nicht zuletzt eigene Kriegserfahrungen. Von Ben Süverkrüp.

How to write 12 tone music at the guitar. Alban Berg 12 tone serial rows of diatonic tonal hexatonic scale for 3 note chords. Tri-chords to a nAl Di Meola composition style. My Youtube Channel https://youtube.com/c/AlternatePickingGuitar  

durée : 00:55:41 - Les Nuits de France Culture - par : Albane Penaranda - Le peintre Bernard Dufour parle de son rapport intime, esthétique et affectif avec deux opéras d'Alban Berg, "Wozzeck" et "Lulu" et explique en quoi les personnages féminins de ces opéras font partie de son univers. En 1998, Sophie Barrouyer invitait dans son émission "Musiques à voir" le peintre Bernard Dufour pour parler de Wozzeck et Lulu, les opéras du compositeur autrichien Alban Berg. Il raconte en quoi il voit une très forte "collusion" entre sa vie et l'ouvre Wozzeck alors que sa première femme s'est suicidée par arme à feu et qu'il a vu son corps ensanglanté. Opéra et peinture, la même quête Peintre des femmes, de l'amour et du désir, Bernard Dufour parle avec passion de la fascination qu'exercent sur lui les personnages de Lulu et celui de Marie dans Wozzeck, en expliquant comment les deux opéras de Berg ont rencontré en lui ce qui est l'objet de sa propre quête à travers la peinture. C'est aussi l'occasion pour Dufour de dire combien il ne croit pas "à ce mythe de la femme", "à cette idéalisation de la femme". Les femmes qu'il a peintes sont les femmes qu'il a aimées mais ne représentent pas l'image iconique de la femme. Et il en profite aussi pour révéler la "place monstrueuse de la jalousie" dans son rapport aux femmes, jalousie qui "permet de théâtraliser la vie" selon lui. Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel, proposé par Albane Penaranda. Par Sophie Barrouyer Musiques à voir - Bernard Dufour, autour de "Wozzeck" et "Lulu" d'Alban Berg (1ère diffusion : 23/04/1998) Avec Bernard Dufour, peintre Avec des extraits de "Wozzeck" et "Lulu" d'Alban Berg Réalisation Jean-Charles Diéval Édition web : Documentation de Radio France

Interpreten: Cuarteto Casals Label: harmonia mundi EAN: 3149020946749 Seit Jahrhunderten beschäftigt „Die Kunst der Fuge“ von Johann Sebastian Bach die Musikwissenschaft. Abfolge der Sätze und Instrumentierung sind dabei nur zwei der nach wie vor diskutierten Punkte. Mozart, Beethoven, Busoni, Krenek und viele andere haben Ausschnitte daraus für eigene Werke verwendet und nun gibt es eine neue Aufnahme in der Version mit Streichquartett, die das Cuarteto Casals vorgelegt hat. Wenn mit Streichquartett, dann genau so, findet Michael Gmasz. Weder im Bach'schen Autograph, noch im Erstdruck finden sich Angaben zur Originalbesetzung der „Kunst der Fuge. Auch wenn sich die Wissenschaft mittlerweile fast einig ist, dass die 14 Fugen und vier Kanons wohl für Tasteninstrument verfasst wurden, bleibt doch aufgrund der Notation in Partiturform eine Möglichkeit, dass die Originalbesetzung anders gedacht war. Eine frühe Form des Streichquartetts könnte man sich dabei durchaus vorstellen und so haben sich in den vergangenen Jahrzehnten auch immer wieder namhafte Quartettformationen mit dieser „Geburt des aberwitzigen Altertums“ (Marpurg im Vorwort des Erstdrucks) beschäftigt. Auf beeindruckende Weise hier das spanische Cuarteto Casals. Ganz im Goethe'schen Sinn sehen die vier Musikerinnen und Musiker dieses Werk als „geistvolle Unterhaltung von vier Leuten“, bei der alle gleichberechtigt agieren. Und trotzdem ist es natürlich kein gefühlloses reines Abspielen von Tönen. Es ist ein Hervortreten und Zurücknehmen, dynamische Steigerungen und ein Zurückkehren zum pianissimo. Das Fugenthema ist immer irgendwo präsent, ohne mit dem Vorschlaghammer präsentiert zu werden. Der Einsatz von Vibrato ist äußerst dezent bzw. fast nicht vorhanden, was eine absolute Reinheit in der Intonation bedingt, die hier vollauf gegeben ist. Klang wird somit vorwiegend über die Geschwindigkeit des Bogenstrichs erzeugt. Absolut hohe Kunst des Streichquartettspiels! Ist man der Kunst der Fuge bisher eher skeptisch gegenübergestanden, kann man es spätestens nach dem Anhören dieser Aufnahme fast nur mit Alban Berg halten, der seiner Frau Helene nach einer Aufführung 1928 in Zürich geschrieben hat: „Gestern Kunst der Fuge gehört. Herrlich!! Ein Werk, das bisher für Mathematik gehalten wurde. Tiefste Musik!“ (mg)

