Podcasts about Aurora Orchestra

In Episode 33 of The Classical Circuit, host Ella Lee talks to Jane Mitchell, Creative Director of the Aurora Orchestra (and also their Principal Flautist), about the ensemble's fresh approach to performance. Jane talks about the evolution of the Aurora ‘orchestral theatre' format, which involves the orchestra playing from memory, and their upcoming project 'Carnival', part of their 20th anniversary celebrations this year. She also reflects on their groundbreaking Beethoven 9 at the 2024 Proms, discusses the intention of 'revealing' all the music has to offer, and offers her insights into bringing musicians and management closer together. -------------------Aurora Orchestra:WebsiteFacebookInstagramTikTok-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

Das Aurora Orchestra verfolgt seit bald 20 Jahren den Plan, klassische Orchestermusik zugänglicher zu machen und die Präsentationsform von Konzerten aufzulockern. Unter seinem Gründer und Chefdirigenten Nicholas Collon hat sich das Aurora Orchestra seit seinem ersten Konzert im Jahr 2005 zu einem festen Begriff in der britischen und internationalen Orchesterszene entwickelt. Aurora ist ein Pionier der Idee, bedeutende Werke der klassischen Orchesterliteratur auswendig zu spielen und in lockerer Form in die Werke einzuführen. Regine Müller war in London und hat das Orchester besucht.

Imogen Whitehead is a true trailblazer in the world of trumpet performance. Currently the principal trumpet of the Britten Sinfonia, Imogen has performed as principal trumpet with some of the world's most prestigious orchestras, including the London Symphony Orchestra and the Aurora Orchestra. Alongside her orchestral work, she has also carved out a dynamic solo career, commissioning and premiering new trumpet and flugelhorn music, and championing contemporary compositions.In this interview, we explore the wide-ranging facets of Imogen's career and the personal and professional steps she's taken to build her impressive path. We begin in Part 1 by talking about her recent experience touring with the London Symphony Orchestra, where she reflects on both her audition and the challenges and rewards of playing with such a renowned ensemble.We then move on to discuss her time with the Aurora Orchestra, an ensemble that performs much of its repertoire entirely from memory—a fascinating approach that Imogen describes in detail. She also shares insights into her experience premiering Anibal Vidal's Trumpet Concerto with the Britten Sinfonia, and how this commissioning project came to life.Throughout our conversation, we explore the career strategies Imogen has employed, including the importance of building personal connections and the role that social media has played in expanding her reach. Imogen also takes us back to her time as a student at the Royal Academy of Music, where she recalls a transformative lesson with the legendary Jim Watson.In the second part of our conversation [Subscriber Content], Imogen discusses further studies with Norwegian soloist Tine Thing Helseth in Oslo, shedding light on how brief but impactful experiences can shape a musician's growth. She also provides an inside look at the commissioning process for To Stay Open, a piece by Charlotte Harding inspired by the work of psychologist Pippa Grange.We end on a fun note, as Imogen shares the unique experience of playing in the recording and filming of Mahler's 2nd Symphony for the 2023 Film "Maestro", an American biographical romantic drama about Leonard Bernstein..Whether you're a young player, a seasoned professional, or simply a fan of music, this episode with Imogen Whitehead is sure to inspire you to take chances, put in the work, and grow both as a musician and a person.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Samira Ahmed talks to Pat Barker about the final part of her Troy trilogy, The Voyage Home. Alain Delon has died at the age of 88 - President Macron called him a French monument. Film critic Ginette Vincendeau assesses his impact on French film. At the Proms two orchestras are set to play works by Beethoven and Mozart from memory - conductor Nicholas Collon from the Aurora Orchestra explains how musicians manage without a score. And Orlando Weeks - formerly the frontman of Mercury Prize-nominated band The Maccabees - plays live in the studio and talks about the art he now creates, alongside music. Presenter: Samira Ahmed Producer: Paula McGrath

In Episode 103, Patrick chats to Jane Mitchell about the Aurora Orchestra's latest resource, Discover Beethoven, which uses the Sixth Symphony as a way into orchestral music for young musicians.Hattie Fisk, co-chair of the Music and Drama Education Awards judging panel, gives an overview of the 2025 Awards, and encourages everyone to get voting.And Dr Bushra El-Turk and Dr Joel Bell introduce The Alternative Conservatoire, a new course for young musicians, post-18.Presented and produced by Patrick Johns.https://auroraclassroom.co.ukhttps://musicdramaedawards.comhttps://www.fabermusic.com/freebooksforteachershttps://thealternativeconservatoire.org #CanDoMusic #GetPlaying #SaveOurSubjects© Music Teachers' Association www.musicteachers.org

A passionate advocate for the bassoon, Amy Harman is much sought after as a soloist, chamber musician, teacher and communicator.   Amy was a professor at the Royal Academy of Music from 2013 to 2024 and gives masterclasses and coaches internationally. She was appointed professor of bassoon at the Robert Schumann Hochshule Düsseldorf in 2024, the first woman to hold such a position in Germany.  Aged 23 Amy was appointed solo bassoon of the Philharmonia Orchestra. Sought after as guest principal with leading orchestras in Europe including Paavo Järvi's EFO and the Mahler Chamber Orchestra, she is currently principal of Aurora Orchestra. She was selected by YCAT in 2014. Solo highlights include premiering Roxanna Panufnik's concerto for bassoon & string orchestra with the Royal Northern Sinfonia, Strauss's Concertino with the English Chamber Orchestra, Mozart's Concerto at the Festival Suoni dal Golfo in Lerici and appearing as a flying soloist at the world premiere of Stockhausen's Mittwoch aus Licht. Amy was the first bassoonist to perform a live broadcast solo recital for BBC radio 3. She performs recitals regularly in UK and Germany with her collaborator Tom Poster. Summary: Amy Harman shares her journey to becoming a bassoonist, including her early musical inspirations and her transition from playing the cello to the bassoon. She discusses her experiences with the Aurora Orchestra and their memorized performances, as shares some practice tips for listeners. Amy also talks about the importance of the Young Classical Artist Trust in shaping her career and the significance of being the first female bassoon professor in Germany, at the Robert Schumann Hochschule in Dusseldörf. In this conversation, Amy discusses the challenges facing the arts industry, particularly in the UK, and offers words of encouragement to young musicians. She emphasizes the importance of creating art and suggests pursuing a portfolio career, and shares her experience of balancing a busy career with being a mother of three. She also mentions upcoming projects she's excited about, including a performance of Elizabeth MacConkey's concertino and various chamber music festivals. Chapters   00:00 Introduction and Amy's Musical Background 07:24 Memorized Performances with the Aurora Orchestra 24:38 The Power of a Portfolio Career 30:35 Finding Inspiration in Different Genres 38:42 The Art of Memorizing Music ************************************ Find out more about Amy here. Amy's Instagram Host: Jo Anne Sukumaran, find out more here. Legends of Reed is sponsored by Barton Cane, enjoy free shipping with coupon code" legendsofreed", on their website. Opening credits: Concert recording of Amy Harman with Castalian Quartet - Cantator and Amanda (2011), by Roxanna Panufnik - courtesy of Young Classical Artist's Trust.Photo credit: Kaupo Kikas

Tom Service talks to pianist and writer, Susan Tomes, about her new book Women and the Piano - a History in 50 Lives. Those lives include well-known names today, from Clara Schumann to Nina Simone, but also many women like Marianne Martinez who have been eclipsed from previous histories of pianists. Tom and Susan discuss how women went from being the Queens of the piano in domestic settings to being excluded from public performances and conservatoires during the development of the concert piano. Pianist, Lucy Parham, talks to Tom too about the impact that Susan's book has had on her, and she talks about life today for female pianists.The Afghan Youth Orchestra is embarking on its first UK tour - Breaking the Silence. Currently exiled in Portugal, the young musicians live and study, having escaped the Taliban's censorship of music. The orchestra's founder, Dr Ahmad Sarmast and two of his violinists, Sevinch Majidi and Ali Sina Hotak, talk to Tom about their hopes of keeping Afghanistan's situation on the international radar through their music, which fuses traditional and Western instruments into a bold new sound.Tenor Allan Clayton and Aurora Orchestra join forces in a new and highly imaginative theatrical production of Hans Zender's composed interpretation of Schubert's Winterreise. Tom Service finds out more when he visits them in rehearsal. He talks to Allan alongside Aurora's conductor Nicholas Collon and creative director Jane Mitchell about Zender's interpretation of Schubert's original song-cycle.Tom Service also talks to Kerry Andrew, multi-talented composer, singer, performer and writer. Kerry's third novel, We are Together Because, is out now and Tom talks to them about how music infuses their writing. Tom also talks to Kerry about their last album - Hare - Hunter - Moth - Ghost - recorded as You Are Wolf and in which they turn folk songs and myths inside out.

