Podcasts about bbc symphony

GHOST MUSIC finds the fictional Orchestra of London beset by difficulties. Zimetski, their fiery Polish conductor, drives musicians simultaneously to greater performances and personal desperation, while Pete, the orchestral manager, attempts damage control. William Mellor, a cellist, buys an antique cello at auction only to discover that it has supernatural qualities. A mysterious young woman then joins the orchestra, captivates the conductor and attempts to captivate William, who's struggling to get back together with his estranged wife. In the end, no force, whether earthly or otherwise, can keep William from confronting the cello's true nature – as well as his own. ABOUT THE AUTHOR Alice McVeigh has been published by Orion/Hachette in contemporary fiction, by UK's Unbound using a pen name in scifi, and now in multi-award-winning Austenesque fiction. Her books have been honoured at the most recent London Book Fair in the UK Selfies Book Awards, runners-up for the prestigious Foreword Indies "Book of the Year" and joint runner-up for Writers Digest ebook awards. She is married, and lives in London. Previously, she played all over the world with London orchestras, including the BBC Symphony and the Royal Philharmonic Orchestra - which inspired this work. LEARN MORE ABOUT ALICE MCVEIGH AND HER WORK AT: https://www.alicemcveigh.com Connect with Alice McVeigh: https://www.linktr.ee/ASTMcVeigh TOPICS OF CONVERSATION Personal Journey and Career Shift: Transition from professional cellist to writer, including challenges with infertility and ADHD diagnosis. Inspiration and Writing Process: Dreams as a source of inspiration, particularly the dream of a cello playing her, influencing Ghost Music. Orchestral World and Cultural Shifts: Experiences in male-dominated orchestras, rivalry, and the evolving culture of inclusivity in music. Character Exploration and Themes: Protagonist William Miller's open-hearted nature, Shakespearean themes, and the cello as a character. Future Projects and Genre Balance: Plans for a thriller finale in the orchestral series, challenges of balancing multiple genres, and ongoing Jane Austen-inspired works.  

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Artiste curieuse et innovatrice, la pianiste Élisabeth Pion mène une carrière imaginative comme soliste et collaboratrice artistique. Récents moments-phare: sa nomination en tant que Révélation Radio-Canada 2024/2025, la parution de son deuxième enregistrement intitulé « Amadeus et l'Impératrice » sous étiquette ATMA Classique (une collaboration avec Mathieu Lussier & Arion Orchestre Baroque), de même que l'obtention du Prix de l'engagement philanthropique Bita-Cattelan au Concours international de musique de Montréal 2024 & du 3ème prix au 2023 Rio Piano Festival - Tribute to Nelson Freire, jouant avec l'Orquestra Sinfônica Brasileira & Maestro Tibiriçá.Elisabeth s'est produite pour la première fois avec l'Orchestre Métropolitain et Kensho Watanabe en janvier dernier. Elle est régulièrement artiste invitée de nombreux orchestres, tels que le Toledo Symphony, le Victoria Symphony, l'Orchestre classique de Montréal, Arion Orchestre Baroque & le National Academy Orchestra. Elle a collaboré avec des chefs réputés tels qu'Alain Trudel, Mathieu Lussier, Gordon Gerrard, Jacques Lacombe, Geneviève Leclair, et a travaillé étroitement avec le chef Thomas Leduc-Moreau et l'Ensemble Volte.Élisabeth s'est produite comme récitaliste au sein de plusieurs salles à Londres, faisant notamment ses débuts en récital solo au Wigmore Hall en 2021. Elle a aussi fait ses débuts sur la chaîne BBC Radio 3 en 2019, et peut être régulièrement entendue sur les ondes de CBC/Radio-Classique. Élisabeth adore la musique de chambre. Elle a très récemment joué avec Juliana Koch (Principal oboe, London Symphony Orchestra), Julie Price (Principal bassoon, BBC Symphony), le Vertavo Quartet et le ténor Mark Padmore dans le cadre du festival Midsummer Music 2024, co-dirigé par Paul & Bjørg Lewis. Elle a aussi récemment partagé la scène avec Dame Imogen Cooper, présentant un récital en piano quatre mains. En 2023, elle a été invitée à se produire dans le cadre d'IMS Prussia Cove Open Chamber Music; a collaboré avec le Quatuor Cobalt; et a présenté un concert avec l'Ensemble vocal Les Rugissants, construit autour de la vie de l'artiste Marisol Escobar. En 2022, elle a présenté un récital solo & collaboratif avec la mezzo-soprano Alexandra Achillea Pouta au Weill Recital Hall de Carnegie Hall - elles ont subséquemment joué le cycle Harawi de Messiaen à Milton Court (Barbican). De 2020 à 2023, Élisabeth a été la pianiste du De Beauvoir Piano Trio, qui a notamment été lauréat de la Virtuoso & Bel Canto Competition ainsi que de la Vainiunas Competition, et a été ensemble de musique de chambre en résidence à Britten Pears.Parmi les récentes reconnaissances et prix obtenus, Élisabeth a remporté le Best Original Score du Vesuvius Festival 2023 pour la musique qu'elle a écrite pour le court film « Spirit of the Tree » de la danseuse de ballet anglaise Ysabelle Taylor. Élisabeth est aussi l'heureuse récipiendaire 2022 du Prix Choquette-Symcox de la Fondation Jeunesses Musicales Canada. En 2019, elle a remporté la Silver Medal de la Musicians' Company de Londres. En 2018, suite à l'obtention du 1er prix de la Shean Competition à Edmonton, Élisabeth a été nommée dans le Palmarès CBC 30 Hot Canadian Classical Musicians under 30, et a également fait partie des 15 Rising Stars du magazine La Scena Musicale.Instagram :https://www.instagram.com/laprescriptiondrfred/?hl=frFacebook :https://www.facebook.com/people/La-prescription-avec-Dr-Fred-Lambert/100078674880976/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

SynopsisAt Carnegie Hall on today's date in 2015, the Met Chamber Ensemble gave the posthumous premiere of a new work by American composer Elliott Carter, who died in November 2012, a month or so shy of what would have been his 104th birthday.The debut of The American Sublime marked the last world premiere performance of Carter's 75-year-long composing career.Hearing Igor Stravinsky's Rite of Spring at Carnegie Hall in the 1920s inspired Carter to become a composer. A high school teacher introduced him to Charles Ives, who became a mentor. By the mid-1930s, Carter was writing music in the “populist modern” style, à la Copland, but during a year spent in the Arizona desert in 1950, Carter finished his String Quartet No. 1 — 40 minutes of music uncompromising in both its technical difficulty and structural intricacy."That crazy long first quartet was played in Belgium," Carter recalled. "It was played over the radio, and I got a letter from a coal miner, in French, who said, 'I liked your piece. It's just like digging for coal.' He meant that it was hard and took effort."Music Played in Today's ProgramElliott Carter (1908-2012): Horn Concerto (2006); Martin Owen, fh; BBC Symphony; Oliver Knussen, cond. Bridge 9314

This episode of The Other Side of the Bell, featuring lead trumpeter Dave Trigg, is brought to you by Bob Reeves Brass. Dave Trigg is a distinguished trumpeter whose career spans over four decades, marked by versatility and collaborations with some of the most iconic names in music. Starting his professional journey in 1979, Dave made a significant mark as the lead trumpeter with the Ringling Bros Circus World House Band in Florida. This early experience set the stage for a series of notable engagements, including the national tour with "Holiday on Ice" and recording with the legendary Maynard Ferguson Band in 1981, contributing to the "Hollywood" release. In the early 1980s, Dave's talent took him to the heart of entertainment at Walt Disney World in Florida, where he performed with various bands at Epcot Center and MGM Studios until 1990. His broad range of musical abilities allowed him to share the stage with luminaries such as Frank Sinatra, Whitney Houston, Quincy Jones, Harry Connick Jr., Tina Turner, and many others. Dave's Broadway credentials are equally impressive, featuring performances in productions like "Wonderful Town," "Hot Feet," "Fame Becomes Me," "Promises, Promises," "Pippin," "Jesus Christ Superstar," "Legally Blonde," "Gigi," and "Hello Dolly." The 1990s ushered in a new chapter for Dave as he joined Natalie Cole's band, embarking on global tours and performing with major orchestras, including the BBC Symphony and the Los Angeles Philharmonic. His work with Cole led to four Grammy-winning albums and numerous TV appearances on shows such as The Tonight Show and the Oprah Winfrey Show. Dave also showcased his talent on TV specials like the three Sopranos live concert and was a part of Sheila E's house band for the 1998 ALMA Awards. Dave's move to Los Angeles expanded his repertoire to include recording sessions for artists like Dr. John, Phil Collins, and Mary J. Blige, as well as soundtracks for films like "Miracle on 34th St." and "Shaft." His involvement with the Big Bands of Bill Holman, Bob Florence, and others underscored his versatility and excellence in jazz and big band music. Relocating to New York in 1999, Dave continued to dazzle at jazz festivals worldwide, including Montreux and Newport, and paid tribute to Maynard Ferguson at the New York Brass Conference. His recent performances include a gala with the National Symphony Orchestra and a featured appearance at the Salt Lake City Jazz Festival, maintaining his status as a sought-after musician for both live performances and studio recordings. Dave Trigg's illustrious career, marked by collaborations with a wide array of artists and performances across prestigious venues, underscores his enduring impact on the music industry and his mastery of the trumpet.

SynopsisOn today's date in 1922, the British Broadcasting Corporation began daily radio transmissions from London, at first offering just news and weather — the latter read twice, in case anyone wanted to take notes. The following month, on Dec. 23, 1922, the BBC broadcast its first orchestral concert.Over time, the BBC became affectionately nicknamed “the Beeb,” or, less affectionately “Auntie,” due to the upper-middle class, slightly patronizing tone of its music announcers in the 1940s and ‘50s.That said, Auntie has proven to be hip in one aspect: The BBC has been a major commissioner of and advocate for new music by a wide range of composers — and not just British ones. In 2007, for example, the BBC Symphony premiered the Doctor Atomic Symphony, by American composer John Adams, live on-air at a BBC Proms Concert at the Royal Albert Hall.And it's not just famous, big-name composers who get an airing on the Beeb either. Each year, BBC Radio 3 hosts a competition for teenage composers. Winners participate in a mentored program and have one of their orchestral works developed, rehearsed and performed at the BBC Proms.Music Played in Today's ProgramJohn Adams (b. 1947) Violin Concerto; Tamsin Waley-Cohen, violin; BBC Symphony; Andrew Litton, cond. Signum 468

SynopsisSay the phrase “BBC Proms” to most music lovers, and they'll conjure up a mental image of the rowdy “Last Night of the Proms” at which normally staid and reserved Britons don funny hats and make rude noises during Sir Henry Wood's arrangement of British sailor songs. But the raucous “Last Night of the Proms” is only the festive finale of several weeks of fairly serious music making: dozens of concerts covering a wide range of old and new musicFrom the very beginning of the Proms in 1895, Sir Henry, who started the whole thing, had this specific agenda: “I am going to run nightly concerts to train the public in easy stages,” he explained. “Popular at first, gradually raising the standard until I have created a public for classical and modern music.”On today's date in 1996, for example, violinist Gidon Kremer premiered a brand-new violin concerto by the Finnish composer Kaija Saariaho at a Proms concert. The work had an unusual title—Grail Theater. “I like the unusual combination of these two words,” explained Saariaho, “because it represents two such different things. One is the search for the Grail, and the other the theatrical aspect.” Music Played in Today's ProgramJ.S. Bach (1685 – 1750) arr. Henry Wood Toccata and Fugue in D minor BBC Symphony; Andrew Davis, conductor. Teldec 97868Kaija Saariaho (b. 1952) Graal Theatre Gidon Kremer, violin; BBC Symphony; Esa-Pekka Salonen, conductor. Sony Classical 60817

This interview first aired on Friday the 7th of July, 2023 on ONE FM 98.5 Shepparton. One FM Breakfast announcer Terri Cowley talks to the Director of the Shepparton Festival Kristen Retallick. She talks about a winter taster event with Joseph Tawardros. Enjoy a cosy winter afternoon on Level 4 at Shepparton Art Museum with a rare opportunity for Shepparton audiences to experience a very special international musician. Joseph Tawadros will deliver an artist talk at 2pm, then the show will begin at 3pm. Elsewhere at Sam will provide bar service before the show and at interval. It's on Sunday the 16th of July, 2023. Born in Cairo, Joseph's chosen instrument, the Oud is an Arabic lute, the ancestor of the lute and modern guitar. A virtuoso of diversity and sensitivity, Joseph performs in concert halls worldwide and is known for his brilliant technique, deep musicianship, storytelling and joyous style of performance. Joseph has performed his own works with the Australian Chamber Orchestra, BBC Symphony, Melbourne, WA and Adelaide Symphony, Ukraine National Orchestra, Camerata Salzburg, the Morphing Chamber Orchestra and his Concerto for Oud & Orchestra with the Sydney Symphony was performed and released by ABC Classics, Australia in 2019. He was also the first and only Australian composer to be performed by the Academy of Ancient Music in the United Kingdom. He has recorded his music with many jazz luminaries such as John Abercrombie, Jack de Johnette, Roy Ayers, Bela Fleck, Mike Stern, Joey DeFrancesco, Richard Bona and Christian McBride. Classical collaborations include Richard Tognetti, William Barton, The Grigoryan Brothers, Christian Lindberg, James Crabb and his songs have been performed/recorded by The Song Company and Andreas Scholl. To find out more or to get tickets head to the Shepparton Festival website - https://sheppartonfestival.org.au/ Listen to Terri Cowley live on weekday mornings from 6am-9am. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

