Podcasts about antal dorati

durée : 00:15:35 - Disques de légende du mercredi 12 mars 2025 - En 1962 paraissait chez Mercury un disque consacré au Château de Barbe-Bleue de Bartok, avec Antal Dorati à la tête de l'orchestre symphonique de Londres.

durée : 00:15:35 - Disques de légende du mercredi 12 mars 2025 - En 1962 paraissait chez Mercury un disque consacré au Château de Barbe-Bleue de Bartok, avec Antal Dorati à la tête de l'orchestre symphonique de Londres.

durée : 00:14:58 - Disques de légende du vendredi 10 novembre 2023 - Antal Doráti, ancien élève de Béla Bartók, a largement participé au rayonnement du compositeur hongrois en lui offrant une interprétation dynamique et lumineuse. Cet enregistrement du Mandarin date de 1964, précédant l'enregistrement plus connu, conduit par Pierre Boulez, en 1972.

durée : 01:33:32 - Relax ! du vendredi 10 novembre 2023 - par : Lionel Esparza - Cédric Tiberghien et Xavier Phillips sont les invités de Relax. Ils nous présentent leur collaboration autour de l'oeuvre pour violoncelle et piano de Gabriel Fauré. Disque de Légende : Antal Dorati dirige Le mandarin merveilleux de Béla Bartók.

This week on The Sound Kitchen you'll hear the answer to the question about the Roland Garros tennis tournament. There's “On This Day”, the “Listeners Corner” with Paul Myers, Ollia's “Happy Moment”, and Erwan Rome's “Music from Erwan”. All that, and the new quiz question, too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 3 June, I asked you a question about the Roland Garros tennis tournament, where Paul Myers was reporting on the matches. In his article “Roland Garros: 5 things we learned on Day 2 - Alcaraz express”, he recounted the match between Stan Wawrinka and Albert Ramos-Vinolas, and you were to answer these two questions:  how long was the match, and who won? The answer is, to quote Paul's article: “While Carlos Alcaraz was displaying coltish exuberance at the start of his straight sets sortie against Flavio Cobolli, Stan Wawrinka was coming to the end of his old warhorse extravaganza. The 38-year-old Swiss muscled his way into a two-set lead against Albert Ramos-Vinolas. But the Spaniard fought back to force a decider which Wawrinka won. It all took four hours and 35 minutes."I think it was special today again to be here at Roland Garros," said Wawrinka who beat Novak Djokovic in the 2015 final. "There was a lot of support, a lot of fans. It helped me a lot to stay in the match and to keep fighting for it."In addition to the quiz question, there was the bonus question: “How do you like to celebrate your birthday?”, which was suggested by Radhakrishna Pillai.The winners are: Priyanka Paul, the president of the RFI Women's Club in Murshidabad, India. Priyanka is also the winner of this week's bonus question – congratulations, Priyanka!Also on the list of winners this week is Alomgir Hossen, a member of the Shetu RFI Listeners Club in Naogaon, Bangladesh. There are RFI Listeners Club members Fr. Steven Wara from Bamenda, Cameroon and Samir Mukhopadhyay from West Bengal, India, and RFI English listener Mobashera Moumi, from Bogura, Bangladesh.Congratulations winners!Here's the music you heard on this week's programme: “Polka” from the Czech Suite by Antonin Dvorak, performed by the Royal Philharmonic Orchestra conducted by Antal Dorati; “Odyssey” by Valerie Capers, performed by Capers and her ensemble; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, played by the composer; “Happy” by Pharrell Williams, and “The Revolution Will Not Be Televised” by Gil Scott-Heron, performed by the composer. Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article: “Sophie Lavaud becomes first French person to climb world's highest peaks” to help you with the answer.You have until 14 August to enter this week's quiz; the winners will be announced on the 19 August podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

‘Brahms, juni 1949' Ze was een van de grootste violisten van haar tijd: Ginette Neveu. Op 10 juni 1949 speelde ze in het Kurhaus, Den Haag, het Brahms' vioolconcert. Enkele maanden later verongelukte ze. De componist Durosoir, in zijn tijd ook een groot violist, droeg zijn Chant élégiaque aan Neveu op. Johannes Brahms Vioolconcert, op.77; II. Ginette Neveu, viool Residentie orkest olv Antal Dorati (opn. 10 juni 1949) (album: Ginette Neveu, 1949 Concerts)   Lucien Durosoir Cinq Aquarelles; VI. Chant elegiaque Genevieve Laurenceau, viool Lorene de Ratuld, piano (Album: Durosoir, Muziek voor viool en piano)

durée : 01:27:19 - Les Concerts Lamoureux, de 1881 à nos jours (4/5) : grands chefs invités - par : François-Xavier Szymczak - A la baguette de l'Orchestre Lamoureux aujourd'hui : Igor Stravinsky, Charles Munch, Jean Fournet, André Jolivet, Pablo Casals, Antal Dorati. Sans oublier des solistes de légende, Magda Tagliaferro, David Oïstrakh, Jean-Pierre Rampal, et même Jacques Brel en récitant de Pierre et le loup !

01 – F. J. Haydn - Piano Sonata n. 60 in do maggiore Hob  XVI_ 50. 02 -  F. J. Haydn - “Kaiser” Quartet, Op. 76, No. 3 03 – F. J. Haydn - Symphony no 82 in do maggior (l'Orso) Amadeus QuartetPhilharmonia Hungarica, Antal Dorati

Synopsis On today's date in 1949, Northrop Auditorium in Minneapolis was the venue for the world premiere performance of Béla Bartók's last orchestral piece: his “Concerto for Viola and Orchestra.” The soloist was William Primrose, who had commissioned the work, with the Hungarian-born conductor Antal Dorati leading the Minneapolis Symphony Orchestra. Bartók had died in 1945, leaving extensive but incomplete sketches for the concerto he was writing for Primrose. After his death, the “Viola Concerto” was completed and orchestrated by Bartók's friend and fellow Hungarian, Tibor Sérly, who had also put the finishing touches on Bartók's “Third Piano Concerto,” which also premiered posthumously. The 1949 premiere of the “Viola Concerto” in Minneapolis attracted worldwide attention. To the surprise of some, it also went over very well with its first-night audience at Northrop Auditorium. At the dress rehearsal, Dorati had predicted as much: "This is one time the audience need have no qualms about the word 'contemporary' as applied to the music it's about to hear." Dorati's view was that the public was finally catching up with Bartók's highly original idiom. "It's not a case of a composer becoming famous because he is dead," said Dorati. "It is true there has been a great surge of performances of Bartók's music since his death, but that is because the public was ready to hear his music." Music Played in Today's Program Béla Bartók (1881-1945) Viola Concerto (completed by Tibor Serly) Hong-Mei Xiao, viola; Budapest Philharmonic; Janos Kovacs, cond. Naxos 8.554183

Synopsis The modern Hungarian city we know as Budapest is really three older settlements merged into one: Buda, on the west bank of the Danube, was the royal seat of the medieval Hungarian kings; Obuda, just to the north, was an ancient Roman provincial capital; and Pest, is a newer city situated on the east bank of the Danube. These three became the modern-day city Budapest in 1873. In 1923, to celebrate modern Budapest's 50th anniversary, the Hungarian government commissioned two of its greatest composers, Béla Bartók and Zoltán Kodály, to compose orchestral pieces which both premiered on today's date that year. Bartók's contribution was a lively “Dance Suite,” with themes reminiscent of Hungarian folk melodies, although no actual folksongs are quoted. It's one of his most genial and upbeat orchestral scores. Kodály's contribution was his Psalmus Hungaricus for tenor, chorus and orchestra, a free setting of a 16th century Hungarian translation of Psalm 55, in which the Psalmist pleads for deliverance from his persecutors. That Psalm had a special political resonance for Zoltán Kodály, who had fallen out of favor with the right-wing Hungarian regime then in power. Despite its melancholy tone, Psalmus Hungaricus was an instant hit in Hungary and elsewhere, and helped established Kodály's international reputation as one of his country's greatest composers. Music Played in Today's Program Béla Bartók (1881-1945) Dance Suite Philharmonia Hungarica; Antal Dorati, cond. Mercury 432 017 Zoltán Kodály (1882-1967) Psalmus hungaricus, Op. 13 Lajos Kozma, tenor; Brighton Festival Chorus; London Symphony; István Kertész, cond. London 443 488

durée : 01:58:18 - Les chefs hongrois à la conquête de l'Amérique - Ils s'appellent Fritz Reiner, George Szell, Eugene Ormandy, Antal Dorati, tous sont venus de Hongrie. A eux seuls ou presque, de Philadelphie à Cleveland en passant par Chicago, ils ont bâti la vie orchestrale des Etats-Unis.

