Podcast appearances and mentions of Alexander Shelley

Mit Gustav Mahlers komplexer 9. Symphonie tourt das Bundesjugendorchester derzeit von Bayern bis nach Dänemark. Alexander Shelley leitet die Konzerte - und schwärmt im Interview von den jungen Musiktalenten.

Alexander is currently music director of the National Arts Centre Orchestra in Ottawa, and principal associate conductor of the Royal Philharmonic Orchestra.  He was recently appointed and artistic and music director-designate of Artis-Naples and the Naples (FL) Philharmonic.  He is a thrilling guest with much to offer on many topics.

Ian Cusson celebrates deep questions and despises stereotypes. is In this episode, you'll hear the sought-after Indigenous (Georgian Bay Métis Community) and French Canadian composer share a candid conversation with host Khadija Mbowe, digging into his experiences of privilege, shame, and one anecdote of sweet, swift, cosmic justice.  Chapters:[00:00] Introduction [02:49] Métis community influence on Ian's artistic approach today [10:00] Navigating indigenous heritage and Western religion will be a lifelong process  [16:50] The privilege and shame of being "white-passing"[25:16] Becoming better by making art  [34:23] In-depth lightning round bonus! Music from this episode:Ian Cusson, "Le Loup de Lafontaine," world premiere performance by Alexander Shelley & NAC Orchestra as part of the Móshkamo Festival which marked the launch of the National Arts Centre's Indigenous Theatre department. Le loup de Lafontaine was a National Arts Centre Orchestra commission as part of the Carrefour Composer Program, made possible by the Canada Council for the Arts. Ian Cusson, "Where There's a Wall,”  Song-cycle for voice and piano with text by Joy Kogawa. Performed by Krisztina Szabó, voice and Rachael Kerr, piano. Recorded at the Canadian Music Centre, Toronto on November 14, 2019, by John Gray.Ian Cusson, "Of the Sea," a co-production with Obsidian Theatre Company and Tapestry Opera. Libretto by Kanika Ambrose, Directed by Philip Akin, Conducted by Jennifer Tung. Links from this episode:Métis Nation Yvette Nolan Katherena VermetteMore on Ian's Louis Riel re-doBANFF Indigenous Classical Music GatheringThe Philadelphia Orchestra's HearTOGETHER series is generously supported by lead corporate sponsor Accordant Advisors. Additional major support has been provided by the Otto Haas Charitable Trust.

Mark Ferguson is a jazz pianist, trombonist, composer, arranger, producer and music educator. In this episode you get to hear him perform 3 of his original compositions on piano. We talk about his mentors, perspectives on music education and the interesting twists and turns in his varied career. He's performed with many of the world's great artists including Ella Fitzgerald, Tony Bennett, Gil Evans, Aretha Franklin, Rob McConnell and the Boss Brass, Holly Cole and Manteca,. Mark Ferguson website: http://markferguson.ca/music/ All these episodes are available in video format as well, and the transcripts are gradually being published to my blog: https://www.leahroseman.com/episodes/mark-ferguson-jazz-pianist-trombonist-composer-arranger-producer-and-music-educator Please help me keep this going! https://ko-fi.com/leahroseman photo credit: Claude Brazeau Timestamps: (00:00) Intro (00:56) how we met (02:29) Mark's early education and gigs (08:32) lessons with Jerry Johnson and playing gigs with Ella Fitzgerald, Tony Bennett, Rosemary Clooney, Rita Moreno (11:06) lessons with Rob McConnell, arranging, valve trombone (14:37) Mark's composition “F Sharp” (20:55) jazz harmony, different roles as rhythm player in the band and horn player (22:40) Miguel De Armas (23:13) Manteca, Colleen Allen, Matt Zimbel (26:29) teaching at McGill University (27:52) Classical and jazz worlds James McGowan (30:37) Kellylee Evans, Ella Fitzgerald, jazz (31:18) teaching orchestration and theory (33:04) learning tunes and Hugh O'Connor (35:19) learning lyrics and Ben Webster story (37:00) transposition (39:21) importance of keyboard skills (40:15) Voicing chords (42:00) arranging (43:09) staying in shape as a trombonist (43:45) pandemic experience, performing on Syncspace live (44:45) teaching online (46:32) variety in rhythm, keeping the groove (50:21) working with high school students, jazz history (52:19) Mark's composition “Home” (59:51) performance skills (01:01:42) Mark's new solo album plans (01:03:03) different sides of Mark's personality as a trombone player and pianist, big band versus small ensemble (01:04:16) jazz audience, advantages of knowing jazz harmony, Alexander Shelley (01:07:04) Mark's early days as a jazz pianist, career choices (01:08:42) advice for young players (01:10:04) Vista Trio, playing with others to keep in shape (01:11:37) difference between composition and improvisation (01:12:14) staying healthy (01:14:37) Mark's composition “Take the O Train” --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Alexander Shelley was a fascinating person to chat with as he really has thought long and hard about a conductor's role both on and off the podium. I discover who told him that it only takes 6 months to learn stick technique if you are taught by the right person, we discuss learning to conduct in silence versus with two pianos, and I rather surprisingly try to change his mind about the sound he hates! If you would like to hear the bonus mini-episode attached to this podcast and find out more about the world of conducting and conductors, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 23rd November 2021 via Zoom.

