Podcasts about Bach Collegium Japan

Mark-Anthony Turnage is a composer of contemporary classical music. Once called “Britain's hippest composer”, he has been in a rock band, got drunk with Francis Bacon, and tackled anything from drug abuse to football in his works. Mark was born in June 1960 in the Thames estuary town of Corringham in Essex. His musical talent was nurtured by his parents and he studied composition at the junior department at the Royal College of Music from aged fourteen. There he met the composer Oliver Knussen who became his tutor, mentor, and life-long friend. His first performed work, Night Dances, written while still at the Royal College, won a prize and heralded Mark's evolution into what one critic calls “one of the best known British composers of his generation, widely admired for his highly personal mixture of energy and elegy, tough and tender”. Greek, his debut opera, a reimagining of the Oedipus myth whose protagonist is a racist, violent and foul-mouthed football hooligan, shocked the establishment, which flinched, but accepted “Turnage, the trouble-maker” as a forceful voice. Over the past four decades he has sustained a distinguished and productive career that has seen him working closely with conductors of the stature of Bernard Haitink, Esa-Pekka Salonen and, particularly, Simon Rattle. He has been attached to prestigious institutions, such as English National Opera and both the BBC and Chicago symphony orchestras, and has written a vast range of music for many different instruments and ensembles. His influences include soul, gospel, all sorts of jazz and the great symphonic works of the repertoire. He has written operas, ballets, concertos, chamber pieces and choral works together with orchestrating a football match. His key works include Three Screaming Popes and Blood on the Floor (both inspired by Francis Bacon paintings, and the latter containing an elegy for his younger brother, Andrew, who died of a drug overdose in 1995), as well as more operas including one about the former Playboy model Anna Nicole Smith. Mark lives in North London with his partner, the opera director, Rachael Hewer. DISC ONE: Symphony No. 9 in D Minor, Op. 125 II. Molto vivace - Presto - Molto vivace – Presto. Composed by Ludwig Van Beethoven and performed by The Berlin Philharmonic, conducted by Sir Simon Rattle DISC TWO: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki DISC THREE: Two Organa, Op. 27 – 1 “Notre Dame des Jouets”. Composed and conducted by Oliver Knussen and performed by The London Sinfonietta DISC FOUR: Blue in Green - Miles Davis DISC FIVE: Living for the City - Stevie Wonder DISC SIX: Puccini: Madama Butterfly, Act II: Un bel dì vedremo. Composed by Giacomo Puccini and performed by Mirella Freni (Soprano) and Wiener Philharmoniker, conducted by Herbert von Karajan DISC SEVEN: Symphony of Psalms (1948 Version): III. Alleluja. Laudate Dominum - Psalmus 150 (Vulgata) Composed by Igor Stravinsky and performed by English Bach Festival Choir and The London Symphony Orchestra, conducted by Leonard Bernstein DISC EIGHT: Let's Say We Did. Composed by John Scofield and Mark-Anthony Turnage and performed by John Scofield, John Patitucci, Peter Erskine, Frankfurt Radio Symphony, hr-Bigband and Hugh WolfBOOK CHOICE: Rebecca by Daphne du Maurier LUXURY ITEM: A grand piano and tuning kit CASTAWAY'S FAVOURITE: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki Presenter: Lauren Laverne Producer: Sarah Taylor

durée : 00:03:55 - Le Bach du matin du mardi 03 décembre 2024 - Notre Bach du matin est un Bach nippon ! Il y a 35 ans, Masaaki Suzuki fondait le Bach Collegium Japan, avec lequel il s'est lancé dans une intégrale des Cantates de Bach achevée voilà 10 ans. Il interprète ici le chœur d'ouverture de la Cantate 40 écrite en 1723 à Leipzig

durée : 00:03:55 - Le Bach du matin du mardi 03 décembre 2024 - Notre Bach du matin est un Bach nippon ! Il y a 35 ans, Masaaki Suzuki fondait le Bach Collegium Japan, avec lequel il s'est lancé dans une intégrale des Cantates de Bach achevée voilà 10 ans. Il interprète ici le chœur d'ouverture de la Cantate 40 écrite en 1723 à Leipzig

A keyboard soloist and conductor, Francesco Corti is one of Europe's most in demand musicians. He is a member of Les Musiciens du Louvre, Bach Collegium Japan and Le Concert des Nations, among several others. He's led Tafelmusik, the English Concert, and the Freiburg Baroqueorcheter, is the musical director at the Drottningholm Royal Court Theatre, and appears on over 30 albums. Francesco takes us through his passion for early music, and performing on instruments authentic to the period. He details his love of this era and shares some of his deep understanding of the fortepiano and its relevance as an instrument today. We also delve into the technique and process of his reconstruction of a JS Bach concerto.  Francesco Corti performs with the Australian Brandenburg Orchestra until 2 November.

On October 2, the Swedish label BIS will hand over its Label of the Year Award to another company. So, to celebrate its 2023 Award, Gramophone's James Jolly sat down to talk with BIS's founder and guiding spirit for past 50 years, Robert von Bahr. In this second of two podcasts, Robert discusses some of the outstanding artists who have recorded for BIS, including Bach Collegium Japan, Johan Dalene (who appears on the cover of the October issue of Gramophone), Yevgeny Sudbin, Carolyn Sampson and Sharon Bezaly, Robert's wife. This podcast was made in association with BIS.

Musik? War für Masaaki Suzuki schon immer da. Schon als Kind spielt der japanische Protestant aus Kobe Kirchenlieder, früh begegnet er dem Werk von Johann Sebastian Bach – es wird sein Lebensthema. Masaaki Suzuki studiert in Amsterdam bei Ton Koopman und Piet Kee, gründet 1990 das Bach-Collegium Japan und trägt Bachs Musik fortan in die Welt hinaus. Längst zählt er selbst zu den großen Interpreten – auch jüngerer Musik.

