Podcasts about beethoven's fifth symphony

Beethoven's Fifth Symphony and Sampling: This week we explore one of the most recognizable sounds of classical music, (the opening motif of) Beethoven's Symphony no. 5, and the ways in which sampling further extends the life of this iconic work in the present day.  Visit the APO Listening List on Spotify: https://open.spotify.com/playlist/5TWmchbUilbMXtHG4vpHd3?si=4787b1f0422d4033    

In this month's podcast, we discuss Yo-Yo Ma's intrepid musical exploration across the globe, from the Silk Road to Appalachian America. Plus, we discuss the plans for this year's slightly different BBC Proms season and what London's Wigmore Hall is doing to welcome artists back to its stage. We've also each brought along a new recording we've been enjoying, including a fresh interpretation of Beethoven's Fifth Symphony, plus works by Morton Gould and Louis-Gabriel Guillemain.NEWS:Pentecost - Sequentia - Veni Sancte SpiritusBenedictine nuns of the Abbey of Notre-Dame de Fidélité of Jouques, ProvenceTHE MAGAZINEScarcely Cricket Not Our First Goat RodeoYo-Yo Ma (cello), Stuart Duncan (violin), Edgar Meyer (bass), Chris Thile (mandolin)Sony Masterworks 19439738552Shostakovich Piano Concerto No. 1: IV. PrestoAlina Ibragimova (violin), State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov’/Vladimir JurowskiHyperion CDA68313FIRST LISTENFreya's choice:Beethoven: Symphony No. 5: I. Allegro con brioMusicAeterna/Teodor CurrentzisSony 19075884972Michael's choice:Louis-Gabriel Guillemain : Symphony in E flat major, Op. 14 No.2 : I. AllegroBrillance IndéniableAlana Youssefian (violin), Le Bien AiméAvie AV2412Jeremy's choice:Morton Gould – SymphonettesConga from Symphonette No. 4ORF Vienna Radio Symphony Orchestra/Arthur FagenNaxos 8559869This podcast was presented by BBC Music Magazine’s deputy editor Jeremy Pound, with reviews editor Michael Beek and editorial assistant Freya Parr. The jingles were composed by Christopher Maxim and the episode was produced by Jack Bateman and Ben Youatt. See acast.com/privacy for privacy and opt-out information.

There are few musical moments more well-worn than the first four notes of Beethoven's Fifth Symphony. But in this short, we find out that Beethoven might have made a last-ditch effort to keep his music from ever feeling familiar, to keep pushing his listeners to a kind of psychological limit. Big thanks to our Brooklyn Philharmonic musicians: Deborah Buck and Suzy Perelman on violin, Arash Amini on cello, and Ah Ling Neu on viola. And check out The First Four Notes, Matthew Guerrieri's book on Beethoven's Fifth. Support Radiolab today at Radiolab.org/donate. 

Paul Somers and Paul Herron begin their first coffee break with a discussion of Beethoven's Fifth Symphony, a great entry point for people who want to learn more about classical music. Mr. Somers is a classical music composer, critic, and musician, and owns, with his wife Jan, Maurice River Press. Mr. Herron is a non-profit administrator who worked at a small symphony orchestra for ten years but is still eager to learn about the great art form. Contact the show at yccb@mauriceriverpress.com. (Sorry about the cicadas in the background in the beginning. It just happened to be that time of year in southern New Jersey. They get quieter.)

On February 4th, Soheil Nasseri performed Beethoven's Fifth Symphony at the American Academy in Berlin. For more information about Nasseri's upcoming performances, you can visit his website: http://soheilnasseri.com/en/

"The whole concept of streaming doesn't fit with the way people listen to classical music," says Kirk McElhearn, a technology writer and senior contributor to Macworld, in this week's episode of Conducting Business. The launch of the online streaming service Apple Music has raised hopes and reinforced some of the persistent complaints about Apple when it comes to delivering symphonies, concertos and operas to listeners' computers and mobile devices. In test runs, McElhearn found that Apple Music repeats a problem familiar to the tech company's iTunes store: it serves up individual movements from pieces rather than grouping them together in sequence. So a listener's encounter with Beethoven's Fifth Symphony might only involve the third movement, not the whole work in sequence. Apple is touting its streaming service, which launched on June 30 in 100 countries, for not only its depth – with more than 30 million songs – but its hand-picked recommendations. Some of its "curated" playlists are chosen by the company's editors – à la the old record store clerk. There is also a section called "for you," based on music you've previously purchased or rated. McElhearn complains that when he first opened this section he was given a playlist called "Classical Music for Elevators." Classical Music...for Elevators (Screenshot/mcelhearn.com) Craig Havighurst, a writer and broadcaster from Nashville who co-hosts the weekly show Music City Roots, also tested Apple Music and tells us that the service lacks sufficient contextual information about recordings, such as liner notes (a flaw he admits is partly attributable to record companies). Searching for artists also didn't go easily. "Fans of classical music want to be able to see who a soloist is or who a conductor is and the 'artist' catchall doesn't explain that," he said. Apple did not respond to requests for comment for this segment. But while streaming companies – including Spotify, Pandora and Google Play – inevitably make music of all kinds more accessible, Havighurst argues that "art" genres may always be neglected: "If classical and jazz listeners are 4 to 5 percent of the [total] market, they are the ones who get underserved." Listen to the full segment above and tell us below: Have you tried Apple Music? What did you like or didn't like about it?