Synopsis Benjamin Britten was the most famous English opera composer of the 20th century, but ironically his first opera, Paul Bunyan, had an American theme and premiered at Columbia University in New York City on today's date in 1941. Britten lived in America from 1939 to 1942. When his American publisher suggested he write something that could be performed by any high school, Britten's good friend, the British poet W. H. Auden, also living in the U.S., fashioned a libretto around the tall tales of the mythical American folk hero, the giant logger Paul Bunyan and his blue ox, Babe. The New York Times review of the premiere of Paul Bunyan was a mixture of praise and pans. “Mr. Britten is a very clever young man,” wrote Olin Downes, but firmly suggested the young composer was capable of much better things. Britten's next opera, Peter Grimes, would receive its world premiere in London, in 1945, by which time Britten was back in England for good, but like Paul Bunyan had an American connection: it was originally commissioned for $1000 by the Koussevitsky Foundation of Boston, and so received its American premiere at the Berkshire Music Festival in 1946 under the baton of Leonard Bernstein. Music Played in Today's Program Benjamin Britten (1913 - 1976) Paul Bunyan Overture English Chamber Orchestra; Philip Brunelle, conductor. Virgin 45093 Benjamin Britten (1913 - 1976) Sea Interludes, fr Peter Grimes, Op 33a BBC Symphony; Andrew Davis, conductor. Teldec 73126

durée : 00:28:23 - Les orchestres de la BBC (1/4) - par : Christian Merlin - Les récentes et très inquiétantes annonces sur l'avenir de la musique classique à la BBC nous ont donné l'idée de cette série sur l'histoire des cinq orchestres qui existent encore (mais pour combien de temps ?) dans le giron de la radio britannique. - réalisé par : Marie Grout

durée : 00:28:28 - Les orchestres de la BBC (2/4) - par : Christian Merlin - Les récentes et très inquiétantes annonces sur l'avenir de la musique classique à la BBC nous ont donné l'idée de cette série sur l'histoire des cinq orchestres qui existent encore (mais pour combien de temps ?) dans le giron de la radio britannique. - réalisé par : Marie Grout

Synopsis Alban Berg's Violin Concerto was first performed in Barcelona, Spain, on today's date in 1936, at the opening concert of the International Society for Contemporary Music Festival. Berg had died the previous winter, and the premiere was supposed to be conducted by Berg's close friend and fellow composer, Anton Webern, but Webern withdrew at the last minute, and so Hermann Scherchen conducted the first performance, with the violinist who had commissioned the work, Louis Krasner, as soloist. Krasner was born in the Ukraine but raised in America and served for a time as the concertmaster of the Minneapolis Symphony under Dimitri Mitropoulos. He later taught at Syracuse University and the New England Conservatory of Music. In the spring of 1976, Louis Krasner was cleaning out his attic, and discovered he still had private acetate discs he had made of the second performance of the Berg Violin Concerto, a May 1st, 1936 radio broadcast of the new work by the BBC Symphony, with Krasner once again the soloist. This time the conductor was Anton Webern. The 40-year old discs were transcribed to tape, and eventually were released on CD, allowing posterity a chance to listen in as music history was being made. Music Played in Today's Program Alban Berg (1885 – 1935) Violin Concerto Louis Krasner, violin; BBC Symphony; Anton Webern, conductor. Testament/Continuum 1004

It's an exciting first for Composing Myself this week, with this episode's guest holding a position in none other than The Royal Household of the United Kingdom. Judith Weir - Master of The King's Music (and former Master of The Queen's Music) – talks to Wise Music Group CEO Dave Holley and Creative Director Gill Graham about an illustrious life of creative adventure, from a fortuitous mentorship by Sir John Tavener to being appointed to a Royal position by Queen Elizabeth II. Stops along the way include the Battle of Stamford Bridge (“an iconic moment in English history”); how deadlines – “the composer's curse” – are actually a big help; Judith's inspiring work in the broader community; why singers are “the most amazing people in our profession”, and the myriad joys of blogging. A life less ordinary reflected on by a wonderfully eloquent composer.https://www.judithweir.com/Judith Weir (b 1954 to Scottish parents in Cambridge, England) studied composition with John Tavener, Robin Holloway and Gunther Schuller. On leaving Cambridge University in 1976 she taught in England and Scotland, and in the mid-1990s became Associate Composer with the City of Birmingham Symphony Orchestra, and Artistic Director of Spitalfields Festival. She was a Visiting Professor at Princeton (2001) Harvard (2004) and Cardiff (2006-13) and in 2014 was appointed Master of the Queen's Music. Since Her Majesty Queen Elizabeth II died in September 2022, Weir is now Master of The King's Music. From 2015 to 2019 she was Associate Composer to the BBC Singers.She is the composer of several operas (written for Kent Opera, Scottish Opera, ENO and Bregenz) which have been widely performed. She has written orchestral music for the BBC Symphony, Boston Symphony and Minnesota Orchestras. Much of her music has been recorded, and is available on the NMC, Delphian and Signum labels. She blogs about her cultural experiences at www.judithweir.com. Hosted on Acast. See acast.com/privacy for more information.

This episode is very special! It marks 100 episodes of the BAST Singing Teachers Talk podcast! We just wanted to take a second to do a massive shout out to all of the incredible guests we've spoken to and also you, our amazing listeners! To thank you for joining us, we're running a special giveaway to win over a thousand pounds worth of educational videos, knowledge and singing teacher goodness! All you need to do to enter is take a screenshot of this episode of the podcast playing on your device, pop it on your story and tag @basttraining. That's it! You're entered! We'll be announcing winners over on Instagram and Facebook so give us a cheeky follow. Competition entry ends at midnight tonight so get screenshotting! On to the podcast and on this milestone episode we're joined by Duncan Rock, a graduate of the Guildhall School of Music and Drama who has an active career as an operatic Baritone performing roles at many of the world's leading opera houses. He is a nutritionist working with the likes of Vocal Health Education and The Voice Care Centre and is currently training to be a physiotherapist.    KEY TAKEAWAYS   Singers have a ritual of avoiding eating chocolate before singing because they think as it naturally contains caffeine, it will dry you out and constrict the muscles around your vocal cords. It's also an acid reflux trigger, creates more phlegm, and it coats the back of the throat giving you a flatter sounding voice. Duncan believes this is just a performative act people give as there is very little evidence that it will actually have any effect.  Liquids that are emulsive, whether dairy or not, can create the feeling of thickness and can feel like they leave a sticky residue in your throat. This goes away with time and you can even just wash it off with a glass of water.  Sugar has long term effects on our health that happens over time with large consumption. It will not have any short term effects on your voice. We do need to watch our sugar intake, but this is just a long term health risk rather than a vocal one.  In Duncan's opinion, trying to manage chronic inflammation and digestive health seems to have the best overall net result for any vocal health issues around mucus and reflux. Chronic inflammation is becoming more of an issue due to stress and the amount of processed food we eat.  It's a myth that Duncan has heard at every single level of his career in classical music that if you are fit and exercise then you can't sing opera. Pavarotti was an amazing singer despite his weight, not because of it.    BEST MOMENTS   ‘Dairy does not create mucus, this is a myth' ‘You're just as likely to experience the same thing with a soy based drink as with dairy' ‘These lists of best food for singers you find online are rarely based on anything substantial'   EPISODE RESOURCES  Guest Website: www.basttraining.com Social Media: duncanrocknutrition.com  Social Media:  Instagram: @duncanrock_nutrition  Relevant Links & Mentions:  Vocal Health Education: vocalhealtlh.co.uk Pubmed: https://pubmed.ncbi.nlm.nih.gov/ Singing Teachers Talk Podcast: Ep. 60 The Best Nutritional Do's and Don'ts for Singers with Stephanie Moore: https://linktr.ee/basttraining?utm_source   ABOUT THE GUEST    Duncan is a graduate of the Guildhall School of Music and Drama (London) and West Australian Academy of Performing Arts. He has an active career as an operatic Baritone performing roles at many of the world's leading opera houses including the Metropolitan Opera, the Royal Opera, Glyndebourne, English National Opera, Teatro Real and the Boston Lyric Opera. As a baritone soloist, he has recorded and performed with the London Symphony Orchestra and the BBC Symphony orchestra. Concurrently with his performing career, Duncan works as a Nutritionist and Nutritional Science Writer. He holds a Masters of Science in Nutritional Science and an advanced diploma in nutrition and weight management. His speciality is combining his parallel fields of study and providing nutritional information for performing artists. He is cognisant, from both an academic and personal standpoint, of the heavy demands of a busy performing schedule that often includes the demands of rigorous travel. He has been using his knowledge of diet and nutrition to propel his own career as well as help other performers attain optimal vocal and physical health. MMus MMperf MSc MRSPH   ABOUT THE PODCAST   BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosSee omnystudio.com/listener for privacy information.

This episode of Composing Myself sees Wise Music Group CEO Dave Holley and Creative Director Gill Graham venture - digitally, naturally - to the wild hinterlands of northern Finland for a highly illuminating conversation with Outi Tarkiainen. Winding through subjects as diverse as motherhood, how synesthesia affects and influences the compositional process, foraying into the world of jazz, and breaking down long-standing taboos in classical music, this is forty-five minutes you'll be glad to have spent listening closely to.https://www.outitarkiainen.fi/en/Outi Tarkianen was born in Rovaniemi in Finnish Lapland, a place that has proved a constant source of inspiration for her. She has long been drawn to the expressive power of the human voice, but has written vocal, chamber and solo instrumental works as well as works for orchestra and soloist. ‘I see music as a force of nature that can flood over a person and even change entire destinies', she once said.Outi has been commissioned by orchestras including the San Francisco Symphony, BBC Symphony, BBC Philharmonic, Royal Stockholm Philharmonic and Finnish Radio Symphony Orchestras and her music has been taken up by the symphony orchestras of St Louis, Detroit and Houston, among others. Her early work with jazz orchestras culminated in Into the Woodland Silence (2013), a score that combined the composer's sense of natural mysticism with the distinctive textures of the jazz orchestra tradition. Major works since include an orchestral song cycle to texts by Sami poets The Earth, Spring's Daughter (2015), the saxophone concerto Saivo (2016, nominated for the Nordic Council Music Prize) and Midnight Sun Variations premiered at the BBC Proms in 2019 (nominated for the Fondation Prince Pierre de Monaco's Musical Composition Prize). Her first full-length opera, A Room of One's Own (2021), was commissioned and premiered by Theater Hagen in Germany.Outi studied composition at the Sibelius Academy in Helsinki, the Guildhall School in London and at the University of Miami. She as been composer in residence at the Festival de Musique Classique d'Uzerche in France and was for four years co-artistic director of the Silence Festival in Lapland. Hosted on Acast. See acast.com/privacy for more information.