Morgan Sullivan came to singing later than many other professional singers do. Nevertheless she has achieved success as a freelance musician who has performed with numerous top tier ensembles, including Bach Collegium Japan, Folger Consort, and American Baroque Orchestra among many others. She has also recorded music by Brahms and Schutz with Yale Schola Cantorum. The singer, composer, and harpsichordist also teaches and coaches(mostly NON-singers) with a particular focus on providing gender affirming voice care. Suzanne spoke with Morgan Sullivan about her life in music.

A conductor, harpsichordist, and organist, Masaaki Suzuki stands as a towering figure in Baroque music, renowned for his comprehensive and top-tier recordings of Bach's works, including all of Bach's sacred and secular cantatas. Suzuki's unparalleled dedication extends beyond Bach, with significant contributions to the works of Mozart, Handel, and other 18th-century composers. He is the founder of the Bach Collegium Japan, an artist in residence at Yale, and conducts orchestras and choruses around the world.  Tyler sat down with Suzuki to discuss the innovation and novelty in Bach's St. John's Passion, whether Suzuki's Calvinist background influences his musical interpretation, his initial encounter with Bach through Karl Richter, whether older recording of Bach have held up, why he trained in the Netherlands, what he looks for in young musicians, how Japanese players appreciate Bach differently, whether Christianity could have ever succeeded in Japan, why Bach's larger vocal works were neglected for so long, how often Bach heard his masterworks performed, why Suzuki's  favorite organ is in Groningen, what he thinks of Glenn Gould's interpretations of Bach, what contemporary music he enjoys, what he'll do next, and more. Read a full transcript enhanced with helpful links, or watch the full video.  Recorded November 1st, 2023. Other ways to connect Follow us on X and Instagram Follow Tyler on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.    

Gdy jeden z pierwszych krytyków muzycznych, Johann Adolph Scheibe wyliczał największych kompozytorów swojej epoki, obok Telemanna, Händla, Keisera wymienił nazwisko Johanna Kuhnaua. Gdy w zeszłym roku, dokładnie 5 czerwca minęło 300 lat od jego śmierci, nikogo ta rocznica specjalnie nie obeszła. Czy to sprawiedliwe, że pamiętany jest dzisiaj głównie jako poprzednik Bacha? Czy to słuszny wyrok historii, że skryty jest w cieniu swojego monumentalnego następcy? Dlaczego twórczość Kuhnaua popadła w zapomnienie, skoro – wbrew temu, co twierdzili jego uczniowie – wcale nie był wstecznikiem. Co więcej, to właśnie on był jednym z prekursorów muzyki programowej, wiele lat przed Berliozem! Na te pytania staram się odpowiedzieć w nowym odcinku, do którego słuchania serdecznie zapraszam. Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego. W odcinku zabrzmiały następujące utwory: J. Kuhnau, Tristis est anima mea, Camerata Lipsiensis & Opella Musica, Gregor Meyer (dyr.), Kuhnau: Complete Sacred Works, Vol. 1, CPO (777868-2), 2015 J. Kuhnau, Ach Gott, wie läßt du mich verstarren (fragment), Camerata Lipsiensis & Opella Musica, Gregor Meyer (dyr.), Kuhnau: Complete Sacred Works, Vol. 4, CPO (555190-2), 2019 J. Kuhnau, I Sonata z cyklu Sonat biblijnych, cz. IV, Colin Tilney (klawesyn), oryg. Philharmonic Records PRL 0201, 1960. J. Kuhnau, Magnificat, cz. X-XII, Bach Collegium Japan, Masaaki Suzuki (dyr.), BIS (BISCD1011), 1999. J.S. Bach, Magnificat, cz. XI-XII, Bach Collegium Japan, Masaaki Suzuki (dyr.), BIS (BISCD1011), 1999.

Masaaki Suzuki is internationally renowned as an expert in choral music and an accomplished organist, harpsichordist and conductor. The founder and artistic director of Bach Collegium Japan, he has recorded the entirety of Bach's choral works, plus his concertos, orchestral suites, and solo works for harpsichord. His expertise extends well beyond Bach, having conducted repertoire as diverse as Britten, Beethoven, Mahler and Mendelssohn, but it's Mozart that brings him to Australia as he conducts the Sydney Symphony Orchestra, joined by the Sydney Philharmonia Choirs, for Mozart's Great Mass in C Minor, June 7-10, at the Sydney Opera House. In this conversation, Masaaki talks with great passion about the importance of Bach as a foundation stone to the composers who follow, shares some memorable tales from his earlier years, and introduces some of the vast number of recordings of Bach Collegium Japan.

The music played at mass can often become a lightning rod for disagreements. What instruments are most appropriate? Are hymns necessary? How do we navigate conflict? Archbishop Richard Smith is joined again by Roderick Bryce in tackling these practical questions on Sacred Music!Roderick Bryce is the Music Director at St. Joseph Basilica. Hailing from Edinburgh, Scotland, Roderick relocated to Stettler, Alberta with his family in July 2013. In Scotland he was in great demand as a baritone, teacher, vocal coach and choral director. As a singer, he is broadcast often on BBC Radio 4 and regularly sang with Cappella Nova, recording music by James Macmillan on Linn Records. Also on Linn Records, he has recorded Bach's Matthäus-Passion and sung across Scotland, Northern Ireland and France with the Dunedin Consort. He has appeared with Masaaki Suzuki's Bach Collegium Japan at the Edinburgh International Festival. Roderick was director of the Scottish Chamber Choir; founder and director of Sospiro Baroque and former choirmaster of St Mary's Metropolitan Cathedral, Edinburgh. In addition to a busy private teaching practice, he also taught singing for City of Edinburgh Council, Loretto School and Fettes College.The Graduale Simplex:https://media.musicasacra.com/books/graduale_simplex.pdfSubmit your question for the Archbishop at the link below using the SpeakPipe widget:www.caedm.ca/upfrontUpfront with the Archbishop is a weekly podcast seeking to bridge the gap between the hierarchy and the faithful by discussing the beauty, truth, and challenges of our Catholic faith. The podcast features our host Jenny Connelly, as well as Archbishop Richard Smith, of the Catholic Archdiocese of Edmonton Alberta.Produced by Matthew Bodnarek