Miloš Karadaglić — The Moon & the Forest (Decca)  Jump to CD giveaway form “Joby Talbot's piece Ink Dark Moon is a modern masterpiece and Howard Shore's concerto, The Forest, has a classical elegance to it,” said guitarist Miloš Karadaglić about the two new guitar concertos composed for him and his new album, The Moon & the Forest. Also featured on the album is Canada’s National Arts Centre Orchestra, conducted by Alexander Shelley, and the BBC Symphony Orchestra, led by Ben Gernon. Why do you consider this new recording your personal fairy tale come true?  “Ever since I started recording, it's been my dream to inspire composers to write guitar pieces. To have those composers, Howard Shore and Joby Talbot, to write for me has really been a dream come true.” Tell us about the musical journey we hear in Talbot’s Ink Dark Moon? “Everything I heard reminded me of the moon. I said to Talbot that in the second movement, particularly how the open strings evolve from lighter textures, to richness then suddenly emptiness, is similar to the phases of the moon. I am also reminded of how the moon transforms nightly with shades of gray and blue which are so intense and seductive.” How does the orchestration and the guitar line in the third movement break the glass ceiling of possibilities? “I don't have to be a shy guitarist all the time. I said, ‘Give me fireworks.’ I want to break my nails and fingers and play like there's no tomorrow. He came up with passages which are incredibly fast and loud which are also difficult to play. The piece really just explodes. That's why I say it's breaking a glass ceiling. Every time I've played it live or in the studio I felt it is the best thing I have played. It's just so much fun.” How did the Canadian National Art Center commission Howard Shore to write The Forest for you? “I remember during the 2014-15 concert season, I was playing The Aranjuez Concerto all over the world, and one of the performances was in Munich with the wonderful young British conductor Alexander Shelley. It was such a success that afterwards we where talking about collaboration in the future and thought, ‘Why don't we ask Howard Shore?’ Also, while I was learning Shore’s concerto I would come across references to other works which were like little fossils you would find inside a rock. Can you give me an example of some of the references that you found in this concerto?    “There is an interesting reference to the theme from The Aranjuez Concerto in the tutti section of the second movement. I asked Shore afterward, ‘Why did you do that?’ and he responded, ‘I wanted to honor composer Joaquín Rodrigo for writing one of the most beautiful pieces ever written, not just for guitar, but in the whole world. Also, because of this piece, I am here with you writing another work.’” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now You must be 13 or older to submit any information to American Public Media. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Note: Due to the coronavirus quarantines, we cannot send physical product at this time. Winners will be notified at the conclusion of the giveaway and will receive their prize as soon as possible after the crisis abates. Resources Miloš Karadaglić — The Moon & the Forest (Decca) Miloš Karadaglić — The Moon & the Forest (Amazon) Miloš Karadaglić (Official site)