Synopsis We probably have the irrepressible playwright, music critic, and ardent socialist George Bernard Shaw to thank for this music—the Third Symphony of Sir Edward Elgar. Shaw had been trying to persuade Elgar to write a Third Symphony, and, early in 1932, had written to Elgar: "Why don't you make the BBC order a new symphony. It can afford it!" A few months later, Shaw dashed off a postcard with a detailed, albeit tongue-in-cheek program for the new work: "Why not a Financial Symphony? Allegro: Impending Disaster; Lento mesto: Stone Broke; Scherzo: Light Heart and Empty Pocket; Allegro con brio: Clouds Clearing." Well, there was a worldwide depression in 1932, but the depression that had prevented Elgar from tacking a new symphony was more personal: the death of his beloved wife in 1920. Despite describing himself as "a broken man," unable to tackle any major projects, when Elgar died in 1934, he left behind substantial sketches for a Third Symphony, commissioned, in fact, by the BBC. Fast forward 64 years, to February 15th, 1998, when the BBC Symphony gave the premiere performance of Elgar's Third at Royal Festival Hall in London, in a performing version, or "elaboration" of Elgar's surviving sketches, prepared by the contemporary British composer Anthony Payne. It was a tremendous success, and, we would like to think, somewhere in the hall the crusty spirit of George Bernard Shaw was heard to mutter: "Well—about time!" Music Played in Today's Program Edward Elgar (1857-1934) Symphony No. 3 (elaborated by Anthony Payne) BBC Symphony; Andrew Davis, conductor. NMC 053 On This Day Births 1571 - possible birth date of German composer Michael Praetorius, in Creuzberg an der Werra, near Eisenach; 1847 - Austrian composer Robert Fuchs, in Frauenthal, Styria; 1899 - French composer Georges Auric, in Lodève; 1907 - French composer and organist Jean Langlais, in La Fontenelle; 1947 - American composer John Adams, in Worcester, Mass.; 1949 - American composer Christopher Rouse, in Baltimore, Maryland; Deaths 1621 - German composer Michael Praetorius, supposedly on his 50th birthday, in Wolfenbüttel; 1857 - Russian composer Mikhail Glinka, age 52, in Berlin; 1887 - Russian composer Alexander Borodin (Gregorian date: Feb. 27); 1974 - Swedish composer Kurt Atterberg, age 86, in Stockholm; 1992 - American composer William Schuman, age 81 in New York; He won the first Pulitzer Prize for Music in 1943 for his Walt Whitman cantata, "A Free Song"; Premieres 1686 - Lully: opera "Armide et Renaud," (after Tasso) in Paris; 1845 - Verdi: opera "Giovanna D'Arco" (Joan of Arc) in Milan at the Teatro all Scala; 1868 - Tchaikovsky: Symphony No. 1 ("Winter Dreams") (first version), in Moscow (Julian date Feb. 3); A revised version of this symphony premiered in Moscow on Nov. 19/Dec. 1, 1883; 1874 - Bizet: "Patrie" Overture, in Paris, by the Concerts Pasedeoup; 1884 - Tchaikovsky: opera "Mazeppa" in Moscow at the Bolshoi Theater (Julian date: Feb. 3); 1919 - Loeffler: "Music for Four Stringed Instruments" at New York's Aeolina Hall by the Flonzaley Quartet; 1939 - Miakovsky: Symphony No. 19 for wind band, in Moscow; 1945 - Paul Creston: Symphony No. 2, by the New York Philharmonic, with Arthur Rodzinski conducting; 1947 - Korngold: Violin Concerto, by the St. Louis Symphony, with Jascha Heifetz as soloist; 1958 - Diamond: orchestral suite "The World of Paul Klee," in Portland, Ore.; 1965 - B.A. Zimmermann: opera "Die Soldaten" (The Soldiers), in Cologne at the Städtische Oper; Others 1940 - American Music Center, a library and information center for American composers, is founded in New York City. Links and Resources On Elgar

durée : 00:28:10 - Actualités de l'orchestre - par : Christian Merlin - La nomination de Lionel Cottet comme violoncelle solo de l'Orchestre de la Suisse Romande, la mort de Béla Dekany, premier violon du BBC Symphony, le départ du corniste David Cooper de l'Orchestre de Chicago, sont les nouvelles du jour. - réalisé par : Taïssia Froidure

American composer Missy Mazzoli joins us from her home in New York for this latest episode of Composing Myself. It's a customarily broad-ranging chat with Wise Music CEO Dave Holley and Creative Director Gill Graham. Topics on today's conversational menu include Missy's childhood obsession with Beethoven and learning to play on a piano bought in a flea market, how writing made her feel like she was “putting the world in order”, getting stuck in to the Pennsylvania Riot Grrrl scene as a teenager, her long-standing collaboration with librettist Royce Vavrek, and how the COVID-19 pandemic impacted the creation of her most recent opera The Listeners.https://missymazzoli.com/Recently deemed “one of the more consistently inventive, surprising composers now working in New York” (NY Times) and “Brooklyn's post-millennial Mozart” (Time Out NY), Missy Mazzoli has had her music performed by the New York Philharmonic, Atlanta Symphony, the Philadelphia Orchestra, the BBC Symphony, the Cincinnati Orchestra, the National Symphony, LA Opera, Scottish Opera, eighth blackbird, Kronos Quartet and many others. In 2018 she became one of the first two women, along with Jeanine Tesori, to receive a main stage commission from the Metropolitan Opera, and was nominated for a Grammy award in the category of Best Classical Composition. From 2018-2021 She was Composer-in-Residence at the Chicago Symphony Orchestra, and from 2012-2015 was Composer-in-Residence with Opera Philadelphia. Upcoming commissions include works for Opera Philadelphia, Chicago Lyric Opera, Norwegian National Opera and Third Coast Percussion. In 2016, along with composer Ellen Reid, she founded Luna Composition Lab, a mentorship program for young female, nonbinary and gender nonconforming composers. Her works are published by G. Schirmer. Hosted on Acast. See acast.com/privacy for more information.

Phantom Electric Ghost Interviews Author Alice McVeigh Biography Alice McVeigh, a London-based ghost writer, has had two contemporary novels published by Orion/Hachette, an award-winning dystopian thriller published by UK's Unbound (writing as Spaulding Taylor) and two Amazon category bestsellers with Warleigh House Press. Her first novel was optioned for filming by UK's Channel 4; her Kirkus-starred thriller was last week runner-up in the Independent Press Awards; and Susan: A Jane Austen Prequel (winner of the Pencraft and Global Book awards in the historical category) was a quarterfinalist in Publishers Weekly's illustrious BookLife Prize. Born in Seoul, Alice spent her childhood in Asia with her American diplomat parents. After a cello degree at Jacobs School of Music she came to London to study with British cello star Jacqueline du Pre - got married, and stayed. Alice has toured the world with the BBC Symphony and the Royal Philharmonic, but, since Covid, has become a full-time author. She has one daughter, and an addiction to tennis. Link: https://www.alicemcveigh.com/ Support PEG by checking out our Sponsors: Download and use Newsly for free now from www.newsly. or from the link in the description, and use promo code "GHOST" and receive a 1-month free premium subscription. Check out The Charity Focused Philanthropic Online Lottery Visit DoubeJack.online https://www.doublejack.online/helpclaire Get paying guests on your podcast: https://podmatch.com/signup/phantomelectricghost --- Send in a voice message: https://anchor.fm/phantom-electric/message Support this podcast: https://anchor.fm/phantom-electric/support

This week, my special guest and I had a lot of fun talking about our writing styles, her books and her career as a professional cellist. Grab your favorite drink and a snack, and come hang out with us as we talk about writing and music. Londoner Alice McVeigh has been published by Orion/Hachette in contemporary fiction, by UK's Unbound in science fiction and by Warleigh Hall Press in Jane Austenesque fiction. She is also a professional cellist with several London orchestras, including the BBC Symphony and the English Symphony Orchestra. Alice has two featured books: Susan: A Jane Austen Prequel and Harriet: A Jane Austen Variation The first two novels in Warleigh Hall Press's Jane Austen Series, combining and mixing beloved Austen characters from different novels in intriguing ways. Purchase link: https://www.amazon.com/gp/product/B097TFQPT7?ref_=dbs_p_mng_rwt_ser_shvlr&storeType=ebooks Connect with Alice at the following links: https://www.alicemcveigh.com https://linktr.ee/ASTMcVeigh If you're looking for high quality content editing services at reasonable prices, send queries to theplotstitch@gmail.com Visit www.everyday-excellence.com and use promo code Inspirational Journeys to get 10% off any product on the site. Support this podcast with a monthly donation: https://anchor.fm/inspirational-journeys/support or you can give a one-time donation via PayPal at: https://paypal.me/annHarrisonBarnes?country.x=US&locale.x=en_US --- Send in a voice message: https://anchor.fm/inspirational-journeys/message

Alice McVeigh, a London-based ghostwriter, has had two contemporary novels published by Orion/Hachette, an award-winning dystopian thriller published by UK's Unbound (writing as Spaulding Taylor), and two Amazon category bestsellers with Warleigh House Press. Her first novel was optioned for filming by UK's Channel 4; her Kirkus-starred thriller was last week's runner-up in the Independent Press Awards; and Susan: A Jane Austen Prequel (winner of the Pencraft and Global Book awards in the historical category) was a quarterfinalist in Publishers Weekly's illustrious BookLife Prize. Born in Seoul, Alice spent her childhood in Asia with her American diplomat parents. After a cello degree at Jacobs School of Music, she came to London to study with British cello star Jacqueline du Pre - got married, and stayed. Alice has toured the world with the BBC Symphony and the Royal Philharmonic, but, since Covid, has become a full-time author. She has one daughter and addiction to tennis. Have a listen and Meet us in the comments! https://www.alicemcveigh.com/ --- Send in a voice message: https://anchor.fm/major-daughter/message

Synopsis The British composer Gustav Holst lived and worked in a West London neighborhood called Hammersmith for many years – and in 1930, Holst gave that name to a work for wind band he wrote on commission from the BBC. “Hammersmith” opens with a "Prelude" representing the river Thames, which, said Holst, "goes on its way unnoticed and unconcerned." A “Scherzo” section represents the hustle and bustle of Hammersmith's market, exemplified, according to Holst's daughter, by a large woman at a fruit stand who always called her father 'dearie' when he bought oranges for their Sunday picnics. In 1931, “Hammersmith” was first performed in England in the composer's own orchestral arrangement by the BBC Symphony led by Adrian Boult – and the piece was booed. Holst's bad luck continued the following year: He was scheduled to conduct the premiere of the band version of “Hammersmith” on today's date at the 1932 American Bandmasters Association Convention in Washington, D.C., but had to cancel his trip due to illness. The DC premiere took place as scheduled, but with the U.S. Marine Band led by Taylor Branson, rather than the composer. For the next 22 years, the original, wind band version of “Hammersmith” remained neglected until Robert Cantrick and the Carnegie Institute of Technology Kiltie Band in Pittsburgh gave what they thought was its world premiere performance in 1954. It seems even Holst's publisher had forgotten all about its 1932 American premiere. Music Played in Today's Program Gustav Holst (1874-1934) — Hammersmith (Dallas Wind Symphony;Howard Dunn, cond.) Reference Recordings 39

Synopsis On today's date in 2002, a new Violin Concerto received its premiere by the Boston Symphony and  German violinist Anne-Sophie Mutter, with the new work's composer, Sir Andre Previn conducting. Previn was born in Berlin, came to the United States in 1939, and became an American citizen in 1943. His Concerto reflects a homecoming of sorts in its third movement, subtitled “From a Train in Germany.”  In 1999, while riding on a German train Previn had telephoned a birthday greeting to his manager, who suggested that the new composition he was planning for Boston might reflect that return to the country of his birth. And so its 3rd movement ended up incorporating a German children's song suggested by Anne-Sophie Mutter, one that Previn had known as a child. Autobiographical inferences throughout the Concerto are also suggested by an inscription from T. S. Eliot's “Four Quartets,” which reads: “We shall not cease from exploration/And the end of all our exploring/will be to arrive where we started/and know the place for the first time.” And, as if to underscore the autobiographical interplay of life and art, Mutter and Previn were married on August 1, 2002, five months after the premiere of “their” Concerto. Music Played in Today's Program André Previn (b. 1930) — Violin Concerto (Anne-Sophie Mutter, violin; Boston Symphony; André Previn, cond.) DG 474500 On This Day Births 1681 - German composer Georg Philipp Telemann, in Magdeburg; 1727 - Baptism of German composer and keyboard virtuoso Johann Gottlieb Goldberg, in Danzig (now Gdansk); 1804 - Austrian composer and conductor Johann Strauss, Sr., in Vienna; Premieres 1734 - Handel: anthem "This is the day which the Lord hath made" in London at the French Chapel of St. James's Palace, for the wedding of Princess Anne and Prince Willem, the Prince of Orange (Gregorian date: March 25); 1824 - Schubert: String Quartet in a (D. 804) in Vienna, by the Schuppanzigh Quartet; Published the following September, this was the only chamber work of Schubert's published in his lifetime; 1847 - Verdi: opera "Macbeth," in Florence at the Teatro della Pergola; 1885 - Gilbert & Sullivan: operetta "The Mikado," at the Savoy Theatre in London; 1963 - Simpson: Symphony No. 3, in Birmingham, England; 1975 - Ulysses Kay: Quintet Concerto for brass and orchestra, in New York City; 1976 - Paul Creston: "Hyas Illahee" for chorus and orchestra, in Shreveport, La.; 1986 - Harrison Birtwistle: "Earth Dances" for orchestra, at Royal Festival Hall in London by the BBC Symphony, Peter Eotvos conducting; 1996 - Leo Ornstein: Piano Sonata No. 6, at the Yerba Buena Center in San Francisco, by pianist Marvin Tartak; 2000 - David Maslanka: Wind Quintet No. 3, in Columbus, Mo., by the Missouri Quintet; 2001 - Danielpour: Cello Concerto No. 2 ("Through the Ancient Valley"), by the New York Philharmonic, Kurt Masur conducting, with soloist Yo-Yo Ma; 2002 - Previn: Violin Concerto, by the Boston Symphony with the composer conducting and soloist Anne-Sophie Mutter; 2003 - Jim Mobberley: "Vox Inhumana" for live and prerecorded sounds, in Kansas City, by the NewEar ensemble. Links and Resources On André Previn More on Previn

