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Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

Programa #664 - Plan de Inmersiones 00,05'36' — Arlindo Serrao, fundador de Portugal Dive y Diving Talks, con el que charlaremos para descubrir esta magnífica iniciativa de un congreso internacional de buceo en Lisboa desde 2021. 00,45'00” — PROA al Viento, un repasito a la seguridad en la Mar a cargo del Sargento Román Revilla, patrón del Servicio Marítimo de la Guardia Civil - SEMAR. 01,10'31” — MIS AMIGOS los PECES, una nueva entrega de la sección de biología marina cortesía de la Escuela de Buceo ZOEA de Madrid, conducida y guiada por Inés García. 01,29'08” — ACUICULTURA un Mar para comérselo, espacio dirigido por el Dr. en Biología Molecular y Biotecnología, Luciano Vilchez-Gómez. 01,51'44” — UNDER PRESSURE (Bajo Presión), sección dedicada al buceo profesional, conducida por el Buzo Alejandro Medina, desde Algeciras. Con las microsecciones, Mi cuaderno de buceo (seguiremos con el relato de 20.000 leguas de viaje submarino - capítulo III), el repasito a los viejos programas de AOLDE ya emitidos y la agenda de propuestas para tu tiempo en superficie, hasta la próxima inmersión, nos daremos, una noche más, por buceados. La foto de la semana guarda, entre sus luces y sombras, una historia inolvidable. En la penumbra azulada del océano, una tortuga avanza con la serenidad de quien lleva siglos navegando historias sumergidas. Su caparazón, mapa de corrientes y tiempos olvidados, refleja destellos de luz que se filtran desde la superficie como caricias líquidas. Frente a ella, un buzo la contempla, no como un intruso, sino como un testigo reverente, cámara en mano, intentando atrapar en un instante lo que en realidad es eterno. Entre ambos flota un silencio denso y sagrado, roto solo por el suave burbujeo de la respiración humana. Es un encuentro de mundos: el lento pulso milenario del mar y la fugaz curiosidad del hombre, convergiendo en un momento que, aunque breve, quedará para siempre suspendido en la memoria salada de las profundidades. La imagen fue tomada en 2021 y es cortesía de Jessie Marie Sorenson. ¿Preparados para la primera inmersión? Equipo listo y revisado, el propio y el de tu buddy, un Ok, y saltamos al agua. Sonaron en este programa: 00,00'09” — David Arkenston - Papillon - Sintonía 00,05'36' — Cher Love Can Build a Bridge with Chrissie Hynde Neneh Cherry and Eric Clapton 1996 00,45'00” — Madonna - La Isla Bonita 01,10'31” — Maryann Camilleri - Look to the Sea 01,29'08” — Carla Morrison & Beéle - arena (Performance_Lyrics) 01,51'44” — David Bowie & Freddie Mercury - Queen - Under Pressure 02,15'22” — Beethoven - IV. Quartet No. 10 in Eb, Op. 74 - Allegretto con Variazioni 02,22'44” — Beethoven - Symphony no. 1 in C, Op. 21 - I. Adagio molto - Allegro con brio 02,33'22” — ​​Taylor Swift - Cruel Summer 02,09'37” — Iron Maiden Killers (live At The Rainbow) 02,41'50” — Hay Peores - Bajo El Mar (Cover de Under The Sea de La Sirenita) Sintonía

We would love to hear from you, wherever you are!https://podcast.feedspot.com/classical_music_podcasts/https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

Jesus Ministries, Joan Boney  ...    Classical music, played skillfully, has power to drive devils away from us.   I Samuel 16   22 And Saul sent to Jesse, saying, Let David, I pray thee, stand before me; for he hath found favour in my sight.   23 And it came to pass, when the evil spirit from God was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him.  

