Podcast appearances and mentions of arthur nikisch

Avui hem sentit: Quintet amb piano, en mi major, op. 15; "Quatre can

Avui hem sentit: "Much ado about nothing", Suite per a orquestra op. 11; extractes de l'

Avui hem sentit: "Much ado about nothing", Suite op. 11; "Die Tote Stadt", op. 12 (extractes). Erich Wolfgang Korngold (1897-1957) va ser un nen prodigi de la m

Avui hem sentit: "Prelude", "M

Avui hem sentit: "Der schneemann" (extractes); "M

Avui hem sentit: "Simfonietta", op. 5. Erich Wolfgang Korngold (1897-1957) va ser un nen prodigi de la m

Kate Molleson & Nastasha Loges explore the life and music of Johanna Senfter.If you know the name Johanna Senfter, it is probably in connection with her teacher, the composer, Max Reger. Senfter won the Arthur Nikisch prize for composition in 1910, and went on to be one of the most prolific of all late-Romantic female composers, writing at least 150 works, yet she has all but disappeared from our history books. In between the two World Wars she was very active within the world of music too, founding the Oppenheim Music Society, organizing her own concert series and founding the Oppenheim Bach Society. However, her personal life is shrouded in mystery with little information published about either her biography, or her music, and there are substantial gaps in her story when we know nothing about Senfter. Unsurprisingly then, there are also questions hanging over certain elements of her personal life, and her political allegiances. Over the course of this week, Kate Molleson is joined by Professor Natasha Loges to explore the life of Johanna Senfter. They also examine the tumultuous world of early 20th Century Germany in which Senfter was working, and speculate on the reasons for her anonymity today.Music Featured: Suite for two violins No 2 (Menuet) Symphony No 4 (2nd mvt) Drei Klavierstucke, op 77 Violin Sonata in G minor, Op 32 (4th mvt) Trio for clarinet, horn and piano (3rd mvt) Vogelweise Clarinet Quintet (2nd mvt) Symphony No 4 (3rd mvt) Viola Sonata No 1 in F minor, Op 41 (3rd mvt) Chorale Preludes, Op 70 (Nos 4, 2 & 9) Sonata for cello in A Major, Op 10 (4th mvt) Suite for two violins No 91 No 2 (1st mvt) 5 pieces for viola and piano, Op 76 (No 5) Piano Concerto in G minor, Op 90 (3rd mvt) 6 Little Pieces for violin and piano, Op 13 (No 3 Elegie) Sonata for cello and piano in E flat major, Op 79 (2nd mvt) Clarinet Sonata (3rd mvt) Drei Klavierstucke Op 83, No 1 Sonata for violin and piano in A major, Op 26 (4th mvt) Concerto in C minor for two violins and orchestra, Op 40 5 pieces for viola and piano, Op 76 (Weihnachten. In ruhiger Bewegung) Piano Concerto in G minor, Op 90 (1st mvt) Suite for two violins No 1 (Courante) Piano Concerto in G minor, Op 90 (2nd mvt) Symphony 4 (1st mvt) Quintet for clarinet and string quartet in B, Op 11 (3rd mvt) 6 Little Pieces, for violin and piano (No 1, Melodie) Mazurka: AllegrettoPresented by Kate Molleson Produced by Sam Phillips for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Johanna Senfter (1879-1961) https://www.bbc.co.uk/programmes/m001wqp7 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

SynopsisIn his autobiographical sketch, A Mingled Chime, British conductor Thomas Beecham offered this assessment of British composer Ethel Smyth: “Ethel Smyth is without question the most remarkable of her sex that I have been privileged to know,” and added that he admired her “fiery energy and unrelenting fixity of purpose.”Born in 1858, Smyth became a composer against her family's wishes, and it took dogged determination to get her large-scale choral and operatic works performed in an era when most in the music business did not take female composers seriously. That was before they met Smyth, who convinced legendary conductors like Arthur Nikisch, Bruno Walter and Beecham, who realized her music had merit.Smyth's opera The Wreckers had its premiere performance in Leipzig on today's date in 1906 and was championed in England by Beecham, who thought it her masterpiece. It remains, wrote Beecham in 1944, the year of Smyth's death, “one of the three or four English operas of real musical merit and vitality written in the past 40 years.”Music Played in Today's ProgramEthyl Smyth (1858 - 1944) The Wreckers; Soloists and BBC Philharmonic; Odaline de la Martinez, cond. Conifer 51250