Synopsis In a creative life that spanned over 60 years, the American composer Howard Hanson never wavered in his belief that music should be tonal in nature and fundamentally Romantic in style, with strong and clear melodic lines. By the mid-1950s, many other European and American composers were espousing a far different approach to music, favoring an abstract and often densely complex style, more in harmony with the non-representational canvases of the painter Jackson Pollack than the meticulous realism of, say, Norman Rockwell. On today's date in 1955, this music, Hanson's Symphony No. 5, had its premiere performance by the Philadelphia Orchestra under Eugene Ormandy. It's the most compact of Hanson's seven symphonies, a single-movement work in three sections lasting just 15 minutes. Hanson titled the work “Sinfonia Sacra” or “A Sacred Symphony,” and suggested it was inspired by the account of Christ's resurrection in the Gospel of St. John. “The Sinfonia Sacra does not attempt programmatically to tell the story of the first Easter,” wrote Hanson, “but does attempt to invoke some of the atmosphere of tragedy and triumph, mysticism and affirmation of this story, which is the essential symbol of the Christian faith.” Music Played in Today's Program Howard Hanson (1896 - 1981) — Symphony No. 5 (Sinfonia Sacra) (Seattle Symphony; Gerard Schwarz, cond.) Delos 3130 On This Day Births 1632 - Italian composer Giovanni Battista Vitali, in Bologna; 1864 - American music publisher Gustave Schirmer, Jr., in New York City, son of the German-born music publisher Gustave Schirmer, Sr. 1915 - French composer Marcel Landowski in Prêt L'Abbé (Finistère); 1939 - Brazilian composer, conductor and pianist Marlos Nobre, in Recife; Deaths 1956 - French composer French composer Gustave Charpentier, age 95, in Paris; Premieres 1743 - Handel: oratorio “Samson,” at Covent Garden Theatre in London, and possibly the premiere of Handel's recently-completed Organ Concerto Op. 7, no. 2 at the same concert (Gregorian date: Mar. 1); 1874 - Rimsky-Korsakov: Symphony No. 3, in St. Petersburg (Gregorian date: Mar. 2); 1893 - Berlioz: "La Damnation de Faust" (as a staged opera), in Monte Carlo with a cast headed by tenor Jean de Reske; Berlioz conducted the first concert performance of this work (as an oratorio) at the Opéra-Comique in Paris on Dec. 6, 1946; 1893 - Brahms: Intermezzo No. 1, for piano, from Op. 117, in Vienna; 1895 - Loeffler: Quintet for three violins, viola and cello, at Boston's Union Hall by the Kneisel Quartet joined by violinist William Kraft; 1916 - Daniel Mason: First Symphony (first version), by the Philadelphia Orchestra, Leopold Stokowski conducting; 1919 - Deems Taylor: chamber suite "Through The Looking Glass," by the New York Chamber Music Society; 1947 - Menotti: one-act opera "The Telephone," in New York City at the Heckscher Theater; 1952 - Prokofiev: Sinfonia Concertante, Op. 125 (as "Cello Concerto" No. 2), in Moscow, with Sviatoslav Richter conducting and Mstislav Rostropovich the soloist; 1955 - Hanson: Symphony No. 5 ("Sinfonia Sacra"), the Philadelphia Orchestra, Eugene Ormandy conducting; 1965 - Ginastera: Harp Concerto, by harpist Nicanor Zabaleta , with the Philadelphia Orchestra, Eugene Ormandy conducting; 1998 - Thea Musgrave: "Phoenix Rising," at the Royal Festival Hall in London, by the BBC Symphony, Andrew Davis conducting. Links and Resources On Howard Hanson

On this episode of Tall Poppies, The Podcast Breandáin meets the composer Liza Lim. She is Professor of Composition at the Sydney Conservatorium of Music, where she also runs the Composing Women Program.Liza has created compositions for many of the world's leading orchestras including the Los Angeles Philharmonic, BBC Symphony, and the SuedwestRundfunk Orchestra and her music has been featured at many notable festivals.She was born in Perth, but spent much of her childhood in Brunei. Liza attended boarding school in Melbourne, and then completed her tertiary studies in Australia. Among her numerous accolades are the Don Banks Award for Music and the 2021 Hans and Gertrud Zender Foundation's Composition Prize 'Happy New Ears'. For 2021/22 Liza Lim is a Fellow at the Wissenschaftskolleg zu Berlin or Institute of Advanced Study.

Tracy Silverman, electric violin virtuoso and pioneer, and conductor Devin Patrick Hughes speak about “The Agony of Modern Music,” the history of how many strings came to be on the violin, Tracy's debut with the Chicago Symphony, his stint as a musical Olympian, how to not achieve perfection, playing like Ray Charles, Jascha Heifetz, and Jimi Hendrix. He also discusses his collaborations with Terry Riley, John Adams and his Electric Violin Concerti, and his album Between the Kiss and the Chaos.   Described as “the greatest living exponent of the electric violin” by the BBC, pioneering violinist and composer Tracy Silverman believes “strings must evolve or they will perish” and his mission is to reconnect strings with our popular culture and to teach string players to groove. His groundbreaking work incorporating rock, jazz, Americana, hip-hop, and other popular genres with the 6-string electric violin has upended the contemporary classical genre, and his strum bowing method has been adopted by performers all around the world.  Terry Riley described Tracy's violin playing as being like an orchestra itself. John Adams said: “When I heard Tracy play I was reminded that in almost all cultures other than the European classical one, the real meaning of the music is in between the notes.  No one makes that instrument sing and soar like Tracy, floating on the cusp between Heifetz and Jimi Hendrix.” Tracy was first violinist in the Turtle Island String Quartet, and was named one of the 100 distinguished alumni by the Juilliard School, and as a composer has 3 Electric Violin concerts among other works, and has performed concertos written for him by John Adams, Terry Riley, Nico Muhly, and Kenji Bunch. The violin virtuoso and humanitarian was recently featured on NPR's Tiny Desk Concerts, Performance Today, CBS Sunday Morning, and A Prairie Home Companion, and is an internationally in-demand clinician and currently teaches at Belmont University in Nashville.  Thank you for joining us on One Symphony and thanks to Tracy Silverman for sharing his performances and works. You heard Between the Kiss and the Chaos, Hundred Percent Forever, the Beatles Here Comes the Sun, Axis and Orbits, Crazy Times, John Adams's the Dharma at Big Sur, all performed by Tracy Silverman.   Additional performances were by the Beatles, Fanny Clamagirand, Sinfonia Finlandia, Nikolaus Harnoncourt, the Berlin Philharmonic, the BBC Symphony, and John Adams. Thanks to the record labels Delos, Naxos, Acewonder, and Nonesuch for making this episode possible!  You can check out Tracy's music and books at  tracysilverman.com and strumbowing.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Synopsis Today's date marks the birthday in 1885 of María Joaquina de la Portilla Torres, in the Mexican state of Guanajuato. Under her married name of Maria Grever, she became the first female Mexican composer to achieve international fame. She composed her first song at age four, studied in France with Claude Debussy among others, and at 18, one of her songs sold 3 million copies. At age 22, she married Leo A. Grever, an American oil company executive, moved to New York City, and by the 1930s was composing for Paramount and 20th Century Fox films. Her best-known song is probably "What A Difference A Day Makes" (originally "Cuando vuelva a tu lado"), written in 1934. Her songs have been recorded by singers ranging from the Andrews Sisters and Frank Sinatra to Dinah Washington and Aretha Franklin to Plácido Domingo and Juan Diego Flórez. “I am interested in Jazz and Modern Rhythms,” said Grever, “but above all, in Mexican Music … There is such a cultural richness in Mexican Music, its Hispanic and indigenous origins ... It is my wish and yearning to present these native rhythms and tunes from a real perspective, but with the necessary flexibility to appeal to a universal audience." Music Played in Today's Program María Grever (1885 – 1951) – Júrame (Juan Diego Flórez, tenor; Fort Worth Symphony; Miguel Harth-Bedoya, cond.) Decca 4757576 On This Day Births 1737 - Austrian composer Johann Michael Haydn, in Rohrau; He was the younger brother of Franz Joseph Haydn (b. 1732); 1760 - Italian composer Luigi Cherubini, in Florence (although August 14 is occasionally cited as his birthdate); 1910 - American composer and eminent theatrical conductor Lehman Engel, in Jackson, Miss.; 1910 - Swiss composer Rolf Liebermann, in Zurich; Premieres 1854 - Bruckner: Mass in Bb ("Missa Solemnis") in St. Florian, Austria; 1952 - Frank Martin: Concerto for Harpsichord, in Venice; 1954 - Britten: opera "The Turn of the Screw," in Venice at the Teatro La Fenice; 1968 - Shostakovich: String Quartet No. 12, in Moscow, by the Beethoven Quartet; 1978 - Barber: Third Essay for Orchestra, by the New York Philharmonic conducted by Zubin Mehta; 1994 - Richard Danielpour: Cello Concerto, commissioned and performed by San Francisco Symphony conducted by Herbert Blomstedt, with soloist Yo-Yo Ma; 1996 - Stockhausen: "Freitag aus Licht" (Friday from Light), at the Leipzig Opera; 1997 - Saariaho: "Graal Théâtre" (chamber version), in Helsinki, by the Avanti Ensemble and violinist John Storgards. 2002 - David Amram: Flute Concerto ("Giants of the Night"), in New Orleans by the Louisiana Philharmonic conducted by Klauspeter Seibel, with James Galway the soloist; 2002 - Colin Matthews, Judith Weir, Poul Ruders, David Sower, Michael Torke, Anthony Payne, and Magnus Linberg: "Bright Cecilia: Variations on a Theme by Purcell," at Royal Albert Hall in London, with the BBC Symphony, Leonard Slatkin conducting; This set of orchestral variations on a Purcell theme was commissioned by BBC Music magazine to celebrate its 10th anniversary; Others 1731 - J.S. Bach performs organ recitals in Dresden on Sept. 14-21; 1741 - Handel finishes scoring his famous oratorio, "Messiah," begun on August 22 (The entire work was composed in a period of 24 days); These dates are according to the Julian "Old Style" calendar (Gregorian dates: Sept 2 to Sept. 25); 1914 - W. C. Handy copyrights his most famous song, "The St. Louis Blues"; 1973 - The Philadelphia Orchestra gives a concert in Beijing, the first American orchestra to perform in Red China; Eugene Ormandy conducts symphonies by Mozart (No. 35), Brahms (No. 1) and the American composer Roy Harris (No. 3).