17. februārī Lielajā ģildē festivāla "Vīnes klasika" kopā ar Valsts kamerorķestri Sinfonietta Rīga uzstāsies austriešu sitaminstrumentālists Bernhards Šimpelsbergers un britu vijolnieks Tomass Gūlds, atskaņojot Ludviga van Bēthovena Sesto simfoniju ("Pastorālā"), Jozefa Haidna 22. simfoniju ("Filozofs") un austriešu komponista Johannesa Berauera dubultkoncerts NoWhere. Londonā dzimušais Tomass Gūlds no 2005. līdz 2016. gadam kā koncertmeistars darbojās kamerorķestrī Aurora Orchestra, bet šobrīd viņš ir kamerorķestra Britten Sinfonia pirmā vijole, kā arī bieži uzstājas kopā ar ievērojamiem orķestriem visā pasaulē, toskait vairākkārt koncertējis arī Latvijā. Ar Tomasu Gūldu runājam par austriešu komponista Johannesa Berauera mūziku, indiešu klasiskās mūzikas ritmiem, par žanru robežām un to neviennozīmību un pārvērtēšanu, par džeza un klasiskās mūzikas iespaidiem Gūlda bērnībā, mazliet arī par Naidželu Kenediju, Žilu Apapu, leģendāro vijolspēles pasniedzēju Ņujorkā Dorotiju Deleju un džeza vijolnieku Stefanu Grapelli. Sarunā arī par Haidna inovatīvo muzikālo izdomu viņa 22. simfonijā "Filozofs" un citos darbos, par to, kā aiziet no Eiropas Savienības ar Haidna "Atvadu" simfoniju, arī pāris vārdi par Bēthovena Sesto "Pastorālo" simfoniju un Tomasa Gūlda muzikālajiem plāniem 2024. gadā. Neriskēšu teikt, ka Johannesa Berauera mūzika Rīgā vēl nav skanējusi, bet tas varētu būt tuvu patiesībai. Kāda no jūsu skatupunkta ir Berauera mūzika? Domāju, šī būs pirmā reize, kad Johannesa Berauera mūzika skanēs Latvijā. Viņš ir to komponistu skaitā, kas nojauc robežas starp žanriem, šos ne visai noderīgos, tradicionālos nodalījumus starp džezu un klasisko mūziku. Ir tik daudz jaunas mūzikas, kas pastāv kaut kur pa vidu šiem dalījumiem. Ir grūti kategorizēt, bet Johanness ir klasiski skolots komponists, viņš caurcaurēm izstudējis Ravela un Šēnberga orķestrāciju. Viņš izcili pārzina orķestrēšanas mākslu. Un vienlaikus viņš ir pilnībā iegremdējies džeza mūzikā. Pazīstu viņu jau daudzus gadus, domāju, tas bija pirms gadiem desmit, kad viņš mani uzaicināja piedalīties kamermūzikas koncertā Londonā. Viņš meklēja vijolnieku, un mani kāds bija ieteicis, jo arī es spēlēju gan klasisko, gan džeza mūziku, un visu, kas ir kaut kur pa vidu šiem žanriem. Tā desmit gadus esam strādājuši kopā, un tas viss mūs aizvedis pie šī koncerta, kas ir fantastisks darbs. Ceru, ka klausītājiem tas patiks. Tad varētu teikt, ka ar Johannesu esat domubiedri tajā, kā domājat par mūziku, atskaņojumu, žanriem? Domāju, jā. Mums ir visai līdzīga pieredze tādā nozīmē, cik dažādos mūzikas stilos izpaužamies, kādu mūziku klausāmies. Mana personīgā interese par džezu sakņojas bērnībā. Maniem vecākiem bija apjomīga džeza un klasiskās mūzikas ierakstu kolekcija. Mani nosauca par Tomasu, jo vecākiem ļoti patika Tomasa Tallisa darbi. Tad nu varat iedomāties – mājās skanēja daudz klasiskā mūzika, bet tāpat Mailss Deiviss, Džons Koltreins, Hērbijs Manns un Ārts Bleikijs. Bērnībā paguvu iepazīt savu vecāku lielo mūzikas kolekciju. Tad sāku spēlēt bungas. Esmu mācījies trīs klasisko instrumentu spēli: vijoli, klavieres un sitaminstrumentus. Tā nonācu pie bungu komplekta, un caur to nonācu pie džeza spēlēšanas. Un man tas bija ļoti dabisks ceļš, kā nonākt līdz džezam. Domāju, ka Johanness varētu izstāstīt līdzīgu stāstu. Klasiskās mūzikas izglītībai kopumā ir problēma, ka tā ir ļoti preskriptīva, noteiktu rīcību paģēroša. Ir populārs stāsts par vijolnieku Naidželu Kenediju, kurš savulaik studēja pie slavenās pedagoģes Dorotijas Delejas Džuljarda skolā Ņujorkā. Tas bija pirms 30, 40 gadiem. Ap to laiku Ņujorkā bija džeza vijolnieks Stefans Grapelli, un viņš uzaicināja Naidželu Kenediju, kurš tolaik bija ļoti jauns mūziķis, pievienoties uz koncertu džeza klubā. Dorotija Deleja par to nebija sajūsmā. Viņa teica: ja vēlies būt īstens klasiskais vijolnieks, tev nebūtu jāizšķiež laiks džeza klubos. Droši vien tajā ir savs patiesības grauds. Bet domāju, ka spēja muzicēt dažādos žanros un zināšanas, kas aptver visu, kas mūzikā ir labs, nāk tikai par labu, tas ir veselīgi. Es saku – labais mūzikā, bet laba mūzika ir gan klasikā, gan džezā, gan smagajā metālā, kantri mūzikā, it visur. Ir arī daudz sliktas mūzikas, kurai vajadzētu mest līkumu. Bet, ziniet, ir arī slikta klasiskā mūzika. Un laba mūzika sliktos ierakstos. Protams. Turklāt mūslaikos ir tik daudz mūzikas. Dažreiz vēlos paklausīties mūziku, un vienlaikus jūtos pārsātināts no izvēļu daudzuma, kas 2024. gadā man ir pieejams. Sestdien koncertā spēlēsim arī Bēthovena "Pastorālo simfoniju" un Haidna 22. simfoniju ar nosaukumu „Filozofs”. Ja ierakstāt, piemēram, Bēthovena "Pastorālo" Apple Music meklētājā, tur būs vismaz 70, 80 ierakstu, tā ir neaptverams klāsts. Ja runājam par labiem ierakstiem, domājams, Naidželam Kenedijam tomēr nāca par labu dažādu žanru iepazīšana. Vienā no agrākām intervijām stāstījāt par koncertu, kurā Mocarta Vijolkoncertam nospēlējāt džeza kadenci, un publika to īsti nesaprata. Bet manā pieredzē ar vijoļkoncertu repertruāru viena no virsotnēm ir Naidžela Kenedija ieskaņotais Mocarta Ceturtais vijoļkoncerts kopā ar Polijas kamerorķestri. Kad pienāk brīdis pirmās daļas kadencei, orķestris sāk spēlēt izvērstu ostinato, bet Kenedijs pie vijoles pieslēdz ģitāras pedāļus, pilnībā izmainot instrumenta skaņu. Es domāju, ka Naidžels Kenedijs ir paveicis daudz laba, nojaucot robežas starp mūzikas žanriem. Un, ja runājam par Mocarta koncertu kadencēm, noteikti jāpiesauc arī Žils Apaps. Tas patiesi ir viens no vislieliskākajiem vijoļspēles paraugiem. Tas patiesībā mani iedvesmoja pamēģināt darīt kaut ko citādāk, bet tas jau bija krietnu laiku atpakaļ. Pirms kādiem 14 gadiem, un pēc koncerta izcēlās neliels skandāls, jo toreiz spēlēju nelielā mūzikas festivālā uz Anglijas un Velsas robežas, un viņi pavisam noteikti negaidīja džeza kadenci Mocarta vijoļkoncertā, par to vēlāk rakstīja