Sunday’s Super Bowl will feature 55 commercials and chances are, some of them will feature a symphony or an opera aria embedded in the soundtrack. Classical music in advertising goes back decades but its purpose has changed – becoming more self-referential, ironic and often comedic in its use. "Classical music is very serious in its nature and so often the use is polarized,” said Randall Foster, the director of licensing and business development at Naxos, which supplies recordings to advertisers. "Either it’s taken on its face value... or, on the far spectrum, there’s a great irony in placing something very classical and rigid under a very funny storyline.” Foster cites an ad for Herbal Essences shampoo, which premiered during the Grammy Awards telecast. The cheeky spot features a snippet of soprano Ana Maria Martinez singing "Je veux vivre" from Gounod's Romeo and Juliette. A voiceover quotes lines from Shakespeare's play while a male character follows the female protagonist around (and into a shower) with a handheld camera. Advertisers have sought to contrast everyday products with classical music’s "upscale" associations, at least since Kellogg's introduced a Rice Krispies campaign in the 1960s touting "great moments at breakfast” and featuring reworked versions of Pagliacci and Carmen. But as piracy and illegal file-sharing cut into album sales over the last decade, advertising is increasingly viewed as an important revenue stream for musicians and labels. "People are up for it,” said Jerry Krenach, the managing director of global music production at the agency McGarryBowen. “It’s evident too in the way that labels and publishers promote the uses of songs," he said. In 2012, McGarryBowen won the account for United Airlines, which had just finished a merger with Continental. Among the holdovers through the acquisition was United's signature Rhapsody in Blue theme. Krenach and his colleagues wanted to give the piece a reboot, so they commissioned a recording of a new arrangement played by the London Symphony Orchestra. “Part of what I wanted to do was approach it from a cinematic perspective,” said Krenach. “I wanted to get as much as we could out of that piece.” The campaign launched with a 60-second spot called “Orchestra,” featuring a full symphony on the plane, complete with timpani in the business class seats (some commentators noted an irony in this given the well-publicized troubles some musicians have faced carrying their instruments onto planes). Rhapsody in Blue remains under copyright, so United pays a licensing fee to the Gershwin estate (Krenach declined to cite a specific figure, though United’s initial layout in 1987 was $300,000). But much of the classical canon is in the public domain. “If I’m working with someone on a strict budget it tends to help the bottom line to stick with public domain music,” said Foster. “The creative drives everything and if the entire ad is built around modern music, Mozart won’t fit the bill.” For advertisers who shell out $4 million for a 30-second spot during the Super Bowl, licensing fees may not be a major concern. But for Doritos, a classical soundtrack has become a signature of its annual “Crash the Super Bowl” contest. The chip maker invites people to submit 30-second, homemade Doritos television commercials. Two Super Bowl ads will result – one selected by the votes and one by the Doritos marketing team. The winning creator receives $1 million in prize money. Below is one of the five finalists (the rest can be viewed here): Some pieces like Carmen or Beethoven's Fifth Symphony have a timeless appeal. But are there overlooked pieces that advertisers should consider? “If I have to pick anything that I’m just dying to get placed, we release an awful lot of recordings of modern composers,” said Foster. “I would love to see their music utilized in the advertising space. It’s not a win for classical music now; it’s a win for classical music in the future." Below are a couple more examples. The first is a Verizon spot that Krenach helped produce using Philip Glass's score to "The Fog of War." Foster helped secure a performance of Orff's Carmina Burana for this Google Play spot: Listen to the full podcast above and tell us below: what do you think of the use of classical music in commercials?

More than just 'da da da dum': Beethoven's 5th Symphony is this week's Soul Music. It accompanied Sir Robin Knox-Johnston on the regular Bombay to Basra route he sailed during his early days in the Merchant Navy. Archaeologist and crime novelist, Dana Cameron, spent many a long day in a dark, lonely basement analysing artefacts from a merchant's house in Salem, Massachusetts. A CD player was often her only companion and Beethoven's 5th buoyed her through these arduous days working towards her PhD And for conductor, Christopher Gayford, it was the piece which provided a breakthrough in his musical life. Recalling the time he spent rehearsing it with the Sheffield Youth Orchestra - for a tour in East Germany - he describes the build up to one of the most memorable performances of his career. Producer: Karen Gregor.