Composer Anna Clyne joins conductor Devin Patrick Hughes on One Symphony. They discuss Anna's influences like Stravinsky, Steve Reich, and Arvo Part, composing based on poetry from Rumi to Shakespeare, along with silence in music, symphonic programming, repurposing material from others or yourself, and a way for a composer to be in the room with an orchestra from anywhere in the world! Anna Clyne is a GRAMMY-nominated composer of acoustic and electro-acoustic music.  Described as a “composer of uncommon gifts and unusual methods” by the New York Times and as “fearless” by NPR, Clyne is one of the most acclaimed and in-demand composers of her generation, connecting her music across art forms with innovative collaborations with choreographers, visual artists, filmmakers, and musicians.  Also the winner of the 2016 Hindemith Prize, Anna Clyne is currently the Associate composer for the Sottish Chamber Orchestra, and has held composer residencies with the Chicago Symphony, Baltimore Symphony, and the National Orchestra of France.  Some of Anna Clyne's most amazing works that have been performed by the top orchestras, soloists and conductors around the world, include Dance for cello and orchestra, Night Ferry, Rewind, This midnight Hour, Prince of Clouds, The Seamstress, Sound and Fury and Within Her Arms.  Marin Alsop said it best by describing Anna's music as “always emotional and driven by her heart, and skillfully composed”. Thank you for joining us on One Symphony and thanks to Anna Clyne for sharing her music and insights. Thank you to all the incredible performers and record labels that made this episode possible! Cornelius Dufallo and Amy Kauffman played Tea Leaves from The Violin.  Dance was performed by Inbal Segev, and the London Philharmonic conducted by Marin Alsop. Masquerade was performed by the BBC Symphony conducted by Marion Alsop.  A Wonderful Day was performed by Anna Clyne and Willie Barbee from Bang on a Can All-Stars on the Cantaloupe Music label.   Rewind was performed by the BBC Symphony and Andre de Ridder. Stravinsky's Rite of Spring was performed by the London Symphony and Rafael Frübeck de Burgos.  Beethoven's Grosse Fuge was performed by the Takács Quartet.  Bartok's Concerto for Orchestra was played by the Hungarian State Symphony and Adám Fischer. You can check out Anna Clyne's music online at annaclyne.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Synopsis On today's date in 2020, the University of Maryland launched PriceFest–an annual festival devoted to the American composer Florence Price. The plan was to stage performances of works in the context of lectures and panels devoted to this long-neglected African-American composer. The Covid outbreak forced the first PriceFest to be an online event only, but that worked so well the 2021 PriceFest arranged for more live-streamed and interactive Zoom events. When Florence Price died at the age of 66 in 1953, she left behind instrumental, orchestra and vocal works that languished unperformed for decades until a revival of interest in music by women composers and composers of color led to a serious second look at her compositions and a rediscovery of their quality and importance. In 2009, a couple renovating an abandoned and dilapidated house in St. Anne, Illinois once owned by Price found a substantial collection of previously unknown Price scores.   As Alex Ross, writing in The New Yorker, commented: "not only did [Florence] Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. That run-down house in St. Anne is a potent symbol of how a country can forget its cultural history.” Music Played in Today's Program Florence Price (1887 - 1953) – Mississippi Suite (Women's Philharmonic; Apo Hsu, cond.) Koch 75182 On This Day Births 1561 - Italian composer Jacopo Peri, in Rome; His setting of Rinuccini's poem "Dafne," staged in 1600, is credited as the first opera; Deaths 1813 - Bohemian composer Jan Krittel Vanhal (Johann Baptist Wanhal), age 74, in Vienna; Premieres 1882 - Tchaikovsky: "1812 Overture," on an all-Tchaikovsky program presented during an Art and Industrial Exhibition in Moscow (Julian date: Aug. 8); 1943 - Manuel Ponce: Violin Concerto, in Mexico City, conducted by Carlos Chavez; 1956 - Bliss: "Edinburgh Overture," at the opening of the Edinburgh Festival of Music and Drama; 1958 - Menotti: opera "Maria Golovin," at the International Exposition in Brussels, Belgium; 1961 - John Harbison: "Duo" for flute and piano, at the Brooklyn Museum, with flutist Neil Zaslaw and pianist Juliette Arnold; 1965 - Harrison Birtwistle: "Tragoedia" for chamber ensemble, at Wardour Castle in England, during the Castle Summer School of Music, by the Melos Ensemble conducted by Lawrence Foster; 1973 - Carl Orff: cantata "De Temporum Fine Commedia" (A Play of the End of Time) at the Salzburg Festival, with Herbert von Karajan conducting; 1979 - Harbison: opera "The Winter's Tale" in San Francisco; 1980 - Rubbra: Symphony No. 11, in London by the BBC Northern Symphony; 1992 - Joan Tower: "Fanfare for the Uncommon Woman" No. 5 (dedicated to Joan Harris), at the opening of the Joan and Irving Harris Concert Hall at the Aspen Music Festival in Colorado. 2004 - Zhou Long: “The Immortal” for orchestra, at a BBC Proms concerts with the BBC Symphony, Leonard Slatkin conducting; 2004 - Peter Maxwell Davies: “Naxos Quartet” No. 4 (“Children's Games”), in the Chapel of the Royal Palace, Oslo (Norway) during the Oslo Chamber Music Festival, by the Maggini Quartet.

Synopsis According to the Guinness Book of World Records, the biggest, longest, most massively orchestrated symphony of all time is the “Gothic Symphony “of the British composer Havergal Brian. The Symphony was composed between 1919 and 1922, but didn't receive its first performance until some 40 years later, on today's date in 1961, when Bryan Fairfax conducted it for the first time in Westminster. Five years later, Sir Adrian Boult conducted a performance with the BBC Symphony at the Royal Albert Hall in London that created quite a sensation and that has been preserved in a recording. Brian was born in 1876, to working class parents. His talent was encouraged his fellow English composers Edward Elgar and Granville Bantock, and by the leading German composer of his day, Richard Strauss, to whom Brian dedicated his “Gothic” Symphony. Despite that, Brian's musical career never caught hold and for most of his life Brian toiled on in obscurity. By the time of his death in 1972, Brian had completed 32 symphonies. Although the BBC had committed to performing all of them, not a note of his music was commercially issued on record during his lifetime, and Brian died without ever having heard most of his symphonies performed. Music Played in Today's Program Havergal Brian (1876 – 1972): Symphony No. 1 "Gothic" (Czecho-Slovak Radio Symphony Orchestra; Ondrej Lenard, cond.) Marco Polo 223280

Synopsis According to the Guinness Book of World Records, the biggest, longest, most massively orchestrated symphony of all time is the “Gothic Symphony “of the British composer Havergal Brian. The Symphony was composed between 1919 and 1922, but didn't receive its first performance until some 40 years later, on today's date in 1961, when Bryan Fairfax conducted it for the first time in Westminster. Five years later, Sir Adrian Boult conducted a performance with the BBC Symphony at the Royal Albert Hall in London that created quite a sensation and that has been preserved in a recording. Brian was born in 1876, to working class parents. His talent was encouraged his fellow English composers Edward Elgar and Granville Bantock, and by the leading German composer of his day, Richard Strauss, to whom Brian dedicated his “Gothic” Symphony. Despite that, Brian's musical career never caught hold and for most of his life Brian toiled on in obscurity. By the time of his death in 1972, Brian had completed 32 symphonies. Although the BBC had committed to performing all of them, not a note of his music was commercially issued on record during his lifetime, and Brian died without ever having heard most of his symphonies performed. Music Played in Today's Program Havergal Brian (1876 – 1972): Symphony No. 1 "Gothic" (Czecho-Slovak Radio Symphony Orchestra; Ondrej Lenard, cond.) Marco Polo 223280

Synopsis On today's date in 1901, the English composer Edward Elgar conducted the first performance of his cheery, upbeat, and slightly rowdy “Cockaigne” Overture, a commission from the Royal Philharmonic Society dedicated to his many friends in British Orchestras. Now “Cockaigne” does NOT refer to the schedule 2 narcotic, but rather to an old nickname for the City of London, originating in a very old poem about a utopian land where rivers flow with wine and houses are made of cake and barley sugar. Elgar said he wanted to come up with something “cheerful and London-y, stout and steak ...honest, healthy, humorous and strong, but not vulgar." The new overture proved an instant hit, and critics of the day compared it favorably to the festive prelude to  Act I of  Wagner's opera “Die Meistersinger.”  Elgar made two recordings of the work, conducting the Royal Albert Hall Orchestra in 1926 and the BBC Symphony in 1933. By chance during that 1933 recording session, as a back-up some takes were cut simultaneously to two separate wax master recording machines from two separate microphones, enabling engineers many decades later to blend the two simultaneous “takes” into an “accidental stereo” version of the old mono recording. Music Played in Today's Program Edward Elgar (1857 – 1934): Cockaigne Overture (BBC Symphony; Edward Elgar, cond (1933 “accidental stereo”)) Naxos 8.111022

Synopsis On today's date in 1901, the English composer Edward Elgar conducted the first performance of his cheery, upbeat, and slightly rowdy “Cockaigne” Overture, a commission from the Royal Philharmonic Society dedicated to his many friends in British Orchestras. Now “Cockaigne” does NOT refer to the schedule 2 narcotic, but rather to an old nickname for the City of London, originating in a very old poem about a utopian land where rivers flow with wine and houses are made of cake and barley sugar. Elgar said he wanted to come up with something “cheerful and London-y, stout and steak ...honest, healthy, humorous and strong, but not vulgar." The new overture proved an instant hit, and critics of the day compared it favorably to the festive prelude to  Act I of  Wagner's opera “Die Meistersinger.”  Elgar made two recordings of the work, conducting the Royal Albert Hall Orchestra in 1926 and the BBC Symphony in 1933. By chance during that 1933 recording session, as a back-up some takes were cut simultaneously to two separate wax master recording machines from two separate microphones, enabling engineers many decades later to blend the two simultaneous “takes” into an “accidental stereo” version of the old mono recording. Music Played in Today's Program Edward Elgar (1857 – 1934): Cockaigne Overture (BBC Symphony; Edward Elgar, cond (1933 “accidental stereo”)) Naxos 8.111022

Tom Service takes a look at the influence of horn player Dennis Brain in his centenary year - We hear from two of today's leading horn players Ben Goldscheider, who is releasing an album centred around Brain's legacy, and Sarah Willis who talks us through some iconic Dennis Brain recordings. Plus we speak to retired horn player Andrew McGavin, who played second horn to Dennis in the Philharmonia in the 1950s, for some first hand memories of the legend that was Dennis Brain. As live music venues start to open their doors to audiences with the easing of COVID restrictions we take a look at the issues surrounding physical access for disabled and neurodiverse audiences. We speak to Susanne Bull, founder of 'Attitude is Everything', Andrew Miller co-founder of the UK Disability Arts Alliance, #WeShallNotBeRemoved and audience ambassador Vivien Wilkinson about the issues and also the potential for a hybrid form of concert going that includes live streaming. As part of Mental Health Awareness Week writers Horatio Clare and Stephen Johnson reflect on how music, literature, art and nature have helped them through some of the darkest times imaginable, and Alex Smalley updates us on the results of The University of Exeter's Virtual Nature Experiment. Composer Gerard McBurney and Ann McKay from the BBC Symphony orchestra pay tribute to composer Anthony Payne. Producer: Martin Webb

Synopsis OK – say you were paid to listen to and promote hundreds of new classical recordings every month and travel the world to broker new deals for a major record company. The question is, “What would you do in your spare time?” Well, if you’re a composer, the answer is easy: write your OWN music, of course. Sean Hickey’s “day job” is being the Senior Vice-President for Sales and Business Development at Naxos of America, but who also finds time to create his own chamber and orchestral works. On today’s date in 2007, for example, his Clarinet Concerto received its premiere performance at Symphony Space in New York City, with David Gould as soloist with the Metro Chamber Orchestra. It’s gone on to be his most-performed orchestra work, and, in keeping with Hickey’s globe-trotting, has been recorded in the Russian Federation by another virtuoso clarinetist, Alexander Fiterstein with the St. Petersburg State Academic Symphony. The work also incorporates fragments of folk tunes from Scotland as part of the creative mix. Why Scottish themes? “They have a timeless quality of most great folk music, “says Hickey. “In the concerto’s cadenza, a fiddle tune leads headlong into a rapturous close.” Music Played in Today's Program Sean Hickey — Concerto for Clarinet and Orchestra (Alexander Fiterstein, cl; St. Petersburg Academic Symphony; Vladimir Lande, cond.)Delos 3448 On This Day Births 1899 - American composer and teacher Randall Thompson, in New York; 1933 - American composer and pianist Easley Blackwood, in Indianapolis; Premieres 1845 - Lortzing: opera "Undine," in Magdeburg at the Stadttheater; 1889 - Puccini: opera "Edgar," in Milan at the Teatro alla Scala; 1917 - Debussy: Sonata No. 2 for flute,viola, and harp, at a concert of the Société Musicale Indépendante in Paris, by the trio of Manouvirier (flute), Jarecki (viola), and Jamet (harp); 1918 - Prokofiev: Symphony No. 1 ("Classical"), in Petrograd, by the former Court Orchestra with the composer conducting; 1922 - Frederick Converse: Symphony No. 2, by the Boston Symphony, Pierre Monteux conducting; 1924 - Youmans: musical "No, No Nanette," in Detroit; After stops in Chicago and London, the musical opened on Broadway on Sept. 16, 1925; 1937 - Copland: a play-opera for high school "The Second Hurricane," at the Grand Street Playhouse in New York City, with soloists from the Professional Children's School, members of the Henry Street Settlement adult chorus, and the Seward High School student chorus, with Lehman Engle conducting and Orson Welles directing the staged production; One professional adult actor, Joseph Cotton, also participated (He was paid $10); 1939 - Leonard Bernstein's first appearance as a conductor, leading his own incidental score to "The Birds" at Harvard; 1942 - Bernstein: Clarinet Sonata, in Boston, with clarinetist David Glazer and the composer at the piano; 1948 - Vaughan Williams: Symphony No. 6, at Royal Albert Hall in London, by the BBC Symphony, Sir Adrian Boult conducting; 1973 - Bliss: "Variations" for orchestra, in London, with Leopold Stokowski conducting; 1985 - Morton Feldman: "For Philip Guston," for chamber ensemble, in New York; 1988 - Bernstein: "Missa brevis," in Atlanta by the Atlanta Symphony Chorus conducted by Robert Shaw; Others 1749 - Against Handel's wishes, in advance of its official premiere scheduled for April 27, a public rehearsal of Handel's "Music for the Royal Fireworks" at Vauxhall Gardens takes place; Reports suggest 12,000 attended, causing traffic jams on London Bridge (Gregorian date: May 2); 1829 - Mendelssohn, age 20, arrives in London for his first visit. 1863 - American premiere of J.S. Bach's Concerto for Two Claviers and Orchestra No.2 in C Major, at Dodworth's Hall in New York during a Mason-Thomas chamber music "Soiree,"with Henry C. Timm and William Mason performing on two pianos. Links and Resources On Theodore Thomas Concert-going then and now