In this episode, Dave and Andrew discuss someone they know primarily as a music theorist. George Perle is celebrated for his theoretical work on twelve-tone theory and Alban Berg's music, but how does he stack up as a composer? And what do they think of the first woodwind quintet to win a Pulitzer?   For more information about George Perle, we recommend: George Perle, Twelve-Tone Tonality, 2nd edition (University of California Press, 1996). George Perle, The Operas of Alban Berg, Vol I and Vol II (University of California Press, 1989). Elliott Antokoletz, "George Perle: Man, Composer, and Theorist," Theory and Practice 33 (2008): 55-63. Steven Rosenhaus, "Harmonic Motion in George Perle's Wind Quintet No. 4" Ph.D. dissertation, New York University, 1995.

Esteban Buch es un premiado ensayista y musicólogo argentino. Vive en París hace muchos añosy es profesor en la Ecole des Hautes Etudes en Sciences Sociales. Es autor de los libros El pintor de la Suiza argentina, O juremos con gloria morir. Una historia del Himno Nacional Argentino, La Novena de Beethoven. Historia política del himno europeo; The Bomarzo Affair. Ópere, perversión y dictadura; Historia de un secreto. Sobre la Suite Lírica de Alban Berg; El caso Schonberg. Nacimiento de la vanguardia musical y La marchita, el escudo y el bombo. Una historia cultural de los emblemas del peronismo, con Ezequiel Adamovsky. Fondo de Cultura Económica acaba de publicar Playlist. Música y sexualidad, un trabajo que reflexiona sobre el lugar de la música en la vida sexual de las personas. Se trata de un ensayo integrado por 16 capítulos cuyo orden es aleatorio, que aborda el tema del sexo en la música y también la influencia de la música en la sexualidad humana. Incluye entrevistas con personas de diversas clases sociales y gustos y afinidades sexuales, análisis de piezas clásicas y contemporáneas y además de estar ilustrado con algunas fotos de los temas que se mencionan, tiene también diversos QRs, en la tapa, la contratapa y cada capítulo, de modo que los lectores puedan entender de qué se está hablando o bien que pueda hacer uso en su propia intimidad de esas playlists compuestas por los diversos temas enunciados en el libro. En la sección En voz alta, Claudia Masin ley el poema “Lo demás” de Robin Myers. Claudia Masin es poeta, psicoanalista. Nació en Resistencia, Chaco y vive desde hace unos años en Córdoba. Ha publicado más de 10 libros de poesía, entre ellos El cuerpo, La materia Sensible, La desobediencia (que es su poesía reunida). Su último libro es “Curar y ser curados” publicado por Las furias editora. Y en Te regalo un libro, el escritor Miguel Gaya recomendó dos libros digitales disponibles en la web de Ediciones  en Danza. El primero es “Poetas norteamericanos en dos siglos”  con selección de Jonio González y prólogo de Jorge Aulicino y el otro es “El segundo Novecento, poesía italiana contemporánea” seleccionadas por Jorge Aulicino. Miguel Gaya es abogado y escritor. Participante de grupos poéticos desde los años ochenta, ha publicado libros de poesía como La vida secreta de los escarabajos de la playa, Levanta contra el viento la cabeza oscura. También es autor de las novelas Contemplar ese animal sangriento, Una pequeña conspiración y Las hormigas argentinas conquistan el mundo (2020). Es además colaborador en distintos medios de comunicación, como Clarín, Página/12, Diario de Poesía y otros del país y del extranjero y su último libro “El desierto invisible” resultó ganador del Premio Clarín de Novela 2022 En la sección El extranjero, Hinde habló de “El huracán Lolita (diario 1958-1959)”, de Vera Nabokov, a editarse en octubre en Francia y en Libros que sí recomendó “Ellos”, de Kay Dick (Fiordo) y “Todo lo que se mueve”, de Valeria Mata (DocumentA/Escénicas)

In the early 20th century, the system of tonal harmony started to break down. The vertical accumulations of notes became too complex for our powers of memory and recognition, and some have suggested that this led to a loss of meaning and even humanity in music.In this lecture we will discuss expressive uses of atonality, and also the return of familiar chords to music, but outside the grammar that used to give them their logic.A lecture by Marina Frolova-Walker recorded on 18 May 2023 at LSO St Luke's Church, London.The transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/watch-now/atonal-musicGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeSupport the show

Gestern hatte die letzte Oper der Zwischenkriegszeit im Museumsquartier Premiere: Alban Bergs „Lulu“. Das Musiktheater an der Wien und die Wiener Festwochen folgten der Züricher zweiaktigen Version mit Ausschnitten aus der Lulu-Symphonie für das Finale. Unser Opernexperte Richard Schmitz berichtet.