Synopsis Today marks the birthday of the American pianist and composer Donald Shirley, who was born in Pensacola, Florida, in 1927, to Jamaican immigrant parents: a mother who was a teacher and a father an Episcopalian priest. Young Donald was a musical prodigy who made his debut with the Boston Pops at age 18, performing Tchaikovsky's First Piano Concerto. If Shirley had been born 20 years later, he might have had the career enjoyed by Andre Watts, who born in 1946. But in the late 1940s, when Shirley was in his 20s, impresario Sol Hurok advised him that America was not ready for a black classical pianist, so instead Shirley toured performing his own arrangements of pop tunes accompanied by cello and double-bass. His Trio recorded successful albums marketed as “jazz” during the 1950s and 60s, but Shirley also released a solo LP of his piano improvisations that sounds more like Debussy or Scriabin, and he composed organ symphonies, string quartets, concertos, chamber works, and a symphonic tone poem based on the novel Finnegans Wake by James Joyce. The 2018 Oscar-winning film “Green Book” sparked renewed interest in Shirley's career as a performer, but those of us curious to hear his organ symphonies and concert works hope they get a second look as well. Music Played in Today's Program On This Day Births 1715 - Austrian composer Georg Christoph Wagenseil, in Vienna; 1782 - French composer Daniel-François-Esprit Auber, in Caen; 1852 - British composer Frederic Hymen Cowen, in Kingston, Jamaica; 1862 - English composer Fritz (Frederick) Delius, in Bradford, Yorkshire; 1876 - English composer Havergal Brian, in Dresden, Staffordshire; 1924 - Italian composer Luigi Nono, in Venice; Deaths 1946 - British composer Sydney Jones, age 84, in London, age 84; 1962 - Austrian composer and violinist Fritz Kreisler, age 86, in New York City; Premieres 1728 - Gay & Pepusch: ballad-opera, “The Beggar's Opera,” at Lincoln's Inn Fields, London; This work, mounted by the London impresario John Rich, proved so popular that it was staged 62 times that season; As contemporary wags put it, the wildly successful work “made Gay Rich and Rich Gay&rdquo(Gregorian date: Feb. 9); 1781 - Mozart: opera, "Idomeneo" in Munich at the Hoftheater; 1826 - Schubert: String Quartet in D minor, "Death and the Maiden," as a unrehearsed reading at the Vienna home of Karl and Franz Hacker, two amateur musicians; Schubert, who usually played viola on such occasions, could not perform since he was busy copying out the parts and making last-minute corrections; 1882 - Rimsky-Korsakov: opera "The Snow Maiden," in St. Petersburg (Gregorian date: Feb. 10); 1892 - Chadwick: “A Pastoral Prelude,” by the Boston Symphony. Arthur Nikisch conducting; 1916 - Prokofiev: "Scythian" Suite ("Ala and Lolly"), Op. 20, at the Mariinsky Theater in Petrograd, with the composer conducting (Julian date: Jan. 16); 1932 - Gershwin: "Second Rhapsody" for piano and orchestra, in Boston, with the Boston Symphony conducted by Serge Koussevitzky and the composer as soloist; 1936 - Constant Lambert: "Summer's Last Will and Testament" for chorus and orchestra, in London; 1981 - John Williams: first version of Violin Concerto (dedicated to the composer's late wife, actress and singer Barbara Ruick Williams), by Mark Peskanov and the St. Louis Symphony conducted by Leonard Slatkin; Williams subsequently revised this work in 1998; This premiere date is listed (incorrectly) as Jan. 19 in the DG recording featuring Gil Shaham; Links and Resources On Donald Shirley

Als Elgar seine erste Sinfonie schreibt, ist er schon 50 Jahre alt und gilt als bedeutendster lebender britischer Komponist mit Professur und Adelstitel. Dirigenten aus ganz Europa feiern das Meisterwerk der Spätromantik. Dabei kommt der Komponist ursprünglich aus einfachen Verhältnissen. (Autor: Christoph Vratz und Michael Lohse) Von Christoph Vratz.