We had the pleasure of interviewing MILOŠ over Zoom video! Celebrating 10 years with Universal Music, superstar and bonafide “Classical Guitar God” (The Times) MILOŠ releases a brand new album, featuring two outstanding original concertos, both specially-commissioned for the star musician – a testament to his outstanding musicianship and pioneering spirit, showcasing new guitar repertoire on the world stage. The Moon & The Forest, released on April 30th 2021, features works for guitar and orchestra by award-winning composers Howard Shore (Lord of the Rings, The Departed) and Joby Talbot (The Hitchhiker’s Guide to the Galaxy, Winter’s Tale). Inspired by his now legendary artistry and unique personal heritage, both Shore and Talbot worked closely with MILOŠ in order to create two distinctive, groundbreaking scores. Best known for his epic scores to the Lord of the Rings and Hobbit films, Howard Shore’s guitar concerto ‘The Forest’ partially deviates from his works on the screen, drawing instead from the symbiotic relationship between people and the earth. Montenegro and its dark forests have been an inspiration to Howard and MILOŠ from the beginning, when the work was first commissioned by Canada’s National Arts Centre. Taking its title from a collection of Japanese love poetry, the concerto very much places the guitar – and its soloist – at the very centre of proceedings. Cast in three movements that flow into one another, changes in mood and atmospheric timbre permeate the work, exploring sonorous landscapes that bring the vivid imagery to life. The album also includes innovative new arrangements for solo guitar of Ludovico Einaudi’s ‘Full Moon’ and Robert Schumann’s ‘Träumerei’ – two moving pieces from the Romantic and Modern classical repertoire. Canada’s National Arts Centre Orchestra and the BBC Symphony Orchestra feature on the recording, conducted by Alexander Shelley and Ben Gernon respectively. To mark a decade of incredible music-making with Universal Music, MILOŠ’s new album cements his position as not only “the hottest guitarist in the world” (Sunday Times), but also a pioneer and innovator of contemporary guitar repertoire for the ages. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support

Music Director of the National Arts Centre Orchestra, Alexander Shelley, talks about connecting with his 2-year-old during lockdown, locating his passion, how "commitment" leads to fulfillment, balance, eliciting inspiration, and the work required to keep an orchestra, much like any workforce, elevated, and aligned. See omnystudio.com/listener for privacy information.

Chaque jour, Camille De Rijck reçoit un invité qui fait l'actualité musicale ou culturelle. Production et présentation : Camille De Rijck (drc@rtbf.be)

In Episode 9 of RPO Extra host John Griff is joined by Principal Associate Conductor Alexander Shelley to discuss a new virtual performance of Britten’s ‘Young Person's Guide to the Orchestra’ by the RPO, and how an orchestra can use the medium to reach out, perform and educate when concert halls are empty. Vice Chair and trombonist Matt Knight goes through the technical challenges of bringing a virtual orchestra to life.

After a gaggle of rock stars, we have to clean up the tour bus, because a guest of exquisite class and elegance steps onto the grand old bus: Principle Conductor of the Royal Philharmonic Orchestra (London), Alexander Shelley is here! He holds several positions of prestige, and talks about the world of a renowned orchestral conductor. From his preparation, to his style, to his engagement, to his actual job -- he tells all in a manner that is particularly refined, given his present company (ME!). Listen, and elevate...

An advocate for Canadian music, Principal Cellist Rachel Mercer speaks with Sean Rice about her activities in and beyond the National Arts Centre Orchestra, including recording, commissioning and playing world premieres. Recorded prior to Rachel's Casual Friday debut with NACO and Alexander Shelley of the world premiere of Canadian pianist and composer Stewart Goodyear's Cello Concerto.

The fifth decade of the NAC Orchestra would see Pinchas Zukerman finish up his 16 year tenure as Music Director and give way to a new leader, Alexander Shelley. The Pinchas legacy continues to be evident in the sound of the NAC Orchestra and now in this new era, Alexander Shelly has begun to imprint his vision, his style and his approach to programming on the orchestra.