Eine Affäre, die Musikgeschichte schrieb: Hanna Fuchs, Alban Berg - und ein Briefbote namens Adorno. Unser ZOOM erzählt von einer Affäre, die Musikgeschichte schrieb.

Tom Services talks to German baritone Christian Gerhaher during rehearsals for Alban Berg's Wozzeck at the Royal Opera House. Having recently recorded all the songs of Robert Schumann as well as Mahler, Brahms and Schubert, Christian reveals how he sees the differing role of the singer when performing lieder and opera, and why he believes celebrating the complexity of classical music will secure its future. Tom also meets singer, multi-instrumentalist and composer Rhiannon Giddens whose opera 'Omar' has just been awarded the Pulitzer Prize in Music. The opera tells the story of Omar Ibn Said, a scholar who was one of tens of thousands of enslaved Muslims who were taken to the United States in the 19th century. Rhiannon discusses the power of collaboration, the future of opera and her ongoing mission to reclaim the history of the banjo as an instrument created by black communities. For Mental Health Awareness Week, we explore the world of gong baths to find out how sound therapy can be used to help reduce levels of anxiety and stress. Tom goes for a gong bath with sound therapist and musician Simone Salvatici and talks to British Academy of Sound Therapy Director Lyz Cooper. Plus, Chris West, author of 'Eurovision! A History of Modern Europe Through the World's Greatest Song Contest', explores how the songs of Eurovision have reflected the traditional music and cultural identity of the countries taking part, as well as telling stories of peace, conflict and resolution since it was established in 1956.

Synopsis Any composer who sets out to write a violin concerto knows that his or her new work will be measured against the famous concertos of the past. But in the fall of 1936, when the Hungarian composer Bela Bartok decided to write a violin concerto, he asked his publisher to send him some recent work of his contemporaries. After seeing what Karol Szymanowski, Kurt Weill, and Alban Berg had accomplished in the form, Bartok set to work, with much input from his violinist friend, Zoltan Szekely, for whom the new concerto was being written. Bartok was in America when Szekely premiered his Concerto with the Amsterdam Concertgebouw Orchestra, conducted by Willem Mengelberg. It was only in America, some years later, in 1943, that Bartok first heard his Concerto at a New York Philharmonic concert. He wrote, "I was most happy that there is nothing WRONG with the scoring. Nothing needs to be changed, even though orchestral accompaniment of the violin is a very delicate business." If Bartok was happy with the scoring, he wasn't very pleased with one New York music critic, who wrote that he didn't think the new work would ever displace the great violin concertos of Beethoven, Mendelssohn, or Brahms. "How is it possible to write such an idiotic thing," commented Bartok. "What fool fit for a madhouse would want to displace these works with his own?" Music Played in Today's Program Béla Bartók (1881 - 1945) Violin Concerto No. 1 Kyung-Wha Chung, violin; Chicago Symphony; Sir Georg Solti, conductor. London 411 804

Concierto/Viernes Temáticos: Música visual (III). Kandinsky y la trinidad musical vienesa. . En la transición de los siglos XIX al XX, las conexiones entre música y pintura encontraron en la prodigiosa Viena un terreno de fértil creatividad. Mientras que la trinidad de compositores vieneses formada por Arnold Schönberg, Alban Berg y Anton Webern daban vida a un nuevo paradigma musical, pintores como Wassily Kandinsky, Piet Mondrian y Gustav Klimt alcanzaban unas transformaciones estéticas sin precedentes. Este concierto propone la contemplación emparejada y simultánea de sus composiciones y sus cuadros, un juego de percepciones intercambiadas que arroja nueva luz sobre el significado de la obra de arte. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Today's very special episode of Being Jim Davis is guest-hosted by Van Halen guitarist Alban Berg. Your hosts for today's episode were Christopher Winter and Jonathan Gibson. Are there fine Being Jim Davis-themed wares available for sale in the Pitch Drop Store? We'll never tell... Today's strip Become a Patron! Or visit these other fine internet URLs: BJD Homepage | BJD Twitter | BJD Facebook Page | Pitchdrop Network Homepage

On this special bonus epsiode to accompany CSI's upcoming program as part of its series The Belletrists, we cover the life and work of Friedrich Rückert, in particular his poem Ferne Lieder as set by Alban Berg. With guest co-host Emily Jewell and guest vocalist Ryan Bradford --> https://www.bradfordbaritone.com/about-2  Sing Ferne Lieder with me!   Sources for this episode include: https://www.theatlantic.com/magazine/archive/1866/07/friedrich-ruckert/628517/; https://mahlerfoundation.org/mahler/contemporaries/friedrich-ruckert/ ; https://en.wikipedia.org/wiki/Friedrich_R%C3%BCckert ; https://en.wikipedia.org/wiki/Alban_Berg ; https://www.britannica.com/biography/Alban-Berg ;