Synopsis It was on today's date in 1913 that Igor Stravinsky's ballet “The Rite of Spring” premiered at the Théâtre des Champs-Élysées in Paris, provoking catcalls and fisticuffs from some in the audience. Most scholars suggest it was the ungainly, deliberately primitive choreography of Vaslav Nijinsky, more than Stravinsky's score, that provoked the most negative response. Pierre Monteux's concert performance—without the dancing—at the Casino de Paris the following Spring marked the start of the score's success as pure music. On that occasion, Stravinsky was carried in triumph from the hall on the shoulders of his admirers. Shortly before his death in 1929, Sergei Diaghilev, who had commissioned Stravinsky's score, was enthusiastically quoting a review in the London Times that suggested (perhaps ironically) that the “Rite of Spring” would be for the 20th century what Beethoven's Ninth Symphony was for the 19th. Well, that has rather turned out to be the case, in fact, and by 2013, a piece of orchestral music that in 1913 was considered almost unplayable is routinely programmed as a classic orchestral showpiece. One New York Times critic even wrote “… now everybody knows “The Rite.” [It's] an audition piece that every music student practices, so that now any conservatory orchestra can give a fleet and spiffy performance of what used to stump their elders, and professional orchestras can play it in their sleep, and often do…” Music Played in Today's Program Igor Stravinsky — The Rite of Spring (Cleveland Orchestra; Pierre Boulez, cond.) DG 435 769 On This Day Births 1860 - Spanish composer Isaac Albéniz, in Camprodón; 1873 - Estonian composer Rudolf Tobias, in Kaina on Haiiumaa Island; 1897 - Austrian composer Eric Wolfgang Korngold, in Brno; 1922 - Greek composer Iannis Xenakis, in Braila, Roumania; 1948 - English composer Michael Berkley, in London; He is the son of English composer, Sir Lennox Berkeley (1903-89); Deaths 1910 - Russian composer Mily Balakirev, age 73, in St. Petersburg (Julian date: May 16); 1911 - British lyricist Sir William S. Gilbert (of "Gilbert & Sullivan" fame), age 74, from a heart attack after rescuing a drowning woman, at Harrow Weald, England; 1935 - Czech composer Josef Suk, age 61, in Benesov; 1951 - Czech composer Josef Bohuslav Foerster, age 91, in Vestec, near Stará Boleslav; Premieres 1901 - Paderewski: "Manru," in Dresden; Also staged at the Metropolitan Opera in 1902; 1905 - Scriabin: Symphony No. 3 ("'Divine Poem"), in Paris, Arthur Nikisch conducting; 1913 - Stravinsky: "Le Sacre du printemps" (The Rite of Spring), in Paris, by Diaghilev's Ballet Russe, Pierre Monteux conducting; 1954 - Cowell: Symphony No. 11 ("Seven Rituals"), by the Louisville Orchestra, Robert S. Whitney conducting; 1970 - Rautavaara: Piano Concerto, in Helsinki, with composer as soloist, and the Finnish Radio Symphony, Paavo Berglund conducting; Others 1873 - American premiere of Brahms's Serenade No. 1 in D, at Steinway Hall, by the New York Symphony, Theodore Thomas conducting; 1963 - The New York Philharmonic "Promenade" concert series is inaugurated. Links and Resources On Igor Stravinsky More on "The Rite of Spring" Video of recreated original 1913 choreography for "The Rite of Spring"

