Podcasts about barthold kuijken

durée : 01:58:41 - Le Bach du dimanche du dimanche 30 juin 2024 - par : Corinne Schneider - Au programme de cette 303e émission : le « Bach à sable été 2024 », une playlist estivale à l'écoute de Masaaki Suzuki, Philippe Herreweghe, Dorothee Mields, Guy Cutting, Zachary Wilder, Kei Koito, Paul Lay, Mathieu Dupouy, Jean Rondeau, Marc Hantaï, Barthold Kuijken, David Linx, Stuff Smith… - réalisé par : Emmanuel Benito

durée : 01:59:06 - Le Bach du dimanche du dimanche 19 mars 2023 - par : Corinne Schneider - Au programme de cette 244e émission : un hymne au printemps avec Carolyn Sampson, Bogna Bartosz, René Jacobs, Barthold Kuijken, les ensembles Zefiro et Cordia ; la Cantate BWV 215 (1734), puis les « Inventions / Réinventions » du pianiste de jazz Dan Tepfer (nouveauté Storysound, 17 mars). - réalisé par : Anne-Lise Assada

In today's interview we talk to a Belgian musician, an eminent flute player, researcher and professor Barthold Kuijken. Barthold visited Basel as part of a conference dedicated to historical flutes of the 19th century. Sebastien and I were pleased to hear in this episode not only the flute-related thoughts of our guest, but also his perspective on other aspects of music, the educational system, life and its context. https://en.wikipedia.org/wiki/Barthold_Kuijken The Flute in the 19th Century, watch the conference here: https://www.youtube.com/watch?v=dkSVSF3m1ZE Discover more video footage on our Telegram channel, Instagram, Facebook, etc. https://insightreadingenlightenment.carrd.co Write to us if you want to support us insightreading.enlightenment@gmail.com Darina and Sebastien #Kuijken #bartholdkuijken #harpsichord #insightreadingenlightenment #earlymusicpodcastinsightreadingenlightenment #flute #fortepiano #baroque #baroquemusic #podcast #earlymusicpodcast #romanticmusic #darinaablogina #sebastienmitra #darinaabloginapodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/insight-reading/message

Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Naxos) Jump to CD giveaway form When asked what flutist Immanuel Davis discovered about himself during the pandemic he said, “That my love of the flute and my love of music has to be from within and I also learned how much my students propel me. I really came face to face with how much they are giving back to me.” Davis is a flute professor at the University of Minnesota. He got the job 20 years ago as a recent graduate of Juilliard while still freelancing in New York City. Around the same time, he was offered a Fulbright scholarship to study Baroque flute in Holland, but Davis figured out a way to do both. Now, those experiences have come full circle to inform his fourth recording, La Magnifique. On this new release, which features music from the Court of Louis XIV, he's joined by his good friend and mentor Belgian flutist Barthold Kuijken. Did you discover anything surprising as you were putting together this recording? “I discovered the great variety that was in this repertoire. In the early part of the 18th-century, the flute might play the melody of a song and then the singer would sing it. The flutist role would be to inflect the songs so you could hear the words. “Also, I discovered the wonderful variety of moods, characters and feelings of this repertoire. We sort of think of this music as a little bit stilted and old fashioned, but the reality is that these people were just as passionate and feeling as we are today.” Can you talk about the passion and emotion in the music? “It's deep. It's below the surface, but it's there. It never lasts for exceptionally long. There's a great quote that describes the flutes, especially early flutes in French opera, ‘The flutes moaned and groaned with the sounds of unrequited love.' I think that's all over the place in this music.” How do some of those songs contribute to the development of the flute?  “The first song, ‘The Triumph of Love,' which is from a Jean-Baptiste Lully opera, is the first piece of music that said this should be played on the flute. So, we had to play it on the album. Another piece that I play is the sonata by Michael de la Barre. It's one of the earliest sonatas for flute, which also includes the viola da gamba and harpsichord. I love this piece and in the second movement it portraits a friendly and happy — just walking through the meadow on a really gorgeous low humidity day.” Why did you close the recording with Suite No. 2 in G minor, by Marin Marais? “This piece is so French and expressive. The work builds in such a wonderful way, and it has a passacaglia in the end. It's like a chaconne with this repeating bassline that just continues to develop as it takes you on a long journey. It wraps up everything that we have started on this recording from the smaller songs to the sonatas and duets. It just finishes out everything really beautifully.” Watch Now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Form Resources Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Amazon) Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Presto) Immanuel Davis (University of Minnesota)