Synopsis OK – say you were paid to listen to and promote hundreds of new classical recordings every month and travel the world to broker new deals for a major record company. The question is, “What would you do in your spare time?” Well, if you’re a composer, the answer is easy: write your OWN music, of course. Sean Hickey’s “day job” is being the Senior Vice-President for Sales and Business Development at Naxos of America, but who also finds time to create his own chamber and orchestral works. On today’s date in 2007, for example, his Clarinet Concerto received its premiere performance at Symphony Space in New York City, with David Gould as soloist with the Metro Chamber Orchestra. It’s gone on to be his most-performed orchestra work, and, in keeping with Hickey’s globe-trotting, has been recorded in the Russian Federation by another virtuoso clarinetist, Alexander Fiterstein with the St. Petersburg State Academic Symphony. The work also incorporates fragments of folk tunes from Scotland as part of the creative mix. Why Scottish themes? “They have a timeless quality of most great folk music, “says Hickey. “In the concerto’s cadenza, a fiddle tune leads headlong into a rapturous close.” Music Played in Today's Program Sean Hickey — Concerto for Clarinet and Orchestra (Alexander Fiterstein, cl; St. Petersburg Academic Symphony; Vladimir Lande, cond.)Delos 3448 On This Day Births 1899 - American composer and teacher Randall Thompson, in New York; 1933 - American composer and pianist Easley Blackwood, in Indianapolis; Premieres 1845 - Lortzing: opera "Undine," in Magdeburg at the Stadttheater; 1889 - Puccini: opera "Edgar," in Milan at the Teatro alla Scala; 1917 - Debussy: Sonata No. 2 for flute,viola, and harp, at a concert of the Société Musicale Indépendante in Paris, by the trio of Manouvirier (flute), Jarecki (viola), and Jamet (harp); 1918 - Prokofiev: Symphony No. 1 ("Classical"), in Petrograd, by the former Court Orchestra with the composer conducting; 1922 - Frederick Converse: Symphony No. 2, by the Boston Symphony, Pierre Monteux conducting; 1924 - Youmans: musical "No, No Nanette," in Detroit; After stops in Chicago and London, the musical opened on Broadway on Sept. 16, 1925; 1937 - Copland: a play-opera for high school "The Second Hurricane," at the Grand Street Playhouse in New York City, with soloists from the Professional Children's School, members of the Henry Street Settlement adult chorus, and the Seward High School student chorus, with Lehman Engle conducting and Orson Welles directing the staged production; One professional adult actor, Joseph Cotton, also participated (He was paid $10); 1939 - Leonard Bernstein's first appearance as a conductor, leading his own incidental score to "The Birds" at Harvard; 1942 - Bernstein: Clarinet Sonata, in Boston, with clarinetist David Glazer and the composer at the piano; 1948 - Vaughan Williams: Symphony No. 6, at Royal Albert Hall in London, by the BBC Symphony, Sir Adrian Boult conducting; 1973 - Bliss: "Variations" for orchestra, in London, with Leopold Stokowski conducting; 1985 - Morton Feldman: "For Philip Guston," for chamber ensemble, in New York; 1988 - Bernstein: "Missa brevis," in Atlanta by the Atlanta Symphony Chorus conducted by Robert Shaw; Others 1749 - Against Handel's wishes, in advance of its official premiere scheduled for April 27, a public rehearsal of Handel's "Music for the Royal Fireworks" at Vauxhall Gardens takes place; Reports suggest 12,000 attended, causing traffic jams on London Bridge (Gregorian date: May 2); 1829 - Mendelssohn, age 20, arrives in London for his first visit. 1863 - American premiere of J.S. Bach's Concerto for Two Claviers and Orchestra No.2 in C Major, at Dodworth's Hall in New York during a Mason-Thomas chamber music "Soiree,"with Henry C. Timm and William Mason performing on two pianos. Links and Resources More on Sean Hickey at Vox Novus

No European musician has achieved the status of JOHANN SEBASTIAN BACH, who is regularly cited as the greatest composer in history. He dominated the Baroque era of 18th century Germany, and in retrospect, played a key transitional role in the evolution of Western classical music. His virtuosity as a performer, productivity and brilliance as a composer, the vast range of his secular music and sublime profundity of his religious music — have never been equaled. An innovator in his time, he expanded the role of the pipe organ in the church and embraced new styles, while his adoption of the "well-tempered" scale set the course for the future. Beyond its breadth, depth, intellectual and emotional power, the appeal of Bach's music can be attributed to something more basic: Bach was a master of melody. The spacious lyricism of his chorales and contemplative arias creates an atmosphere of sacred mysticism that's as relevant today as it was in Baroque Germany. On this transmission of Hearts of Space from our regular guest producer for classical and sacred music ELLEN HOLMES, an all-Bach program called IMMORTAL MELODIES 2. Performances by pianists CHAD LAWSON, MARTA & GYORGY KURTÁG, and ANNA GOURARI, cellists YO-YO MA and ELISE ROBINEAU, organists FRANZ HAUK and OLIVIER LATRY, and strings by FRETWORK, the BBC PHILHARMONIC and the BBC SYMPHONY. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

De Hongaarse componist en dirigent Peter Eötvös (1944) werkte bij onder andere het Ensemble intercontemporain in Parijs, het BBC Symphony en het Budapest Festival Orchestra. Vanaf 1994 was hij tien jaar lang chef bij het Radio Kamerorkest, naast Frans Brüggen en Ton Koopman. Hans Haffmans spreekt met Elisabeth Perry, die als concertmeester van het Radio Kamerorkest, de Radio Kamer Filharmonie en het Radio Filharmonisch Orkest op het podium vaak op hooguit anderhalve meter afstand van hem zat. Eötvös – volgens Perry een man met een uiterst warme, open persoonlijkheid – dirigeerde veel eigentijdse muziek, dikwijls ook zijn fenomenale eigen werk, maar met even veel liefde en plezier bekend repertoire – van Mozart tot Bartók. Op 25 juni 2005 bereikte hij een volstrekt doorzichtige klank in zowel de vroege Stravinsky als in Boulez – het programma, tevens in het kader van het Holland Festival, maakte deel uit van een reeks Matineeconcerten rond diens tachtigste verjaardag. Dat hun optreden, wegens bezuinigingen, voor een deel van de orkestmusici een afscheid van het Radio Filharmonisch Orkest betekende, is geen moment te horen. Wat een onvoorwaardelijke inzet!

De Hongaarse componist en dirigent Peter Eötvös (1944) werkte bij onder andere het Ensemble intercontemporain in Parijs, het BBC Symphony en het Budapest Festival Orchestra. Vanaf 1994 was hij tien jaar lang chef bij het Radio Kamerorkest, naast Frans Brüggen en Ton Koopman (https://www.npoklassiek.nl/overzicht/ton-koopman). Hans Haffmans spreekt met Elisabeth Perry, die als concertmeester van het Radio Kamerorkest, de Radio Kamer Filharmonie en het Radio Filharmonisch Orkest op het podium vaak op hooguit anderhalve meter afstand van hem zat. Eötvös – volgens Perry een man met een uiterst warme, open persoonlijkheid – dirigeerde veel eigentijdse muziek, dikwijls ook zijn fenomenale eigen werk, maar met even veel liefde en plezier bekend repertoire – van Mozart (https://www.npoklassiek.nl/componisten/04ba4127-e1af-4d80-9c32-8eb115c62005/mozart-wolfgang-amadeus) tot Bartók (https://www.npoklassiek.nl/componisten/42eec9c3-976c-4dfe-bbed-8b864c6635d4/bartok-bela). Op 25 juni 2005 bereikte hij een volstrekt doorzichtige klank in zowel de vroege Stravinsky (https://www.npoklassiek.nl/componisten/4d48b417-930c-4517-93d5-d1ff7f46f8aa/stravinsky-igor) als in Boulez – het programma, tevens in het kader van het Holland Festival, maakte deel uit van een reeks Matineeconcerten rond diens tachtigste verjaardag. Dat hun optreden, wegens bezuinigingen, voor een deel van de orkestmusici een afscheid van het Radio Filharmonisch Orkest betekende, is geen moment te horen. Wat een onvoorwaardelijke inzet!

On today’s date in 1922, the British Broadcasting Corporation began daily radio transmissions from London, at first offering just news and weather–the latter read twice, in case anyone wanted to take notes. The following month, on December 23rd, 1922, they broadcast their first orchestral concert. Over time, the BBC became affectionately nicknamed “the Beeb,” or, less affectionately “Auntie,” due to the upper-middle class, slightly patronizing tone of its music announcers in the 1940s and 50s. That said, Auntie has proven to be very hip in one aspect: the BBC has been a major commissioner of and advocate for new music by a wide range of composers–and not just British ones. In 2007, for example, the BBC Symphony premiered the “Doctor Atomic Symphony” by the American composer John Adams live on-air at a BBC Proms Concert at the Royal Albert Hall. And it’s not just famous, big-name composers who get an airing on the Beeb either. Each year BBC Radio 3 host a competition for teenage composers. Winners participate in a mentored program and have one of their orchestral works developed, rehearsed, and performed at the BBC Proms.

On today’s date in 1922, the British Broadcasting Corporation began daily radio transmissions from London, at first offering just news and weather–the latter read twice, in case anyone wanted to take notes. The following month, on December 23rd, 1922, they broadcast their first orchestral concert. Over time, the BBC became affectionately nicknamed “the Beeb,” or, less affectionately “Auntie,” due to the upper-middle class, slightly patronizing tone of its music announcers in the 1940s and 50s. That said, Auntie has proven to be very hip in one aspect: the BBC has been a major commissioner of and advocate for new music by a wide range of composers–and not just British ones. In 2007, for example, the BBC Symphony premiered the “Doctor Atomic Symphony” by the American composer John Adams live on-air at a BBC Proms Concert at the Royal Albert Hall. And it’s not just famous, big-name composers who get an airing on the Beeb either. Each year BBC Radio 3 host a competition for teenage composers. Winners participate in a mentored program and have one of their orchestral works developed, rehearsed, and performed at the BBC Proms.

Erskine has worked with a wide array of respected artists, ranging from the likes of Joni Mitchell and Weather Report to Kate Bush and the BBC Symphony, and his experience provides a truly invaluable perspective on how to improve your musicianship.

Dalia Stasevska is a wonderful conductor whose career has skyrocketed in the past few years. She is the Principal Guest Conductor of the BBC Symphony and is the incoming Chief Conductor of the Lahti Symphony in Finland. We had a really great talk about getting into music, learning conducting from two legends in the field, Jorma Panula and Leif Segerstram, and about the sometimes lonely life of a conductor. Dalia is one of my favorite people to talk to in the music world and I’m sure you’ll enjoy this!

Michael Shapiro in conversation with conductor Leonard Slatkin (St. Louis Symphony, National Symphony, Lyons Philharmonic, and BBC Symphony) about his recorded legacy, promotion of American composers for many years, and hopes for the future. www.michaelshapiro.com

Winner of the 2018 Sir Georg Solti Conducting Award by the U.S Solti Foundation, German based American conductor, Roderick Cox, has been praised as a conductor who is “paving the way” (NBC News) and recognized as a “trailblazer…a conductor who will be amongst the vanguard” (Minnesota StarTribune). Cox has gained international attention for recent appearances with the Los Angeles Philharmonic, Cleveland Orchestra, Houston Grand Opera, and Philharmonia Orchestra (London).  Highlights and debuts in the 19/20 season include concerts with Orchestre de Paris, Dresdner Philharmonie, Kristiansand Symfoniorkester, Mannheim Staatsorchester, and Iceland Symphony Orchestra. In the US, Roderick will debut with the New York Philharmonic for the New York Philharmonic’s Young Peoples Concerts Series, the Aspen Music Festival Chamber Orchestra, Richmond Symphony, Phoenix Symphony, Louisville Orchestra, the Sphinx Symphony Orchestra, New Jersey Symphony and San Antonio Symphony.  Highlights among recent engagements as a guest conductor include debut subscription concerts with the Los Angeles Philharmonic Orchestra, his opera debut with Houston Grand Opera (Bizet’s Pêcheurs de Perles)as well as further debuts with BBC Symphony, Sinfonia Varsovia (Warsaw), BBC Scottish Symphony and with Philharmonia Orchestra (London) at the Brighton Festival. Further US Summer performances included a debut with the Houston Symphony and re-invitations to The Cleveland Orchestra (Blossom Music Festival) and the Minnesota Orchestra 

The renowned Finnish pianist, teacher, and musical leader has performed as a soloist with numerous orchestras around the globe, including the Finnish Radio Symphony, the BBC Symphony, the Melbourne Symphony Orchestra, and the Australian Chamber Orchestra. He has performed solo and chamber music recitals, and taught around the world. - Paavali Jumppanen on kansainvälisesti arvostettu pianotaiteilija joka on esiintyyt maailman huippuorkestereiden kanssa sekä toiminut opettajana eri puolilla maailmaa. Hänen toimikautensa Australiassa alkaa tammikuussa 2021.