Fine Music Radio — A recent visitor to Cape Town was the English conductor Alexander Shelley who was in town to conduct a concert with the visiting German National Youth Orchestra. Alexander is the son of eminent pianist Howard Shelley and is currently music director of the National Arts Centre Orchestra in Ottawa as well as Principal Associate Conductor of the Royal Philharmonic in London. He was the unanimous winner of the 2005 Leeds Conductors Competiton and he has been described as the most exciting and gifted young conductor to have taken this highly prestigious award with his immaculate technique and inborn musicality

In this episode of the NACOcast Sean Rice speaks with NAC Music Director Alexander Shelley. On the occasion of its 50th Anniversary, the National Arts Centre Orchestra will embark on a European tour in May 2019. CROSSINGS: the NAC Orchestra 50th Anniversary European Tour will feature concerts and collaborative community outreach events in 7 cities and 5 countries: London, Paris, Utrecht, Copenhagen, Stockholm, Gothenburg and Saffron Walden. On this tour, Alexander Shelley and the NAC Orchestra will break new ground for the orchestral experience with an unprecedented representation of Canadian art, artists and stories. “Crossings is emblematic of what is at the heart of this tour….We are crossing expectations, generations and distances and as we engage with new and diverse audiences, artists and young people to experience music and to make music together.”-Alexander Shelley, NAC Music Director.

Sean Rice, NAC Orchestra's 2nd clarinetist, chats with JUNO Award-winning composer Vivian Fung on the occasion of NACO's performance of her composition, Earworms. Discover when Sean and Vivian first met, what Vivian has been up to in her career and family life, and her inspiration for Earworms, which was commissioned by the NAC and premiered in Southam Hall, with Alexander Shelley, in March 2018. “Earworms… musically depicts our diverted attention spans and multi-tasking lives.”

Im MDR KLASSIK-Gespräch erzählt der britische Dirigent Alexander Shelley, wie wichtig klassische Musik nach wie vor für die Entwicklung junger Menschen ist. Und er sich selbst immer wieder neues Wissen aneignet.

The National Arts Centre Orchestra's Music Director, Alexander Shelley joins Sarah Turnbull in the The 2020 Network studios to discuss his upbringing in Germany studying conducting, what attracted him to the podium, and what led him to Ottawa where he's now transforming the country's musical persona.

Sean Rice, NAC Orchestra's 2nd clarinetist, and NAC Music Director Alexander Shelley complete their three-episode series on Beethoven's nine symphonies for the 2018 Beethoven Focus Festival. The seventh symphony's funeral march starts off the conversation. The 1813 premiere of the work featured an encore of the funeral march. What made it so significant? The eighth symphony was “much better” in Beethoven's opinion than the seventh. The harmonic architecture of its first movement is rather unusual for the day, while the next two movements are very classical. The short, quick and witty fourth movement harks back to the first movement. But the ninth… The ninth symphony is of a scale that he had never before undertaken. Sean Rice and Alexander Shelley discuss this marvelous work beginning by its last movement, and lay out the political climate in Vienna at the time, making a connection between the ninth and Beethoven's influences. “Be embraced, you millions: this kiss is for the whole world”.

Sean Rice and Alexander Shelley continue their three-episode series about the Beethoven Symphonies on the occasion of the NAC Orchestra's Festival Focus 2018. Symphonies 4, 5 and 6 were running in Beethoven's head concurrently. He was a master of making a huge work out of just a scrap of a musical idea. These three symphonies are excellent examples of this methodology. Symphonies 5 and 6, forming in his mind before the fourth, were premiered on December 22, 1808. Discover how that evening unravelled, and hear Sean and Alexander rave about Beethoven's accomplishments and contributions to the world.

Sean Rice, 2nd clarinetist of the NAC Orchestra, and Alexander Shelley, NAC Music Director, discuss Ludwig van Beethoven's first three symphonies, putting them in context with Mozart's and Haydn's large volume of works. Why are Beethoven's symphonies so significant and important? The 2018 Festival Focus is the perfect opportunity for this discussion. The first symphony is deeply rooted in classical form, quite heavily influenced by Haydn's teachings and Mozart's works, with four movements mirroring the expected model and a few extra instruments. The chosen key structure is quite unique and signals Beethoven's intention of veering off the standard course. The second symphony, written in the spa town of Heilegenstadt, came at the cathartic moment when Beethoven was showing signs of losing his hearing. The third symphony, “Eroica”, dedicated to Napoleon Bonaparte, was an important statement about the common man. Beethoven composed from the last movement to the first, outlining the journey towards a celebration of humanity. Sean and Alexander unravel some historic and musical stories within each of these symphonies, as we begin an exploration of the development of Beethoven through his nine symphonies.