presē, tas bija neliels šoka moments. Jūs dabūjāt sliktu atsauksmi? Recenzijā viss bija ļoti slikti, bet es arī saņēmu daudz atbalsta. Tas bija polarizējoši. Pusei no klausītājiem tas patika, pusei nepatika. Bet manā ieskatā tā bija vērtīga pieredze, jo no tā izrietēja dziļāka saruna par to, cik lielā mērā kadence pieder komponistam, cik svarīgi ir kadencē ievērot to mūzikas stilu, kas ir pirms un pēc kadences, vai kadence nozīmē iespēju mūziķim lauzt vecās tradīcijas un darīt kaut ko pilnīgi individuālu? Es nezinu, tā joprojām ir aktuāla saruna. Tomēr es nekad vairs neatkārtoju eksperimentu ar džeza kadencēm Mocarta mūzikā. Atklāti sakot, tas patraucēja atskaņojumam. Un es domāju, ka atskaņotāja darbs ir vienmēr dot visgodprātīgāko versiju komponista rakstītajam materiālam. Jums nekad nevajadzētu doties prom no Mocarta vijoļkoncerta atskaņojuma ar domu, ka Tomass Gūlds bija lielisks. Tā vietā būtu jābūt pēcsajūtai – jā, tas Volfgangs Amadejs patiešām ir īpašs. Cik noprotu, arī Johanness Berauers jums un jūsu kolēģim pie sitaminstrumentiem uzrakstījis koncertdarbu. Vai arī Johanness savā darbā iekļāvis kadences? Darba pirmajā daļā ir vieta kadencei, bet tā nav sevišķi virtuoza. Tas drīzāk ir pārdomu brīdis, un lielumties sitaminstrumentālistam Bernhardam. Domāju, būtu labi viņu iepazīstināt. Viņam ir īsta austrieša vārds: Bernhards Šimpelsbergers, bet tas nav tas, ko domājat. Viņš ir ļoti moderns, fleksibls, daudzpusīgs mūziķis, kurš daudz laika paadījis Indijā, studējot indiešu ritmus. Sevišķi konakolu – prasmi vokalizēt ritma paternus. Neesmu eksperts, bet Bernhards to ir izstudējis līdz kaulam, viņš ir ļoti autentisks. Johannesa koncertā ir daudz indiešu mūzikas iespaidu. Bernhardam ir mikrofons, lai klausītāji varētu dzirdēt visas konakola nianses. Arī kadencē dzirdēsim konakolu. Vai atminaties, kā sākās jūsu interese par Jozefa Haidna mūziku? Domāju, ka pirmais Haidna skaņdarbs, ko spēlēju, bija „Pēdējie septiņi vārdi”, ko atskaņoju kvarteta sastāvā. Toreiz biju students, tas bija Lielajā piektdienā. Mūzika mani ļoti uzrunāja, sajutu stipru saikni ar Haidnu. Par simfonijām runājot, tās bieži uztver kā dzīvespriecīgu, bezrūpīgu, visai vieglu koncerta ievadu. Anglijā nebūs retums, ka spēlē Haidna simfoniju, un mēģinājumos tai netiks veltīts daudz laika, jo vispārpieņemts, ka tā ir viegla mūzika, kuru mūziķi pazīst. Ja pievēršam uzmanību „Filozofa” simfonijai, tai ir ļoti neparasta pirmā lēnā daļa, tajā ir ilgstošs ostinato, repetitīva, motoriska figūra čellos, tā ilgst ap 8 minūtēm. Tas patiesībā ir ļoti savādi. Vijoles spēlē surdinēti, tas piešķir neparastu skaņas nokrāsu. Un melodiju spēlē divi mežragi un divi angļu ragi. Haidnam tas ir ļoti neparasts veids, kā iesākt simfoniju. Domāju, ka Haidns bija ļoti inovatīvs komponists. Praktiski jebkurā simfonijā, jebkurā stīgu kvartetā atradīsim kaut ko oriģinālu, piemēram, norādi vijolēm spēlēt melodiju augstā pozīcijā uz sol stīgas, vai surdīņu pielietošanu, vai putnu treļļu imitācijas – Haidna izdoma un humora izjūta ir neizsmeļama.  Vari just, ka viņš bija ļoti laipns, augstsirdīgs cilvēks. Es mīlu viņa mūziku. Domāju, jau viņa pirmajās simfonijās izdoma un asprātīgi risinājumi ir kas tāds, ko gaidi katrā nākamajā Haidna simfonijā. Piemēram tas, cik daudzveidīgi viņš izmanto mežragu zelta gājienu no simfonijas uz simfoniju. Jā, es pilnībā piekrītu. Nāk prātā „Atvadu” simfonija, kuras beigās mūziķi noiet no skatuves. Man bija iespēja spēlēt šo darbu ļoti sāpīgā, un ļoti zīmīgā brīdī. Tas bija Briselē uzreiz pēc tam, kad nobalsojām par izstāšanos no Eiropas Savienības. Es par to nenobalsoju, bet, diemžēl, daudzi mani tautieši tā izdarīja. Mēs spēlējām šo simfoniju Daiļo mākslu pilī Briselē īsi pēc balsojuma. Mūziķi nogāja no skatuves, un tas bija, jūs varat iedomāties, cilvēkiem acīs bija asaras. Tas bija ļoti emocionāli. Lūdzu, dažus vārdus par Bēthovena Sesto šī koncerta kontekstā. Šis koncerts būs daļa no Vīnes klasikas festivāla, tāpēc vēlējāmies kaut ko no Bēthovena, viena no centrālajiem Vīnes komponistiem. "Pastorālā simfonija" lieliski sader ar Berauera darbu, kurā arīdzan ir pastorāli elementi. Un Bernhardam uz skatuves ir ļoti savādi instrumenti, kurus viņš ieguvis ceļojumos pa visu pasauli. Un tas viss ļoti labi veido koncerta kopainu un papildina dabas tematiku. Domāju, ka "Pastorālā" no visām Bēthovena simfonijām ir ļoti parocīga atskaņojumam bez diriģenta, jo tā ir ļoti kamermuzikāla, tas ir smalks darbs. Tai nepiemīt ekstravertais ārišķīgums, kas raksturīgs iepriekšējām – Piektajai, Trešajai, arī Septītajai. Tie ir daudz ekstrovertāki, spožāki darbi. Turpretim pāra skaitļu simfonijas – Otrā, Ceturtā, Sestā – ir introvertākas, klusākas, smalkākas. Un Sestā ir par dabu, virs katras daļas ir teksts, kas vēsta par notikumiem mūzikā. Vētra, strautiņš, maza upīte, ciema ļaudis svētku noskaņā un tā tālāk. Tie ir Bēthovena simfoniju četri gadalaiki. Vai vēlaties pastāstīt klausītājiem par to, kā izskatās jūsu 2024. gads uz skatuvēm? Šī ir aizņemta nedēļa, vēl pagūšu aizlidot atpakaļ uz Londonu un nospēlēt koncertu ar savu orķestri, patiesībā kaut ko līdzīgu kā šeit. Piebildīšu, ka Sinfonietta Rīga ir viens no maniem vismīļākajiem orķestriem pasaulē. Tiekamies ceturto reizi, un tas ir ļoti priviliģējoši un gandarījoši – veidot ilgstošu sadarbību ar orķestri, nevis vienreiz satikties, nospēlēt koncertu un pamāt ardievas. Atgriežoties pie jautājuma, Londonā spēlēsim Bēthovena Lielo fūgu, Bartoka Divertismentu, un izcilu Džona Tavenera darbu, čellkoncertu „Sargājošais plīvurs”. Taveners devās mūžībā pirms desmit gadiem. Tad ar Britten Sinfonia dosimies spēlēt uz Mančesteru un Dublinu. Kas vēl, šogad spēlēšu Maksa Rihtera pārkomponētos Vivaldi „Gadalaikus”, būšu visai aizņemts, lai gan tagad, kad man ir 40, cenšos aizņemtību mazināt, vēlos arī atlikt laiku tenisam un saviem kaķiem. Tomas, paldies par sarunu, lai viss izdodas!