durée : 00:28:19 - Les chefs hongrois à la conquête de l'Amérique 4/4 Antal Dorati - Ils s'appellent Fritz Reiner, George Szell, Eugene Ormandy, Antal Dorati, tous sont venus de Hongrie. A eux seuls ou presque, de Philadelphie à Cleveland en passant par Chicago, ils ont bâti la vie orchestrale des Etats-Unis.

durée : 00:28:14 - Les chefs hongrois à la conquête de l'Amérique (3/4) : George Szell - par : Christian Merlin - Ils s'appellent Fritz Reiner, George Szell, Eugene Ormandy, Antal Dorati, tous sont venus de Hongrie. A eux seuls ou presque, de Philadelphie à Cleveland en passant par Chicago, ils ont bâti la vie orchestrale des Etats-Unis. - réalisé par : Marie Grout

durée : 00:28:10 - Les chefs hongrois à la conquête de l'Amérique (2/4) : Fritz Reiner - par : Christian Merlin - Ils s'appellent Fritz Reiner, George Szell, Eugene Ormandy, Antal Dorati, tous sont venus de Hongrie. A eux seuls ou presque, de Philadelphie à Cleveland en passant par Chicago, ils ont bâti la vie orchestrale des Etats-Unis. - réalisé par : Marie Grout

durée : 00:28:20 - Les chefs hongrois à la conquête de l'Amérique (1/4) : Eugene Ormandy - par : Christian Merlin - Ils s'appellent Fritz Reiner, George Szell, Eugene Ormandy, Antal Dorati, tous sont venus de Hongrie. A eux seuls ou presque, de Philadelphie à Cleveland en passant par Chicago, ils ont bâti la vie orchestrale des Etats-Unis. - réalisé par : Marie Grout

01 - Haydn - Piano Sonata n. 60 in do maggiore Hob  XVI_ 50. 02 - Haydn - “Kaiser” Quartet, Op. 76, No. 3 Amadeus Quartet03 - Haydn - Symphony no 82 in do maggior (l'Orso) Philharmonia Hungarica, Antal Dorati

Synopsis Today marks the birthday in 1879 of Ottorino Respighi, a rare Italian composer more famous for orchestral works than operas. And no wonder – Respighi was a master orchestrator, learning his craft first-hand from the brilliant Russian orchestrator Nicolai Rimsky-Korsakov during the time the young Italian served as principal violist in the pit band of the Russian Imperial Theater in St. Petersburg. One of Respighi's best-loved works is The Pines of Rome. It includes a slow section depicting a full moon shining on the pines growing on the Janiculum hill west of Rome. The music includes the song of a nightingale, played from a phonograph record of an actual nightingale. That record, made in 1910, was the first ever made of live bird song, and using it as part of Respighi's orchestration was cutting-edge stuff in 1924. This recording was made by the Hungarian conductor Antal Dorati, who was known noted for his fiery temper, but Dorati had an equally strong sense of humor, so in the 1950s, when one of his Minneapolis Symphony musicians substituted a Spike Jones once during a rehearsal, of the Respighi piece, Dorati got the joke and laughed along with everybody else. Music Played in Today's Program Ottorino Respighi (1879-1936) – Feste Romane (Montréal Symphony; Charles Dutoit, cond.) London 410 145 Spike Jones (1911 – 1965) – Rhapsody from Hunger (Spike Jones and his City Slickers) RCA 3235

durée : 00:58:33 - Antal Dorati, un chef de grand caractère - par : Aurélie Moreau - Chef à la carrière éblouissante, Antal Dorati obtenait les interprétations les plus marquantes des grandes formations internationales. Haydn tient une place importante dans son vaste répertoire. Elève de Bartók et Kodaly, il était aussi compositeur.

durée : 00:16:59 - Disques de légende du lundi 16 mai 2022 - Aujourd'hui dans Disques de légende, nous écoutons l'Ouverture 1812 de Tchaikovsky, par l'Orchestre de Minneapolis dirigé par Antal Dorati.

Synopsis By the time of his death in 1949, the German composer Richard Strauss was famous worldwide as the composer of operas like “Der Rosenkavalier” and tone-poems like Don Juan and “Till Eulenspiegel's Merry Pranks.”  These operas and tone-poems are so famous, we tend to forget that Strauss also composed symphonies – two of them, both written when the young composer was just starting out. Strauss's Symphony No. 1 was premiered in his hometown of Munich on today's date in 1881, when the composer was just 16. That performance was given by an amateur orchestra but was conducted by one of the leading German conductors of that day, Hermann Levi, who would lead the premiere of Wagner's “Parsifal” the following year. Another eminent Wagnerian conductor, Hans von Bulow, subsequently took up the teenager's symphony, and also commissioned him to write a Suite for Winds.  The American conductor Theodore Thomas was an old friend of Richard Strauss's father, Franz Strauss, and while in Europe during the summer of 1884, Thomas looked over the score for the younger Strauss's Second Symphony, and immediately arranged for its premiere in New York City the following winter. Music Played in Today's Program Richard Strauss (1864 - 1949) — Symphony in d (Bavarian Radio Symphony; Karl Anton Rickenbacker, cond.) Koch/Schwann 365 322 On This Day Births 1935 - American composer Gordon Muma, in Framingham, Mass.; Deaths 1764 - Italian composer Pietro Locatelli, age 68, in Amsterdam; Premieres 1725 - Bach: "St. John Passion" (S. 245, second version) performed at Vespers on Good Friday as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); The first version had premiered on Good Friday in 1724 (April 7); 1881 - R. Strauss: Symphony in d, in Munich, with Hermann Levi; This was Strauss' first major orchestral work; 1951 - Piston: Symphony No. 4, by the Minneapolis Symphony, Antal Dorati conducting; 2000 - Corigliano: "Phantasmagoria" (Suite from the opera "The Ghosts of Versailles"), in Minneapolis, by the Minnesota Orchestra, Giancarlo Guerrero conducting. Links and Resources On Richard Strauss

01 – F. J. Haydn - Piano Sonata n. 60 in do maggiore Hob  XVI_ 50 02 -  F. J. Haydn - Kaiser” Quartet, Op. 76, No. 3 03 – F. J. Haydn - Symphony no 82 in do maggior (l'Orso) Amadeus QuartetPhilharmonia Hungarica, Antal Dorati