Description: My podcast this Thursday is with world renown conductor Alexander Shelley. Alex's podcast was an inspiring conversation and I learned so much about the world of classical music. I have always felt a deep kinship with musicians, who like athletes, train and practice for hours (to the point of exhaustion) looking to become the best. It requires a deep dedication to the craft and a passion to live it. Very few make it to the top. Alexander and I talk about his unique childhood in London, why he chose conducting over playing, how music transforms us and why there is a purpose to every note on the page. Our main focus is on preparation and how it becomes the critical factor for success, not just in music or athletics but in life. His podcast comes full circle as about 6 months ago I had his wife Zoe on my podcast. Zoe spoke about her amazing experience through the casting, training, and finally shooting of Wonder Woman. At the time, she had just announced she was pregnant with their first child. As timing would have it, Alexander and I met last week to tape his podcast. The podcast was underscored by the anticipation their baby boy would arrive within the next two weeks. Their son, Sasha arrived two days later. Congrats to both Zoe and Alex! I can't wait to meet him! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Underbarnet som vid 60 år fortfarande konserterar lokalt och globalt. Michala Petri har gjort mer än 70 CD-inspelningar och 4 000 konserter sedan hon var 11 år. Michala Petri är en av de främsta blockflöjtvirtuoserna i världen och har en enorm repertoar av klassiska och nutida kompositioner. Kuriosa: Vivaldis Blockflöjtskonsert i C-dur, har hon spelat över tusen gånger på konserter. Hennes första CD-inspelning gjorde hon efter en konsert i London med Academy of St. Martin-in-the-Fields, endast 17 år gammal. Nyfiken och öppen för alla musikaliska genrer har hon spelat med så olika artister som Sir Neville Marriner, Keith Jarrett, Gidon Kremer och Bjørn Svin. När Michala Petri var 11 år fanns det ingen i Köpenhamn som kunde lära henne något mer på blockflöjten, så hennes mamma Hanne Petri, som själv är pianist, tog med Michala till professor Ferdinand Conrad i Hannover. Han bad henne omgående starta sina studier vid Musikkonservatoriet där. Michala Petri slutade genast sin skolgång i Danmark för att satsa helt på sin professionella bana som musiker. Varje måndag morgon tog hon och hennes mamma nattåget till Hannover. Lektioner väntade på eftermiddagen och under tisdagen. På onsdagen for de hem för att öva och sedan vidtog samma procedur varje vecka. - Du måste ha både råstyrka och vara intuitiv och mottagande för att gå upp på en scen, uppträda och sända ut så mycket energi till en publik, säger hon. Det är energi jag förmedlar med blockflöjten. Att spela svagt kan också vara otroligt energiskt, säger Michala Petri, som spelat instrumentet sedan hon var 3 år. 12 år gammal fick hon en tvärflöjt, men hon kände sig som en lurendrejare när hon spelade på den eftersom tvärflöjten är betydligt lättare att intonera på. För Michala Petri var blockflöjten en utmaning hon inte kunde motstå. Hon spelar på fyra olika storlekar, sopraninon, sopranen, som är den vanligaste, och så alt- och tenorblockflöjten. Hon har många exemplar av varje storlek. Jag räknade till ett fyrtiotal hemma hos henne. Michala Petri köper ständigt nya flöjter, eftersom hon byter hela tiden. Efter ett par timmars spel tar en flöjt skada om den inte får vila. Hon vet aldrig från början om en flöjt kommer att hålla måttet eller inte. Kanske känns den bra i starten, men efter några månader kan den utveckla en usel klang. Å andra sidan kan en flöjt som inledningsvis