Jess Gillam meets violinist Tessa Lark to swap some of their favourite music. Tessa is an in-demand classical concert violinist but growing up in Kentucky, she's equally inspired by bluegrass music and American folk styles and so blends the two influences in a lot of her work. Traditional music features prominently in her music choices as the Martin Hayes Quartet and Swedish duo Vasen rub shoulders with a Beethoven Symphony. Meanwhile Jess brings along an orchestral tearjerker by Pietro Mascagni, a track by cellist Yo-Yo Ma and some retro soul vibes by Saun and Starr. Playlist: VASEN: Silverschottis GIOVANNI SOLIMA: Il bell'Antonio – tema II [Yo-Yo Ma (cello), Kathryn Stott (piano)] MICHAEL THURBER & THE HUNTERTONES: Gigantic Energy SAMUEL COLERIDGE TAYLOR: Violin Concerto in G minor, op.80 – 2nd mvt [Elena Urioste (violin), Chineke! Orchestra, Kevin John Edusei (conductor)] MARTIN HAYES QUARTET: The Boy In the Gap JEAN LENOIR: Parlez moi d'amour [Lucienne Boyer (singer)] BEETHOVEN: Symphony no 2 in D major, op.36 4th mvt ‘Allegro molto' [Vienna Philharmonic, Simon Rattle (conductor) SAUN & STARR: In the Night

The ESYO season begins on Sunday, October 30th at the Troy Savings Bank Music Hall with ESYO's flagship Symphony Orchestra performing Beethoven's 7th Symphony; a work Beethoven described as the "glory of light through darkness." The concert also features Gabriella Smith's Field Guide, a musical safari into the natural world, as well as surprising percussion interventions in the Beethoven Symphony and a student-led instant composition.

TVC 587.2: From 2015: Phil Gries plays more audio from the early broadcast career of Vin Scully, circa 1955 to 1965, as part of a special edition of the Sounds of Lost Television, including a clips from the 1955 World Series, the year when the Brooklyn Dodgers won their only championship, including Scully's call of Jackie Robinson stealing home. Also in this segment: A clip from our April 2017 conversation with actor and longtime Dodgers fan Ed Asner in which Asner talks about his love and appreciation for Vin Scully. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

Linton Stephens hosts a new series of Classical Fix, introducing music-loving guests to classical music. This week, Linton is joined by actor and drummer Ritu Arya, star of hit TV series The Umbrella Academy and member of the indie band KIN. Ritu's playlist: Alan Silvestri - The Avengers Arvo Part - My Heart's in the Highlands Jaakko Mantyjarvi - Pseudo-Yoik Amy Beach - A Hermit Thrush At Morn Ludvig van Beethoven - Symphony no.7 (first movement) Beatrice Nicholas - Psalmus Classical Fix is a podcast aimed at opening up the world of classical music to anyone who fancies giving it a go. Each week, Linton mixes a bespoke playlist for his guest, who then joins him to share their impressions of their new classical discoveries. Linton Stephens is a bassoonist with the Chineke! Orchestra and has also performed with the BBC Philharmonic, Halle Orchestra and Opera North, amongst many others.

Beethoven, mauvais coucheur ? Titan menaçant ? Taratata ! Lorsqu'on apprend que les ultimes quatuors, qui anticipent par leurs sublimes audaces les avant-gardes contemporaines, ont été composés entre les relents de bière et les refrains populaires des guinguettes péri-viennoises on accède enfin à sa plébéienne légèreté où c'est Dionysos lui-même qui rôde et marivaude ! ••• Musiques ••• L. v. Beethoven - Symphony no. 5 in C minor, op. 67 https://www.youtube.com/watch?v=yKl4T5BnhOA P. I. Tchaïkovski - Symphony no. 4 https://www.youtube.com/watch?v=AyAH7yVUG9s Opéra Chinois - https://www.youtube.com/watch?v=iq_26OHsqqs L. v. Beethoven - Trio in B-flat Major, op. 97 "Archduke" Scherzo : Allegro - https://www.youtube.com/watch?v=C-hpE7yOiJk

The Music Director of the Pittsburgh Symphony Manfred Honeck talks with Jim Cunningham about the program for the weekend of June 10th with three pieces written for or first heard in America. The first Pittsburgh performance of the Dvorak Te Deum, the Poulenc Gloria inspired by Benedictine Monks playing soccer in 1961 both sung by the Mendelssohn Choir, and Tchaikovsky's Piano Concerto with Beatrice Rana. Maestro Honeck says he enjoys the time on the plane to study his music and he enjoyed his recent tour with the Orchestra of Paris, having his son Joachim in town, how delighted he was with the Beethoven Symphony complete series this Spring and how thrilled he is with the general state of affairs even following a pandemic.