Synopsis Today's date marks the birthday of a 20th century Czech composer you perhaps have never heard of. Viktor Kalabis was born in 1923 and by age 6, was giving public piano performances. All the signs pointed to a brilliant career. But first Kalabis had to face – and surmount–two major political hurdles. First, his formal musical studies were delayed by the Nazi occupation of his country in 1938, when he was forced into factory work; then, after the war, Kalabis met and married a young harpsichordist named Zuzana Ruzickova, who was a concentration camp survivor. Victor was a Gentile, but in Stalinist Czechoslovakia, anti-Semitism was rampant and marrying a Jew was frowned upon. To make matters worse, both Victor and Zuzana refused to join the Communist Party, hardly what one would call “a smart career move” in those years. Even so, Kalabis began to attract commissions and performances of his music at home and abroad, and following the 1989 Velvet Revolution, Kalabis assumed a more prominent position in his country's musical life. His symphonies, concertos, and chamber works are now regarded as some of the most important contributions to Czech music in the late 20th century. Music Played in Today's Program Viktor Kalabis (1923 – 2006) — Piano Concerto No. 1 (Zuzana Ruzickova, p; Czech Philharmonic; Karel Sejna, cond.) MRS Classics MS-1350 On This Day Births 1848 - English composer (Sir) Hubert Parry, in Bournemouth; Deaths 1887 - Russian composer Alexander Borodin, age 53, at a fancy dress ball in St. Petersburg (Julian date: Feb. 15); Premieres 1729 - Bach: Sacred Cantata No. 159 ("Sehet, wie gehn hinauf gen Jerusalem") probably performed in Leipzig on Estomihi Sunday as part of Bach's fourth annual Sacred Cantata cycle (to texts by Christian Friedrich Henrici, a.k.a. "Picander") during 1728/29; 1737 - Handel: opera “Giustino,” in London (Julian date: Feb. 16); 1740 - Handel: oratorio “L'Allegro, il Penseroso, ed il Moderato,” in London at Lincoln's Inn Field, with the premiere of Handel's Organ Concerto in Bb, Op. 7, no. 1 (Gregorian date: Mar. 9); 1814 - Beethoven: Symphony No. 8, in Vienna, with composer conducting; 1908 - Amy Beach: Piano Quintet, at Boston's Potter Hall, with the Hoffmann Quartet and the composer at the piano; 1913 - Walter Damrosch: opera, "Cyrano de Bergerac," at the Metropolitan Opera in New York City; 1915 - Miaskovsky: Symphony No. 3, in Moscow (Julian date: Feb. 14); 1940 - William Schuman: String Quartet No. 3, at Town Hall in New York City, by the Coolidge Quartet; 1945 - Amy Beach: opera "Cabildo," by the Opera Workshop at the University of Georgia in Athens, directed by Hugh Hodgson; The first professional production occurred on May 13, 1995, at Alice Tully Hall in New York City as a "Great Performances" telecast conducted by Ransom Wilson; 1947 - Hindemith: Piano Concerto, by the Cleveland Orchestra, George Szell conducting, with Jesús Maria Sanromá the soloist; 1947 - Peter Mennin: Symphony No. 3, by the New York Philharmonic, Walter Hendel conducting; 1949 - Elliott Carter: Woodwind Quintet, at Times Hall in New York City, at a new music concert of the National Association for American Composers and Conductors, sharing a program with Henry Cowell's Suite for Wind Quintet, Vincent Perischetti's "Pastorale," Richard Franko Goldman's Duo for Tubas, Ingolf Dahl's "Music for Five Brass Instruments," and a revised version of Carl Ruggles; "Angles" for seven brass instruments; 1949 - Wm. Schuman: Symphony No. 6, by the Dallas Symphony, Antal Dorati conducting; 1950 - Elliott Carter: Cello Sonata, at Town Hall in New York, by cellist Bernard Greenhouse and pianist Anthony Markas; 1958 - Peter Mennin: Piano Concerto, by the Cleveland Orchesttra conducted by George Szell, with Eunice Podis the soloist; 1984 - Libby Larsen: "Parachute Dancing" for orchestra, by the American Composers Orchestra, Tom Nee conducting; 1986 - U. Zimmermann: opera "Weisse Rose" (White Rose), in Hamburg by the Opera stabile; 1999 - Peter Lieberson: Horn Concerto, at Carnegie Hall, with soloist William Purvis and the Orpheus Chamber Orchestra. Others 1885 - First documented American performance of Handel's Concerto Grosso in B Minor (op. 6, no.12), by the Boston Symphony, William Gericke conducting. Links and Resources On Viktor Kalabis Kalabis tribute (PDF)

Synopsis In 1958, the state of Minnesota was celebrating its centennial, and decided to commission a symphony in honor of the occasion. Just about everyone these days knows there are a lot of Norwegians in Minnesota, but even back in 1958, that was still fairly obvious, and so it seemed a good idea to ask a Norwegian composer to write a “Minnesota Symphony.” And who better than Harald Saeverud, one of the most distinguished composers of that day, and a composer who had just been granted Norwegian knighthood in the order of Saint Olaf, no less. Nor was Saeverud new to the symphony-writing game. His “Minnesota Symphony” was his Symphony No. 8. Its premiere performance occurred at Northrop Auditorium in Minneapolis on today's date in 1958, with the Minneapolis Symphony led by Antal Dorati. The capacity audience of 4000 gave Saeverud and his symphony a warm welcome. For his part, Saeverud was equally gracious, writing: “With the map of Minnesota above my desk and with my thoughts and feelings concentrated on Minnesota's history, I dove into the work, which proved increasingly fascinating as I became aware that it was simultaneously growing into a history of mankind.” Music Played in Today's Program Harald Saeverud (1897 – 1992) — Symphony No. 8 (Minnesota) (Stavanger Symphony; Ole Kristian Ruud, cond.) BIS 972

01 – Haydn - Piano Sonata n. 60 in do maggiore Hob XVI_ 50. 02 - Haydn - “Kaiser” Quartet, Op. 76, No. 3 Amadeus Quartet03 - Haydn - Symphony no 82 in do maggior (l'Orso) Philharmonia Hungarica, Antal Dorati

durée : 00:58:50 - Giulini dirige Don Giovanni, et le pianiste Vadym Kholodenko - par : Aurélie Moreau - Une grande version du Don Giovanni de Mozart celle de Carlo-Maria Giulini captée en 1959 à Londres, quelques enregistrements du pianiste Vadym Kholodenko et aussi Antal Dorati qui dirige merveilleusement la musique de Tchaïkovski. - réalisé par : Louise Loubrieu

In episode 2, we turn to the 1980s and the advent of digital audio to learn how the Mercury Living Presence catalogue was remastered for CD. Tom Fine explains how his mother, Wilma Cozart Fine, came to be working on the remastering project 25 years after retiring from the music industry, and mastering engineer Dennis Drake reveals how he and Wilma transferred Mercury's vast collection of LPs to the digital domain.We also examine the role that dCS played in the remastering process, and the pioneering technologies that allowed Wilma and Dennis to preserve the magic of the original LPs. Plus, Rob Cowan and Michael Gray reflect on the Mercury catalogue's enduring influence and appeal.EPISODE NOTES ‘Trust Your Ears': The Mercury Living Presence story is produced by dCS in partnership with Decca Records. More information about the series, which celebrates the 70th anniversary of Mercury Living Presence and the catalogue's re-release on streaming services, is available here: https://dcsaudio.com/edit/trust-your-ears-exploring-the-history-of-mercury-living-presenceFEATURED MUSICDmitri Shostakovich, Symphony Number 5 in D Minor (Stanislaw Skrowaczewski, Minneapolis Symphony Orchestra), 1961 Saint-Saëns: Symphony No. 3 in C minor, Op. 78 'Organ Symphony' (Marcel Dupré, Detroit Symphony Orchestra, Paul Paray), 1957 Bela Bartók, Music for Stringed Instruments, Percussion and Celesta (Rafael Kubelík, Chicago Symphony Orchestra), 1951 Concerto Grosso For String Orchestra & Piano Obbligato (Rafael Kubelík, Chicago Symphony Orchestra), 1951Felix Mendelssohn, Fingal's Cave Overture, Symphony No. 3 ‘Scottish' in A Minor (Antal Dorati, London Symphony Orchestra), 1956 Felix Mendelssohn, Fingal's Cave Overture, Symphony No. 4 ‘Italian' in A Major (Stanislaw Skrowaczewski, Minneapolis Symphony Orchestra), 1961  The Romeros: The Royal Family of the Spanish Guitar - Torroba: Llamada  (Angel Romero), 1962Respighi: Ancient Airs & Dances Suite No.2 (Antal Dorati, Philharmonia Hungarica), 1958 Tchaikovsky: Swan Lake, Op. 20 (Antal Dorati, Minneapolis Symphony Orchestra), 1954  A complete box set of Kubelík's Mercury recordings with the Chicago Symphony Orchestra, remastered in 2021 by Tom Fine, is now available on Eloquence. Further information is available here: https://www.eloquenceclassics.com/releases/rafael-kubelik-the-mercury-masters/You can read more about the box set's production here: https://www.eloquenceclassics.com/strongrafael-kubelik-strong/Coming soon on Decca Classics: Five new Mercury Living Presence LP reissues, including Paul Paray/Detroit Symphony - Chabrier, Q3 2021.Coming soon on Mercury Eloquence: Paul Paray - The Complete Mercury Masters 1953-1962 (CD Box Set), 2022.