*in english language* »Was spielt dieses unvergleichliche Ensemble wohl als nächstes auswendig?«, wird der Evening Standard auf der Homepage des Aurora Orchestra zitiert. »>Sacre du Printemps

Jess Gillam and percussionist Sehyogue Aulakh share some of the music that they love, from Aretha Franklin to Dmitri Shostakovich, JS Bach and Seckou Keita. Sehyogue's Playlist: SHOSTAKOVICH – Symphony No. 5 in D Minor Op. 47: I. Moderato (Royal Concertegabouw Orchestra, Bernard Haiktink) MOBY – Porcelain COUPERIN arr. Ades – Les Baricades misterieuses (Aurora Orchestra, Nicholas Collon) ARETHA FRANKLN – (You make me feel like a) Natural Woman SECKOU KEITA - Sakiliba COLERIDGE-TAYLOR – Ballade in A Minor Op. 33: I. Allegro energetico, ma non troppo presto (Chineke! Orchestra, Kalena Bovell SIMON MOULLIER - Acceptance (Simon Moullier - Vibraphone, Balafon, Percussions, Synths; Dayna Stephens - Saxophone ; Simon Chivallon – Piano; Luca Alemanno – Bass; Jongkuk Kim - Drums)

Nicolas Fleury has been playing the French horn since he was 8. He's been principle horn of the Aurora Orchestra, the Royal Philharmonic Orchestra and the Bournemouth Symphony Orchestra, and made guest appearances with a slew of orchestras around the world including the Sydney Symphony and London Symphony Orchestras. He's performed live on the BBC, appeared alongside conductors like Charles Dutoit, Neville Marriner and John Gardiner, and he's now settled in Australia as principal horn with the Melbourne Symphony Orchestra. He's made regular appearances with organisations around the country including Musica Viva and the Omega Ensemble. In this conversation, recorded while Nico was in Sydney to perform with the Omega Ensemble, Nico speaks with incredible passion about his craft and the amazing experiences he's had working with the world's top orchestras and conductors.

Tom Service explores classical music's place in British society, in light of the current national debates around funding from Arts Council England and the proposed cuts to the BBC's performing groups. The programme asks questions about how classical music and opera is valued, and how it resonates with today's diverse communities, through perspectives from within the UK and from abroad, from former culture minister Ed Vaizey to multidisciplinary artist Nwando Ebizie. Richard McKerrow, the producer behind Channel 4's The Piano, on classical music on TV and the impact he hopes the series will have on our musical life. Sarah Price from Liverpool University, on her research into audiences: why do we return to the familiar when choosing which concerts to attend? Kully Thiarai, creative director and CEO of Leeds 2023, on the importance of the arts and culture for community and belonging. Andrew Mellor, a British journalist in Denmark, on the relationship the Nordic countries have with classical music, and why it's different in the UK. Bobby Duffy from the Policy Institute at King's College London, on how the arts and classical music fit into the culture wars debate. Nwando Ebizie, the multidisciplinary artist, on working with Aurora Orchestra on "Inside Beethoven" and making events work for D/deaf audiences. Ed Vaizey, Member of the House of Lords and former culture minister, on perceptions and political decision-making around the arts and music.

In the final episode of 2022, Learning Director of Aurora Orchestra Rebecca Barnett tells Patrick about their new online resource for Early Years and KS1, The Magical Toy Box. Plus, composer Bob Chilcott chats about Christmas Carols, including composition tips about melody and structure.Presented and produced by Patrick Johns#CanDoMusic #GetPlaying https://app.learning.auroraorchestra.com

In today's episode, I'm talking with the award-winning writer and musicologist Kate Wakeling about children's poetry as a tool for inclusion and realizing our unlimited potential. Kate is writer-in-residence with Aurora Orchestra - and that's how my kids and I got to know her wonderful work - and writes regularly for BBC Music Magazine and the Times Literary Supplement.Her debut collection of children's poetry, Moon Juice by The Emma Press, won the 2017 CLiPPA and was nominated for the 2018 CILIP Carnegie Medal.Such a beautiful and inspiring conversation. Enjoy! EPISODE'S SHOW NOTESOUR FREE GUIDE TO A SUSTAINABLE + IMPACTFUL ART CAREER. 

The fifth episode of Composing Myself sees Wise Music CEO Dave Holley and Creative Director Gill Graham convene with French-British composer Josephine Stephenson for an illuminating and insightful meander through the fertile meadowlands of conversation. Topics covered include;- a formative introduction to the works of Mahler (“powerful music for a tiny child”)- how you really know when something is finished- collaborations with Damon Albarn, Arctic Monkeys and Radiohead- redressing the balance in COVIDAs ever, this is a chat full of interesting and thought-provoking insight into the creative process and nuance of the life of a professional composer. Not to be missed!----------Josephine Stephenson is a composer, arranger and performer working across contemporary classical and indie music. "A bewitching combination of dissonance and sweet-toned cantabile" (Bachtrack), Josephine's music has been commissioned by insitutions such as the BBC, Radio France, Wigmore Hall, Kings Place, Nonclassical and Spitalfields Music, and broadcast on France Musique and BBC Radio 3. She has written for acclaimed performers including the London Sinfonietta, Aurora Orchestra, s t a r g a z e, Miroirs Étendus, Explore Ensemble, The Hermes Experiment, Tenebrae, the Maîtrise de Radio France, tenor Allan Clayton, gambist Liam Byrne and guitarist Laura Snowden.Interested in harmony, sonority and dynamic immediacy in her music, she has collaborated with theatre companies La Raffinerie, L'Éventuel Hérisson Bleu and FellSwoop Theatre and filmmakers Julia Hart and Scott Vickers. She also regularly works as an arranger for songwriters and bands, which have included Damon Albarn, Daughter, Lisa Hannigan, Benjamin Biolay, NZCA LINES, James Righton, Ana Silvera, Evergreen and others.She studied composition with Giles Swayne while an undergraduate at Clare College Cambridge, before completing a Masters in Composition at the Royal College of Music under Kenneth Hesketh, graduating with Distinction. She was a Britten-Pears Young Artist in 2015-16 and a London Sinfonietta 'Writing the Future' composer for 2017-19.In 2021-23 she is composer in residence at the Opéra Grand Avignon.https://josephinestephenson.com/ Hosted on Acast. See acast.com/privacy for more information.

A nosy trombonist (Melissa Brown) chats to fellow brass professionals about their careers, how they got there, and what music they'd happily put in the bin. In this episode trumpet player Simon Cox tells us about his recently completed PhD, about playing with the Aurora Orchestra, and we hear about all of the things to do with running, and working with, Septura. All episodes recorded during COVID-19 lockdown via video call programmes. There are occasional technical glitches - please bear with us! Facebook: Bold as Brass Podcast Instagram: @boldasbrasspodcast Website: boldasbrasspodcast.com Show artwork: Stuart Crane Music credit: Upbeat Forever by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5011-upbeat-forever License: http://creativecommons.org/licenses/by/4.0/

Ben Griffiths has been the Aurora Orchestra's Principal double bass player since 2012. The orchestra is widely known for its electrifying performances of symphonies played entirely from memory. In this conversation we examine role of risk in professional performance, whether in music or medicine.

Tom Service on two of the most astounding musical skills, which the majority of professional classical musicians have in abundance - the ability to play from memory, and the ability to play at sight, without study or much in the way of rehearsal. How and why do they do it? With pianist and teacher Richard Sisson, and violinist Eva Thorarinsdottir, of the Aurora Orchestra, whose members are unusual in that they often play from memory as an ensemble.