What music is appropriate for mass? Is there a right and a wrong to what songs and styles get played? Roderick Bryce joins us so that we can dive deep into what the Church teaches us about sacred music, and what makes it so sacred any way. In this part 1 of our discussion we get into the official teaching and principals, and it part 2 (to be released in a couple weeks) we go in to the practical questions.Roderick Bryce is the Music Director at St. Joseph Basilica. Hailing from Edinburgh, Scotland, Roderick relocated to Stettler, Alberta with his family in July 2013. In Scotland he was in great demand as a baritone, teacher, vocal coach and choral director. As a singer, he is broadcast often on BBC Radio 4 and regularly sang with Cappella Nova, recording music by James Macmillan on Linn Records. Also on Linn Records, he has recorded Bach's Matthäus-Passion and sung across Scotland, Northern Ireland and France with the Dunedin Consort. He has appeared with Masaaki Suzuki's Bach Collegium Japan at the Edinburgh International Festival. Roderick was director of the Scottish Chamber Choir; founder and director of Sospiro Baroque and former choirmaster of St Mary's Metropolitan Cathedral, Edinburgh. In addition to a busy private teaching practice, he also taught singing for City of Edinburgh Council, Loretto School and Fettes College.Submit your question for the Archbishop at the link below using the SpeakPipe widget:www.caedm.ca/upfrontUpfront with the Archbishop is a weekly podcast seeking to bridge the gap between the hierarchy and the faithful by discussing the beauty, truth, and challenges of our Catholic faith. The podcast features our host Jenny Connelly, as well as Archbishop Richard Smith, of the Catholic Archdiocese of Edmonton Alberta.Produced by Matthew Bodnarek

In this special Festive speed podcast, we talk to five HarrisonParrott colleagues about the festive music from their homeland including UK, Japan, China and Norway, and the music that brings them a sense of nostalgia at this time of year. Thank you to Yukiko Shishikura, Lissy Kelleher Clarke, Henry Southern, Karoline Meltstveit, and Kerry Chen. Their recommendations include: Beethoven's Symphony No.9 — Bach Collegium Japan conducted by Maasaki Suzuki Godnattsang for Nissunger — Amalie Lonely Christmas — Eason Chen Now That's What I Call Christmas 1984 — assorted artists Listen to the Spotify playlist here. The Culture Bar is a podcast series created by HarrisonParrott focussing on conversations in culture and the arts. Find us on Spotify, iTunes, Google Podcasts, YouTube, Podbean, Deezer, Stitcher, Pocket Casts and all good podcatcher sites. Use #theculturebar or follow us on Twitter @_TheCultureBar to keep up with our latest releases.