durée : 00:58:40 - Matti Raekallio joue Prokofiev, Tchaïkovski et Haydn par Antal Dorati - par : Aurélie Moreau - réalisé par : Vivian Lecuivre

Our opening episode reflects on the birth and evolution of Mercury Living Presence and the people who shaped its distinctive sound. Through interviews with music historian Michael Gray and mastering engineer Tom Fine (son of the original Mercury Living Presence producer, Wilma Cozart Fine, and original recording engineer C. Robert 'Bob' Fine), we explore how the label became a leading force in classical music, earning global acclaim for its imaginative repertoire, novel recording techniques and evocative LP releases.We also uncover the stories behind some of the label's most beloved and influential recordings, from 1951's Pictures at an Exhibition (produced with the Chicago Symphony Orchestra), to its spectacular recording of Tchaikovsky's 1812 overture, plus collaborations with Byron Janis, Frederick Fennell, Howard Hanson and the London Symphony Orchestra.‘Trust Your Ears': The Mercury Living Presence story is produced by dCS in partnership with Decca Records. More information about the series, which celebrates the 70th anniversary of Mercury Living Presence and the catalogue's re-release on streaming services, is available here: https://www.dcsltd.co.uk/reviews/trust-your-ears/Featured MusicMussorgsky Pictures at an Exhibition (Rafel Kubelík, Chicago Symphony Orchestra), 1951Tchaikovsky - 1812 Overture (Minneapolis Symphony Orchestra, University Of Minnesota Brass Band & Antal Dorati), 1954Respighi: Ancient Airs & Dances Suite No.2 (Philharmonia Hungarica, Antal Dorati), 1958HiFi A La Espanola - Andalucia (Eastman-Rochester Pops, Frederick Fennell), 1960Bach Suite No. 2 for Solo Cello (Janos Starker), 1966Rachmaninoff Piano Concerto No. 1. (Byron Janis, Moscow Philharmonic Orchestra, Kyril Kondrashin), 1962Tchaikovsky - The Nutcracker Ballet, Dance Of The Sugar Plum Fairies (Antal Durati, London Symphony Orchestra), 1962 

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

durée : 01:58:56 - Relax ! du vendredi 30 avril 2021 - par : Lionel Esparza - Au programme de Relax! ce vendredi 30 avril, un portrait du chef d'orchestre américain d'origine hongroise Antal Dorati. Et à 16h notre légende du jour est l'enregistrement de l'opéra "Manon Lescaut" de Puccini par Mirella Freni, Luciano Pavarotti et James Levine. - réalisé par : Antoine Courtin

durée : 00:58:01 - Antal Dorati, panache, feu et précision - par : Aurélie Moreau - "Jamais Antal Dorati n'a perdu son temps avec des sujets bateaux ou des sujets faciles. Il était l'homme des choses rares", avait déclaré le critique musical Jean Roy au sujet du chef d'orchestre d'origine hongroise. - réalisé par : Max James

Mitä olet aina halunnut tietää baletista, muttet ole kehdannut kysyä? Hyppäämme baletin taianomaiseen maailmaan ja otamme selvää, miksi balettitanssijat käyttävät niin punastuttavan kireitä trikoita ja mikä homma se varpaillaan tanssiminen nyt oikein on. Baletin saloihin meitä johdattavat Kansallisbaletin tähtitanssija Tiina Myllymäki ja sidosryhmäpäällikkö Heidi Almi! Jaksossa katsomamme Mariinski-teatterin Pähkinänsärkijä-tallenteen voi katsoa osoitteessa https://youtu.be/xtLoaMfinbU Juontajina Laura Haajanen ja Siiri Liitiä. Haastattelussa Heidi Almi ja Tiina Myllymäki. Spiikki: Niina Markkanen. Välikemusiikki: Tässä jaksossa lainataan Pähkinänsärkijän kappaletta Pas de Deux: Variation II (Dance of the Sugar-Plum Fairy), Royal Concertgebouw Orchestra (dir. Antal Dorati), 1994 Philips Classics Productions

The Blissful Hiker "sidles" the steep sides of a riverbank in the Mangaokewa Reserve and learns how "un-lonely being lonely can be." In this episode: Blissful leaves Waitomo for Te Kuiti through slippery farmland, getting lost in fields of sheep poo and confusing orange triangle-shaped trail signs.The reserve begins as a Hobbit Forest in a sun shower, but soon becomes greasy sidling along the Mangaokewa Stream.All alone at the "cool campsite," she muses on when she first started thru-hiking, she was too afraid to even close her eyes. It's more sidling on the way back to farmland, where trail angels rescue her for an afternoon on a working farm. MUSIC: Soliloquy by Bernard Rogers and Night Music by Antal Dorati as played by Alison Young, flute.available on iTunesSupport the show (https://www.patreon.com/blissfulhiker)