This lush, late-Romantic score, composed in 1904, had to wait until 1962 for its premiere performance, when, on today's date that year, the Philadelphia Orchestra led by Eugene Ormandy performed it in Seattle during an international festival devoted to its composer, Anton Webern. For most music lovers, the Austrian composer Anton Webern is a shadowy, vaguely mysterious figure. If they know anything at all about him, it is that he was a pupil of Arnold Schoenberg, that he wrote a small body of very short and very condensed atonal scores, and that in 1945 he was shot by accident by an American soldier in the tense days following the end of World War II. The early orchestral score that received its belated premiere on today's date in 1962 was titled "In the Summer Wind," completed when Webern was just 19 years old. It's very much in the style of Richard Strauss, Gustav Mahler, and even Arnold Schoenberg in the early years of the 20th century. To earn a living, Webern worked as a conductor of everything from Viennese operettas to worker's choral unions. He was one of the earliest European conductors to present music by the American composer Charles Ives, and even appeared as a guest conductor in London with the BBC Symphony. His conducting career came to a halt when the Nazis annexed Austria in 1938, and until his untimely death in 1945, Webern lived by doing routine work for a Viennese music publisher.

This lush, late-Romantic score, composed in 1904, had to wait until 1962 for its premiere performance, when, on today's date that year, the Philadelphia Orchestra led by Eugene Ormandy performed it in Seattle during an international festival devoted to its composer, Anton Webern. For most music lovers, the Austrian composer Anton Webern is a shadowy, vaguely mysterious figure. If they know anything at all about him, it is that he was a pupil of Arnold Schoenberg, that he wrote a small body of very short and very condensed atonal scores, and that in 1945 he was shot by accident by an American soldier in the tense days following the end of World War II. The early orchestral score that received its belated premiere on today's date in 1962 was titled "In the Summer Wind," completed when Webern was just 19 years old. It's very much in the style of Richard Strauss, Gustav Mahler, and even Arnold Schoenberg in the early years of the 20th century. To earn a living, Webern worked as a conductor of everything from Viennese operettas to worker's choral unions. He was one of the earliest European conductors to present music by the American composer Charles Ives, and even appeared as a guest conductor in London with the BBC Symphony. His conducting career came to a halt when the Nazis annexed Austria in 1938, and until his untimely death in 1945, Webern lived by doing routine work for a Viennese music publisher.

durée : 01:58:09 - Les orchestres londoniens - par : Christian Merlin - Philharmonia, London Symphony, London Philharmonic, Royal Philharmonic, BBC Symphony, chacun a son identité : êtes-vous sûr de vous y retrouver ? Coup de projecteur sur la City au paysage orchestral foisonnant... - réalisé par : Béatrice Trichet

Katie Derham presents musical highlights from across the week on In Tune, including author Alexander McCall Smith on the music which inspires him ahead of a special BBC Symphony concert celebrating his work. Tenor Nicky Spence and pianist Julius Drake perform excerpts from Janáček's 'The Diary of One Who Disappeared' live in the studio, and Beninese singer-songwriter Angélique Kidjo explores the African rhythms in the work of Cuban singer Celia Cruz. Photo credit: Laurent Seroussi

Paul Philbert joins me on the Learning on Fire podcast and explores the most important learning and educational moments that shaped his life. Our guest – Paul Philbert (https://www.educationonfire.com/wp-content/uploads/2018/11/Paul-A-Philbert-©Eric-Richmond-600x600.jpg) Paul Andrew Philbert was born in London. It was as a singer that his musical abilities were first noticed, and on the advice of his preparatory school music teacher he auditioned for the Purcell School, a specialist music school, where over the course of seven years, he studied piano, violin, clarinet and, albeit briefly, trumpet and trombone. At the age of 15, having never really settled with any of these instruments, he took up timpani and percussion. He has never looked back. He continued his studies with John Chimes & Kevin Nutty (both BBC Symphony Orchestra principal players) at Trinity College of Music, London, taking a one year break to assume the responsibility of President of the Colleges’ Students’ Union. Having completed his postgraduate studies he began working as a freelance musician in the UK and abroad. He has performed with many professional orchestras including the BBC Philharmonic, the Orchestra of the Royal Opera House, the Philharmonia, the Hallé, BBC Symphony, Royal Philharmonic, Bournemouth Symphony, Birmingham Royal Ballet, English Chamber and Royal Liverpool Philharmonic, to name but a few. Music has taken him to the USA, Germany, Austria, Slovenia, Spain, Italy, Norway, Bulgaria and New Zealand before he accepted the position of Section Principal Timpani with the Malaysian Philharmonic Orchestra (MPO) in Kuala Lumpur. Since then he has toured Singapore, Japan, Korea, China, Taiwan, Australia, Sabah, Sarawak and Peninsular Malaysia with the MPO. Since his departure from the MPO in the latter half of 2012, Paul has continued to perform in both Asia, and Europe, and toured the USA, and South America. He was Principal Timpanist with the Orchestra of Opera North UK and is now the new Section Principal Timpanist with the Royal Scottish National Orchestra. Questions asked on the Learning on Fire Podcast Interview Who are you? What does your life look like now and how is it different from when you were growing up? What was valuable about your school experience? Which teachers do you remember and why? Who did you admire when you were young? What was it about that person that had such an impact? What was the best piece of advice you have ever been given and who gave it to you? What advice would you give your younger self? What does your future look like? What podcast, book, video, film, song or other resource has had the biggest impact on your life and why? Resources mentioned The Late Night Alternative with Iain Lee (https://talkradio.co.uk/late-night-alternative-iain-lee) Contact information  Royal Scottish National Orchestra (https://www.rsno.org.uk) Twitter  @philbertpauken (https://twitter.com/philbertpauken)   Show Sponsor (https://www.educationonfire.com/wp-content/uploads/2018/09/NAPE_2.2-1400.png) National Association for Primary Education (https://www.educationonfire.com/blog/national-association-for-primary-education-to-sponsor-the-education-on-fire-network/) Our aim is to achieve a higher priority for the education of children from birth to 13. High quality learning in the early years of life is vitally important to the creation of an educated society. Young children are not simply preparing for the future, they are living a never to be repeated time of life and the best way to learn is to live.  

On today's show, we talk to 2-time GRAMMY Award winner, Drummer, Bandleader, Producer and Educator, Peter Erskine! He has appeared on 700 albums and film scores, and has won two Grammy Awards, plus an Honorary Doctorate from the Berklee College of Music (1992). 50 albums have been released under his own name or as co-leader. He has played with the Stan Kenton and Maynard Ferguson Big Bands, Weather Report, Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, Mary Chapin Carpenter, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Scofield, and has appeared as a soloist with the London, Los Angeles, Chicago, Frankfurt Radio, Scottish Chamber, Royal Opera House, BBC Symphony, Oslo and Berlin Philharmonic Orchestras. Peter premièred the double percussion concerto Fractured Lines, composed by Mark-Anthony Turnage, at the BBC Proms with Andrew Davis conducting, and has collaborated frequently with Sir Simon Rattle. He also premiered the Turnage opera “Anna Nicole” at the Royal Opera House in London. Turnage has composed a solo concerto for Peter titled “Erskine,” which received its world premiere in Bonn, Germany in 2013, with a US premiere at the Hollywood Bowl with the LA Philharmonic. Peter has been voted 'Best Jazz Drummer of the Year' ten times by the readers of Modern Drummer magazine and was elected into the magazine's Hall of Fame in 2017. Peter has recorded five albums with the band Weather. He won his first Grammy Award with their album '8.30'. He won his second Grammy Award as the drummer of the WDR big band in Köln along with Michael Brecker, Randy Brecker, Vince Mendoza and others for the “Some Skunk Funk” album Peter produces jazz recordings for his record label, Fuzzy Music, with 4 Grammy nominations to its credit. Peter is also an active author with several books to his credit; titles include “No Beethoven (Autobiography & Chronicle of Weather Report),” “Time Awareness for All Musicians,” “Essential Drum Fills,” and his latest book (co-authored with Dave Black for Alfred Publishing), “The Drummers' Lifeline.” He has also authored a series of iOS Play-Along apps suitable for all instruments. Peter is Professor of Practice and Director of Drumset Studies at the Thornton School of Music, University of Southern California. Christopher Dzengelewski and I talk about his incredible career with the Stan Kenton Orchestra, Maynard Ferguson, Weather Report, Steely Dan, Joni Mitchell, talks about his drumming method, names his favorite musicians and much, much more!

For this episode, we discuss recent epiphanies that we're bringing with us back into the school year! For our interview, we welcome Alison Teale, Principal Cor Anglais player with the BBC Symphony Orchestra! Learn more about Alison at http://www.alisonteale.com This episode is brought to you by Jende Reed Knives (www.jendeindustries.com, Jennet Ingle Reeds(jennetingle.com/about-jennet-ingle-reeds/), JDW Sheet Music (www.jdwsheetmusic.com/), and MKL Reeds (MKLReeds.com). In this episode: LunART Festival: https://www.lunartfestival.org/ Imani Winds: http://www.imaniwinds.com/ BBC Symphony: https://www.bbc.co.uk/symphonyorchestra

Since his early teens, Thomas Adès has been a commanding figure in the world of classical music as a triple threat pianist, conductor and composer. Seth talks with him about his career including his work at, among others, the Los Angeles Philharmonic, Boston Symphony, London Symphony Orchestra, Royal Concertgebouw, Melbourne and Sydney Symphonies, BBC Symphony, and City of Birmingham Symphony Orchestra. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Chamber Symphony Birmingham Contemporary Music Group; Thomas Adès, conductor Living Toys London Symphonietta Violin Concerto: Concentric Paths Anthony Marwood, violin; Chamber Orchestra of Europe; Thomas Adès, conductor Asyla London Symphony Orchestra; Thomas Adès, conductor Tevot Berliner Philharmoniker; Sir Simon Rattle, conductor

There have been many highlights in Simone Young's career. Alongside conducting most of the world’s great orchestras including the London and New York Philharmonic Orchestras, the City of Birmingham Symphony, and the BBC Symphony at the BBC Proms, she was also the first woman to conduct at the Vienna State Opera and the Vienna Philharmonic, two orchestras she regularly returns to conduct today. In 1983, at just 22, Simone Young had already joined the staff of Opera Australia. She studied at Sydney’s Conservatorium of Music prior to taking up her position with AO where she worked as a répétiteur. By 1986, the young Sydneyite was conducting at the Sydney Opera House and appointed a resident conductor with Opera Australia. Simone moved to Germany, where she took up a position assisting James Conlon, the conductor at the Cologne Opera. This led to further engagements, including working alongside the legendary Daniel Barenboim at the Berlin State Opera and the Bayreuth Festival. In 1998 she was appointed principal conductor of the Bergen Philharmonic Orchestra in Norway. But Australia was never far from her sights. In 2000, Simone was given what she terms one of the greatest honours of her career, when she conducted the national anthem at the 2000 Olympic Games in Sydney. Not long afterwards, she returned to take up the position of Music Director with Opera Australia, but despite these three years being an artistically rewarding period, they were turbulent years in her career. In 2005 Simone returned to Europe to direct one of the Germany’s major opera houses, the Hamburg State Opera, and as chief conductor of the city’s philharmonic orchestra, positions she held until 2015. Simone has also been a great mentor for a number of Australian conductors and singers. She says, “I think it is incredibly important for young conductors to see just how tough the working side of this job is. If you don’t want to work hard, don’t choose this profession.”It was, indeed, in the midst of a heavy performance and rehearsal schedule in Berlin that Simone Young joined the Tall Poppies podcast. In this episode, she recalls how her musical education in Australia and her father’s good advice prepared her for an international conducting career. Simone also confides how she plans to tackle the latest position she has added to her illustrious list of honours – that of being the Australian Nana to her two grandchildren.

