Podcasts about beethoven concerto

durée : 01:58:27 - Relax ! du mardi 27 juin 2023 - par : Lionel Esparza - Ca sent bon l'été, la saison des festivals démarre ! Aujourd'hui plein feu sur le 41e Festival International d'Opéra Baroque & Romantique de Beaune. Disque de légende : Ludwig van Beethoven : Concerto pour piano n°5 par Claudio Arrau.

๏ Épisode 57 ๏ Composé en 1806, le Concerto pour violon en Ré majeur de Beethoven est le premier grand concerto romantique à s'imposer. Malgré un accueil du public plutôt mitigé, cette œuvre inspirera de nombreux compositeurs et marquera le début d'un véritable âge d'or des concertos pour violon. Suivront entre autres ceux de Brahms et Tchaïkovsky. Dans ce nouvel épisode, Charlotte Landru-Chandès nous transporte au XIXe siècle à la découverte de ces chefs d'œuvre du répertoire symphonique. ▂ 

๏ Épisode 42 ๏ «Une vie épuisante et dévastatrice autour de moi, rien que des tambours, des canons et des misères humaines de tout genre», écrit Beethoven à son éditeur en juillet 1809. C'est dans ce contexte de guerre contre les forces napoléoniennes qu'il compose son Cinquième et dernier concerto pour piano dont le caractère militaire apparaît alors comme une évidence. Dans ce podcast, Clément Rochefort nous guide dans cette partition où s'entremêlent douceur et héroïsme de façon extraordinaire. ▂