inte klingar särskilt bra plötsligt utveckla en mycket fin klang efter ett halvår. Kanske är blockflöjter precis som människor. När Michala Petri gav konsert i samband med Mostly Mozart Festival i Lincoln Center i New York tog Keith Jarrett kontakt med henne. Hon kände honom bara till namnet, hade inte hört honom spela. Men det visade sig att Keith Jarrett även spelade blockflöjt och cembalo. De träffades i hans hem och spelade några Händelsonater och några Bachsonater. Senare tog Michala Petri kontakt med Jarrett som tackade ja till den här inspelningen. - Keith Jarrett är en otroligt fin musiker, säger Michala Petri. Han lyssnar intensivt och fångar upp de signaler man sänder ut för att omgående svara på dem. Jag har spelat med klassiska musiker som har samma begåvning för att uppfånga musikaliska intentioner. Jag lyssnade mycket på vad Keith Jarrett gjorde och tänkte mindre på vad jag själv hade förberett. När hon var barn kände hon att musiken var det enda som gav henne identitet. Hade hon inte musiken så var hon ingenting. -När jag har utvecklat mig, fött mina två döttrar och mognat som människa så har även spelet förändrats, säger hon. Michala Petri har bl a fått Léonie Sonnings Musikpris, Europeiska solistpriset, Nordiska Rådets musikpris och 2016 vann hon priset som bästa barock-instrumentalist vid International Classical Music Awards. Michala Petri är fortfarande mycket aktiv och ger både lokala och globala konserter. Den 7 juli 2018 fyller hon 60 år och Tivoli i Köpenhamn firar henne den 1 juli 2018 med en Festkonsert. Alexander Shelley dirigerar då Tivoli Copenhagen Phil.   LÅTLISTA:   Yemandja Angelique Kidjo, sång, m fl Aye Island Records Mango 74321 16646 2   Partita in c BWV 1013 - 1 Allemande J S Bach Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. JS Bach   Souvenir RCA Victor 09026 62530 2   Concerto For Piano And Orchestra No. 1 Rondo. Allegro Non Troppo, Brahms Nikolaj Koppel, piano. DR's Symfoniorkester. Thomas Dausgaard, dir Retrospect EMI CLASSICS 50999 6287362 8       Fem Klaverstykker, Op. 3 Mignon Carl Nielsen Nikolaj Koppel, piano. Retrospect  EMI CLASSICS 50999 6287362 8   Intermezzi, Op. 117 - 2. Andante Non Troppo Johannes Brahms Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Piano Concerto #1 In D Minor, Op. 15 - 2. Adagio Johannes Brahms Nikolaj Koppel, piano. Thomas Dausgaard: Danish National Radio Symphony Orchestra Retrospect EMI CLASSICS 50999 6287362 8   Préludes, Book 1 - La Sérénade Interrompue       Claude Debussy Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Scarlatti (D): Harpsichord Sonata In E, K 20 Domenico Scarlatti Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Rong (Fusion) Yao Hu Michaela Petri Recorders. Chen Yue Xiao & Dizi Dialogue East Meets West OUR Recordings 6.220600   Ancient Chinese Beauty- Clay Figurines Chen Yi Michala Petri. Copenhagen Philharmonic; lan Shui Chinese Recorder Concertos OUR Recordings 6.220603   Flute Quartet In G Major K.285a - 2. Tempo Di Menuetto W A Mozart Michala Petri (Re), Carolin Widmann (Vn), Ula Ulijona (Va), Marta Sudraba (Vc) Mozart Flute Quartets OUR Recordings 6.220570   Nele's Dances - 10 In a symphony of galloping hooves Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir RCA Victor 09026 62530 2                   Nele's Dances - 3 And I'm still feeling you in my arms Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir  RCA Victor 09026 62530 2   Sonata G RV 59 - 2 Allegro ma non presto Vivaldi Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir     RCA Victor 09026 62530 2   Concerto C-Major; Largo Vivaldi Michala Petri, blockflöjt. Kremerata Baltica Michala Petri 50th Birthday Concert OUR Recordings 8.226905