It's the 50th episode of the Classical Music Pod! We struck gold with today's guest, composer and bandleader Cassie Kinoshi, who previews her upcoming Aurora Orchestra commission, Three Suns Suite, and discusses how labels and preconceptions can be limiting for musicians. …Music referenced:Seed performing ‘Interplanetary Migration', written by Cassie KinoshiSeed performing Cassie Kinoshi's ‘Afronaut' from the Mercury Award nominated album DriftglassIf She Could Dance Naked Under Palm Trees by Cassie Kinoshi, performed by the LSO… Buy us a coffee innit: https://ko-fi.com/classicalpod … Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

Russian composer Igor Stravinsky died 50 years ago this year. Yet his influence is still felt today, whether it's the pounding rhythms of The Rite of Spring or the musical borrowings of The Rake's Progress. Radio 3's Kate Molleson explains how Stravinsky changed the musical landscape, and just why we should be celebrating a composer born nearly 140 years ago. Aurora Orchestra are preparing for their appearance at this year's BBC Proms. And the preparations involve memorising The Firebird, to play on stage without sheet music. Conductor Nicholas Collon and bassoonist Amy Harman discuss what memorising adds to the performance, and whether learning Stravinsky has any extra challenges. Dancer Francesca Velicu earned an Olivier Award for dancing the role of the Chosen One in Pina Bausch's version of The Rite of Spring at English National Ballet. How does it feel to dance to the death? Conductor Sir Simon Rattle has had a lifelong love affair with Igor Stravinsky. He tells John Wilson how he got hooked at an early age, and recommends a playlist for Stravinsky beginners. Presenter: John Wilson Producer: Sofie Vilcins Main image: Igor Stravinsky at the BBC in 1965.

Jess Gillam joins up with the Australian violinist Courtenay Cleary to share some of their favourite music, including an iconic work by Richard Strauss, a highly charged Janacek String Quartet, a spellbinding farewell from David Bowie, kaleidoscopic Australian jazz-funk and a special gift from the Aurora Orchestra. Playlist: R. Strauss - Also Sprach Zarathustra, Op. 30 (Herbert von Karajan, Berlin Philharmonic) Janacek - String Quartet No. 2 "Intimate Letters" (Emersen String Quartet) David Bowie - Lazarus Arvo Part - Fratres (Ursula Schoch, Marcel Worms) Marcello - Oboe Concerto in D Minor (Heinz Holliger, I Musici) Hiatus Kaiyote - Nakamarra Scriabin - Piano Sonata No.5 in F Sharp Major (Vladimir Ashkenazy) Barber - Sure On This Shining Night (Allan Clayton with Aurora Orchestra, Nicholas Collon)

Nicholas Collon is a conductor with seemingly boundless energy and a huge enthusiasm for everything he does - and this podcast episode is no exception! We chatted about his hugely successful Aurora Orchestra, his guilty secrets of music he hasn't listened to, his next venture in Finland and how to get young children to sleep! So - Let's get listening!Produced by Cheryl Davis Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Nicholas Collon is a very popular conductor across the UK, Europe, and beyond. He is also very enjoyable to chat with. I found out why he took up the viola, why the Aurora Orchestra first decided to play from memory and he has a very surprising and rather apt choice of final drink!  The Patreon exclusive mini-episode can be found here (https://www.patreon.com/amiconthepodium) along with lots of other new content when you subscribe.

In a special bonus podcast we bring you an episode of Stories of our times that we think you might enjoy.The Times's chief music critic, Richard Morrison muses over whether a combination of the coronavirus, environmental concerns and the MeToo movement will be the end of the 'maestro' - the classical music conductor - as we know it. Guest: Richard Morrison, Times chief culture critic and music writer. Host: David Aaronovitch.Clips used: Metropolitan Opera, Aurora Orchestra, Berlin Philharmonic, The Hendon Band YouTube Channel, ABC News, Washington Post, NBC News. See acast.com/privacy for privacy and opt-out information.

The Times's chief music critic, Richard Morrison muses over whether a combination of the coronavirus, environmental concerns and the MeToo movement will be the end of the 'maestro' - the classical music conductor - as we know it. This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today and get one month free at: thetimes.co.uk/storiesofourtimes.Guest: Richard Morrison, Times chief culture critic and music writer. Host: David Aaronovitch.Clips used: Metropolitan Opera, Aurora Orchestra, Berlin Philharmonic, The Hendon Band YouTube Channel, ABC News, Washington Post, NBC News. See acast.com/privacy for privacy and opt-out information.

Tom Service catches up with viola player Lawrence Power to talk about his filmed series of Lockdown Commissions from major composers, and his imaginatively re-worked West Wycombe Chamber Music Festival in Buckinghamshire. The newly installed Artistic Director of English National Opera, Annilese Miskimmon, revels in the return of live opera with ENO's new drive-in production of La boheme from the car park of Alexandra Palace in North London, and reveals her vision for the company's future. To mark National Alzheimer's Day on Monday, Tom talks to Dr Sylvain Moreno, one of the world’s leading researchers on how music can positively affect the brain, and to front line workers with people suffering from dementia - Camilla Vickers and soprano Francesca Lanza from Health:Pitch, and Rebecca Seymour from Celebrating Age Wiltshire. And Music Matters' Musicians in Our Time series, following leading musicians as they face the challenges of their lives and remake the musical world over the course of the next year, continues with flautist Jane Mitchell of the Aurora Orchestra, recent recipient of the Royal Philharmonic Society’s Salomon Prize. Photo Credit: Jessie Rodger

Founder and conductor of the groundbreaking Aurora Orchestra, Nicholas Collon explores the music that has inspired him over the years, from the Bach piano pieces he learnt as a child to glorious moments of English choral music.Episode Playlist: https://open.spotify.com/playlist/36bnWpyFELm1D9vW0qw5jx?si=WhTnLEVjTnqhbgzBLrUVqAWebsite: Classical-music.com/podcasts See acast.com/privacy for privacy and opt-out information.

PEG Interviews Australian Concert Violinist Courtenay Cleary Courtenay completed her scholarship at The Juilliard School in New York where she earned her Master of Music degree with violin professor Naoko Tanaka. She received her Bachelor of Music degree with first-class honours from the Royal Academy of Music in London where she studied with professor Maureen Smith. In 2017 Courtenay performed as a soloist for Her Majesty Queen Elizabeth II and other distinguished guests at Westminster Abbey for the Royal Commonwealth Service. This was broadcast live on BBC television. In 2018 Courtenay again performed for the HM the Queen at Buckingham Palace for the Opening Ceremony of the Commonwealth Heads of Government Meeting. She has also performed as a soloist at prestigious venues including the Wigmore Hall, St James’ Piccadilly, the Regent Hall, Colston Hall and the Lincoln Centre. She recently performed Beethoven’s Violin Concerto with the Willoughby Symphony Orchestra in Sydney and gave the Australian premiere of David Lang’s Mystery Sonatas. She is a Tait Memorial Trust and ABRSM scholar, and was recently awarded second prize at the Australian Concerto and Vocal Competition as well as the Dame Joan Sutherland Award from the American Australian Association and the Guy Parsons Award from the Portland House and Australian Music Foundations. She was also a finalist in the 2018 Freedman Fellowship awards. She is a member of the Patronus Quartet who in 2015 progressed to the semi-final of the Melbourne International Chamber Music Competition. She has performed at many international festivals including Tallinn Music Week and the Melbourne Festival. She has performed in many masterclasses for esteemed artists including Julian Rachlin, Daniel Hope, the St Lawrence String Quartet, and the Borodin Quartet, from whom her own quartet received a letter of recommendation for the MICMC. Courtenay is a core member of the Melbourne Chamber Orchestra and also plays casually with the Melbourne Symphony Orchestra and Orchestra Victoria. She studied at the Australian National Academy of Music from 2012-2014 with William Hennessy. During her time at the academy she played alongside many visiting artists including the Brodsky Quartet, Brett Dean, Michael Collins, The Australian Chamber Orchestra, The Aurora Orchestra, Anthony Marwood, Dale Barltrop and was concertmaster of the ANAM orchestra under the direction of Simone Young, James Judd and Nicholas Carter. In 2011 Courtenay studied under the direction of Associate Professor Patricia Pollett at the University of Queensland. During this time, she was concertmaster of the University of Queensland Chamber and Symphony Orchestras and was finalist in the university’s Bach Prize and The Howard and Gladys Sleath Prize for Strings. She was the recipient of the Sleath String Scholarship for outstanding students and was a winner of the Sid Paige & Musica Viva/4MBS Chamber Music Prize. Artist Website: https://www.courtenaycleary.com/ Watch and Listen: https://www.courtenaycleary.com/watchlisten Instagram: https://www.instagram.com/courtenaycleary/ Twitter: https://twitter.com/CourtenayCleary --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/phantom-electric/message