Il était Kantor de Leipzig, mais avant cela Kapellmeister à Köthen et Konzertmeister, il a écrit de nombreux Konzerte et des centaines de Kantaten (des concertos et des cantates en français) : Jean-Sébastien Bach est à l'honneur dans Baroque en stock, lui qui était aussi... karaktériel !     Références musicales : Bach, Petit livre d'Anna Magdalena Bach, Philippe Entremont (piano)  Bach, Motet “Komm, Jesu, komm” BWV 229, Thomanerchor Leipzig, Georg Christoph Biller (dir.)  Bach, Cantate “Wachet auf” BWV 140, Bach Collegium Japan, Maasaki Suzuki (dir.)  Bach, 4e Concerto brandebourgeois BWV 1049, 1er mouvement, Akademie für alte Musik Berlin  Bach, Le Clavier bien tempéré, 1er livre, n°6, Frédéric Désenclos (orgue)  Bach, Le Clavier bien tempéré, 1er livre, n°6, Pietro de Maria (piano)  Mendelssohn, Paulus, ouverture, Academy of Saint Martin in the field, Sir Neville Marriner (dir.)  Bach, Passion selon Saint Matthieu, chœur final, Bach Collegium Japan, Maasaki Suzuki (dir.)  Bach, Cantate du café BWV 221, Carolyn Sampson,  Bach Collegium Japan, Maasaki Suzuki (dir.)  Bach, L'Art de la fugue BWV 1080, Contrapunctus 1, Marie-Claire Alain (orgue)  Bach, L'Art de la fugue BWV 1080, Contrapunctus 1, Hespérion XX, Jordi Savall (viole de gambe et dir.)  Bach, L'Art de la fugue BWV 1080, Contrapunctus 9, Accademia Bizantina et Ottavio Dantone (clavecin et dir.)   Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Du drame au divertissement, il n'y a bien souvent qu'un pas (de danse) que Christophe Rousset et Pauline Lambert explorent avec bonne humeur dans ce nouvel épisode de Baroque en stock. Ils vous dévoilent aussi leurs disques de chevet, avec un hommage de Christophe Rousset à la soprano Edita Gruberova, qui vient de nous quitter. Références musicales : Lully, 1ère entrée, menuet, ballet royal de Vénus, Les Talens Lyriques, Christophe Rousset (dir.)  Ballet royal de la nuit, Ouverture, Correspondances, Sébastien Daucé (dir.)  Lully, Le Divertissement royal, Le Concert des Nations, Jordi Savall (dir.)  Lully, Le Bourgeois gentilhomme, chaconne, Les Talens Lyriques, Christophe Rousset (dir.)  Rameau, Pygmalion, contredanse finale, Les Talens Lyriques, Christophe Rousset (dir.)  Bach, “Jesu, der du meine Seele” cantate BWV 78, Bach Collegium Japan, Masaaki Suzuki (dir.) Mozart, Così fan tutte, “Al fato dan legge”, Rainer Trost (Ferrando), Rodney Gilfry (Guglielmo), English Baroque Soloists, Sir John Eliot Gardiner (dir.)  Lully, Isis, Les forges puis le chœur des trembleurs, Chœur de chambre de Namur, Les Talens Lyriques, Christophe Rousset (dir.) Salieri, La Grotta di Trofonio, Raffaela Milanesi, Marie Arnet, Nikolaï Schukoff, Mario Cassi, Les Talens Lyriques, Christophe Rousset (dir.)  Mozart, Les Noces de Figaro,” L'ho perduta”, Sandrine Piau, orchestre Mozarteum, Ivor Bolton (dir.)  Rameau, Pièce de clavecin “Les tendres plaintes”, Christophe Rousset  Lully, Bellérophon, Les Talens Lyriques, Christophe Rousset (dir.)  Mozart, Air de concert “Vorrei spiegarvi, oh Dio”, Edita Gruberova, orchestre de chambre d'Europe, Nikolaus Harnoncourt (dir.)  Forqueray, Chaconne “La Morangis ou la Plissay”, Atsushi Sakaï, Marion Martineau, Christophe Rousset  Bach, motet “Jesu meine Freude”, Pygmalion, Raphaël Pichon (dir.) Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Violinist Sarah Jane Kenner currently resides in New York City. After beginning her musical studies in her native New Rochelle, New York, Ms. Kenner earned a Bachelor's Degree in Violin Performance from Temple University's Boyer College of Music in Philadelphia, a Master's degree from the Manhattan School of Music, and a Graduate Diploma in Historical Performance from the Juilliard School. As a period violinist, Ms. Kenner has been hailed as a "fireworks soloist," and has performed throughout the US and internationally as a chamber musician, orchestral player, and soloist. In 2018, she made her Lincoln Center debut as a soloist with Juilliard415, Juilliard's period-instrument ensemble. Ms. Kenner also served as concertmaster and principal second violinist of Juilliard415, and joined them on tours throughout the U.S., Europe, India, and New Zealand. Recent and upcoming engagements include performances with The English Concert, Trinity Wall Street, New York Baroque Incorporated, and The Sebastians, amongst others. She is also a member of the orchestra at Teatro Nuovo, a summer opera festival which presents 19th-century Bel Canto opera with a historically informed approach. Other festival appearances include BachFest Leipzig with members of Juilliard415 and Bach Collegium Japan, and with members of Les Arts Florissants at the Festival Dans les Jardins de William Christie in Thiré, France. Currently, Ms. Kenner is working on a recording project centered around the violin sonatas of Giovanni Antonio Pandolf Mealli. Ms. Kenner has studied with Cynthia Roberts, Elizabeth Blumenstock, Rachel Podger, Robert Mealy, and Leah Nelson. Ms. Kenner is also a 2018-2019 Mercury/Juilliard fellow and an American Fellow of The English Concert. As a modern violinist, Ms. Kenner has led and/or held principal positions in several ensembles, including the Manhattan School of Music Chamber Sinfonia, Texas Music Festival Orchestra, and Temple University Symphony Orchestra. Her principal teachers were Hirono Oka and Lucie Robert. Ms. Kenner has played in masterclasses for notable artists including Arnold Steinhardt, Glenn Dicterow, and Koichiro Harada. Ms. Kenner also studied at the Aspen, Bowdoin, Texas, and Duxbury Music Festivals. She currently performs regularly in New York City and Westchester County. In her spare time, Ms. Kenner maintains a strong interest in cooking, baking, and writing, all of which are documented on her recipe and music blog, "The Hungry Musician." https://www.sjkviolin.com/ https://thehungrymusician.com/ https://www.instagram.com/hungrymusician/ Find your host, Grace Lamb, on social media: Instagram, Youtube Website: https://gracecolbylamb.com/ @B4thestage on FACEBOOK @B4thestage on INSTAGRAM If you have any questions or topics you would like covered on the show please contact me at b4thestage@gmail.com --- 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/b4thestage/message