Acclaimed for her ‘sterling tone’ in the New York Times, Kris Kwapis appears regularly as soloist and principal trumpet with period-instrument ensembles across North America, including Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Bach Collegium San Diego, Staunton Music Festival, Indianapolis Baroque Orchestra, Chicago’s Haymarket Opera Company, Tafelmusik, Bach Society of Minnesota, Oregon Bach Festival, Callipygian Players, Bourbon Baroque, and Lyra Baroque, making music with directors such as Andrew Parrott, Monica Huggett, Alexander Weimann, Barthold Kuijken, Matthew Halls, Jacques Ogg, and Masaaki Suzuki. Her playing is heard on Kleos, Naxos, ReZound, Lyrichord, Musica Omnia and Dorian labels, including the 2013 GRAMMY nominated recording of Handel’s Israel in Egypt, and broadcast on CBC, WNYC, WQED (Pittsburgh), Portland All-Classical (KQAC), Sunday Baroque and Wisconsin Public Radio. A student of Armando Ghitalla on modern trumpet, with a BM and MM in trumpet performance from the University of Michigan, Dr. Kwapis holds a DMA in historical performance from Long Island’s Stony Brook University. She often lectures on historical brass performance practice with appearances at the Metropolitan Museum of Art, University of Wyoming, University of Minnesota-Duluth, University of Louisville, Madison Early Music Festival, Pacific Lutheran University, Seattle Recorder Society, and Rutgers University, in addition to writing program notes and delivering pre-concert lectures. On modern trumpet, Kris was adjunct professor of trumpet at Hofstra University in Hempstead, NY from 2000-2010 and taught as a sabbatical replacement at Pacific Lutheran University in Tacoma, WA for the fall semester of 2019. Dr. Kwapis enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Jacobs School of Music Historical Performance Institute (baroque trumpet and cornetto) since 2010 in addition to teaching at her home in Seattle and online. When not making music, Kris explores the visual art medium of encaustic painting, cooking and gardening.

Host Aaron Cain speaks with Barthold Kuijken, groundbreaking baroque musician, teacher, conductor, and artistic director of the Indianapolis Baroque Orchestra.

Viele Märchen erzählen von drei Brüdern, die sich aufmachen, um die Welt zu erobern. Ähnlich mag es bei den Kuijkens gewesen sein, die in den 60er Jahren zu den "jungen Wilden" der klassischen Musikszene gehörten und die Interpretation barocker Klänge mit neuen Ideen und Impulsen belebten. // Von Thomas Daun / Produktion: WDR 2020 - www.wdr3.de

Viele Märchen erzählen von drei Brüdern, die sich aufmachen, um die Welt zu erobern. Ähnlich mag es bei den Kuijkens gewesen sein, die in den 60er Jahren zu den "jungen Wilden" der klassischen Musikszene gehörten und die Interpretation barocker Klänge mit neuen Ideen und Impulsen belebten. // Von Thomas Daun / Produktion: WDR 2020 - www.wdr3.de

Raymond Bisha talks with Barthold Kuijken about the historical perspective and informed interpretation behind a new release of Baroque flute concertos that feature Kuijken as soloist, accompanied by the Indianapolis Baroque Orchestra.

Marc Zuili commence l’étude de la flûte traversière à huit ans avec Bernard Wystraëte. En 1977, il entre au Conservatoire du Xème arrondissement de Paris dans la classe de Philippe Gauthier puis de Jean-Louis Beaumadier. En 1982 Il intègre la classe de Martial Nardeau au Conservatoire national de région d’Amiens où il obtient un premier prix de flûte. En 1983, il est admis en cycle de perfectionnement au Conservatoire national de région de Lille dans la classe de Chrystel Delaval. Il étudie ensuite avec Shigenori Kudo et avec Jean-Pierre Rampal. Pour la flûte baroque, il reçoit l'enseignement de Marc Hantaï. Participant à de nombreuses master-classes, il bénéficie des conseils de plusieurs grands maîtres parmi lesquels Roger Bourdin, Fernand Caratgé, Raymond Guiot, Barthold Kuijken, Lisa Beznosiuk, Olivier Greif, Simon Standage, Davitt Moroney…. En 1996, il partage la scène avec le célèbre flûtiste Jean-Pierre Rampal. Marc Zuili a joué dans de nombreux pays d’Europe, dans des salles telles que la salle Gaveau, la salle Pleyel, le Concertgebouw de Brugge, La chapelle Royale de Versailles, ainsi qu’aux Centres Culturels Français de Berlin et de Prague. Il est invité à se produire dans différents festivals : Les Nuits du Castellet, Le Festival de Chartres avec les Virtuoses de France, Le festival de Sète, L'Automne Musical de Nîmes, Le Festival International des Instruments à Vent-Yamaha... Chambriste recherché, il se produit aux côtés de Shigenori Kudo, Jean-Marc Philipps, Claire Thirion,Yoko Kaneko, Camille Thomas, Julien Libeer, Tristan Pfaff ou encore Jérôme Akoka. Marc Zuili a participé à de nombreuses émissions télévisées tel que" Musiques au Cœur" d'Ève Ruggieri, dont il a été l'invité principal, il a donné des concerts radiodiffusés sur France Musique et sur France Inter La Fondation Cziffra l’a invité à se produire en soliste à plusieurs reprises. Il fonde un festival de musique en Picardie, Les Rencontres Musicales de Clermont. Il en assure la direction artistique en 2015 et en 2016. En 2018, il participe avec l'Ensemble Fragonard à l'enregistrement de la première intégrale des quatuors avec flûte de Mozart sur instruments réellement authentiques