The International Society for Contemporary Music (ISCM) holds arguably the world's most important contemporary music festival in a different city each year. Much like the Olympics, cities bid to be the host and this year it's in Vancouver. In this first program of two, we hear from Jordan Nobles, Charlotte Bray, Jocelyn Morlock, and Stefan Prins. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Skywriting, by Jordan Nobles Redshift Vertical Orchestra & Electric Guitar Orchestra At the Speed of Stillness, by Charlotte Bray Aldeburgh World Orchestra; Sir Mark Elder, conductor Lux Antiqua, by Jordan Nobles The Esoterics; Eric Banks, conductor My Name is Amanda Todd, by Jocelyn Morlock Canada's National Arts Centre Orchestra; Alexander Shelley, conductor Hände Ohne Orte, by Stefan Prins Hamburg-based Decoder Ensemble; Carola Schaal, clarinets; Jonathan Shapiro, percussion; Andrej Koroliov, piano; and Sonja Lena Schmid, cello

Am 5. August dirigiert Alexander Shelley die Last Night beim Klassik Open Air Nürnberg mit den Nürnberger Symphonikern. Und es ist tatsächlich Shelleys letzte Nacht als Generalmusikdirektor: Er verlässt die Stadt, um seinen Verpflichtungen in Ottawa und in London beim Royal Philharmonic Orchestra nachzukommen.

Sean Rice and Alexander Shelley talk about the "Soul Stirring Music" coming up in the 2017-2018 season of the NAC Orchestra. "I am full of anticipation for the NAC Orchestra season ahead and the glorious music that awaits us. We will host some of the finest performers in the world - artists like Itzhak Perlman, Emanuel Ax, Lang Lang, Angela Hewitt, Stephen Hough, Pinchas Zukerman and John Storgards." - Alexander Shelley

The death knell for classical music has been ringing for decades. Yet many say the music is not only alive, it's kicking! Join us for a fascinating, up-close-and-personal conversation with two highly original voices – Alexander Shelley, Music Director of the NAC Orchestra, and Andrew Potter, Editor of the Ottawa Citizen. With special guest Nadia Sirota ,violist and host of WQXR's Q2 Music Meet the Composer podcast.

Vanguards of the New York indie classical scene, composer Nico Muhly and violist Nadia Sirota embody the meaning of "classical reincarnated" in an electrifying concert. Nadia Sirota joins Alexander Shelley in the Canadian premiere of Nico Muhly's Electrifying Viola Concerto. This much anticipated work was commissioned by an international consortium of orchestras and organisations made up of Orquesta Nacionales de España, Detroit Symphony Orchestra, Festival of Saint Denis and National Arts Centre Orchestra. Nadia Sirota's debut album, First Things First (New Amsterdam Records), was a New York Times 2009 record of the year, and she can also be heard on albums by Grizzly Bear, yMusic (a new music ensemble who commission Sufjan Stevens, Son Lux, and other young American composers),Jonsi, the National, Ratatat, Doveman, My Brightest Diamond, and Arcade Fire's Grammy-winning The Suburbs.

Nick talks to Alexander Shelley about his plan to perform, over the next several seasons, the works of one of his favourite composers, Richard Strauss. The orchestra begins next week with performances of Don Juan and Death and Transfiguration.

In this incredible episode, I’m joined by Maestro Alexander Shelley. We dive deep into the architecture of music, the necessity of arts, and what makes Beethoven’s 5th Symphony is so popular. GO PREMIUM: Support the podcast, get ad-free episodes, transcripts, and so much more: https://fs.blog/knowledge-project-premium/