Synopsis In New York City on today's date in 2008, The Juilliard School's FOCUS! Festival showcased music from the opposite coast, including the world premiere of a new string quartet by Californian composer John Adams. Some 14 years earlier, Adams had written a work for the Kronos Quartet and pre-recorded tape that he titled “John's Book of Alleged Dances,” because, as he said, “the steps for the dances had yet to be invented.” His new work for 2008 had a more serious title: simply, “String Quartet,” and was premiered by the St. Lawrence String Quartet.  Adams had heard the Saint Lawrence Quartet perform his “Book of Alleged Dances,” and was so impressed he wanted to write a new work for the ensemble, but found it an intimidating experience, given the great string quartets written by composers of the past ranging from Haydn to Ravel. “String quartet writing is one of the most difficult challenges a composer can take on,” confessed Adams. “Unless one is an accomplished string player and writes in that medium all the time – and I don't know many these days who do – the demands of handling this extremely volatile and transparent instrumental medium can easily be humbling, if not downright humiliating.”  Music Played in Today's Program John Adams (b. 1947) — String Quartet (No. 1) (St. Lawrence String Quartet) Nonesuch 523014 On This Day Births 1715 - Austrian composer Georg Christoph Wagenseil, in Vienna; 1782 - French composer Daniel-François-Esprit Auber, in Caen; 1852 - British composer Frederic Hymen Cowen, in Kingston, Jamaica; 1862 - English composer Fritz (Frederick) Delius, in Bradford, Yorkshire; 1876 - English composer Havergal Brian, in Dresden, Staffordshire; 1924 - Italian composer Luigi Nono, in Venice; Deaths 1946 - British composer Sydney Jones, age 84, in London, age 84; 1962 - Austrian composer and violinist Fritz Kreisler, age 86, in New York City; Premieres 1728 - Gay & Pepusch: ballad-opera, “The Beggar's Opera,” at Lincoln's Inn Fields, London; This work, mounted by the London impresario John Rich, proved so popular that it was staged 62 times that season; As contemporary wags put it, the wildly successful work “made Gay Rich and Rich Gay&rdquo(Gregorian date: Feb. 9); 1781 - Mozart: opera, "Idomeneo" in Munich at the Hoftheater; 1826 - Schubert: String Quartet in D minor, "Death and the Maiden," as a unrehearsed reading at the Vienna home of Karl and Franz Hacker, two amateur musicians; Schubert, who usually played viola on such occasions, could not perform since he was busy copying out the parts and making last-minute corrections; 1882 - Rimsky-Korsakov: opera "The Snow Maiden," in St. Petersburg (Gregorian date: Feb. 10); 1892 - Chadwick: “A Pastoral Prelude,” by the Boston Symphony. Arthur Nikisch conducting; 1916 - Prokofiev: "Scythian" Suite ("Ala and Lolly"), Op. 20, at the Mariinsky Theater in Petrograd, with the composer conducting (Julian date: Jan. 16); 1932 - Gershwin: "Second Rhapsody" for piano and orchestra, in Boston, with the Boston Symphony conducted by Serge Koussevitzky and the composer as soloist; 1936 - Constant Lambert: "Summer's Last Will and Testament" for chorus and orchestra, in London; 1981 - John Williams: first version of Violin Concerto (dedicated to the composer's late wife, actress and singer Barbara Ruick Williams), by Mark Peskanov and the St. Louis Symphony conducted by Leonard Slatkin; Williams subsequently revised this work in 1998; This premiere date is listed (incorrectly) as Jan. 19 in the DG recording featuring Gil Shaham; Links and Resources More on John Adams More on the string quartet and its history

Was ist das Gegenteil von österreichischen Bundeskanzlern, SPD-Parteivorsitzenden und sportlichen Übungsleitern von Schalke 04? Richtig, Chefdirigenten der Berliner Philharmoniker. In 140 Jahren Orchesterbestehen gab es von ihnen offiziell gerade einmal sieben. Der zweite, Arthur Nikisch, mag in unseren heutigen Ohren zwar vielleicht der unbekannteste Name in dieser exklusiven Reihe sein. Seine Bedeutung für den Aufstieg der Philharmoniker zu einem der berühmtesten Klangkörper des Planeten ist dennoch nicht zu unterschätzen. Nicht nur kommt er bis heute – nach Herbert von Karajan – auf die zweitlängste Amtszeit bei den ‘Philis‘. Seine Ägide steht außerdem für die Entwicklung einer ausgedehnten Tourneetätigkeit, für einige wichtige Uraufführungen (u.a. von Mahler und Busoni) sowie nicht zuletzt für die ersten Schallplattenaufnahmen in der Orchestergeschichte. Am 9. Januar 1922 stand Nikisch noch am Pult seiner Philharmoniker, am 23. Januar starb er plötzlich an den Folgen einer Grippe, am 25. Januar würdigt ihn Kurt Singer im Vorwärts – und Frank Riede bei Auf den Tag genau.