Synopsis Hold on tight—we're about to cover 150 years of musical—and presidential—history in just 2 minutes! On today's date in 1821, back when James Monroe was president, Beethoven's Second Symphony was performed in Philadelphia at a concert of the Musical Fund Society. That occasion marks the first documented performance of a complete Beethoven symphony in America and occurred when Beethoven was 50 years old and residing in Vienna. In 1853, when Franklin Pierce was in the White House, the Germania Musical Society took Beethoven's Second on its American tour, presenting it in St. Louis, Milwaukee, and Chicago. That 1853 tour marked the first time an entire Beethoven Symphony was performed in the windy city. Additional 19th century “firsts” for the Second occurred over the next two decades in Pittsburgh, Cincinnati, and San Francisco, during the administrations of James Buchanan, Abraham Lincoln, and Andrew Jackson. Ulysses S. Grant was president in 1870, when Beethoven's Second debuted in Washington DC, and Grant was still President in 1872, when the Second was the first symphony EVER to be performed in Minneapolis. A hundred years later, in the NINETEEN-Seventies, when Richard Nixon was in the White House, you could hear performances of Beethoven's Second from Maine to Hawaii, all while sitting comfortably in your own “Executive Mansion,” courtesy of your local government-assisted public radio station. If you wish, you may now stand and salute your radio! Music Played in Today's Program Ludwig van Beethoven (1770 - 1827) — Symphony No. 2 (New York Philharmonic; Leonard Bernstein, cond.) Sony 61835

Beethoven Symphony no. 5 in C minor, Op. 67The Symphony No. 5 in C minor, Op. 67, was finished and first performed in 1808. It achieved fame soon enough, going on to become one of the most popular compositions in classical music. Beethoven was in his mid-thirties: his personal life was troubled by increasing deafness. In the world at large, the period was marked by the Napoleonic Wars. The symphony soon acquired status as a central item in the repertoire: groundbreaking in terms of both technical and emotional impact, it had a large influence on composers and music critics, and inspired work by such composers as Brahms, Tchaikovsky, Bruckner, Mahler, and Berlioz. The 1st mov. was featured on the Voyager Golden Record.

Undercover rivals come together against a common enemy. A bet is made, dances are shared, and secrets come to light at the Engineer's Citadel Ball.    Content Warnings Automatons Alcohol consumption Mentions of birds, death, violence on school property, imprisonment   Transcript can be found here: https://docs.google.com/document/d/1y0i3pO7r43IrxZ4CvqynOwnXa1oxcPybw3iPWy560EA/edit?usp=sharing   If you loved the episode come chat with us on Twitter, Instagram, Facebook, and tiktok @forgetmenotspod.    Additionally take a second to rate, review, and subscribe. If you want to help keep this ship afloat support us on ko fi @forgetmenotspod   The Team: Cady Bailey: creator, lead writer and co producer Gaby McDonald: editor, sound designer, and co producer Molly Borowiak: writer.   This episode starred: Rory Eggleston as Zinkus McGee Cady Bailey as Celia Nunally Ashley Ericson as Retta Mendenhall Mac Gagne as Iroya Meldin Molly Borowiak as Gisella Sylstara  Aidan Iannarino as Corwin Notely and Tyvold Erenhall Adam Lambert as Dorian Alder Tess Redman as The Mechanical Waiter and Madame Decourtaire  Sophie Caplin as Carlotta Mendenhall Mallory Hillary as The Attendant  With additional audio from Cameron Sterling, Ashley Ericson, Gaby McDonald, and Cady Bailey   Music in this episode:    Mozart Eine Kleine Nachtmusik allegro performed by the advent chamber orchestra Bughici suite for violin 6 dance allegretto performed by the advent chamber orchestra Bartok Romanian Folk Dances performed by the advent chamber orchestra Handel Concerto for Organ and Orchestra Op7 no 1 mvt 2 performed by the advent chamber orchestra https://freemusicarchive.org/music/Advent_Chamber_Orchestra  Brahms String Sextet no. 2 in G major, Op. 36 movement 2 scherzo from the european archive https://musopen.org/music/6736-string-sextet-no-2-in-g-major-op-36/  Liszt 2 Waltzes, S.126b waltz in A major performed by mauro tortorelli https://musopen.org/music/43462-2-waltzes-s126b/  Beethoven Symphony no. 5 in C minor, Op. 67 movement 3 allegro performed by skidmore college orchestra   https://musopen.org/music/2567-symphony-no-5-in-c-minor-op-67/  Sounds used in this episode include previously cited sounds as well as the following:   “Scratch x 2” by LiftPizzas https://freesound.org/people/LiftPizzas/sounds/610675/   “Harp/Reverse Harp” by yfjesse https://freesound.org/people/yfjesse/sounds/131203/    “Footsteps, walking, high heels on tiled floor” https://www.zapsplat.com/music/footsteps-walking-high-heels-on-tiled-floor/    “Champagne flute tap, cheers, toast, clink 1” https://www.zapsplat.com/music/champagne-flute-tap-cheers-toast-clink-1/    “Theater Audience Applause” https://www.zapsplat.com/music/theatre-audience-applause/    “Footsteps, male, boots on concrete, walk, regular 2” https://www.zapsplat.com/music/footsteps-male-boots-on-concrete-walk-regular-2/    “Cave Ambience” https://www.zapsplat.com/music/cave-ambience/    “People Colliding” by alexkaelke https://freesound.org/people/alexkaelke/sounds/485068/    “Bar Charter” by SoundsExciting https://freesound.org/people/SoundsExciting/sounds/543913/ This episode is shared under Creative Commons 3.0 attribution share alike license https://creativecommons.org/licenses/by-sa/3.0/   