Chapters00:32 - Introduction02:11 - Cyril Lance / The Claravox16:44 - Dorit Chrysler25:26 - Bruce Woolley32:08 - Katia Isakoff 45:40 - EndingMusic credits:Rachmaninov Vocalise - Clara Rockmore, theremin. Nadia Reisenberg, piano.From: “Clara Rockmore – The Art of the Theremin”. Delos Productions CD. Courtesy of The Nadia Reisenberg / Clara Rockmore FoundationSchneeleichen - by Dorit Chrysler - unreleased extract from M - eine stadt sucht einen moerder - with kind permission of Dorit ChryslerBeat Monjune - by Dorit Chrysler - unreleased extract from M - eine stadt sucht einen moerder - with kind permission of Dorit ChryslerTherexotica - by Peg Ming - with kind permission of Dorit Chrysler (a track on the Theremin 100 compilation produced by The NY Theremin Society)Peace Song to Other Worlds (2 extracts) - by Radio Science Orchestra - with kind permission of Bruce WoolleyTheremini solo - by Katia Isakoff - with kind permission of Katia IsakoffClara Rockmore BiogClara (Reisenberg) Rockmore holds a unique place in music history as the star performer of the theremin. Born in Russia, in 1911, at four, she was accepted as the youngest ever violin student at the St. Petersburg Imperial Conservatory. As conditions deteriorated after the Revolution, the Reisenberg family left Russia and travelled across Europe for several years until 1921 when they succeeded in gaining passage on a steamship bound for America. In New York, Clara resumed her studies with Leopold Auer, but shortly before she was to make her American debut (playing the Beethoven Concerto), she developed an arthritic problem with her bow arm, and had to give up the violin.Fortunately, she had met Leon Theremin (an Americanisation of Lev Termen, as he was known in Russia), the inventor of the world's first electronic instrument. “I was fascinated by the aesthetic part of it, the visual beauty, the idea of playing in the air,” Clara recalled, “and I loved the sound. I tried it, and apparently showed some kind of immediate ability to manipulate it. Soon Lev Sergeyevich gave me, for a present, the RCA model theremin.”She convinced Leon Theremin to build her a far more precise and responsive instrument than the RCA model, one with a five-octave range, instead of three. Over the years she performed extensively but it was not until 1977 that she saw the release of her first commercial LP, performances with Nadia Reisenberg (recorded by Robert Moog) titled ‘The Art Of The Theremin'.In 1989, Steve M. Martin, long fascinated by the instrument, embarked upon the documentary Theremin - An Electronic Odyssey, a film including some of Clara's last public performances (videotaped at a 1989 Nadia Reisenberg tribute concert in Merkin Hall), and the New York reunion of Clara and Leon Theremin (then aged 95). Premiered in New York at Alice Tully Hall, the film in large measure revitalised interest in both the theremin itself and Clara Rockmore's unique accomplishments. She died in 1998.Cyril Lance BiogCyril Lance is the Chief Technical Officer at Moog Music and lead designer of the Moog Claravox Centennial Theremin. Cyril first met Bob Moog in January 2005 during an informal visit to Moog factory.  When Bob was diagnosed with cancer in April of 2005, Cyril was asked to come up and take over the engineering effort.  Since then, Cyril has been at the helm of engineering and product development and, along with the dedicated and passionate team at Moog Music, has helped to continue Moog's legacy of designing and producing beautifully crafted electronic instruments aimed at inspiring artists world-wide to explore and expand their personal sonic vocabularies.  Cyril strives daily to continue Bob Moog's legacy and to have a lot of fun along the way.  “It's truly a blessing to have the opportunity to contribute in one small-way to the transformative powers of music to bring joy and connect people on the deepest levels through-out the world”.https://www.moogmusic.com/Dorit Chrysler BiogDorit Chrysler has been dubbed a superior wizard of the theremin. An Austrian-born, New York based composer and performer, Chrysler is the co-founder of the NY Theremin Society and started the first international school for Theremin, KidCoolThereminSchool and L'Ecole Theremine with branches in NY and Paris. She is also one of the most visible Thereminists spreading the gospel of this mysterious sounding instrument. Most recently she finished her analog soundtrack for a remake of “M” by Fritz Lang and was featured on the soundtrack of the HBO documentary “Going Clear”. Chrysler received her master's degree of musicology in Vienna and has notably collaborated with Anders Trentemøller, Cluster, Adult., CERN, Carsten Nicolai, Elliot Sharp and Laurie Spiegel. She has performed with the San Francisco Symphony Orchestra, had her work commissioned by MoMA and the Venice Biennale, and is the founder of “Dame Electric,” a festival dedicated to female | pioneers in Analog Music. As the director of the NY Theremin Society, Chrysler is promoting the application of theremin in different art disciplines and has produced the THEREMIN100 compilation release, commemorating the 100th birthday of the Theremin in 2020.http://www.doritchrysler.com/toc.htmlhttps://www.nythereminsociety.org/Bruce Woolley BiogIn 1969 Bruce Woolley bought a Futurama electric guitar, formed a school band, and dreamed of being a professional musician. After years of experimentation, and unsuccessful attempts at becoming a famous jazz-rock guitarist, he decided to concentrate on writing pop songs. In 1979 he co-wrote “Video Killed the Radio Star”.  After a stint fronting cult New Wave unit The Camera Club, Woolley moved back into songwriting and production, forming a creative partnership with Grace Jones. In 1994, Woolley discovered Exotica and formed The Radio Science Orchestra, a theremin-led group that defined retrofuturism before people were talking about retrofuturism. A sonic time machine travelling along the whole history of electronic music, the Orchestra has collaborated with the world's leading theremin virtuosi including Lydia Kavina, Carolina Eyck and Charlie Draper. Notable guest artists include Grace Jones, Polly Scattergood, Ken Hollings, Dr. Robert Moog, Steve Dub and Thomas Dolby.http://www.brucewoolleyhq.com/https://www.radioscienceorchestra.com/Katia Isakoff BiogKatia Isakoff is a composer and multi-instrumentalist music producer whose compositions, performances and productions first appeared in the Add N To (X) album Loud Like Nature (Mute Records).  She has since collaborated on numerous albums and projects including John Foxx and Steve D'Agostino's Evidence of Time Travel which was composed and produced at her London studio. Having contributed synths and co-mixed EOTT, she went on to join them for a live concert performance at Electri_City Conference Dusseldorf, adding Moog Theremini and synths to the sonic architecture of this ever evolving and expansive Karborn graphic novel, which premiered with a live performance at the British Film Institute UK and Sonic Acts Festival, Amsterdam.  She has since spent much of her time between London and Berlin working on her forthcoming album She's Not Here.In 2019, Katia launched !N_K o L // B a new and innovative composer producer series bringing together pioneering, established and emerging composer producers to collaborate in various iconic studios and pop-up locations. Each series sees a new guest pioneer and group joining her; together, they embark on the journey of making an album through improvisation and exploration of the studio as an instrument, building a global network through musical collaborations – one album and city at a time.The first IN_KoLAB series was hosted by British Grove Studios. The group spent two days recording and filming what would become an immersive four-movement quadrophonic piece called IN_KoLAB Making Waves with Suzanne Ciani.  The album and accompanying short will be released in 2021 and plans are in motion for the next series.https://www.katiaisakoff.com/ | https://inkolab.orgCaro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. She started making music thanks to being laid up whilst living in a double decker bus and listening to Warp Records in the late 1990's. This "sonic enchantress" (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/Delia Derbyshire Day Charity: https://deliaderbyshireday.com