 So this is it, ladies and gents, the episode where we discuss the piece for which this podcast was named and the composer that wrote it: William Schuman and his Symphony No. 10 ‘American Muse'! The man literally got letters in the mail telling him either how awful his music was, OR how it had changed someone's life. Were he still alive today, I would absolutely send him a physical letter thanking him for so dramatically effecting my life. Ironically, I did in fact send his two children, Andrea and Anthony, physical letters to ask for their permission to use the music you just heard at the beginning of this podcast! Anyway, let's talk about this man and his fantastic compositions.###Background- I first heard music by William Schuman when I was an eager young musician in middle school. I listened to his Symphony No. 5, performed by Leonard Bernstein and the New York Philharmonic string section, recorded on a vinyl record (I kid you not). The opening bars explode with energy and melodic creativity unlike I had ever heard. It was forceful, bold, full of life. It drew me in and to this day has not let go. From that moment I knew I had to know more about this man and his music. He and his music are a large part of the reason I began this podcast, my blog, and my book to be released next year, _Secrets of American Orchestral Music_.####Bio- One of the first things one learns about Schuman is the story of how he came to be a composer in the first place. He did play bass in a dance band, but never considered it very serious. Then he went to a concert at Carnegie Hall and heard the New York Philharmonic, conducted by the great Arturo Toscanini. He was so blown away by the performance he said "I was overwhelmed. I had never heard anything like it. The very next day, I decided to become a composer." So, he dropped out of New York University, quit his job, enrolled at the Malkin Conservatory of music to study composition, and a short 5 years later he graduated from Columbia University. Who knew it could be so easy? While this anecdotal story is humorous, it accurately shows a key characteristic of Schuman's personality. He is an optimist, endlessly curious, and has a child-like approach to new endeavors. He is also steadfast and resolute in his values, many times refusing to compromise his artistic work or arts administration efforts. - Though not all of William Schuman's biographical history is pertinent here, some key positions and career events as well as insight into his composition process help to contextualize the unique nature of the man and his music. One fortuitous happenstance came at the beginning of his journey to become a composer. In 1930, primed by having just attended his first orchestral concert, Schuman saw a sign for the Malkin Conservatory, walked in, and according to him “registered for a course in harmony because he had heard somewhere that composers begin by studying harmony.” This placed him with Max Persin, a teacher more interested in discovering the intricacies of each individual piece rather than regurgitating from quote “a textbook of dull orthodoxy.” Not long after earning a teaching degree from the Columbia University Teachers College, Schuman carved out a teaching and administrative position at Sarah Lawrence College. The way in which this came about is characteristic of Schuman's free-form thinking and commitment to the highest quality in any endeavor he undertook. Schuman convinced the president and Faculty Advisory Committee on Appointments at Sarah Lawrence to make him the quote "one man... coordinator, working from a single focal point" on a new set of freshman focused courses. Schuman connected with the faculty and administration at Sarah Lawrence on a philosophical level, influenced by the progressive education movement of John Dewey and the concept that "making knowledge one's own was the central goal of education…” This desire for individuality and freedom from convention carried over into Schuman's composing. Keenly aware of contemporary trends, Schuman casts the "emergence of a contemporary tonal language" in the twentieth century as "a musical revolution." Referring to contemporary composers (presumably including himself), Schuman posits “[t]he process of seeking a way of creating fresh sounds is a natural one for a truly creative musician. It may be conscious or subconscious, or both. But whatever the process, the result is innovation in musical speech." Even Copland recognized the boldness of Schuman's work, describing it as "music of tension and power," and expounding on his rhythmic writing as "so skittish and personal, so utterly free and inventive."- Schuman's commitment to his own musical and educational standards resulted in his being tapped as president of Juilliard in 1945. Schuman was reluctant to even consider the post because, as Steve Swayne puts it in his biographic work _Orpheus in Manhattan_, “[h]e could see no possible marriage between Juilliard's hidebound, rote education and the progressive, student-oriented approach that he enjoyed at Sarah Lawrence." Partly due to this honesty expressed to Juilliard's board of directors, Schuman was offered and eventually accepted the position. As a sign of the school's desire for change, Schuman immediately made drastic alterations to the Juilliard curriculum and faculty. One program he spearheaded is particularly of note here. Showing his independent thinking and will to move forward, Schuman explains his educational philosophy:> The first requisite for a musician in any branch of the art is that he be a virtuoso listener. It has been a student who is adept at the writing of melodic dictation may be incapable of listening to a symphonic composition with an understanding of its design. In other words, an ability to hear the component parts of the language of music… does not ipso facto mean integrated understanding--an understanding that can only be achieved when the whole work is clearly viewed as the sum of these parts... In an effort to replace conventional theory with more meaningful studies, the Juilliard School has discontinued its Theory Department and added to its curriculum a new department--Literature and Materials of Music.- This is the kind of ideology Schuman applied to his composition and administrative roles. In a 1986 interview, Schuman illustrates the interconnected nature of all his endeavors: "composition has been the continuum of my life's work, but it's been by no matter of means my sole pursuit. I would never be happy just being a composer. I've always wanted and needed to do other things of a general societal nature."####Culture- Even through his compositional process, Schuman shows his independent thinking. Intending not to be bound by the limitations of both his piano skill and of the instrument itself, according to a biography written by Vincent Persichetti, Schuman "writes for the instruments of the orchestra directly... sings the parts at the top of his lungs... because his music is essentially melodic... He does, however, use the piano for new vocabulary departures; that is, for experimentation.”- One more quote by Schuman from 1977, helps summarize his philosophy on the balance of artistic honesty and the ambition needed for such a high profile career he had to that point:> I would like to be loved through my music, as anybody would be. But I recognized that this was not necessarily to be the case, and it would be much better to be despised and write what you want than to be loved and write what you didn't want.… I was asked that question just the other day [in February 1977] … “Why—when you write these difficult symphonies that hardly anybody ever plays, and you can write the New England Triptych or orchestrate Ives' Variations on America—why don't you write a holiday overture that would make you a lot of money and would be played a lot?”- Hopefully the continued reverence of Schuman's music will suffice as an answer to that question.- Schuman's symphonic output is quite varied, ranging from symphonies and concertos to ballet and opera. Schuman got the most mileage out of his symphonies, and he admittedly put most of his focus on their creation. Schuman's symphonies are most representative of all his compositional work, even by his own statements in an interview with Overtones: > “It never occurred to me not to write symphonies... I like every medium in music when I'm working on it… [but] I believe that as long as writers write long and complicated novels, composers are going to write in the symphonic forms, because they give an opportunity that nothing else gives.”- Schuman wrote 10 numbered symphonies, though he “withdrew” the first two.###Analysis of piece####Overall scope- Now to Symphony No. 10, the ‘American Muse' itself.- The recorded excerpts you will hear today are from a 2005 NAXOS recording of the Seattle Symphony conducted by Maestro Gerard Schwarz, a dear friend of this podcast.- Written and premiered in 1976, this symphony was commissioned for the American Bicentennial by the National Symphony Orchestra, and conducted by Antal Dorati. - The work is in 3 movements: Con Fuoco, Larghissimo, and the third movement goes through many different speeds, but does begin and end with a Presto.- The orchestration is outrageously large: 4 flutes, 3 oboes, English horn, Eb clarinet, 3 Bb clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, percussion that calls for 4 players, timpani, piano, harp, celesta, and strings. Whew! None of this would have been surprising coming from Schuman at that point, but even today that is quite a task to take on.####Excerpts- The opening fanfare sets a tone of muscularity, optimism as Schuman might put it...- And then gives way to a mostly brass chorale, punctuated by moments of woodwind interaction.- Not long after, we have a section of what we call homorhythm. This is when all or large portions of the orchestra are playing the same active rhythms, but not the same notes, in fact they are usually quite dissonantly contrasting notes. It is a powerful effect as Schuman builds a great deal of tension. In this excerpt there is a short unison of homorhythm followed by 2 independent layers.- After spending this entire movement in tonic disarray, giving a bit of tonal center, but then taking it away with swaths of dissonance, Schuman suddenly takes an about face at the end and we get, at first, blips of tonal, recognizable chords, before a final Eb major chord grabs hold and blares to the end as if we had been in that bright, happy key all along!- I LOVE that moment!- The second movement, Larghissimo, is a work of beauty, but you have to stick with it. Schuman lets his slow movements develop as organically as possible from the simplest of musical aspects. Here, he begins basically with a chord cluster, again moving only in homorhythmic motion, and very slowly at first. While the violas and then cellos take the lyrical line, which again does not change very much at all, but makes big glissando jumps when it does.- Then what follows is an iconic Schuman sound if there ever was one, I swear I could pick this writing out from any other composer on the planet. The violins slowly expand a high, and still higher reaching, melodic line over chromatically moving chordal movement in the violas and cellos, and just as the line starts to peak, he opens up the sound more, then again as another peak comes, he adds horns... and on and on, one layer after another. It is a long section, but here is a fairly representative moment. 『- And again, just like in the first movement, though this movement isn't quite so tonally wandering, he lets out all the tension, leaves off with a question mark... and gives us a big, fat, juicy Eb major chord!- The final movement, beginning Presto, starts a series of homorhythmic sections, first strings alone, then trading off with the woodwinds. The activity begins with much space, but quickly becomes lively, almost furious! 『- One element we had yet to come across was Schuman's craftiness with a fugue. Finally, in the last symphonic movement he ever wrote, in order to build up as much energy and tension as possible, Schuman writes a complex double fugue. This is not a tightly formed, rule-following Bach-like fugue you would expect, but most of the elements you would expect are there. It gives him the chance to push forward and pull back at will. One theme is very active, harmonically and rhythmically, while the other is long held out notes with little movement.- Now you must be wondering if and when we get that Eb major chord we've gotten at the end of every other movement. We do! And in similar fashion, Schuman prefaces it with heavy dissonance and confusion. This time, though, the final brilliant chord arrives and finishes in full fanfare. Instant standing ovation!###Closing- Beyond composition, Schuman taught at Sarah Lawrence College, served as president of the Juilliard School, facilitated it's move into the newly built Lincoln Center, founded the Juilliard String Quartet, served as president of Lincoln Center itself, and won 2 Pulitzer Prizes and the National Medal of Arts. Many people desire to change or effect the world in some way. William Schuman did that and more during his time. As long as we perform or hear his music, he still does.Music:Symphony No. 10By: William SchumanPerformed by: Gerard Schwarz; Seattle Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We are delighted to welcome back Rob Cowan, who was our inaugural guest back in June. Rob and Paul discuss several recent historical boxsets that collect together recordings by three American émigré artists; pianist Andor Földes, conductor Antal Dorati and violinist Isaac Stern. www.prestomusic.com/classicalThe recordings discussed in this episode:Andor Foldes: Complete Deutsche Grammophon RecordingsEloquence - ELQ4841256https://www.prestomusic.com/classical/products/8797738--andor-foldes-complete-deutsche-grammophon-recordingsMozart, Schubert: SymphoniesLondon Symphony Orchestra, Hans Schmidt-Isserstedt, Walter Susskind, Antal DoratiEloquence - ELQ4840353https://www.prestomusic.com/classical/products/8813389--mozart-schubert-symphoniesThe Mozart & Haydn Recordings On Mercury LivingAntal DoratiEloquence - ELQ4840385https://www.prestomusic.com/classical/products/8813388--the-mozart-haydn-recordings-on-mercury-livingIsaac Stern - The Complete Columbia Analogue RecordingsSony - 19439724252https://www.prestomusic.com/classical/products/8793248--isaac-stern-the-complete-columbia-analogue-recordings