Something happened in 2020. Well, lots of things happened in 2020. But I'm thinking of something in particular. And really, it's not something that happened, but rather something that didn't. This episode explores how four musical notes came to be so incredibly famous all around the world. For full episode notes, visit: https://shows.acast.com/roundness/episodes Roundness is a cross-disciplinary podcast produced by the Queen's Library at Queen Elizabeth's School, Barnet. (https://www.qebarnet.co.uk) Beethoven Symphony recordings, conducted by Bernard Haitink, provided courtesy of the London Symphony Orchestra’s record label, LSO Live. Visit www.lsolive.co.uk to find out more. Additional music provided courtesy of the Royal Liverpool Philharmonic Orchestra and Alessio Bax with the Southbank Sinfonia conducted by Simon Over. "Clusticus The Mistaken" by Doctor Turtle (https://doctorturtle.bandcamp.com/) licensed under CC BY 4.0. (https://creativecommons.org/licenses/by/4.0/) Episode illustration by Simba Baylon (Instagram: @simbalenciaga) For full episode notes, visit: https://shows.acast.com/roundness/episodes See acast.com/privacy for privacy and opt-out information.

In this episode, we discuss recordings of the music of Josquin des Prez by Stile Antico, Beethoven's Symphony No. 7 by Teodor Currentzis and MusicAeterna, Liszt piano music by Benjamin Grosvenor, and three new jazz saxophone releases by Francesco Amenta, Claus Waidtløw, and Vincent Herring.   The Adult Music Podcast is featured in: Feedspot's Top 20 Classical Music Podcasts Feedspot's Top 25 Jazz Podcasts   Episode 13 Deezer Playlist   “The Golden Renaissance: Josquin des Prez” (Decca) Stile Antico https://open.spotify.com/album/10KrRMLwof6IDVAjF0NRqD https://music.apple.com/us/album/the-golden-renaissance-josquin-des-prez/1537654822   “Beethoven: Symphony #7” (Sony Classical) Teodor Currentzis: MusicAeterna https://open.spotify.com/album/3XhMAN3LuTlxUJkVbfqIoG https://music.apple.com/us/album/beethoven-symphony-no-7-in-a-major-op-92/1553729421   “Liszt” (Decca) Benjamin Grosvenor https://open.spotify.com/album/2c44i8YA1pPl4y8KfR0FLI https://music.apple.com/us/album/liszt/1547588501   “Midtown Walk” (Amenta Music International) Francesco V. Amenta https://music.apple.com/us/album/midtown-walk/1556579343 http://jazzbluesnews.com/2021/04/26/cd-review-francesco-amenta-midtown-walk-2021-video-cd-cover/   “Portraits in Jazz-Sunday” (Waidtlow Music) Claus Waidtløw https://open.spotify.com/album/1bKp1d91vHHm0HAcmqCXMC https://music.apple.com/us/album/sunday/1557436280   “Preaching to the Choir” (Smoke Session Records) Vincent Herring https://open.spotify.com/album/3Lc55JT9sZ0c4nTVu2xKWD https://music.apple.com/us/album/preaching-to-the-choir/1557973605