Sam and Tim dissect one of Julius Eastman's most controversially titled works, catch up with the gang from Living Room Live and discuss spherical music with the Founder and Principal Conductor of the Aurora Orchestra, Nicholas Collon.Thomas Wilkins, Michael Morgan, Jonathon Heyward and Roderick Cox discuss their careers through the lens of their skin colour and mutual experiences of prejudice within the industry: https://www.facebook.com/watch/?v=922849801475019Stolen John Packer instruments: https://www.4barsrest.com/news/41452/burglars-target-john-packer-ltdSusie Blankfield's jewellery collection: https://www.etsy.com/uk/shop/susiemakesbeads Harry Enfield shocks Radio 4's listeners: https://www.theguardian.com/tv-and-radio/2020/jun/11/harry-enfield-defends-use-of-blackface-today-programme-nick-robinsonMusic Credits: ‘Tim and Sam's Podcast' written and performed by Harry Sever 'Sneaky Snitch' by Kevin MacLeod https://incompetech.com/, promoted by MrSnooze https://youtu.be/I2m1h0ALpY4, Creative Commons — CC BY 3.0 https://goo.gl/A7jRXAJulius Eastman's ‘Evil N*****', performed by Piano for Two Max Richter's ‘Journey (CP1919)', performed by Aurora under Nicholas CollonFollow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

The conductor of Aurora Orchestra, Nicholas Collon, talks to James Jolly about their brand-new DG release, 'Music of the Spheres'. It links themed-music that takes in Mozart's Jupiter Symphony, Thomas Adès's violin concerto, Concentric Paths (played by Pekka Kuusisto), a Dowland song arranged by Nico Muhly, 'Time stands still', Max Richter's Journey (CP1919) and David Bowie's song 'Life on Mars' (in an arrangement by John Barber and sung by Sam Swallow).

Jonathan James talks about Beethoven's mighty 'Eroica' symphony, and in particular the challenges the Aurora Orchestra must have faced when they memorised the work's finale, where every instrument has an important voice. This is related to the concert that would have taken place at St David's Hall, Cardiff on the 18th May 2020 with the Aurora Orchestra.Support the Show.www.artsactive.org.ukEmail a2@artsactive.org.ukTwitter @artsactiveInstagram artsactivecardiff Facebook artsactive#classicalmusic #stdavidshall #neuadddewisant #drjonathanjames #bravingthestave #musicconversations #funfacts #guestspeakers #cardiff

Jonathan James talks online to Nick Collon, conductor of the Aurora Orchestra, about their feats of memorisation and about the challenges of  Beethoven's epic 'Eroica' symphony. Among other candid insights, Nick reflects on how we don't think twice about other artists memorising their parts - opera singers, for example - and how the Eroica should "hit you around the face', and not be allowed to "turn into sludge". This is related to the concert that would have taken place at St David's Hall, Cardiff on the 18th May 2020 with the Aurora Orchestra.Support the Show.www.artsactive.org.ukEmail a2@artsactive.org.ukTwitter @artsactiveInstagram artsactivecardiff Facebook artsactive#classicalmusic #stdavidshall #neuadddewisant #drjonathanjames #bravingthestave #musicconversations #funfacts #guestspeakers #cardiff

A message to all patrons and staff at St David's Hall from Nicola Benedetti about her cancelled performance with the Aurora Orchestra due to the COVID19 pandemic. Nicola speaks about why she loves the Mendelssohn violin concerto that she would have performed at St David's Hall (Cardiff) on 18th May 2020.Support the Show.www.artsactive.org.ukEmail a2@artsactive.org.ukTwitter @artsactiveInstagram artsactivecardiff Facebook artsactive#classicalmusic #stdavidshall #neuadddewisant #drjonathanjames #bravingthestave #musicconversations #funfacts #guestspeakers #cardiff

As the second decade of this century draws to a close Tom Service talks to the composer Steve Reich at his upstate New York home about emotion in music, his love for J.S. Bach and the creative thought process as he writes a new work for the autumn of 2021. With 2020 and a big birthday for Ludwig van Beethoven around the corner, violinist James Ehnes speaks to Tom about how the music of Beethoven continues to surprise. And as we approach the third decade of the new millennium – our 21st century is fresh out of its painful adolescence – Tom hears from composer Gerald Barry, the Director of Music at London's Southbank Centre, Gillian Moore, the vocal and movement artist and composer Elaine Mitchener, and the Creative Director of the Aurora Orchestra, Jane Mitchell, for their take on the creative classical music temperature of the third millennium – so far...

Ahead of the Aurora Orchestra's much-anticipated appearance performing Berlioz's Symphonie fantastique at the BBC Proms 2019, conductor Nicholas Collon discusses his career to date and looks ahead to his new role as Chief Conductor at the Finnish Radio Symphony Orchestra. 

Tom meets the acclaimed Finnish violinist Pekka Kuusisto (pictured), ahead of performances in the UK with the Aurora Orchestra, to speak not about violins but conducting. Music Matters marks the definitive folk label Topic Records' 80th birthday, the oldest independent record label in the world, with Eliza and Martin Carthy and Shirley Collins. Breath is vital to music - but are we breathing correctly? Tom speaks to saxophonist Amy Dickson about her 'Take a Breath' project and to flautist Carla Rees, who is involved in artist Caroline Wright's 'The Breath Control Project' at The Coronet, London. This project is an exploration of the inhalations and exhalations that form the melody, rhythm and punctuation of our existence. And a conversation with visionary director Peter Sellars. Photo credit: Felix Broede

Jess Gillam presents her new show, with the bassoonist Amy Harman, principal bassoon with Aurora Orchestra and English National Opera. Their music ranges from Bernstein's Candide Overture to music by Handel and Vivaldi, some classic Miles Davis and new music by Caroline Shaw. From musical beginnings in a carnival band, to being the first ever saxophone finalist in BBC Young Musician, and appearances at the Last Night of the Proms in 2018 and at this year’s BAFTA awards, Jess is one of today’s most engaging and charismatic classical performers. Each week on This Classical Life, she is joined by another young musician to swap tracks and share musical discoveries across a wide range of styles, revealing how music shapes their everyday lives. This Classical Life is also available as a podcast on BBC Sounds.

All you really need to know about Podcast Number 30 is that it was recording on Wednesday 20 February 2019 at the Bussey Building - a former Victorian cricket bat factory saved from demolition ten years ago. It's home to a new opera - Robin Hood - premiered at the end of February, written by former Royal College of Music graduate Dani Howard, and performed by a small cast accompanied by the Aurora Orchestra. There is an infectious kind of energy to small scale fringe-infused endeavours like this. The excerpts you hear in between the interviews were recorded at the first play-through with orchestra - known in the trade as 'the sitzprobe'. Find out more at [https://theoperastory.com/](https://theoperastory.com/)

A new opera - The Monstrous Child - by composer Gavin Higgins and author Francesca Simom about the teenage daughter of a Norse God who's search for her place in a mythical world opens at the Royal Opera House's Linbury Theatre on Thursday 21 Febraury. Jessica Cottis conducts the Aurora Orchestra. Jessica and I met in the Linbury Theatre during a break in rehearsals on Thursday 14 February. In addition to talking about the opera, we discussed the connection between science and the arts, orchestral scores, the thrill of being in the orchestra pit, and polyhedric structures.  For more information and ticket availability visit the [Royal Opera House website](https://www.roh.org.uk/productions/the-monstrous-child-by-timothy-sheader).

Yesterday we launched our new season Inspire. Today we ask the key question: what is inspiration? The poet Kei Miller, the composer Philip Venables, the novelist Stella Duffy, the artist Aowen Jin and the philosopher Julian Baggini join Front Row to share their thoughts on the line between a magical moment and hard graft.On Monday Aurora Orchestra return to the BBC Proms to perform Shostakovich's Ninth Symphony entirely from memory. We're joined in the studio by the orchestra's principle cellist Torun Stavseng and concert pianist and music writer Susan Tomes to explore the opportunities and limitations of performing classical music without a score.Presenter: Stig Abell Producer: Hilary Dunn.