July 17 is the 108th birthday of Eleanor Steber, surely one of the all-time greatest singers that the United States has ever produced (as well as one of the most versatile and technically-accomplished!) In long overdue Countermelody tribute to this exceptional artist, I present the first of two very special episodes honoring Eleanor. After the “usual” career overview featuring mostly live highlights from her operatic appearances all over the world, I turn the stage (or in this case the mic), over to my dear friend Michelle Oesterle, founder and conductor of the Manhattan Girls Chorus, who was also Eleanor Steber's stepdaughter. As such she spent time (especially in the summer months) with her father and Eleanor at Melody Hill, Eleanor's estate on Long Island. She provides us with an unparalleled intimate portrait of Eleanor as woman and as singer and describes the profound influence that Eleanor had in her life, as well as the characteristics that combined to make her the profoundly appealing and moving interpreter that she was. She also addresses the white elephant in the room, that is, Eleanor's alcoholism, and makes a plea for tolerance and understanding vis-à-vis this serious disease. The Steber tribute will continue with a further episode sometime in the next month. For now, let us raise our glasses (of sparkling mineral water), in tribute to this phenomenal artist, the like of which we will never see again. Musical selections range from Victor Herbert to Alban Berg and everything in between. Thank you, Michelle, and evviva Eleanor! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Synopsis “Where to go for summer vacation?” That's always been the question for any city-dweller fortunate enough to be able to escape to somewhere cool and green, with perhaps an ocean beach or at least a lake nearby. In the summers of 1877 and 1878, Johannes Brahms abandoned urban Vienna for the rural Austrian district known as Carinthia and specifically the small town of Pörtschach on Wörthersee. Even today, this is prime vacation territory, with rolling green hills, dark pine trees, bright blue lakes, and the snow-capped Alps along the horizon. And the wildflowers have to be seen to be believed. We can't show you all that, but perhaps you can hear a sense of that landscape in the Second Symphony and Violin Concerto of Brahms —two works he composed during his summer holidays there. In Carinthia, said Brahms, the melodies are so abundant that one had to be careful not to step on them. There just might be something in that, at least with respect to great Violin Concertos. In July of 1935, 57 years after Brahms wrote his Concerto in Pörtschach, the Viennese composer Alban Berg would finish his Violin Concerto in the same town, on the opposite shore of the Wörthersee from where Brahms stayed during his summer vacations. Berg's Concerto even includes a quote from a risqué Carinthian folksong. Music Played in Today's Program Johannes Brahms (1833-1897) – Symphony No. 2 (Concertgebouw Orchestra; Bernard Haitink, cond.) Philips 442 068 Johannes Brahms – Violin Concerto in D (David Oistrakh, vn; ORTF Orchestra; Otto Klemperer, cond.) EMI Classics 64632 Alban Berg (1885-1935) – Violin Concerto (Henryk Szeryng, vn; Bavarian Radio Symphony; Rafael Kubelik, cond.) Deutsche Grammophon 431 740

Pandora's Box by Frank Wedekind audiobook. Pandora's Box (1904) (Die Büchse der Pandora) is a play by the German dramatist Frank Wedekind. It forms the second part of his pairing of 'Lulu' plays (the first is Earth Spirit [1895]), both of which depict a society "riven by the demands of lust and greed". G. W. Pabst directed a silent film version (Pandora's Box), which was loosely based on the play, in 1929. Both plays together also formed the basis for the opera Lulu by Alban Berg in 1935 (premiered posthumously in 1937). In the original manuscript, dating from 1894, the 'Lulu' drama was in five acts and subtitled 'A Monster Tragedy'. Wedekind subsequently divided the work into two plays: Earth Spirit (German: Erdgeist, first printed in 1895) and Pandora's Box (German: Die Büchse der Pandora). It is now customary in theatre performances to run the two plays together, in abridged form, under the title Lulu. Wedekind is known to have taken his inspiration from at least two sources: the pantomime Lulu by Félicien Champsaur, which he saw in Paris in the early 1890s, and the sex murders of Jack the Ripper in London in 1888. The premiere of Pandora's Box, a restricted performance due to difficulties with the censor, took place in Nuremberg on 1 February 1904. The 1905 Viennese premiere, again restricted, was instigated by the satirist Karl Kraus. In Vienna Lulu was played by Tilly Newes, later to become Wedekind's wife, with the part of Jack the Ripper played by Wedekind himself.