La Sinfonía n.º 5 en do menor, op. 67, de Ludwig van Beethoven fue compuesta entre 1804 y 1808. Esta sinfonía es una de las composiciones más populares e interpretadas de la música clásica. Consta de cuatro movimientos: empieza con un allegro de sonata, continúa con un andante y finaliza con un scherzo ininterrumpido, que comprende las dos últimas partes. Desde su estreno en el Theater an der Wien de Viena el 22 de diciembre de 1808, dirigida por el compositor, la obra adquirió un notorio prestigio, que aún continúa en la actualidad. E. T. A. Hoffmann describió la sinfonía como «una de las obras más importantes de todos los tiempos». --- Send in a voice message: https://anchor.fm/luis-velasquez2/message

In this episode, I speak with Conductor and Pianist Rolf Bertsch about his Career and genius of Beethoven, and also relate my favourite Canadian crime story: now with a 2020 update. Also, a complete holiday piano performance from Han Ding. SHOW NOTES episode 2 Piano Performances heard in this episode performed by HAN DING: https://www.handingonline.com Theatre Calgary’s Official Christmas Carol page: https://www.theatrecalgary.com/shows/a-christmas-carol The ICI-Tele broadcast of the Les Grands Ballets Canadiens “Nutcracker” https://ici.tou.tv/casse-noisette/S01E01?lectureauto=1 Official Royal Canadian Mint Page about the Million Dollar Coin: https://www.mint.ca/store/mint/learn/million-dollar-coin-1600006   ArtNews story on the theft: https://news.artnet.com/art-world/berlin-coin-theft-1783515   CBC NEWS: The Current Radio Story: https://www.cbc.ca/radio/thecurrent/the-current-for-march-29-2017-1.4044278/how-did-thieves-steal-gigantic-1m-canadian-gold-coin-from-berlin-museum-1.4045314   CBC NEWS: 2020 coin story update: https://www.cbc.ca/news/world/berlin-gold-coin-heist-raids-1.5843764   The story about the Premiere of Beethovens Third Piano Concerto is told is Barry Coopers excellent biography: https://global.oup.com/academic/product/beethoven-9780195313314?cc=us&lang=en&   Beethoven’s Piano concertos have been recorded many times Two recent recommendations are—  Stewart Goodyear and the BBC National Orchestra of Wales, conducted by Andrew Constantine: http://www.arkivmusic.com/classical/Drilldown?name_id1=858&name_role1=1&name_id2=24438&name_role2=2&bcorder=21&comp_id=5651 https://music.apple.com/ca/album/beethoven-the-complete-piano-concertos/1499010141   Mitsuko Uchida and the Berlin Philharmonic, conducted by Simon Rattle: http://www.arkivmusic.com/classical/album.jsp?album_id=2277234 https://music.apple.com/ca/album/beethoven-piano-concertos-1-5/1488447983   Rolf Bertsch is the current music director of the Calgary Civic Symphony: https://calgarycivicsymphony.ca/Our-Conductor   Rolf’s Recommendations: Filmed performance of Beethoven Symphony #4 and Symphony #7 with conductor Carlos Kleiber: https://www.youtube.com/watch?v=d3-jlAamGCE   Herbert van Karajan - Beethoven Symphonies (1963) http://www.arkivmusic.com/classical/album.jsp?album_id=2190074 https://music.apple.com/ca/album/beethoven-9-symphonies-recordings-from-1961-62/1440764800   John Eliot Gardiner - Beethoven Symphonies (1990s) http://www.arkivmusic.com/classical/album.jsp?album_id=443080 https://music.apple.com/ca/album/beethoven-the-9-symphonies/1452587530   Bernstein— Bethoven Symphonies (1980s) http://www.arkivmusic.com/classical/album.jsp?album_id=2262757 https://music.apple.com/us/album/leonard-bernstein-beethoven-the-9-symphonies/1452492300   Thanks for listening. Send your feedback, questions, and/or ideas for future episodes to Jon@Culturemonster.ca