What happens when the composer that you've commissioned to write a new opera says to you, "Sit down -- I have something to tell you," and that something is that she's fallen in love... with a beatbox artist? The first Opera for All Voices (OFAV) commission, Sweet Potato Kicks the Sun, is scheduled to premiere in the Fall of 2019 and this episode is a very early look at the creative process of Grammy Award winning composer, Augusta Read Thomas. We get a deep dive into how she "sculpts sound" to create magic, and how collaboration is such a crucial element in the way she composes new work. The collaboration gets even livelier as we meet renowned beat-box artist, founder of Drop The Beats, and actor Nicole Paris, who plays an integral role in the original soundscaping of this new opera. Listen in and fall in love for yourself. *** Special music in this episode used with permission by Augusta Read Thomas. Helix Spirals for String Quartet: Mvt. I. Loci, memory palace. Performed by the Spektral Quartet. Of Being is a Bird: Mvt. II. The most triumphant Bird I ever knew or met. Claire Booth, soprano, Aurora Orchestra, Nicholas Collon conductor. Love Twitters for solo piano. Nicola Melville, piano. *** Key Change is a production of The Santa Fe Opera in collaboration with Opera For All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosts: Andrea Fellows Walters and Brandon Neal Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. Cover art by David Tousley Special thanks to Halfway to Hell Studios in Albuquerque and C.W. Media in Chicago OFAV Consortium Members:  Lyric Opera for Kansas City, Minnesota Opera, Opera Theatre of Saint Louis, San Francisco Opera, Sarasota Opera and Seattle Opera. This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera for all voices, visit us at SantaFeOpera.org

“The fraud of men was ever so / Since summer first was leafy” — Balthasar’s song, Much Ado About Nothing In episode six, we look at that vexing question of whether or not Will Shakespeare was a complete and utter conman. We’ll follow those who dug up rivers, cracked codes, turned to grave-robbing, or occasionally just wrote really, really long books to find the answer. We’ll hear from Mark Twain, Sigmund Freud, William Wordsworth, and learn some surprising theories as to why Queen Elizabeth I was the Virgin Queen (or was she…?). It’s a journey from the 1560s to our era and back again, and somehow I manage to bring up Golden Girls, England’s greatest treasure hunt, George W. Bush and Dame Agatha Christie! Confused? You still will be after listening, but I hope you’ll enjoy this incredibly long investigation of the madness that is the authorship question. You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can listen to the podcast at iTunes or download direct from Libsyn. We also have a Spotify playlist, which will be updated each week as we work through the plays. The website for the podcast is https://podcastshakespeare.com/. On the website, you will find an evolving bibliography. Contents 00:00 - Introduction / searching for Shakespeare 09:33 - Delia Bacon / candidate Sir Francis Bacon 24:50 - Mark Twain / Ignatius Donnelly, codebreaker 35:05 - Dr. Owen's machine / Mrs. Gallup and Mr. Arensberg 41:45 - J. Thomas Looney / candidate Edward De Vere, Earl of Oxford 1:04:40 - Other candidates / Christopher Marlowe 1:09:35 - Oxford gets another chance / "Anonymous" 1:13:41 - The "Masquerade" connection 1:18:49 - William Shakespeare 1:37:38 - The enduring appeal of theories / My theories 1:47:15 - The "Declaration of Reasonable Doubt" / hail and farewell Links mentioned: Due to the nature of the episode, I have done a separate permanent Authorship page at https://podcastshakespeare.com/further-reading/the-authorship-question/. Some links below. SIR FRANCIS BACON (1561 – 1626) on Wikipedia John Aubrey’s biography and details of his death in Brief Lives (1693) The Francis Bacon Society (“Baconiana”) Supporters of Bacon Delia Salter Bacon (1811 – 1859): at Wikipedia “William Shakespeare and His Plays: An Enquiry Concerning Them” in Putnam’s Monthly Magazine of American literature, science and art, Issue 37, January 1856 The Philosophy of the Plays of Shakespeare Unfolded, 1857 Nina Baym, “Delia Bacon: Hawthorne’s Last Heroine“ Nathaniel Hawthorne, “Recollections of a Gifted Woman” in The Atlantic Monthly, January 1863 Ralph Waldo Emerson, unpublished letter to George P. Putnam regarding Delia Bacon, published by Vivian C. Hopkins in the New England Quarterly, vol 33 no 4, Dec 1960 (JSTOR access required) Catherine E. Beecher, Truth Stranger than Fiction (1850) comments on the Bacon/MacWhorter affair without using names Walt Whitman,“Shakespeare Bacon’s Cipher” Ignatius Donnelly, The Great Cryptogram (1888) Elizabeth Ward Gallup: The Bi-Lateral Cypher (1910) The Tragedy of Anne Boleyn, being a discovery of the ciphered play of Sir Francis Bacon inside the Shakespeare First Folio (1911) [see also, this article on the play at Anne Boleyn Novels] Dr. Orville Ward Owen, Sir Francis Bacon’s Cipher Story (1893-95) Mark Twain, Is Shakespeare Dead? (1909) Henry W. Fisher, Abroad with Mark Twain and Eugene Field, Tales they told to a fellow correspondent, (1922) – see page 49 for Twain and Fisher’s anecdote Queen Elizabeth being a man. Walter Conrad Arensberg: The Cryptography of Shakespeare -(1922) see also The Cryptography of Dante – (1921) EDWARD DE VERE, 17TH EARL OF OXFORD (1550 – 1604) at Wikipedia Poems at Wikisource Family tree and the famous fart anecdote of James Aubrey “Renunciation” poem from Palgrave’s Golden Treasury, ed. Francis T. Palgrave, 1875 Supporters of Oxford John Thomas Looney (1870 – 1944) at Wikipedia The Church of Humanity Shakespeare Identified in Edward De Vere, 17th Earl of Oxford (1920) The De Vere Society of Great Britain The Shakespeare Oxford Fellowship Why I Became an Oxfordian at the “Shakespeare Authorship Sourcebook” Charlton Ogburn: The Mysterious William Shakespeare: The Myth and the Reality (1984) “The Man Who Shakespeare Was Not (and who he was)“, Harvard Magazine, November 1974 Michael Brame and Galina Propova, Shakespeare’s Fingerprints (2002), discussed in Washington University News, January 23, 2003 Percy Allen, Life Story of Edward De Vere (1932) Trailer for Anonymous, directed by Roland Emmerich (2011) GENERAL DOUBT The Declaration of Reasonable Doubt Hester Dowden, the medium who apparently confirmed both Bacon and Oxford had written the plays, at different times – at Wikipedia. WILLIAM SHAKESPEARE (1564 – 1616) The First Folio at the Bodleian online Shakespeare suing for minor debts – at ShakespeareDocumented.org The Shakespeare Authorship Page – a vital resource David Kathman: “Why I Am Not An Oxfordian“, originally published in The Elizabethan Review, at the Shakespeare Authorship Page “Shakespeare’s Eulogies“ at the Shakespeare Authorship Page “Dating the Tempest“ “How We Know That Shakespeare Wrote Shakespeare: The Historical Facts“ with Tom Reedy James Shapiro, Contested Will: Who Wrote Shakespeare? (2010) Irvin Leigh Matus, “The Case for Shakespeare“, The Atlantic, October 1991 Samuel Schoenbaum, Shakespeare’s Lives, 1970 William F. Friedman & Elizebeth Smith Friedman: Wikipedia: He | She The Shakespeare Ciphers Examined, Cambridge, 1957 Ralph Waldo Emerson, Representative Men – chapter 6 “Shakespeare or the Poet” (1850) Terry Ross, “The Code that Failed: Testing a Bacon-Shakespeare Cipher“ at The Shakespeare Authorship Page Don Foster: Elegy for WS, reviewed in The Observer, June 2002 The moot trials of Shakespeare: 1987 trial – at PBS 1987 trial – the New York Times A 1993 trial at the Boston American Bar Association – at PBS Giles Dawson and Laetitia Kennedy-Skipton, The Survival of Manuscripts, from Elizabethan Handwriting, 1500-1650: A Manual, W.W. Norton & Co, 1966 at The Shakespeare Authorship Site Muriel St Clare Byrne, “The Social Background“, in A Companion to Shakespeare Studies, page 190, edited by Harley Granville Barker and G.B Harrison (1934) William Wordsworth, Scorn not the Sonnet (c. 1807) Robert Browning, House (1876) Robert Bell Wheler: Historical Account of the Birth Place of Shakespeare (1806) CHRISTOPHER MARLOWE (1564 – 1593) Marlovian theory of authorship MISCELLANEOUS CANDIDATES Wikipedia’s list of 87 (at July 2018) Robert Frazer, Silent Shakespeare (1915) PDF Gilbert Slater, The Seven Shakespeares (1913) Michaelangelo Florio, aka Crollalanza Roger Manners, Earl of Rutland, in Claud Walter Skyes’ Alias William Shakespeare, Aldor, 1947 Henry Neville, a very peculiar theory – with Tom Veal’s response OTHER LINKS QUOTED Catullus, Poem 5 Kit Williams’ Masquerade John Keats’ Lamia Aeschylus’ Eumenides Clips: Sergei Prokofiev, “Montagues and Capulets”, from Romeo and Juliet (ballet), 1935 Franz Schubert, Im Fruhling, D.882 performed by Barbara Hendricks Gerald Finzi, Love’s Labour’s Lost, op. 28: Dance, Aurora Orchestra conducted by Nicholas Collon Gaetano Donizetti, Overture to Roberto Devereux (feat. God Save the Queen), Royal Philharmonic Orchestra conducted by Sir Charles Mackerras John Dowland, Galliard for the Queen and Robert Dudley Hakan Parkman, “Take, O Take These Lips Away” (Madrigal) from 3 Shakespeare Songs, sung by Singer Pur choir “Bonny Peggy Ramsey” (traditional) performed by Tom Kines on Songs from Shakespeare’s Plays and Popular Songs of Shakespeare’s Time Ambroise Thomas, Hamlet (1868), 1994 recording, London Philharmonic Orchestra conducted by Antonio de Almeida: Thomas Hampson (Hamlet) – singing part of his “Doubt not that I love” letter June Anderson (Ophélie) – Ophélie’s mad scene and death, Act IV