This week we catch up with prolific opera, theater, orchestral, and choral composer (and dear friend of IOCSF), https://jakeheggie.com/ (Jake Heggie), about his influences, his latest works, and his excitement about the coming of spring! https://www.inunisonpodcast.com/episodes/s02e05#transcript (Episode Transcript) Music Excerpts https://open.spotify.com/track/5utYYyUPnf3ayrh9JeM7Y2?si=3-ADdLbQSvaRUeHNI9nyzQ (People), by Barbra Streisand, from the album People.  https://open.spotify.com/track/6kWzCCAghrDeVFZSKgYVGL?si=T5opT1QeTmKSCtLBNmcRTQ (Mass in B Minor, MWV 232: Kyrie: Kyrie eleison (Chorus)) performed by http://bachcollegiumjapan.org/en/ (Bach Collegium Japan) https://open.spotify.com/track/7wcpQmIpLCgdknBIXAGucN?si=b4vGOsdOSzyu_YCEoFvb4g (The Radio Hour: Part I: A Really Bad Day), by Jake Heggie, libretto by Gene Scheer, performed by https://www.laphil.com/musicdb/artists/256/john-alexander-singers#:~:text=Artistic%20Director%20of%20Pacific%20Chorale,and%20the%20L.A.%20Chamber%20Orchestra. (John Alexander Singers) and members of https://www.pacificsymphony.org/ (Pacific Symphony) https://open.spotify.com/track/5eZyI6EvzriyOijWYBDqfP?si=7KdKIWrkSFuAmTCF1cVD5w (Peter Grimes, Op.33 / Act 3: Who Holds Himself Apart), by Benjamin Britten; performed by https://www.roh.org.uk/ (Chorus of the Royal Opera House, Covent Garden) https://open.spotify.com/track/4ToeiBeRhthrfJLA8SwsAN?si=-eoN4XqIQhqqb6j5dCg8ig (It's A Wonderful Life: George and Mary’s Wedding Day), by Jake Heggie, libretto by Gene Scheer; performed by https://www.houstongrandopera.org/ (Houston Grand Opera) https://www.youtube.com/watch?v=bHHSt25GAtg (Stop this day and night with me), by Jake Heggie, performed by the https://www.memphis.edu/music/ensembles/choirs.php (University of Memphis Chamber Choir) https://open.spotify.com/track/0lDBaZJgCIbTbH0msLzKPm?si=rw58nJiZTbO-4fzgyLoXHA (Songs for Murdered Sisters: No. 7, Rage), by Jake Heggie, text by Margaret Atwood, sung by Joshua Hopkins https://www.youtube.com/watch?v=Z9CmZ531N1s (Moby-Dick;) by Jake Heggie, libretto by Gene Scheer, a medley preview performed by members of the https://sfopera.com/ (San Francisco Opera) https://www.youtube.com/watch?v=4aQAeI8XC6g (Say Her Name), by http://www.abbydobson.com/ (Abby Dobson), sung by Abby Dobson and the https://www.resistancerevivalchorus.com/ (Resistance Revival Chorus) https://open.spotify.com/track/04BFcLvn37abohWnNcT0Tj?si=nzR7vm6bQJCKT39naiK0Zg (Faith Disquiet III: If You Were Coming in the Fall), by Jake Heggie, performed by http://iocsf.org (IOCSF) https://open.spotify.com/track/1zyhUOh2S5IL1BuXQ0QZUY?si=4Nj-K9jySxGa5Ex_u22IMA (Illumina faciem tuam), by Carlos Gesualdo, performed by https://oxfordcamerata.com/ (Oxford Camerata), and recorded in the Chapel of the Hertford College, Oxford Music excerpt underlay: https://open.spotify.com/track/4jOlYUMMsCacMm3xcrYRLl?si=v7cn8Sb0SyWqTUiPip5zZw (The Four Seasons: Spring) by Antonio Vivaldi, performed by https://www.laserenissima.co.uk/ (La Serenissima) https://open.spotify.com/track/5mXY4iANljeb3t3ktwdCJn?si=Sk5-Y8o5Sy2rHNN2NC-KsQ (Intonations: Songs from the Violins of Hope: No 1: Ashes) by Jake Heggie, performed by Daniel Hope, violin; and Dawn Harms, soprano Theme Song: https://music.apple.com/us/album/mr-puffy/1457011536?i=1457011549 (Mr. Puffy) by Avi Bortnik, arr. by Paul Kim. Performed by http://www.dynamicjazz.dk/ (Dynamic)

durée : 01:58:32 - En pistes ! du lundi 09 novembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi : une version pour orchestre à cordes de deux quatuors de Beethoven ; une Passion selon Saint-Jean enregistrée par le Bach Collegium Japan juste avant le confinement ; l'opéra-comique français du XVIIIe siècle le plus connu en son temps : Richard Cœur de Lion de Grétry... - réalisé par : Céline Parfenoff, Gilles Blanchard

durée : 01:58:53 - Le Bach du dimanche du dimanche 08 novembre 2020 - par : Corinne Schneider - Au programme de cette 138e émission : les 30 ans du Bach Collegium Japan avec une programmation 100% Masaaki Suzuki autour de leur 2e version de la Passion selon Saint-Matthieu et de leur interprétation de la Passion selon Saint-Jean enregistrée à Cologne pendant le confinement de mars 2020. - réalisé par : Céline Parfenoff

durée : 01:58:24 - Le Bach du dimanche du dimanche 13 septembre 2020 - par : Corinne Schneider - Au programme de cette 130e émission : les Concertos pour clavecin (vol.1) par Masato Suzuki et le Bach Collegium Japan (nouveauté Bis, juillet 2020) ; Ophélie Gaillard au Festival de musique ancienne de Maguelone (19 sept.) ; et un zoom sur le Motet BWV 227 « Jesu meine Freude » en première heure. - réalisé par : Céline Parfenoff

durée : 01:56:36 - En pistes ! du mercredi 02 septembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Les quatuors de jeunesse de Beethoven sur instruments d’époque, les Concertos pour clavecin et cordes de Bach par le Bach Collegium Japan, des airs d’opéra à la cour de Russie au XVIIIème siècle chantés par Karina Gauvin, des symphonies et variations symphoniques de Frank avec Denis Kozhukhin… - réalisé par : Gilles Blanchard

Zoiets doe je niet, althans… Terwijl Bach behoorlijk ziek is, is er al gepraat en zelfs besloten over zijn opvolging. Op 25 augustus 1749, terwijl de kerk vol zit met hoogwaardigheidsbekleders, speelt Bach zelf het orgel in de opening van deze cantate. Een klinkend bewijs: ik ben er! Johann Sebastian Bach Cantate BWV.29, “Wir danken dir, Gott, wir danken dir”; Sinfonia Bach Collegium Japan Masaaki Suzuki, orgel BIS1981 3’39’’

Familiebijeenkomsten van de Bach’s werden steevast opgeluisterd met schuine grappen, woordspelletjes en natuurlijk muziek… ‘Deels komisch, deels ongepast’, aldus Bach’s eerste biograaf. In een bewaard fragment worden Texel en Brabant genoemd. Tijd voor een klein onderzoek. Johann Sebastian Bach Quodlibet BWV.524, “Wass seind das vor grosse Schlösser” (fragment) Bach Collegium Japan olv Masaaki Suzuki BIS 2041 10’49’’

Op het enige echte portret van Bach, uit 1748, staat hij afgebeeld met in zijn handen een kleine partituur. Wie goed kijkt, ziet een Canon staan. Bach wilde zich dus laten zien met een muziekvorm die in zijn tijd al heel ouderwets was, maar getuigde van ouderwets goed vakmanschap, en met religieuze betekenis. Hoe klinkt de muziek die hij in zijn handen heeft? Johann Sebastian Bach 14 Verschiedene Canones, BWV.1087; Canon triplex a 6 Bach Collegium Japan BIS2151 0’36’’ Johann Sebastian Bach 14 Verschiedene Canones, BWV.1087; Canon triplex a 6 Fretwork Harmonia Mundi HMU 907395 1’09’’ Johann Sebastian Bach 14 Verschiedene Canones, BWV.1087; Canon triplex a 6 Café Zimmermann Alpha Classics 014 1’12’’