Composto por Beethoven para três instrumentos como protagonistas – violoncelo, violino e piano –, o "Concerto Tríplice" foi apresentado pela Osesp na companhia dos solistas Raïff Dantas Barreto, Nahim Marun e Claudio Cruz. A Osesp, em parceria com a rádio CBN, veiculou o Minuto Osesp, uma breve narrativa sobre alguma obra que a Orquestra irá interpretar na semana, na Sala São Paulo, ilustrada por trechos musicais. Essa é mais uma iniciativa da Fundação Osesp para colocar a música clássica perto de você. Roteiro e voz: Isabela Pulfer

Excelente pianista, Ludwig van Beethoven escreveu muitas obras para o instrumento, entre elas o "Concerto nº 5 para Piano - Imperador". Escute sobre a obra, apresentada pela Osesp este ano junto ao solista Paul Lewis, sob regência de Stefan Blunier.  A Osesp, em parceria com a rádio CBN, veiculou o Minuto Osesp, uma breve narrativa sobre alguma obra que a Orquestra irá interpretar na semana, na Sala São Paulo, ilustrada por trechos musicais. Essa é mais uma iniciativa da Fundação Osesp para colocar a música clássica perto de você. Roteiro e voz: Isabela Pulfer

๏ Épisode 2 ๏ Comment composer l'un des concertos les plus novateurs du répertoire classique alors que tonnent les canons et que grouillent les hommes en armes ? Max Dozolme nous le révèle dans ce nouvel épisode, qui dévoile tous les secrets de L'Empereur de Beethoven, composé en 1809 à Vienne. Une introduction passionnante à cette partition conquérante, irrésistible, mais d'une grande poésie également dans son mouvement lent. • Réalisation : Here We Are En lien avec le concert du 1er et 3 oct. 2020 ➜ bit.ly/aonl031020

Nesta semana, a Osesp – sob regência do maestro Stefan Blunier – recebe o pianista Paul Lewis para interpretar o "Concerto nº 5 para Piano em Mi Bemol Maior, Op. 73 – Imperador", de Beethoven. Escute o Minuto Osesp sobre a obra. A Osesp, em parceria com a rádio CBN, veiculou o Minuto Osesp, uma breve narrativa sobre alguma obra que a Orquestra irá interpretar na semana, na Sala São Paulo, ilustrada por trechos musicais. Essa é mais uma iniciativa da Fundação Osesp para colocar a música clássica perto de você. Roteiro e voz: Isabela Pulfer  

Camille De Rijck reçoit chaque semaine interprètes, critiques, compositeurs ou chefs d’orchestre pour une comparaison à l’aveugle de différentes versions d’une oeuvre-phare du répertoire.