On the cover CD of the February issue of BBC Music Magazine, the Aurora Orchestra present music by our cover star Philip Glass, and fellow minimalist John Adams. In this podcast, deputy editor Jeremy Pound and editorial assistant Elinor Cooper introduce the works, complete with extracts. See acast.com/privacy for privacy and opt-out information.

Picks from the first week of In Tune in 2017, in which BBC Radio 3 celebrated the Second Viennese School as part of 'Breaking Free', its year-long focus on Revolutions. Suzy talks to conductor Edward Gardner, Max Baillie and Sebastian van Kuijk of Aurora Orchestra, and folk musician Ange Hardy. Plus actor Kelly Price and baroque specialist Peter McCarthy talk about All the Angels, Nick Drake's play about Handel's Messiah.

Drawing the first year of the exciting Mozart’s Piano series to a close, Aurora Orchestra is joined by two recent winners of the BBC Young Musician of the Year Competition – Lara Melda and Martin James Bartlett – for a concert celebrating the exuberance, playfulness and imagination of Mozart’s childhood. Fri 16 Dec, 7.30pm kingsplace.co.uk/MozartsPiano

For musicians from Mozart to the great virtuosi of the 19th century, travel was a way of life. As part of Aurora's monumental five-year project, French pianist Cédric Tiberghien joins the orchestra for a programme that brings to life the wealth of music and tales inspired by the Mozart families' Grand Tours. Sat 17 Sep, 7.30pm kingsplace.co.uk/MozartsPiano

I programmet diskuterar panelen bl. a. Tobias Berndts tolkning av 28 Fanny Hensel-sånger samt kammarmusik av engelsmannen Gerald Finzi. Dessutom möter vi den unge pianisten Daniil Trifonov. I panelen Aurélie Ferrier, Hanns Rodell och Magnus Lindman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  FANNY HENSEL Goethe-sånger Tobias Berndt, baryton Alexander Fleischer, piano Querstand VKJK 1509 JOHANN SEBASTIAN BACH Cembalokonserter BWV 1052 1057 Andreas Staier, cembalo Freiburgs barockorkester Harmonia Mundi HMC 902181-82 GERALD FINZI Fem bagateller, Elegi, Preludium och Fuga m.m. Kölns kammarsolister MDG 903 1894-6ALEXANDER SKRJABIN Symfonier nr 3 och 4 Oslo filharmoniker Vasily Petrenko, dirigent Lawo LWC 1088Sofia möter pianisten Daniil Trifonov Sofia Nyblom mötte den unge konsertpianisten i samband med Stockholms-besöket och Nobelkonserten i Stockholms konserthus den 8 december 2015, då Trifonov framträdde som solist i Rachmaninovs tredje pianokonsert tillsammans med Kungliga filharmonikerna och dirigenten Franz Welser-Möst. Andra nämnda eller rekommenderade inspelningarBachs klaverkonserter med Trevor Pinnock och The English Concert på Archiv och DG; Pierre Hantaï tillsammans med Le Concert Francais på skivmärket Astree samt med cembalisten Lars Ulrik Mortensen och Concerto Copenhagen på CPO. Nytt Finzi-album Introit med Aurora Orchestra under ledning av Nicholas Collon på Decca. Fanny Hensel-Mendelssohns sånger med sopranen Susan Gritton ackompanjerad av Eugene Asti på märke Hyperion (tidigare recenserad i CD-revyn). Felix och Fanny Mendelssohns stråkkvartetter med Ebène-kvartetten på Virgin Classics (tidigare recenserad i CD-revyn). Skrjabins symfonier med New Yorks filharmoniker under Giuseppe Sinopoli på DG samt Londons symfoniorkester dirigerad av Valerij Gergiev på egna märket LSO Live samt med Philadelphia-orkestern under Riccardo Mutis ledarskap på EMI. SvepetJohan sveper över Brahms Ein Deutsches Requiem i en inspelning med sopranen Lore Binon och barytonen Tassis Christoyannis tillsammans med Flamländska radions kör allt under ledning av Hervé Niquet på skivmärket Evil Penguin.

In this podcast, potter and writer Edmund de Waal and Scottish composer Martin Suckling discuss their recent collaboration, a piece of music played by Aurora Orchestra – and explore the meaning of the colour white across music, poetry and the visual arts.

John Adams: Chamber Symphony | Charles Ives: "The Housatonic at Stockbridge" | Aaron Copland: "Appalachian Spring" (Suite) | Trad., arr. Nico Muhly: "Reynardine"; "The Brown Girl" | Paul Simon, arr. Nico Muhly: "Hearts and Bones"

Memorization is ingrained in the protocol of classical music performance. Singers, solo pianists and concerto soloists are usually expected to play "by heart." However, trios, string quartets and larger ensembles almost never play from memory (with occasional exceptions). But these rules, which evolved over time, may not stand up to close scrutiny. Some musicians find memorization liberating, but others say it inhibits, creating an unnecessary fear of forgetting the music. On this week's episode, we get two views on the topic. The concert pianist and writer Stephen Hough says he thinks it's time to reconsider the conventions around memorization. He asks, "Isn't it most important that we play our best? And if we really play our best with a score in front of us – or these days an iPad in front of us – perhaps we shouldn't pay too much attention to this." Hough notes with some amusement that audience members will frequently approach him backstage and express amazement at how he remembered all of the notes. But not, "'how did you find the musical meaning behind those notes, how do you pedal, how do you find nuance,' or all those thousands of things that we musicians work on all the time." Also joining us is Nicholas Collon, the conductor and founder of Aurora Orchestra, a London-based chamber orchestra that recently performed Mozart’s Symphony No. 40 at the BBC Proms, without using scores or sheet music. The performance proved to be controversial, first dismissed by some pundits as a gimmick (reviews, however, were overwhelmingly positive). Collon says that some players found the preparation "stressful" at first, but ultimately it was liberating. Segment Highlights Hough on memorization's historical place: "In Chopin's time, it was considered disrespectful to play without the score. At that time, if you played from memory, you were improvising." Collon on memorizing Mozart's 40th Symphony: "To be honest, the musicians said yes to this eight months ago and thought, 'this will be easy.' Then about a month ago, they started thinking, 'oh dear, we've actually got to do that.'" Hough: "There are artists like Myra Hess or [Sviatoslav] Richter or Clifford Curzon who played all the time from music and have so many wonderful things to say. Who am I to say to Richter, 'I'm sorry, you can't come and play in public because you're not playing from memory?'" Collon: "Memorization is not the goal. It's part of the journey to get there and something that we'll do on the way." Listen to the above segment and tell us what you think below: Does memorization matter? Do you enjoy performances that are memorized more than those that aren't? .chart_div { width: 600px; height: 300px; } loadSurvey( "it-time-stop-expecting-musicians-memorize", "survey_it-time-stop-expecting-musicians-memorize");