Voor Bach stond de ‘canon’ gelijk aan ‘wet’ oftewel het Musikalisches Opfer kent tien canons, als de Tien Geboden. Een stem volgt in alles de andere stem; de navolging van een gewone gelovige van Christus. Duizelt het al? Het kan altijd nog ‘erger’… deze canon kan tot in eeuwigheid hoger gaan, hoger en hoger. Een klinkende lofprijzing van de Eeuwige. Johann Sebastian Bach Musikalisches Opfer, BWV.1079: “Canon 5, a 2, per tonos” Bach Collegium Japan BIS2151 6’00’’

Een Boerencantate, van Bach? Jawel, in 1742, met hoorbaar plezier gemaakt. De man voor wie hij het schreef was niet echt een boer, wel de directeur van de belastingen in Leipzig, en daarmee de werkgever van Picander, tekstschrijver van oa de Mattheus Passie. Johann Sebastian Bach Cantate BWV.212, “Mehr Hahn en neue Oberkeet” (Bauerncantate): Sinfonia + aria ‘Klein-Zschocher müsse’ Mojca Erdmann, sopraan Bach Collegium Japan olv Masaaki Suzuki BIS2191 9’22’’

Theologian Miroslav Volf and philosopher John Hare (Noah Porter Professor of Philosophical Theology at Yale Divinity School) discuss Gov. Andrew Cuomo's fundamental question behind reopening the economy from COVID-19 lockdown, “How much is a human life worth?” Why we should go to such great lengths, sacrificing so much, to save a single human life? What about humans gives us dignity? How should we approach the dilemmas posed by incommensurable values, where there's no agreed upon standard for comparison? How can we better frame the question of the value of human life by observing the life of Jesus?“My conviction is that human life doesn't have a price. And I take this from the philosophy of Immanual Kant, who distinguishes between the dignity human life has, and price. And dignity is, he says, incommensurable worth.""Jesus came to be with us: Emmanuel. And that's what we have lost. We can't be with each other. … I think what we've learned through this is: A good human life is one that has physical contiguity with other humans.""I was for some years working on the staff of Congress, and public policy decisions often came down to this question of comparing goods. I think a Christian has has something to say about this, and it is, Miroslav, part of your work, that you've been thinking about what a good human life is like. One of the ways to look at that is to look at what the life of Jesus was like. And that gives us a sense of what's important, what matters. It doesn't answer all the questions, but it does give us a map as it were, of how we should think about what is more important and what is less."Gov. Andrew Cuomo (NY) May 5 Press Briefing “What is the Worth of a Human Life?”https://abc7ny.com/politics/cuomo-on-reopening-how-much-is-a-human-life-worth/6153317/"Dona Nobis Pacem” (“Grant Us Peace”) a movement from Johan Sebastian Bach's Mass in B Minor, performed by the Bach Collegium Japan, conducted by Masaaki Suzuki. https://www.youtube.com/watch?v=ffrsc3wdBt4

Ik heb er niets mee, jagen. De ‘Jachtcantate’ van Bach heb ik dan ook aan mij voorbij laten gaan. Toch jammer, want de aria ‘Schafe können sicher weiden’ is wonderschoon. Johann Sebastian Bach Cantate BWV.208, “Was mir behagt, ist nur die muntre Jagd”; aria, “Schafe können sicher weiden”. Sophie Junker, sopraan Bach Collegium Japan olv Masaako Suzuki BIS 1971 4’30’’ Johann Sebastian Bach Cantate BWV.208, “Was mir behagt, ist nur die muntre Jagd”; aria, “Schafe können sicher weiden”. (arr.) Caspar Vos, piano NVT 5’25’’

Muziek voor een ‘Brautmesse’, een kerkelijke huwelijksdienst, waar Bach het bruidspaar toezingt: ‘Laat alle verdriet en zorgen inslapen in de sluimering van het kinderlijke vertrouwen’. In deze prachtige aria hoor ik hoe diep gegrond dat ‘kinderlijke’ vertrouwen is. Johann Sebastian Bach Cantate BWV.197 “Gott ist unsre Zuversicht”: aria “Schläfert allen Sorgenkummer” Damien Guillon, countertenor Bach Collegium Japan olv Masaaki Suzuki BIS 2021 7’08’’

Dit jaar geen Matthäus en Johannes… Collega Carel maakte vorige jaar een dijk van een podcast over Bach’s Matthäus (www.nporadio4.nl/matthaus). Ik vroeg hem naar zijn favoriete deel uit de Matthäus, en vervolgens begon Carel te praten, wat een liefhebber! Johann Sebastian Bach Matthäus-Passion BWV.244; Deel II – nr.60. aria met koor, “Sehet, Jesus hat die Hand” Damien Guilmond, countertenor Bach Collegium Japan olv Masaaki Suzuki

durée : 00:14:26 - Le Disque classique du jour du mardi 10 mars 2020 - 20 ans après son premier enregistrement, Masaaki Suzuki évoque la joie profonde qu’il a eu à retrouver et enregistrer à nouveau la Passion selon Saint Matthieu. Entre temps, le maestro a gravé pratiquement toute l’œuvre du cantor, avec dévouement.