Join Kai Swanson as he converses with Quad City Symphony Orchestra Music Director Mark Russell Smith and soloist Marian Lee. In this episode, Kai, Mark, and Marian look at the works featured on Masterworks III including Beethoven Symphony no. 3 and Bach's Keyboard Concerto No. 5. Learn more about the Quad City Symphony OrchestraFollow us on Social Media:TwitterFacebookInstagramTikTokYouTubeSupport the show (https://qcsymphony.secure.force.com/donate/?dfId=a0ni000000IEp9TAAT)

Today, we discuss Derek Jarman's film The Tempest as an adaptation of William Shakespeare's The Tempest. Follow Avant-Bard on Twitter, Facebook, and Instagram. Support the show, access bloopers, and suggest episode topics on Patreon! CAST: Megan Scharlau and Matthew Marquez Theme music by Riley Allen- https://rileyallen59.wixsite.com/music SFX: "Record Stop", "Through the Eyes", "Thunderstorm Through the Rain Heavy Downpour", "Male Heavy Breathing", "Crowd Boos 2", "Playground", "Beethoven Symphony 9 Second Movement", "Sword Unsheathing", "Desk Bell Ring", "super Short Drum Roll with Cymball Crash at End", and "Deep Chill Tail" from Audioblocks.com Support Avant-Bard by donating to their Tip Jar: https://tips.pinecast.com/jar/avant-bard

When we listen closely to the Fifth, we hear a testament to self-expression and determination. Which means that we get to decide how to honor this symphony today, whether that means taking a break from Beethoven to commission new works from underrepresented composers, bringing new audiences into the fold by staging concerts in communities outside of the concert hall, or re-writing Beethoven’s works to make them reflect our present moment.  Featuring: Anthony McGill, Clarinet Andrea Moore, Musicologist Deborah Borda, CEO and President David Lang, Composer Jaap van Sweden, Conductor Leelanee Sterett, Horn Sherry Sylar, Oboe Music Featured: Carlos Simon, Loop Talia Leon, Stride David Lang, Prisoner of the State Recoding of Beethoven Symphony 5 by the New York Philharmonic conducted by Jaap van Sweden used by permission from Decca Gold. Learn more about your ad choices. Visit megaphone.fm/adchoices

After catching up on some long overdue housekeeping items, Chris and Sridhar discuss Daniel Barenboim's marathon performances and masterclasses on Beethoven's Piano Sonatas, the issue of tempo and tempo relations in Beethoven interpretations, Beethoven as a cusp composer, and yes, #Beethoven250. Useful Links: Check out our website! Rate, review, and share us on Apple Podcasts Tweet us your feedback @impolitelisten Short clips on Instagram Longer clips on YouTube "The Importance of Being Earnest" by Oscar Wilde Steve Waugh, Australian cricketing legend Steve Waugh's perfect day against England McMurdo Station in Antarctica "Absolutely on Music" - reading for the Impolite to Listen bookclub Haruki Murakami Seiji Ozawa Chopin Piano Competition A young Maurizio Pollini at the Chopin Competition Daniel Barenboim Barenboim's interview on 60 Minutes Barenboim Beethoven masterclasses - BBC documentary Playlist of Barenboim's full masterclass videos (Made by Sridhar) Playlist of Barenboim's performances of all 32 Beethoven Piano Sonatas Beethoven Piano Sonata no. 14 in C-Sharp Minor ("Moonlight") Beethoven Piano Sonata no. 17 in D Minor ("The Tempest") Beethoven Piano Sonata no. 21 in C Major ("Waldstein") Beethoven Piano Sonata no. 32 in C Minor (the one with the boogie-woogie) Beethoven Symphony no. 7 on theremin Glenn Gould interview about Beethoven Glenn Gould's brilliant thoughts on Beethoven & his performance of the 17th Piano Sonata Glenn Gould - Beethoven Variations on a Theme in C Minor Octatonic Scale Leonard Bernstein's final concert - Beethoven 7 at Tanglewood The hot mess that is #Beethoven250 on Twitter We blame #Beethoven250 Barenboim plays Adios Muchachos