A bluesy improvisation on the theme from the slow movement of Beethoven's Emperor Concerto inevitably leads me down the path of noninevitability. But why did it lead me back to Leonard Bernstein for the 2nd episode out of the last four? I mean, I love Lennie and all, but really, I don't normally think about him two out of four times I'm thinking about things. And yet here he is again. The reason is that the 3rd motif of the aforementioned Beethoven slow movement is basically the same as the opening of Bernstein's equally gorgeous tune Somewherefrom West Side Story. Bernstein, in fact, said that he borrowed the theme from the concerto. Which is fine. But. It's not exactly the same, is it? The 5th note of Bernstein's theme (on the word "us") is different, and that small difference leads the tune somewhere else entirely. And this leads me back to the point I mentioned in Episode 9—that all of these supposedly meaningful connections between disparate pieces of music are not that big of a deal, certainly not epiphany-worthy. They're just more evidence that there are a limited amount of lyrical melodies available in our universe. Happily, though, there are unlimited variations on those basic themes. So it's not so much the immediatetheme that matters as what comes after it. Links Mentioned: Emperor ConcertoThis is a recording with Bernstein conducting and the great Rudolph Serkin at the piano. (This is on Apple music, but you can find the same on Spotify, Tidal, etc.) Something I notice right away: when the piano enters at around 1:41, it has an improvisational feel. Which reminds me of a salient fact about this period of music. Composers like Mozart and Beethoven, both virtuoso pianists, often didn't write out many sections of the piano parts in their concertos, particularly the cadenzas, until after the fact, when it came time to publish. Mozart, in particular, whose late concertos are absurdly beautiful, rarely wrote out the piano part at all before the first performance. He was either improvising, playing the part he had in his head, or probably some combination of both. This should remind us that the music of that period was far more "improvised" than we tend to think nowadays, when "classical" music has been put on a pedestal, objectified, and consecrated like the god of a major religion. SomewhereThis is Barbara Streisand's recording from her 1985 BroadwayAlbum. Very 1980s in its production, excess, and the goddamn Phil Colinsesque gated snare drum. But, holy crap, that voice—one of the greatest in recorded history—transcends everything. Follow: Podcast Homepage Episode Transcript Subscribe on Apple Podcasts Bandcamp Page Patreon Page Twitter Peter Saltzman Website Facebook Contact: info@petersaltzman.com Episode 12 Transcription: [MUSIC] And I’ll stop right there because I realized it was going down a path where it could only get worse. Now, some of you may recognize that theme. It’s an improvisation on the second slow movement of Beethoven’s Fifth Piano Concerto, the Emperor, and I occasionally start improvising on these slow Beethoven movements. Another one is, uh, the violin concerto in d major. [MUSIC] That one. I just will find myself randomly improvising on these themes. They are very soulful, simple, but deeply emotional. Of course, those who know me know that I revere Beethoven as the greatest practitioner of our art, the greatest composer, and that’s part of it. There are other, perhaps lesser composers who have equally strong themes, but there’s something so fundamental about these slow Beethoven movements. All the complexity in his first movements generally and often the last movements of Sonatas, symphonies, concertos leads to a need for simplicity in the slower movements, Song-likemovements. So they lend themselves to interpretation in an improvisational setting because fundamentally they’re songs and as someone who grew up playing jazz, the foundation of improvisation in jazz, of course, is the song, popular song, particularly the early to mid period of jazz going back say to Ellington and through the bebop era, through the even post bop up to the modern era of Coltrane and Miles. Mostly we’re dealing with songs as the foundation for building larger compositions, meaning the song is the vehicle to create something bigger than the song. This is no different than what Beethoven or Mozart or Haydn or Shubert we’re doing back in the late 18th, early 19th century, using the song as the foundation and this is all the more true in the slower movements because they are literally song like. Whereas in some of the more complex, faster opening movements, the so called Sonata Allegro movements, while there is still a connection to song, it’s more about motif, usually shorter motifs like and and basically Mr Beethoven builds the entire movement on those. Three g’s and one e flat. He builds the whole thing on a short motif, which is not to say there are not song elements in it, but that it’s primarily about developing that very short motif in numerous and ingenious ways. But you notice that he follows that very intense driving complex first movement with a song. [MUSIC] That was the slow movement of the Fifth Symphony. [MUSIC] That doesn’t work quite as well as a vehicle for improvisation. And at least for me. But it does highlight my point about the song as the basis of developing musical ideas, particularly in slow movements. One of the things in a jazz, you had to prove your mettle with the ability to play up tempo, be bop tunes like Confirmation… [MUSIC] And be able to improvise on those changes as we call them, chord changes. And you had to be able to play the modal tunes like So What? [MUSIC] And improvise on those, uh, single chord or two cord tunes. But the sign of a truly mature player was, can you cut it on a ballad? Can you make music on a slow tempo? A very songful type of movement. So once you got beyond the kind of athletic demonstrations in the faster, more complex movements, what could you do when you brought the lights low and it wasn’t about a lot of notes, too many notes as the emperor said in Amadeus. That of course is a movie, not real life. So what can you do with something like this… [MUSIC] That’s not an actual tune. Just giving a example of a slow jazz ballad. I try to avoid too many actual tunes that are not in the public domain so I don’t have to pay licensing fees to be honest, copyright laws being what they are. But getting back to Beethoven, the slow movement of the emperor concerto. In an earlier version iteration of this podcast, believe it was the first episode a friend came over. We were considering using him as a kind of counterpoint to our JingleJews episode because he came up, this is Marc Stopek. He came up with the idea of jingle Jewswith a cartoon from several years ago, which got him into a lot of trouble even though he was Jewish—and still is. But during that recording session Marc, we were somehow talking about Leonard Bernstein again and he mentioned somewhere along the line that the theme from “SOMEWHERE” from West Side Story that Bernstein said that he got it from the slow movement of the Emperor Concerto. I had never really thought about this connection, but if you’ll notice the second or third phrase of that piece, let’s do it again. I’ll do it in the original key. [MUSIC] You can hear there’s a place for us. I’m not going to sing it right now cause that key is too high for this time in the morning [MUSIC] and so on. Mark pointed this out and I immediately pulled out my score because I have the complete Beethoven concertos and symphonies and Sonatas and all that stuff on my bookshelf here. Pull out my score and checked it out. And he was right. There’s a connection between those themes, and apparently Leonard himself said that’s where he got it. Uh, so I suppose in the modern world, contemporary copyright laws being what they are, he would have been sued right there. Fortunately Beethoven’s work is all in the public domain. Unlike Bernstein’s work, which may never be in the public domain because they keep extending copyright laws out into perpetuity through the known universe. Anyway, I pulled out the score and started playing it and Marc was incredibly impressed that I could just do that. I’m not, Why shouldn’t I be able to do that? I’m a composer. I studied all those works very intently back in the day when I was in my teens and twenties. That’s how I learned to compose…by Primarily studying Beethoven and the rest. What I thought about after that encounter with Marc was the absurdity of this notion that that one thing in the Beethoven Concerto, Bernstein somehow came up with the melody based on that. He may have or may not have because the truth is it’s not exactly the same. One goes like this, the Beethoven [MUSIC] and what is Bernstein do? He goes [MUSIC] so it’s really four notes that are exactly the same. Otherwise, it’s completely different. And this gets back to a point of mine in an earlier podcast, I believe it was called, Everything Relates to Everything Else. And so what. That’s my point. So what? Speaking of, so what … [MUSIC] It’s four notes, man, it’s not that big of a deal. If we’re getting to the point where we’re saying Bernstein owes Beethoven for those four notes, I mean, folks, you could come up with a million themes on those four notes. [MUSIC] Hmm. Well, it is kind of a distinctive four notes.