Een luisteraar gaf aan, dat specifiek deze aria hem zoveel troost had geboden in tijden van een ernstige ziekte. Dat vind ik een prachtig gegeven – troost in muziek. Toevallig las ik vorig jaar het boek ‘Troost in muziek, een polyfone blik op de Mattheuspassie’. Kan muziek troosten? Johann Sebastian Bach Cantate BWV.29, "Wir danken dir, Gott, wir danken dir" ; aria, "Gedenk an uns mit deiner Liebe" Hana Blazikova, sopraan Bach Collegium Japan olv Masaaki Suzuki BIS 1981 5’49’’

This podcast features an interview with tenor James Gilchrist, in which we discuss a variety of topics relating to being a singer: - psychology of performance, particularly, in somewhere like the Wigmore Hall where he was singing that evening. - the way audiences might perceive song recitals, and what performers can do to engage them regarding such perceptions. - the balance between what artists do on stage to communicate with their audience, e.g., how much is moving around or maintaining eye contact? - interpretation of narrative in lieder repertoire. - the challenges and privileges of being a medical doctor (which James initially started as), and making the transition to becoming a full-time professional performer. - comparing the experience of music college versus university. Many thanks to James for coming especially to London in the morning to record, as well as Tamsin Raitt and the staff at Wigmore Hall for arrangements for the interview! Podcast published on 13th February 2020; recorded on 8th February 2020 in the Gerald Moore Room, Wigmore Hall, London. James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge. James’ extensive concert repertoire has seen him perform in major concert halls throughout the world. Bach’s Christmas Oratorio and the St John and Matthew Passions feature prominently in his schedule, and he is celebrated as perhaps the finest Evangelist of his generation. Recent engagements include Elijah in Goteborgs Symfoniker and Masaaki Suzuki, Handel’s Messiah with the Handel & Haydn Society in Boston, with Bernard Labadie, and Beethoven’s Missa Solemnis with Singapore Symphony Orchestra. In the 2019-20 season appearances include the role of Rev. Horace Adams Peter Grimes with Bergen Philharmonic Orchestra conducted by Edward Gardner in London and Norway, St Matthew Passion with City of Birmingham Symphony Orchestra conducted by Richard Egarr, and a tour of Europe with Bach Collegium Japan and Masaaki Suzuki. Listen and subscribe to the Talking Classical Podcast on SoundCloud, iTunes and Spotify. SoundCloud – @talkingclassicalpodcast Facebook – @talkingclassicalpodcast Twitter – @tc_podcasts YouTube - https://bit.ly/2WF4duy Blog – talkingclassicalpodcast.wordpress.com

Twenty five years after his first recording for BIS of JS Bach's St Matthew Passion, Masaaki Suzuki and his Bach Collegium Japan have taken the work into the studio for a second time, and a magnificent achievement it proves. James Jolly met up with Suzuki when he was in London recently, working with students at the Royal Academy of Music.

Hannah French talks to father and son team Masaaki and Masato Suzuki about period performance ensemble Bach Collegium Japan, which celebrates its 30th anniversary this year. With music by Bach, Mozart and Beethoven.

Wandelen door de muziek van Bach is soms als wandelen in een spiegelpaleis. Dezelfde muziek duikt soms in geheel andere gedaanten op. Zo zijn van het Clavecimbelconcert, BWV.1059, maar 9 maten bekend, maar is het werk herkenbaar in de opening van een cantate, en in een Hoboconcert en… Johann Sebastian Bach, Concert voor klavecimbel en strijkorkest BWV.1059 (fragment), Alena Cherny (piano), Orchester Le Phenix Johann Sebastian Bach, Cantate BWV.35 ‘Geist und Seele wird verwirret’; Sinfonia, Bach Collegium Japan olv Masaaki Suzuki, Masaaki Suzuki (orgel) Johann Sebastian Bach, Concert voor hobo en strijkorkest BWV.1059R, Heinz Holliger (hobo), Camerata Bern olv Erich Hobarth

Met een innerlijke extase zingt de sopraan zich hier met eindeloze versieringen naar ‘de Messias is in aantocht!’. Ik vind het een blijmakende aria, zeker in deze uitvoering… Bach op z’n feestelijkst. Johann Sebastian Bach, Cantate nr.132 ‘Bereitet die Wege, bereitet Bahn’, BWV.132: Aria ‘Bereitet die Wege’, Ingrid Schmithusen (sopraan), Bach Collegium Japan olv Masaaki Suzuki

Het zal je gebeuren; je snuffelt in een doos met oude papieren en plots herken je het handschrift van Bach. Het gebeurde in 2005, een Bach-aria was ontdekt. Een bijzonder stuk dat ik beluister als minimal music. Johann Sebastian Bach, Alles Mit Gott Und Nichts Ohn’ Ihn, BWV.1127, Carolyn Sampson (sopraan), Bach Collegium Japan olv Masaaki Suzuki

Arturo y Patricio comentan la influencia de la música clásica en Japón. Con música de Mitsuko Uchida, Masaaki Suzuki, Bach Collegium Japan, Seiji Ozawa y Tōru Takemitsu.

Bach & humor? Niet meteen de eerste combinatie waaraan ik denk. Valt er te lachen met Bach? Zelden! Laat ik eerlijk zijn. En het hoeft ook niet, maar soms… Er is een aria in de cantate 'Jesu, der du meine Seele' die bij mij een glimlach tevoorschijn tovert. En het heeft iets te maken met Tirol… Johann Sebastian Bach, Cantate BWV.78 ‘Jesu, der du meine Seele’; duet ‘Wir eilen mit schwachen, doch ernsigen Schritten’; Yukari Nonoshita (sopraan), Daniel Taylor (alt), Bach Collegium Japan olv Masaaki Suzuki

durée : 01:53:48 - Musique matin du mardi 03 septembre 2019 - par : Jean-Baptiste Urbain - Antoine Tamestit et son complice Masato Suzuki, chef principal du Bach Collegium Japan, se sont immergés dans les trois sonates pour viole de gambe et clavecin de Bach, transcrites pour alto et clavecin. Un disque sorti le 23 août chez Harmonia Mundi ! - réalisé par : Yassine Bouzar

We begin by interviewing Nancy Lee about the musical VR experience Telepresence. We follow that with a round of theatre reviews, including the Arts Club's Blind Date, Pi Theatre's Hir (trigger warning for rape, domestic violence, transphobia), and Pacific Theatre's the Lion, the Witch, and the Wardrobe, with shoutouts for Bach Collegium Japan, Red Gate's XXXMas Holiday Cabaret, Opera Mariposa's Cosa fan tutte, and Shiny Fuzzy Muddy's Heritage Hall collection.