On today’s date in 1971, the Concert Hall at the newly opened Kennedy Center in Washington, D.C., was inaugurated with a gala performance by the National Symphony Orchestra led by Antal Dorati, its Music Director back then. The National Symphony Orchestra, or NSO, was founded in 1931, and until the opening of the Kennedy Center, had used Constitution Hall as its home base. Not surprisingly, considering its location in our nation's capital, the NSO has had a long tradition of performing, commissioning, and premiering works by American composers. Through the Hechinger Commissioning Fund, the NSO has commissioned more than 50 works, including “Fanfare for the Kennedy Center,” written by American composer Ron Nelson in honor of the Center’s 25th anniversary in 1996. Leonard Slatkin, the NSO’s Music Director that year, had this to say about the composer: “Nelson is the quintessential American composer. He has the ability to move between conservative and newer styles with ease. The fact that he's a little hard to categorize is what makes him interesting.” For his part, about his “Fanfare for the Kennedy Center,” Ron Nelson said: “It’s a musical epiphany that moves from darkness to light… from idea (French horns) to fruition (full brass).”

On today’s date in 1971, the Concert Hall at the newly opened Kennedy Center in Washington, D.C., was inaugurated with a gala performance by the National Symphony Orchestra led by Antal Dorati, its Music Director back then. The National Symphony Orchestra, or NSO, was founded in 1931, and until the opening of the Kennedy Center, had used Constitution Hall as its home base. Not surprisingly, considering its location in our nation's capital, the NSO has had a long tradition of performing, commissioning, and premiering works by American composers. Through the Hechinger Commissioning Fund, the NSO has commissioned more than 50 works, including “Fanfare for the Kennedy Center,” written by American composer Ron Nelson in honor of the Center’s 25th anniversary in 1996. Leonard Slatkin, the NSO’s Music Director that year, had this to say about the composer: “Nelson is the quintessential American composer. He has the ability to move between conservative and newer styles with ease. The fact that he's a little hard to categorize is what makes him interesting.” For his part, about his “Fanfare for the Kennedy Center,” Ron Nelson said: “It’s a musical epiphany that moves from darkness to light… from idea (French horns) to fruition (full brass).”

De hele maand juli heerlijk langzame en ook een tikkeltje lome muziek in Vrije Geluiden... laat de zwoele zomeravonden maar komen! Met muziek van Antal Dorati, Franz Schubert, Thomas Jennefelt, John Zorn, Chris Caldwell, en Morton Feldman.

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Arthur Rubinstein, Pierre Bertin, André Jolivet, LilyLaskine, Jean Wiener, Manuel Recasens, Raymond Gallois-Montbrun, Georges Prêtre, Jacques Bazire, Manuel Rosenthal, Marguerite Long, Paul Kletzki, Robert Bronstein, Henryk Szeryng, Olivier Messiaen, Maurice Leroux, Antal Dorati, Pierre Schaeffer, Gisèle Kuhn, Jean Cocteau, Nicolas Nabokov, Henri Dutilleux, Fred Goldbeck, Henri Sauguet, Pierre-Jean Jouve, Henry Barraud, Gabriel Bouillon, Claude Rostand et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Arthur Rubinstein, Pierre Bertin, André Jolivet, LilyLaskine, Jean Wiener, Manuel Recasens, Raymond Gallois-Montbrun, Georges Prêtre, Jacques Bazire, Manuel Rosenthal, Marguerite Long, Paul Kletzki, Robert Bronstein, Henryk Szeryng, Olivier Messiaen, Maurice Leroux, Antal Dorati, Pierre Schaeffer, Gisèle Kuhn, Jean Cocteau, Nicolas Nabokov, Henri Dutilleux, Fred Goldbeck, Henri Sauguet, Pierre-Jean Jouve, Henry Barraud, Gabriel Bouillon, Claude Rostand et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 01:58:35 - invité : Vincent Dumestre - par : Lionel Esparza - Cela fait désormais vingt ans que le Poème Harmonique explore la musique du Grand Siècle, par tous les chemins, styles et langues. L'occasion, en cette journée d'anniversaire, de recevoir le chef Vincent Dumestre, afin d'en apprendre davantage sur les grands jalons ayant marqué ces deux décennies. - réalisé par : Antoine Courtin

durée : 00:14:20 - L'intégrale des symphonies de Joseph Haydn par Antal Dorati - Il fut le premier à enregistrer l'intégrale des symphonies de Haydn : Antal Dorati, avec le Philharmonia Hungarica, grava non moins de 104 symphonies en quatre ans, entre 1969 et 1973, sans rien sacrifier de son exigence.