Episode 57: Scotland's Music - a radio program with John Purser Upcoming Events: January 22 - Beethoven Concerto with the Riverside County Philharmonic in California, January 29 - Brahms Concerto with the Springfield Symphony in Massachusetts, February 5 - Ravel's Tzigane and Mozart Concerto No. 5 with the Springfield Symphony in Missouri.  Inquiries from my Inbox: 9-year-old Abigail asks, "Would you please tell me some things about you and your violin that I could use in my school presentation?" Random Musical Thought: Maud Powell's record company urged her to record popular music instead of only classical. She responded that popular music was familiar music, and that the more familiar people were with classical, the more popular it would become! A BBC program hosted by Dr. John Purser, eminent musicologist and specialist in Scottish music, with guest Rachel Barton Pine. Includes music from Rachel's album "Scottish Fantasies" and examples of the folk tunes used in the symphonic works on that recording. total playing time: 56:04 SUBSCRIBE TO THIS PODCAST ON I-TUNES! Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for your answer on Inquiries From My Inbox! Thanks for listening! www.rachelbartonpine.comwww.facebook.com/rachelbartonpineviolinistwww.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com

Episode 56: When hard work and talent aren't enough - the Rachel Elizabeth Barton Foundation is here to help! Upcoming Events: January 15 and 16 - Beethoven Concerto with the Illinois Philharmonic, January 16 - appearance at the Chicago Music Awards. Please visit http://martinsinterculture.com/cma-nominees.html by December 31 and vote for me in Category 7 "Best Classical Entertainer" and vote for my band, Earthen Grave, in Category 3 "Best New Entertainer." Thanks! Inquiries from my Inbox: ViolaNerd6 asks, "Are you planning on arranging your Happy Birthday Variations for viola any time soon?" Random Musical Thought: As you consider your year-end charitable giving, please remember the Rachel Elizabeth Barton Foundation, which is enhancing the lives of so many young musicians. Visit www.rebf.org for more information and to make a tax-deductible, secure online donation, or to print out our donation form. An episode of WFMT radio's "Introductions" which aired in 2009, featuring Rachel Barton Pine talking about the Rachel Elizabeth Barton Foundation and playing duets with REB Foundation recipients, 12-year-old violinist Ade Williams (Bartok), 12-year-old violinist Gallia Kastner (Wieniawski), and 17-year-old violist Matthew Lipman (Mozart and Handel-Halvorsen). total playing time: 01:07:39SUBSCRIBE TO THIS PODCAST ON I-TUNES! Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for your answer on Inquiries From My Inbox! Thanks for listening! www.rachelbartonpine.comwww.facebook.com/rachelbartonpineviolinistwww.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com