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Born of Jewish descent in Warsaw, Poland in 1879, Wanda Landowska would go on to achieve an impressive career as a keyboardist, specializing in the works of Johann Sebastian Bach and other composers from the seventeenth and eighteenth centuries. What is perhaps most remarkable about her career is that not only was she a performer of the highest rank – and one for whom her on-stage manner was known to have great individuality, charm and intimacy – but also she was extremely well-read, particularly in the area of musicology. Landowska’s vast writings, collected in the present volume – published five years after her death by her student and domestic partner, Denise Restout – represent discussions about many aspects pertaining to musical performance and interpretation. Regarded for her revival of the harpsichord, Landowska was a student of Jan Kleczynski and Alexander Michalowski, both of which were authorities on the music of Frédéric Chopin. Additional studies in counterpoint and composition were taken with Heinrich Urban in Berlin. Landowska also studied with Moritz Moszkowski. Following an elopement to Paris in 1900, with Henry Lew (who later died in a car accident following the First World War) Landowska began to give harpsichord performances, her famous Pleyel harpsichord having not been completed until 1912. This period saw concert tours throughout Europe. Also at this time, her essays began to be published. During the first decade of the twentieth century, Landowska taught at the Schola Cantorum in Paris and, a few years later, from 1912-19, at the Hochschule für Musik in Berlin. Following her American debut in 1923, she taught for several years in Philadelphia at the Curtis Institute. By 1925, Landowska had established the École de Musique Ancienne in Paris and, by 1927, her famous home in Saint-Leu-la-Forêt, which would become a center for the performance and study of old music. She held residence there thru 1940, during which time she often attended – both as guest and performer – the famous salons of Natalie Clifford Barney. Becoming a naturalized French citizen in 1938, Landowska was the first person to record, at the harpsichord, the Goldberg Variations of J. S. Bach. The years of the Second World War were hard on Landowska, her home in Saint-Leu having been looted. Priceless instruments and manuscripts were stolen. Having fled Europe for the USA with Denise Restout, the two arrived in New York on December 7, 1941, the date of the attack on Pearl Harbour. The two eventually settled in Lakeville, Connecticut, in a peaceful home where Landowska continued performing and teaching. Landowska gave her final public performance in 1954. That same year saw the issuing of her recording of The Well-Tempered Clavier by J. S. Bach. Though not limited to the harpsichord (Landowska performed frequently at the piano), the instrument was, however, her primary vehicle of expression and she achieved success in conveying to contemporary composers, the reasons they ought to write for the instrument. Both Manuel de Falla and Francis Poulenc composed for her, works for harpsichord. While the selections presented here represent a small sampling of the artist’s work, it is worth noting that the lives with whom Landowska came into contact during her life, included the likes of Louis Diémer, Gabriel Fauré, Serge Koussevitzky, Pierre Monteux, Arthur Nikisch, Ignacy Jan Paderewski, Camille Saint-Saëns, Albert Schweitzer, Leopold Stokowski, Igor Stravinsky, Leo Tolstoy and many others. Landowska passed away in 1959 in Lakeville, Connecticut, at the age of eighty. ---------- PayPal.me/pennypiano Support for this podcast is greatly appreciated!

Anton Bruckner's Symphony No. 7 in E major (WAB 107) is one of his best-known symphonies. It was written between 1881 and 1883 and was revised in 1885. It is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life. The symphony is sometimes referred to as the "Lyric", though the appellation is not the composer's own, and is seldom used. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p642/Bruckner%3A_Symphony_No._7_in_E_Major%2C_WAB107.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

In his autobiographical sketch, “A Mingled Chime,” the late British conductor Sir Thomas Beecham offered this assessment of the British composer Dame Ethel Smyth: “Ethel Smyth is without question the most remarkable of her sex that I have been privileged to know,” and wrote he admired her “fiery energy and unrelenting fixity of purpose.” Born in 1858, Smyth became a composer against her family’s wishes, and it took dogged determination to get her large-scale choral and operatic works performed in an era when most in the music business did not take female composers seriously. That was before they met Dame Ethel, who convinced legendary conductors like Arthur Nikisch, Bruno Walter, and Sir Thomas, who realized her music had merit. Smyth’s opera “The Wreckers” had its premiere performance in Leipzig on today’s date in 1906, and was championed in England by Sir Thomas Beecham, who thought it her masterpiece. “It remains,” wrote Beecham in 1944, the year of Smyth’s death, “one of the three or four English operas of real musical merit and vitality written in the past forty years.”