I'm really happy to continue this series on the pedagogues that shaped me as a violinist with a discussion about another giant in musical journey, Zvi Zeitlin. Unfortunately, Professor Zeitlin passed away in 2012, but I had a wonderful time talking about him with Michael Klotz, violist with the Amernet Quartet and Senior Instructor at Florida International University in Miami. Michael and I were colleagues in the Zeitlin studio at both Eastman and at the Music Academy of the West and, in this episode. we discuss our experience studying with Mr. Zeitlin and his lasting influence on our lives. It was a true pleasure for me to talk with Michael and I think you'll enjoy our chat!   More about Michael Klotz   Website: http://michaelklotzmusic.com/ Amernet String Quartet: http://amernetquartet.com/ Florida International University: http://carta.fiu.edu/music/ Heifetz International Music Institute: https://www.heifetzinstitute.org/   Biography Born in 1978 in Rochester, NY, Michael Klotz made his solo debut with the Rochester Philharmonic at the age of 17 and has since then appeared as soloist with orchestra, recitalist, and chamber musician, and orchestra principal worldwide. After a performance of the Brandenburg Concerto No. 6 with violist Roberto Diaz, the Portland Press-Herald proclaimed, “this concert squelched all viola jokes, now and forever, due to the talents of Diaz and Klotz”. The Fort Worth Star-Telegram recently proclaimed Michael Klotz to be “a superb violist, impressive, with an exceptionally attractive sound,” and the Miami Herald has consistently lauded his “burnished, glowing tone and nuanced presence.”   Michael Klotz joined the Amernet String Quartet in 2002 and has toured and recorded commercially with the ensemble throughout the U.S., Canada, Mexico, Israel, Japan, South Korea, Romania, Colombia, Belgium, and Spain. Klotz has performed at some of New York's most important venues, such as Carnegie Hall, Alice Tully Hall, Weill Hall, Merkin Concert Hall, MoMA, Bargemusic, and the Kosciuzsko Foundation. His festival appearances have included Seattle, Newport, Caramoor, ChamberFest Cleveland, Festival Mozaic, Great Lakes, Cervantino, Festival Baltimore, Piccolo Spoleto, Sunflower, Martha's Vineyard, Skaneateles, Virginia Tech Vocal Arts and Music Festival, San Miguel de Allende, Beverly Hills, Music Mountain, Bowdoin, Madeline Island, Sarasota, Music Academy of the West, and Miami Mainly Mozart. Passionately dedicated to chamber music, Klotz regularly performs with many of today's most esteemed artists, having appeared as guest violist with the Shanghai, Ying, and Borromeo String Quartets, the Manhattan Piano Trio, and collaborated with artists such as Shmuel Ashkenasi, Arnold Steinhardt, James Ehnes, Augustin Hadelich, Vadim Gluzman, Gary Hoffman, Carter Brey, Michael Tree, Robert DeMaine, Andres Diaz, Roberto Diaz, Joseph Kalichstein, Franklin Cohen, and Alexander Fiterstein, as well as with many principal players from major U.S. and European orchestras. In 2015 he was named a Charter Member of the Ensemble with the Chamber Music Society of Fort Worth and regularly appears on this series. In 2002 and 2009, he was was invited by Maestro Jaime Laredo to perform with distinguished alumni at anniversary concerts of the New York String Orchestra Seminar in Carnegie Hall. Michael Klotz is a graduate of the Eastman School of Music, where he was awarded the Performer's Certificate. In 2002 he became one of the few individuals to be awarded a double Master's Degree in violin and viola from the Juilliard School. At Juilliard, he was the recipient of the Tokyo Foundation and Gluck Fellowships. His principle teachers and influences include Zvi Zeitlin, Lynn Blakeslee, Lewis Kaplan, Toby Appel, Peter Kamnitzer, and Shmuel Ashkenasi. Michael Klotz is a dedicated teacher and serves as Senior Instructor and Artist-in-Residence at Florida International University in Miami, where he teaches viola and chamber music. Klotz has recently presented highly acclaimed master classes at the New World Symphony, Cincinnati Conservatory, Cleveland Institute of Music, University of Michigan, Penn State University, University of Nevada – Las Vegas, Ithaca College, Texas Christian University, and West Virginia University. He is currently a member of the faculty of The Heifetz Institute and a viola coach at the New World Symphony. His former students currently attend and are graduates of prestigious conservatories, including the Curtis Institute of Music, the Juilliard School, Indiana University, and the Cleveland Institute of Music and are already achieving leading roles in the music world. Michael was featured in the November 2013 issue of the “Alumni Spotlight” in the Juilliard Journal and as the subject of Strad Magazine's “Ask the Teacher” column in the November 2013 issue. Michael Klotz resides in Hallandale Beach, FL with his wife Kelly and sons Jacob and Natan, as well as two dogs and a cat.     ZVI ZEITLIN (1922-2012) A faculty member at Eastman from 1967 to 2012, Zvi Zeitlin (1922-2012) was revered for decades as a violinist, pedagogue, chamber musician, and champion of contemporary music. Born in Dubrovna, Belarus, Zvi Zeitlin was raised and educated in Israel. At age 11, he became the youngest scholarship student in the history of the Juilliard School, studying with Sascha Jacobsen, Louis Persinger, and Ivan Galamian. He served in the RAF (1943-46) and concertized for troops throughout the Middle East and Greece. He made concerto appearances with such great conductors as Leonard Bernstein, Pierre Boulez, Zubin Mehta, Antal Dorati, Jascha Horenstein, and Christoph von Dohnanyi, and gave frequent tours of Europe, Australia, New Zealand, and Central and South America. One of Zeitlin's signature pieces was Arnold Schoenberg's fiendishly difficult, seldom performed Violin Concerto; his 1971 Deutsche Grammophon recording of this work with conductor Rafael Kubelik set the standard, and is still available. Zeitlin also premiered concertos by Gunther Schuller, Carlos Surinach, and Paul Ben-Haim, besides performing and recording a wealth of other repertoire in his long career; the Toronto Star called him “one of the violin world's grand old men, a true musical Methuselah.” Along with his solo appearances, he was a founding member of the Eastman Trio (1976-1982). Zeitlin taught annual master classes at the Royal Academy of Music, Guildhall School of Music and Drama, and Yehudi Menuhin School. He was a faculty member at the Music Academy of the West since 1973, and a visiting professor at Chetham's School of Music and the Royal Northern College of Music (Manchester, England) since 1992. Zeitlin was named Eastman's first Kilbourn Professor in 1976 and Distinguished Professor in 1998. In 2004, he received the University of Rochester's Edward Curtis Peck Award for Excellence in Teaching Undergraduates. Zeitlin's students occupy leading positions in major orchestras in the United States and throughout the world; hold important positions in universities and music schools worldwide; and are major prizewinners in international and regional competitions. Zvi Zeitlin died on May 2, 2012 in Rochester, at the age of 90.   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme! Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   If you enjoyed the show, please leave a review on iTunes! I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here! https://www.facebook.com/groups/mindoverfingertribe/

Panelen hör en solid inspelning av Dag Wiréns stråkkvartetter, får blandade känslor för dirigenten Vladimir Jurowskis "Svansjön" och tar sig an Francesca Caccinis renässansopera om häxan Alcina.   Veckans skivor:  SWAN LAKE - SVANSJÖN Balettmusik av Piotr Tjajkovskij Svetlanov-symfoniorkestern i Moskva Vladimir Jurowski, dirigent Pentatone 186640 Betyg: 4 WIRÉN - STRING QUARTETS NOS. 2 - 5 Stråkkvartetter av Dag Wirén Wirén-kvartetten Naxos 8.573588 Betyg: 5 MARTINSSON - PRESENTIMENT Musik av Rolf Martinsson Kungliga filharmonikerna i Stockholm Lisa Larsson, sopran Sakari Oramo och Andrew Manze, dirigenter BIS BIS-2133 SACD Betyg: 4 LA LIBERAZIONE DI RUGGIERO DALL' ISOLA D'ALCINA Barockopera av Francesca Caccini Huelgas Ensemble Sångare: Michaela Riener, Aachim Schulz, Sabine Lutzenberger m.fl. Paul van Nevel, dirigent Deutsche Harmonia Mundi DHM 88985338762 Betyg: 3 Veckans val: Albert Roussel Musikrevyns Johan Korssell rekommenderar en ny skiva med den franske tonsättaren Albert Roussel. BBC:s filharmoniker i Manchester spelar under ledning av Yan Pascal Tortelier på en Chandos-utgåva där den symfoniska dikten "Pour une fete de Printemps" samsas med Roussels tydligt Debussy-inspirerade triptyk "Évocations" från 1911, ett sensuellt klangbad för alt, tenor och baryton samt kör och orkester. En hyllning till Indien, som når en storstilad kulmen med solister och kör i den sista satsen. Referensen: Baletternas balett År 1954 spelade dirigenten Antal Dorati och Minneapolis symfoniorkester in den första kompletta urversionen av "Svansjön". Hur låter den jämfört med den aktuella "Svansjön"-inspelningen med Svetlanovorkestern och Vladimir Jurowski?