Episode 48: Woodworms and the Three S’s? Luthier Paul Becker discusses violin maintenance, restoration, and tonal adjustment - Upcoming Events: September 7 – master class for the PeakHarmonic Youth Orchestra in Colorado Springs, September 9 – Beethoven Concerto with the Colorado Springs Philharmonic, September 12 and 13 – Tchaikovsky Concerto with the Boise Philharmonic - Inquiries from my Inbox: lilrose09 asks for advice about left-hand pizzicato. - Random Musical Thought: composer Paul Dukas says “There is no such thing as new music – there are only new musicians” and composer Igor Stravinsky says “Modern music does not exist.  We speak in a different language from that of our ancestors but say the same thing – or express them differently.” - A conversation with my own luthier Paul Becker.  For more information about the Carl Becker and Son shop, please visit www.carlbeckerandson.com. total playing time: 54:22 SUBSCRIBE TO THIS PODCAST ON I-TUNES! Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for you answer on Inquiries From My Inbox! Thanks for listening! www.rachelbartonpine.com www.myspace.com/rachelbartonpine www.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com  

Episode 32: Tips for preparing for competitions and auditions - Upcoming events: April 25 and 26 - Beethoven Concerto with the New Philharmonic in Glen Ellyn, Illinois, April 27 - recital with pianist Matthew Hagle in Lake Forest, Illinois (music of Dvorak, Mendelssohn, Brahms, and Ravel)- Inquiries From My Inbox: A violinist from the Columbus (Georgia) Symphony asks, "What's that fuzzy stuff on your chinrest?" - Random Musical Thought: Albert Schweitzer says "There are two means of refuge from the miseries of life; music and cats." - Tips for preparing for competitions and auditions: get your application form in on time, don't hesitate to ask as many questions as you need to, get extra copies of the music and mark measure numbers if required, experiment with different warm-up strategies and orders of repertoire, get used to playing your repertoire in a random order, practice while wearing your complete concert clothes and go through your entire stage routine, practice introducing your repertoire, videotape your practice performances if you can, prepare your entire repertoire even if the audition timeslot is short, decide which piece you want to play first, be sure to practice playing your delicate pieces right after your loud pieces, practice your repertoire at various times of day, be sure to get basic maintenance done on your instrument before the concert, make a list of what you need to bring with you on the big day (snacks, music stand, rosin, shoulder bar, mute, accompaniment part, page turner, books and I-Pod, shoes), get to bed on time the night before and rest and relax even if you can't fall asleep.total playing time: 30:34SUBSCRIBE TO THIS PODCAST ON I-TUNES!Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for you answer on Inquiries From My Inbox!Thanks for listening!www.rachelbartonpine.comwww.myspace.com/rachelbartonpinewww.youtube.com/RachelBartonPineViolin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com

Episode 31: Some of my favorite books about music and why I love them - Upcoming events: April 17 - Beethoven Concerto with the Northwest Indiana Symphony, April 18 – English Baroque music with the period instrument ensemble Callipygian Players in Chicago, April 19 – Mendelssohn Concerto with the 100th Anniversary Alumni Orchestra at Lane Tech High School in Chicago, April 20 - English Baroque music with the period instrument ensemble Callipygian Players in Skokie, IL - Random Musical Thought: Follow-up on previous comment about musicians’ clothesGroundbreaking books about violin history, repertoire, and performance practice:- The History of Violin Playing from Its Origins to 1761: and Its Relationship to the Violin and Violin Music by David D. Boyden- Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries by Robin Stowell Wonderful books about the history of American music:- The Music of Black Americans: A History by Eileen Southern- Maud Powell: Pioneer American Violinist by Karen A. Shaffer Books about interesting topics written by authors with a great sense of humor (rare in the stuffy world of musicology):- Men, Women and Pianos: A Social History by Arthur Loesser- Music and Society in Lowland Scotland in the Eighteenth Century by David Johnson A brilliant hoax:- An Incomplete History of the Art of the Funerary Violins by Rohan Kriwaczek A novel with great descriptions of voice lessons in 18th Century Italy- Cry to Heaven by Anne Rice total playing time: 18:38 SUBSCRIBE TO THIS PODCAST ON I-TUNES! Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for you answer on Inquiries From My Inbox! Thanks for listening! www.rachelbartonpine.com www.myspace.com/rachelbartonpine www.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com