In his autobiographical sketch, “A Mingled Chime,” the late British conductor Sir Thomas Beecham offered this assessment of the British composer Dame Ethel Smyth: “Ethel Smyth is without question the most remarkable of her sex that I have been privileged to know,” and wrote he admired her “fiery energy and unrelenting fixity of purpose.” Born in 1858, Smyth became a composer against her family’s wishes, and it took dogged determination to get her large-scale choral and operatic works performed in an era when most in the music business did not take female composers seriously. That was before they met Dame Ethel, who convinced legendary conductors like Arthur Nikisch, Bruno Walter, and Sir Thomas, who realized her music had merit. Smyth’s opera “The Wreckers” had its premiere performance in Leipzig on today’s date in 1906, and was championed in England by Sir Thomas Beecham, who thought it her masterpiece. “It remains,” wrote Beecham in 1944, the year of Smyth’s death, “one of the three or four English operas of real musical merit and vitality written in the past forty years.”

durée : 00:25:09 - Berlin 1898, fin de siècle animée - par : Anne-Charlotte Rémond - Quelle chance pour les mélomanes de vivre à Berlin en 1898. Musicopolis vous invite à une promenade sur les Linden en compagnie du directeur de l'Opéra, Richard Strauss, à la rencontre de quelques berlinois célèbres tels que Felix Weingartner, Ferucio Busoni, Arthur Nikisch ou encore Max Bruch ! - réalisé par : Philippe Petit

"La Cinquena de Brahms" El director d'orquestra Arthur Nikisch, que va dirigir aquesta obra, va comentar que si s'havia dit que la Primera simfonia de Brahms era la Desena de Beethoven, aquesta Primera simfonia d'Elgar era la Cinquena de Brahms. Per a la il

Den österrikisk-ungerske dirigenten Arthur Nikisch var den mest inflytelserika dirigenten av sin tid. Han excellerade i romantisk musik, som Schumann, Brahms, Bruckner, Tjajkovskij och Wagner, men också Beethoven. Så här säger Arthur Nikisch om det självspelande pianot: Återgivningen av styckena som spelas av artisterna på apparaturen är i varje avseende så underbart naturlig, att det är svårt att tro att artisten själv inte är närvarande och framträder personligen. Mer information på sverigesradio.se/p2

Den österrikisk-ungerske dirigenten Arthur Nikisch var den mest inflytelserika dirigenten av sin tid. Han excellerade i romantisk musik, som Schumann, Brahms, Bruckner, Tjajkovskij och Wagner, men också Beethoven. Så här säger Arthur Nikisch om det självspelande pianot: Återgivningen av styckena som spelas av artisterna på apparaturen är i varje avseende så underbart naturlig, att det är svårt att tro att artisten själv inte är närvarande och framträder personligen. Mer information på sverigesradio.se/p2

Den österrikisk-ungerske dirigenten Arthur Nikisch var den mest inflytelserika dirigenten av sin tid. Han excellerade i romantisk musik, som Schumann, Brahms, Bruckner, Tjajkovskij och Wagner, men också Beethoven. Så här säger Arthur Nikisch om det självspelande pianot: Återgivningen av styckena som spelas av artisterna på apparaturen är i varje avseende så underbart naturlig, att det är svårt att tro att artisten själv inte är närvarande och framträder personligen. Mer information på sverigesradio.se/p2

Simon Heighes visits an unusual recording session at the Royal College of Music where students and early recording experts have teamed up to recreate Arthur Nikisch and the Berlin Philharmonic'€™s 1913 recording of Beethoven'€™s 5th Symphony. The original recording, one of the earliest one and most successful attempts to record an entire symphony using (close to) a full orchestra, used an acoustic horn to cut into a wax disc. Simon talked to participants in the 2014 re-enactment about the challenges of re-creating a recording process that pre-dated the use of electronic microphones.