In this episode, we explore the exquisite vocal repertoire that the Bach Collegium Japan will be performing at Armstrong Auditorium on December 4, when it teams up with Soprano Joanne Lunn; we will also explore a concerto by Vivaldi to be performed on this program. Bach Collegium Japan at Armstrong Auditorium:www.armstrongauditorium.org/performance…egium-japan Facebook Event Page:www.facebook.com/events/451437028660130/

In this episode, we explore some of the exquisite instrumental repertoire that the Bach Collegium Japan will be performing at Armstrong Auditorium on December 4–masterpieces from Bach, Marcello and Telemann. Bach Collegium Japan at Armstrong Auditorium:www.armstrongauditorium.org/performance…egium-japan Facebook Event Page:www.facebook.com/events/451437028660130/

Over een reis naar het hiernamaals - Franz Liszt, ‘Vexilla Regis’ uit Via Crucis, door Vox Clamantis - Claudio Monteverdi, ‘Sanctus’ uit Missa In Illo Tempore, door Bach Collegium Japan

Pianist and composer Jean-Frédéric Neuburger talks with WCRB's Brian McCreath about Schumann's Piano Concerto with the Boston Symphony Orchestra and the balance between composing and performing, and conductor Masaaki Suzuki describes the process of working with the young musicians of the Juilliard School and Royal Academy of Music at the Boston Early Music Festival and his 2015 Celebrity Series of Boston program with Bach Collegium Japan.

Nov. 4, 2015. A conversation with Bach guru Masaaki Suzuki after his critically-acclaimed Bach Collegium Japan performed at the Library of Congress. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7232

Conductor and Bach expert Masaaki Suzuki talks to Sean Rafferty about his work with the Bach Collegium Japan. His son and fellow musician Masato Suzuki joins them.

Masaaki Suzuki is director of Bach Collegium Japan, one of the foremost early music ensembles in the world. He talks to Sara about his life in music and introduces her to some of his favourite choral recordings.

Conductor Masaaki Suzuki talks to Sean Rafferty, ahead of a concert in St John's Smith Square with the Bach Collegium Japan. When Suzuki first suggested recording a complete cycle of Bach's cantatas to the director of the BIS record label, his proposal was met with "uncontrollable laughter". However, hearing Suzuki and his Bach Collegium Japan won the record executive over, and the rest is history. Suzuki tells Sean Rafferty how he was drawn to Bach, why vocal training in Japan makes Japanese singers ideal for his music, and, now that the Bach cycle is complete, and what the future holds beyond the music of the great master.

Episode 76: Yes, It Really Existed! Meet the Shoulder Cello   Upcoming Events: June 14 – Bach Six Sonatas for Violin and Keyboard with harpsichordist Paul Cienniwa at the Boston Early Music Festival   Inquiries from my Inbox:  Robert asks: “Is the page turner the only ‘on stage’ position in the music industry that it is proper to totally ignore?”   Random Musical Thought: Can one claim to have truly heard a piece of music if they’ve never experienced it performed live?   Main Topic: A conversation about the violoncello da spalla with luthier and violinist Dmitry Badiarov, including recordings of the instrument played by Badiarov, Sigiswald Kujiken, and the Bach Collegium Japan. For more information about Dmitry Badiarov and his instruments, please visit http://badiarovviolins.com/. To read an interesting article about the violoncello da spalla, please visit http://sscm-jscm.press.illinois.edu/v12/no1/wissick.html.   Total playing time: 00:53:54   SUBSCRIBE TO THIS PODCAST ON I-TUNES!   Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for your answer on Inquiries From My Inbox!   Thanks for listening!   www.rachelbartonpine.com   www.twitter.com/rbpviolinist www.facebook.com/rachelbartonpineviolinist www.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com

We're exploring early music exchanges between Japan and Europe in the 16th and 17th centuries. Plus we’ll hear music of the cornetto and Bach Collegium Japan.

Collegium Vocale Gent and Bach Collegium Japan in two new releases of Bach cantatas.

1 - "O Guarani" (Carlos Gomes). Orquestra Brasileira de Música Jamaicana/ Brazilian Orchestra for Jamaican Music. 2 - Canto Yanomami/ Yanomami indian chant 3 - "Passarinho está cantando"/ "Bird is singing" (Mignone). Duo Barrenechea (Sergio Barrenechea, flauta/flute & Lucia Barrenechea, piano) 4 - "Balalaika" da /from "Suite N. 1 para pequena orquestra/for small orchestra" (Stravinsky). Orquestra Sinfônica do Ministério da Cultura da URSS/ USSR Ministry of Culture Symphony Orchestra. Gennady Rozhdestvensky, regente/ conductor. 5 - Aria "Wie schmeckt der Kaffee süsse"/ "Como é doce o sabor do café"/ "How sweet coffee tastes" da/from "Cantata do café/ Coffee Cantata BWV 211" (Bach). Carolyn Sampson, soprano. Bach Collegium Japan. 6 - "Get in" (Pavel Karmanov). Artistas não creditados/ Artits not credited. Gostou? Então expresse seu gostar clicando em LIKE e também em FOLLOW. Ou se inscreva pelo iTunes para receber atualizações////// Do you fancy my sets? So please express it clicking LIKE and also FOLLOW. You can always subscribe with iTunes. http://www.facebook.com/heloisafischer http://www.vivamusica.com.br

Masaaki Suzuki, founder and music director of the Bach Collegium Japan, will spend the next two academic years teaching at Yale University.