Panelen utnämner Allan Petterssons sjunde symfoni till en ångesthit, debatterar sydamerikansk blåsmusik och gläds åt en hemlig körmässa. Möt också det 22-årige dirigentstjärnskottet Klaus Mäkelä. Veckans skivor: LATIN WINDS Musik av Joaquin Rodrigo, Heitor Villa-Lobos och Carlos Chavez Royal Northern College of Music Wind Orchestra Clark Rundell, Mark Heron, dirigenter Chandos CHAN 10975 Betyg: 4 ALLAN PETTERSSON - SYMPHONIES NO 5 & 7 Symfonier av Allan Pettersson Norrköpings symfoniorkester Christian Lindberg, dirigent BIS-2240 Betyg: 4 THE SECRET MASS Körverk av Frank Martin och Bohuslav Martinu Danmarks radios vokalensemble Marcus Creed, dirigent Our Recordings 6.220671 Betyg: 4 BEETHOVEN PIANO CONCERTOS NO 2 & 4 Konsert för piano och orkester Nr 2 och 4 Lars Vogt, pianist och dirigent Royal Northern Sinfonia Ondine ODE 1311-2 Betyg: 4 Musikrevyn möter: Berwaldhallens nya förste gästdirigent Vi träffar det 22-årige finländske dirigentundret Klaus Mäkelä, ny förste gästdirigent för Sveriges Radios symfoniorkester. Den här säsongen satsar Mäkelä på Sjostakovitj i Berwaldhallen och för Musikrevyns Johan Korssell berättar han om sin kärlek till den ryske tonsättaren. Referensen: En hotfull inledning Vi jämför den nyutgivna inspelningen av Allan Petterssons sjunde symfoni med den femtio år gamla premiärinspelningen: Antal Dorati och Stockholmsfilharmonikerna från 1969, utgiven på Swedish Society Discofil.

I programmet diskuterar panelen Salonens tolkningar av Bartók, Bachs Goldberg-variationerna med Esfahani, operaarior med Matshikiza o Tippetts fem stråkkvartetter. Sofia möter dirigenten Simone Young, BÉLA BARTÓK Den sällsamme mandarinen, Danssvit, Kontraster Philharmonia Orchestra Esa-Pekka Salonen, dirigent Signum Classics SIGCD 466 J S BACH Goldberg-variationerna Mahan Esfahani, cembalo DG 479 5929 PUMEZA MATSHIKIZA Operaarior m.m. Pumeza Matshikiza, sopran Århus symfoniorkester Tobias Ringborg, dirigent Decca 478 8964MICHAEL TIPPETT Stråkkvartetterna Heath-kvartetten Wigmore Hall WH live 0080 (2 CD)Sofia möter Simone Young Sofia Nyblom träffade och samtalade med den australiska dirigenten när hon gästade Stockholms konserthus i oktober där och då hon ledde Kungliga filharmonikerna i en konsert som  innehöll musik av Alban Berg, Richard Wagner, Anton Webern och Robert Schumann. Andra i programmet nämnda eller rekommenderade inspelningar: Bartóks Den sällsamme mandarinen med BBCs symfoniorkester ledd av Antal Dorati på skivmärke Mercury samt med Budapests festivalorkester dirigerad av Iván Fischer på Philips och Chicagos symfoniorkester ledd av Jean Martinon (sviten) på RCA. Bartóks Kontraster med Béla Bartók, Joseph Szigeti och Benny Goodman på Columbia. Bachs Goldberg-variationerna med Ton Koopman på Erato; Gustav Leonhardt på Teldec; Wanda Landowska på RCA; Glenn Gould på Sony samt med Richard Egarr på Harmonia Mundi. Tippetts stråkkvartetter med Lindsay-kvartetten på ASV. Svepet Johan sveper över ett album med  fransk kammarmusik på vilken violinisten Christian Svarfvar och pianisten Roland Pöntinen spelar musik av Fauré, Debussy och Ravel. Johan bjuder oss smakprov ur Faurés Après un Reve samt ur Ravels violinsonat. Skivan är utgiven på Bis.

  Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Audio production by Todd “Toddy Ruxpin” Hulslander, with kind of creepy hovering during the editing process by Dacia Clay. Music in this episode: – “Life Carries On” from Dismal Times, by Earthen Grave – Brahm’s Violin Concerto, Rachel Barton Pine with Chicago Symphony Orchestra. Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions. – “Ice Cream Man” from Van Halen by Van Halen. – Mendelssohn’s Violin Concerto in E Minor as performed (not necessarily in this order) by: — Rachel Barton Pine with Gottinger Symphonie Orchester. Christoph-Mathias Mueller conducting. — Joshua Bell with Camerata Salzburg. Roger Norrington conducting. — Fritz Kreisler with Berlin State Opera Orchestra. Leo Blech conducting. — Jascha Heifetz with Boston Symphony Orchestra. Sir Thomas Beecham conducting. — Maxim Vengerov with Leipzig Gewandhaus Orchestra. Kurt Masur conducting. — Isaac Stern with Philadelphia Orchestra. Eugene Ormandy conducting. — Henryk Szeryng with London Symphony Orchestra. Antal Dorati conducting. — Nathan Milstein with New York Philharmonic. Bruno Walter conducting. — Anne-Sophie Mutter with Berlin Philharmonic. Herbert von Karajan conducting.  — Itzhak Perlman by London Symphony Orchestra. Andre Previn conducting. — Maud Powell For more information about Classical Classroom: www.houstonpublicmedia.org/classroom For more information about Rachel Barton Pine: www.rachelbartonpine.com But wait! There’s more! In this short Classical Classroom, she talks about the most important thing her two musical loves share in common: emotional power. Audio production by Todd “Goes to 11” Hulslander with lighters in the air by Dacia Clay. Music in this episode: – “Death Is Another Word” from Earthen Grave, by Earthen Grave – Brahm’s Violin Concerto, Chicago Symphony Orchestra, Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions – “Ice Cream Man” from Van Halen by Van Halen – “Arpeggios from Hell” by Yngwie Malmsteen – Tchaikovsky’s Violin Concerto in D major, Vadim Repin with Kirov Orchestra. Valery Gergiev conducting. – Sibelius’ Violin Concerto in D minor, Salvatore Accardo with London Symphony Orchestra. Sir Colin Davis conducting. – “Wasted Years” from Somewhere in Time by Iron Maiden – “Ozzy/ Black Sabbath Medley” by Rachel Barton Pine

  The sound track of the 1969 Hamburg Elektra film under Leopold Ludwig, featuring Gladys Kuchta, Regina Resnik, Ingrid Bjoerner, and Hans Sotin. This is followed by the Elektra/Klytaemnestra scene with Martha Moedl and inge Borkh from Rome 1965, under Antal Dorati (71 min.)

Jose Serebrier began his life long love affair with music as a child in Uruguay. He began composing as a teenager, and was just 17 when his first Symphony was premiered by the legendary Leopold Stokowski in New York. Soon after, Serebrier became Stokowski's assistant, and later learned from mentors and teachers including conductors George Szell and Antal Dorati, and composer Aaron Copland. Jose Serebrier has conducted many of the world's great orchestras, and recently released a recording of Stokowski's Orchestral Transcriptions with the Bournemouth Symphony Orchestra (Naxos 8.572050). Suzanne spoke with him about his music, his new CD, and why he is optimistic about the future of classical music.

Roy Plomley's castaway is conductor Antal Dorati.Favourite track: Rondo Capriccioso by Felix Mendelssohn Book: The Golden Man by Yokoi Luxury: Italian landscape drawing from his collection

Roy Plomley's castaway is conductor Antal Dorati. Favourite track: Rondo Capriccioso by Felix Mendelssohn Book: The Golden Man by Yokoi Luxury: Italian landscape drawing from his collection

Roy Plomley's castaway is conductor Antal Dorati. Favourite track: O, Namenlose Freude (from Fidelio) by Ludwig van Beethoven Book: Personally-compiled anthology Luxury: Painting of a sleeping girl by Dominico Feti