There have been many highlights in Simone Young's career. Alongside conducting most of the world’s great orchestras including the London and New York Philharmonic Orchestras, the City of Birmingham Symphony, and the BBC Symphony at the BBC Proms, she was also the first woman to conduct at the Vienna State Opera and the Vienna Philharmonic, two orchestras she regularly returns to conduct today.  In 1983, at just 22, Simone Young had already joined the staff of Opera Australia. She studied at Sydney’s Conservatorium of Music prior to taking up her position with AO where she worked as a répétiteur, the title given to the person responsible for coaching singers and playing the piano for music and production rehearsals.  By 1986, the young Sydneyite was conducting at the Sydney Opera House and appointed a resident conductor with Opera Australia. Among her mentors were Australian musician luminaries, the likes of conductors Charles Mackerras, Richard Bonynge and Stuart Challender.  In the late 1980s, Simone and her husband moved to Germany, where she took up a position assisting James Conlon, the conductor at the Cologne Opera.  This led to further engagements, including working alongside the legendary Daniel Barenboim at the Berlin State Opera and the Bayreuth Festival. In 1998 she was appointed principal conductor of the Bergen Philharmonic Orchestra in Norway.But Australia was never far from her sights. In 2000, Simone was given what she terms one of the greatest honours of her career, when she conducted the national anthem at the 2000 Olympic Games in Sydney. Not long afterwards, she returned to take up the position of Music Director with Opera Australia, but despite these three years being an artistically rewarding period, they were turbulent years in her career. “It became obvious that I was not going to have the support that had been indicated at the start of my time that would be there,” she confided. “Then it became obvious that our ways were going to part, but the way it all happened was completely unnecessary. Deeply destructive for the company, very hurtful for me personally at the time but, once again, I focused all my energies on just doing the work,”In 2005 Simone returned to Europe to direct one of the Germany’s major opera houses, the Hamburg State Opera, and as chief conductor of the city’s philharmonic orchestra, positions she held until 2015.Among her recordings are the symphonies of Anton Bruckner, Richard Wagner’s Ring Cycle and the complete Brahms symphonies.Simone has also been a great mentor for a number of Australian conductors and singers. She says, “I think it is incredibly important for young conductors to see just how tough the working side of this job is. If you don’t want to work hard, don’t choose this profession.”It was, indeed, in the midst of a heavy performance and rehearsal schedule in Berlin that Simone Young joined the Tall Poppies podcast. In this episode, she recalls how her musical education in Australia and her father’s good advice prepared her for an international conducting career. Simone also confides how she plans to tackle the latest position she has added to her illustrious list of honours – that of being the Australian Nana to her two grandchildren.  

Julian Ovenden, a Screen Actors Guild Award winner, talks with Ilana about his roles on "Knightfall," "Downton Abbey," and many other amazing projects. Julian shares details about his first musical in London, "Merrily We Roll Along," by the inimitable Stephen Sondheim. Sondheim was there at rehearsal daily and re-worked material for and with Juilan. The two often sat at the piano together since Julian had to play a lot in the show. Julian's gorgeous tenor voice has made him one of the most sought after concert performers in the world; he has three solo albums to his name. The son of a vicar who became the vicar for England's royal family, Julian's discusses what is was like for his family to live on the property at Windsor Castle. An actor who once had a phobia about accents, Julian shares how he learned to embrace them in order to stretch himself. And Julian gets candid with Ilana about the ups and downs of his career and tells hilarious audition stories that any actor will relate to. British actor, Julian Ovenden is an accomplished thespian and musician, who has also had memorable performances in globally renowned television and film projects over the span of his 17-year career. He has starred on Broadway and in the West End, in high profile television series on both sides of the Atlantic, as well as fashioning an international career as a concert and recording artist. Ovenden currently stars as ‘William De Nogaret’ in HISTORY’s “Knightfall,” created by Don Handfield and Richard Rayner and executively produced by Jeremy Renner. The story centers on the mysterious but true accounts of the Knights Templar, the elite warriors of the Crusades. It delves into the great secrets protected by the Templars and tells the story of faith, loyalty, and brotherhood that help sustain these warriors on the battlefield and the dark events that would forever sear the infamous date of Friday the 13th into the world’s psyche.  As a solo singer, Ovenden has appeared with many of the world’s leading orchestras, including The New York Philharmonic, The New York Pops, The Northern Sinfonia, The Liverpool Philharmonic, The RPO, The LPO, The Belfast Symphony Orchestra, the John Wilson Orchestra, The BBC Symphony, The Royal Concertgebouw, and The BBC Concert Orchestra. Ovenden made his Carnegie Hall debut in 2014 and with much success, performed an additional headlining concert in 2016. In 2013, Ovenden recorded a debut album for Decca records entitled “If You Stay” and has since made a “Rogers and Hammerstein” record with John Wilson for Warner Classics and a “Downton Abbey Christmas” release.  On stage at the Booth theatre in 2006, Ovenden made his Broadway debut in “Butley,” as ‘Joseph Keyston’ opposite Nathan Lane. In 2011, Ovenden starred as ‘Death’ in “Death Takes a Holiday” for The Roundabout Theatre Company and appeared as ‘J.M. Barrie’ in The Weinstein Company’s “Finding Neverland.”  Ovenden first appeared on British television as ‘Andrew Foyle’ starring opposite Michael Kitchen in the widely adored “Foyle’s War” for five seasons. He has also appeared as ‘Charles Blake’ in two seasons of the worldwide phenomenon “Downton Abbey.” Domestically, Ovenden is best known for playing ‘Jeremy Lambert’ in Season 3 and 4 of CBS’s drama series, “Person of Interest.” Further television credits include ‘Val Dartie’ in “The Forsyte Saga,” “Related,” and “SMASH.” Ovenden can be seen in the films, “Colonia,” “The Confessions,” and the British indie war film “Allies.” Ovenden currently resides in England with opera singer Kate Royal, their son Johnny Beau, daughter Audrey, and Roman the dog.

To celebrate Mozart's 261st birthday, a 1934 recording of his Symphony #39 K. 543 by the BBC Symphony conducted by Bruno Walter.

VIDEO: Chilly Gonzales performs in the WQXR Café If Franz Liszt were alive today, he may find a certain kinship with Chilly Gonzales. The German-based Canadian pianist and composer is the current holder of the world record for longest solo concert, at 27 hours, 3 minutes and 44 seconds. He has crowd-surfed at a BBC Symphony concert in London, challenged the rocker Andrew W.K. to a piano battle (and won), and has pioneered his own brand of “orchestral rap.” A self-proclaimed "musical genius," Gonzales has made a two-decade career out of straddling musical styles and genres. His ridiculously prolific resume includes producing albums by big-name pop artists like Feist, Drake and Daft Punk; getting his music on the first iPad commercial; and writing solo piano pieces that evoke the melancholic grace of Satie or Franck. Gonzales’s Café Concert stressed the classical side of his creative output, featuring his original songs (watch a mash-up of his "Otello" and "Minor Fantasy" below). And while many pianists would shutter at playing on a (slightly creaky) upright, Gonzales embraced the task. “I luckily have a lot of experience playing pianos,” he told Jeff Spurgeon. “Once in a while you can’t figure certain women out; you can’t figure certain pianos out either. You do your best. In this case, I managed to flirt a little bit and make a few jokes and had her laughing pretty quickly.” Gonzales was in New York to perform his Piano Concerto No. 1, backed by an 11-piece chamber orchestra at Lincoln Center’s David Rubinstein Atrium. Despite the concerto's formal title, he insists that his compositions are “songs,” not “pieces,” even as he acknowledges the influence of French and Russian romantic composers. “We’re not in the 19th century anymore. We’re in the 21st," said Gonzales, who was born Jason Charles Beck. “For me, for example, the obsession with structure was a huge thing for classical composers, but that’s not really an issue for me. I grew up watching MTV. There’s nothing wrong with verse-chorus-verse-chorus. That’s the currency of our generation these days.” Gonzales studied classical music at McGill University in his hometown of Montreal, graduating in the same class as the songwriter Rufus Wainwright. He says he never quite fit the formal conservatory mold. “I was traumatized by the institutions but fell in love with the meaning of the music,” he said, noting his love of Liszt and Tchaikovsky. “My favorite composers tend to be ones who were conscious of the audience. And for better or for worse, they had personalities that meant that they needed some sort of approval of the audience, but on their own terms.” He continued: “I’ve always focused on the noble profession of being a showman. To me, being an entertainer – which is what I prefer to call myself rather than artist – is a way of saying entertainment doesn’t have to mean pandering to the lowest common denominator.” Gonzales admits that his Guinness World Record performance, set in Paris in 2009, was an attempt at “selling the idea of me as a musical genius and what I’m capable of doing.” He said that the hardest part of the event was not staying awake but maintaining the quality of his performance. He got through it by “letting the adrenaline flow to not only keep me awake but communicating with the audience at all times.” With his many creative channels (he's also a filmmaker), is Chilly Gonzales a bit desperate for attention? And what do his audiences think? "I have an oppositional personality that likes to surprise people," he said. "I find I generally need to have an approval of an audience – but on my own terms. It's not enough for me to play into traditional expectations for how to please people. So I always need to be shaping and redefining that relationship." Video: Amy Pearl; Sound: Chase Culpon; Interview: Jeff Spurgeon; Text & Production: Brian Wise

In this inaugural podcast Andrew and I talk about why he writes orchestral music as well as the problems of working with large ensembles as a young composer.You can visit Andrew’s website at andrewnormanmusic.com. Special thanks to Andrew Gourlay and the BBC Symphony for permission to use Andrew’s piece “Unstuck”

As part of Radio 3's month long celebration of Symphony, the Early Music Show traces the early history. Catherine Bott reflects on the trail-blazing work of the pioneering symphonists of the 18th century such as Sammartini, the Stamitz family, Holzbauer, JC Bach, Monn and Wagenseil. The 18th century saw a creative explosion in the development of instrumental music and in particular, one of the great innovations of the century was the orchestral symphony. Many of its origins can be traced to Italy but it quickly became a pan European phenomenon with every major cultural centre boasting its own symphonist or "school" of symphony composers, each of which was bursting with its own creative reponses to this new and exciting kind of music. As part of the BBC "Symphony" season, Catherine Bott reflects on some of the major pioneering figures in the development of the symphony, casting her net across many of Europe's major cities - from Milan to Mannheim, Hamburg and Dresden, Paris, Berlin, London and Vienna. The programme considers some of the novel innovations that were introduced into the symphony as the century progressed and by dwelling on some of the music of lesser known composers it provides a context for the musical world that we've come to associate with Haydn, Mozart and Beethoven. Many of the symphonists featured in this programme can also be heard in complete performances across the following week on Radio 3's Afternoon on 3.

For Beethoven's birthday, a special, short podcast featuring the final movment of the symphony #6 by the BBC Symphony conducted by Arturo Toscanini from 1937.

I’m pleased to be able to share this interview with Robert Meyer, one of our most experienced and interesting members of the double bass community. Robert has had a long and illustrious career on the double bass, working for over 50 years in most of the major orchestras in London (including the London Symphony, London Philharmonic, and BBC Symphony), as Principal Bass of the Vancouver Symphony, and has taught at the Universities of British Columbia and Victoria. Robert writes a blog called Musical Reminiscences, and it is a must-read for any bassist… or any musician, for that matter! About Robert Meyer Robert Meyer’s accomplishments as a double bass player and concert artist could fill several pages, as Benjamin Britten was quoted as saying: “He has proved himself to be a considerable musician and a fine player.” His career, however, extends beyond his notable achievements as a performer and includes distinctions as both an artist (he is a Chinese Watercolourist of repute) and an educator (He currently assists the Victoria Youth Orchestra, freelances in the Pacific Northwest and frequently gives solo lectures “All you ever wanted to know about the Double Bass but were afraid to ask”). However, here is a brief synopsis of his career: Graduated as a double bass soloist from the Royal College of Music, London, England. Respectively a member of the London Philharmonic, London Symphony, Philharmonia and BBC Symphony Orchestras. (Conductors include Furtwangler, de Sabata, von Karajan, Klemperer, Giulini, Bruno Walter, Koussevitsky, Stokowski, Rhozdesdensvky, Stravinsky, Khatchaturian, etc.) Principal Bass, Sadlers Wells Opera, Principal Bass, San Carlo Opera, Naples, Covent Garden Ballet Orchestra, Principal/co Principal Bass English Chamber Orchestra, Moscow Chamber Orchestra (Barshoi), Principal Bass, Bolshoi Ballet. Commanded by HRH Queen Elizabeth II to perform at her Coronation. Founding Member, Solo Bass and librarian to Benjamin Britten’s English Opera Group and Aldeburgh Festival. Invited to come to Canada as Principal Bass, Vancouver Symphony, Principal Bass CBC Vancouver Chamber Orchestra and Principal Bass Vancouver Opera. Robert Meyer has taught at the Universities of British Columbia and Victoria and played at most major festivals and concert halls in the world. Learn more at Robert’s blog Musical Reminiscences.