Nick speaks with Alexander Shelley, Music Director, about the 2015/2016 NAC Orchestra Season. Alexander Shelley was appointed Music Director-designate of Canada's National Arts Centre Orchestra in October 2013 and will take up the position of Music Director in September 2015. In 2015 he enters his seventh year as Chief Conductor of the Nuremberg Symphony Orchestra where he has transformed the orchestra's playing, education work and touring activities which have included tours to Italy, Belgium, China and a re-invitation to the Musikverein in Vienna. In January 2015 Shelley was named Principal Associate Conductor of the Royal Philharmonic Orchestra with whom he will curate and perform a series of concerts at Cadogan Hall each season. Born in the UK in 1979, Alexander first gained widespread attention when he was unanimously awarded first prize at the 2005 Leeds Conductors Competition and was described as "the most exciting and gifted young conductor to have taken this highly prestigious award. His conducting technique is immaculate, everything crystal clear and a tool to his inborn musicality." Since then he has been in demand from orchestras around the world including the Philharmonia, City of Birmingham Symphony, Rotterdam Philharmonic, Stockholm Philharmonic, Mozarteum Orchester Salzburg, Konzerthausorchester Berlin, DSO Berlin, Leipzig Gewandhaus, Simon Bolivar, Seattle and Houston Symphony Orchestras. Further afield Alexander is a regular guest with the top Asian and Australasian orchestras. Recent press has singled him out as "a musician of considerable gifts and extraordinarily impressive interpretative qualities" (Strauss, Elgar and Sibelius in London), a conductor with "exceptional artistic authority" (Brahms with DSO Berlin) and described his Verdi Requiem in Salzburg as an "original, intelligent, thoroughly convincing and well-crafted interpretation". Alexander's operatic engagements have included The Merry Widow and Gounod's Romeo and Juliet for Royal Danish Opera; La Bohème for Opera Lyra at the National Arts Centre in Ottawa, Iolanta with the Deutsche Kammerphilharmonie Bremen, Cosi fan tutte in Montpellier and a new production of The Marriage of Figaro for Opera North in 2015. Alongside his regular appearances in London, Ottawa and Nuremberg, the 2014/15 season and beyond includes return visits to, among others, the DSO Berlin, Gothenburg Symphony, Konzerthausorchester Berlin, Leipzig Gewandhaus, Melbourne Symphony and NDR Radio Philharmonic as well as his debuts with Camerata Salzburg, Czech Philharmonic, Orchestre de la Suisse Romande, Orchestre Philharmonique de Luxembourg and Oslo Philharmonic. His first recording for Deutsche Grammophon, an album with Daniel Hope and the Royal Stockholm Philharmonic, was released in September 2014. In Germany Alexander enjoys a close relationship with the Deutsche Kammerphilharmonie Bremen, with whom he performs regularly both in subscriptions in Bremen, and around Germany, and in October 2013 he took the orchestra on tour to Italy with a signature programme of Strauss, Wagner and Brahms. He is artistic director of their Zukunftslabor project - an award-winning series which aims to build a lasting relationship between the orchestra and a new generation of concert-goers through grass-roots engagement and which uses music as a source for social cohesion and integration. The son of professional musicians, inspiring future generations of musicians and audiences has always been central to Alexander's work. In Spring 2014 he conducted an extended tour of Germany with the Bundesjugendorchester and Bundesjugendballett which included a collaborative concert at the Baden-Baden Easter Festival with Sir Simon Rattle and members of the Berliner Philharmoniker. In 2001, during his cello and conducting studies in Dusseldorf, he founded the Schumann Camerata with whom he created "440Hz", an innovative concert series involving prominent German television, stage and musical personalities, conceived by him as a major initiative to attract young adults to the concert hall. https://nac-cna.ca/en/orchestra/reincarnated

In this final NACOcast episode of the season, Nick talks to NAC Orchestra Music Director Designate Alexander Shelley about the two programmes he is conducting next season. [Music excerpt: Carlo Maria Giulini - Chicago Symphony Orchestra - Stravinsky - The Firebird (Suite, 1919 version), Finale - Angel SFO-36039] See you in September!

Er nennt sich selbst "Prince Charming" und wurde auf frischer Tat ertappt... Es wird eng für Alexander Shelley im Verhör mit Clemens Nicol!

Nick sits down with Alexander Shelley to discuss the state of opera, in particular, La Bohème by Giacomo Puccini, Shelley's youth and inspiration to become an opera conductor.

Christopher has been thinking about metronomes. Here he discusses the history of that irritating but essential device, and talks with NACO guest conductor Alexander Shelley about Maelzel, Beethoven and the challenges of the metronome for modern conductors.