Ya puedes disfrutar de la entrevista que María del Ser hizo a Javier Tortajada dentro del tercer capítulo de Música en las Letras de la cuarta temporada de Clásica FM Radio. Dedicado a la publicación The Notation Is Not The Music, del flautista Barthold Kuijken, tuvimos oportunidad de hablar con nuestro entrevistado sobre cómo es su acercamiento a la Música desde la perspectiva no profesional. ¡No esperes más para escucharle y disfrutar de sus interesantes palabras!

Ya puedes disfrutar de la entrevista que María del Ser hizo a Javier Tortajada dentro del tercer capítulo de Música en las Letras de la cuarta temporada de Clásica FM Radio. Dedicado a la publicación The Notation Is Not The Music, del flautista Barthold Kuijken, tuvimos oportunidad de hablar con nuestro entrevistado sobre cómo es su acercamiento a la Música desde la perspectiva no profesional. ¡No esperes más para escucharle y disfrutar de sus interesantes palabras!

Escrito por el flautista Barthold Kuijken, autoridad y referencia en el ámbito de la llamada Música Antigua, este ensayo nos ofrece una inspiradora mirada sobre las cuestiones relativas a la interpretación históricamente informada (Historically Informed Practice), los parámetros y limitaciones de la notación, y su influencia y dependencia de la interpretación. Escrito de una forma muy distinta a otros libros sobre los mismos temas, su estilo vivo y cercano lo convierten en un verdadero tesoro y en un compendio de información de gran valor para disfrutar y comprender que lo que está escrito en la partitura es un mero medio para la interpretación musical. Y porque, como afirma e ilustra su autor, es solamente la revisión continua de las fuentes para descubrir la intención original del compositor lo que permite acercarse a una interpretación auténtica.

Escrito por el flautista Barthold Kuijken, autoridad y referencia en el ámbito de la llamada Música Antigua, este ensayo nos ofrece una inspiradora mirada sobre las cuestiones relativas a la interpretación históricamente informada (Historically Informed Practice), los parámetros y limitaciones de la notación, y su influencia y dependencia de la interpretación. Escrito de una forma muy distinta a otros libros sobre los mismos temas, su estilo vivo y cercano lo convierten en un verdadero tesoro y en un compendio de información de gran valor para disfrutar y comprender que lo que está escrito en la partitura es un mero medio para la interpretación musical. Y porque, como afirma e ilustra su autor, es solamente la revisión continua de las fuentes para descubrir la intención original del compositor lo que permite acercarse a una interpretación auténtica.

Like an Around the World and Back snap, Bach’s Suite in B Minor for Flute and Strings takes the listener pretty much everywhere. You’ll laugh, you’ll cry, you’ll dance fast and slow, you’ll wonder if you’re Polish or French, yet feel German. But don’t worry: Rice University’s Shepherd School of Music professor and flutist Leone Buyse will be your guide on this musical (spiritual?) journey. Flutist Leone Buyse. Photo by David Long. Courtesy of leonebuyse.com. Audio production by Todd “Tobias” Hulslander with Fünke by Dacia Clay. Music in this episode: – J.S. Bach – Suite in B-Minor for Flute and Orchestra as played by Barthold Kuijken and Emmanuel Pahud (respectively) For more about Leone Buyse: www.leonebuyse.com

Barthold Kuijken, artistic director of the Indianapolis Baroque Orchestra, joins Harmonia this week to explore music from a live performance by the orchestra. The concert includes pieces by Campra, Purcell, and a flute concerto by Vivaldi. Bart Kuijken also performs in a new Accent label release of music by Johann Sebastian Bach's sons.