If there's such a thing as an underrated Beethoven Symphony, it's this - his 8th. Short, punchy, joy-filled, playful, brilliant! Music here: https://youtu.be/9-f3iKeUJm4 or here on Spotify: https://spoti.fi/31exMZA Please comment, like, share, subscribe to the podcast. Visit cacophonyonline.com  

If there's such a thing as an underrated Beethoven Symphony, it's this - his 8th. Short, punchy, joy-filled, playful, brilliant! This is the intro to the 2nd half of the piece. Total listen time - 15 mins Music here: https://youtu.be/9-f3iKeUJm4?t=777 or on Spotify: https://spoti.fi/31exMZA [tracks 3 & 4] Please like, comment, share and subscribe! Visit cacophonyonline.com

Martin Majkut is a world class conductor and human being. He's lived through a revolution, has two PhDs, can sing, play piano and inspires orchestras to deliver exciting, polished and powerful performances. He's the Music Director of the Rogue Valley Symphony in Ashland, Oregon, and the Queens Symphony Orchestra in New York. Martin shares his experience growing up in Czechoslovakia during the Velvet Revolution, his journey as a musician and conductor, his practice formula and how he incorporates play into rehearsals, performances and conducting. All recordings by Rogue Valley Symphony Orchestra, including: Beethoven Symphony no. 9 in D minor, Op.125, movement 4, "O Fruende nicht diese Töne(Ode to Joy)"; Wagner: Tristan un Isolde:Prelude; Tchaikovsky Symphony no. 4 in F minor, Op. 36, movement 2: Andantino modo di canzona.

The second in a series of five special episodes takes a close look at Beethoven’s Fifth Symphony, also known as “The Fate Symphony.” What will you do when fate knocks at your door? In a piece full of passion, Beethoven answers with gusto! Hosted by Pat and guest co-host Greg

Writer, comedian and star of the smash hit show 'Catastrophe', Rob Delaney, tries Clemmie's classical playlist. Rob's playlist in full: Benjamin Britten: Concord (from Gloriana) arranged by Matthew Barley Ludwig van Beethoven: Symphony no. 2 in D major Op.36: 3rd mvt Scherzo Franz Schubert: 4 Impromptus for piano (D.899) (Op.90); no.3 in G flat major Maria Huld Markan Sigfusdottir: Clockworking Giovanni Pierluigi da Palestrina: Missa Papae Marcelli for 6-7 voices: Kyrie Moondog: Chaconne in G

This coffee break continues the discussion of how the greats of classical music made a living. We discuss how the the size and complexity of the new compositions made the creation of the conductor a necessity--a new job was formed. Louis Spohr, a composer and violinist, became so frustrated with musicians' confusion with the Beethoven Symphony #9 that he helped create the the modern concept of the conductor and became one of the first. Mendelssohn, Berlioz, and Mahler followed suit and conducted their own pieces. Berlioz also became a tremendous marketer of his own works. And, we take the time to give a tribute to the great Jessye Norman, an American opera singer and recitalist. Here's the book about first night that Mr. Somers referred, First Nights: Five Musical Premiers by Thomas Forrest Kelly. Contact the show at yccb@mauriceriverpress.com

Our first episode will be centered around Beethoven Symphony 7. We discuss the energy of the first movement as well as the popularity of the second. Our host is LACO’s librarian Serge Liberovsky, accompanied by Coleman Richardson, Marika Suzuki, and Zachary Olea.

Dégustation musicale mensuelle cuisinée par Kim Giani selon l'inspiration pop du jour.Durée : 60 minutes.Événement chez Pizza Giani : la terrasse est déjà ré-ouverte ! Ce n'est bien sûr pas encore la canicule, mais le réchauffement climatique nous remonte un peu le sud. Et les pizzas de Kim rayonnent sur les platines. Les ingrédients sont hybrides et mélangent nos points cardinaux. C'est bien, ça favorise les rencontres. Les boussoles s'affolent et ça fait jazzer le quartier.Playlist :01. [Générique] Herbie Hancock : Sly02. Wayne Shorter : Ponta de Areia03. Hamid al Shaeri : Ayonha04. Henri Salvador : Jardin d'hiver05. Richard Gotainer : Le Sampa06. Vin Bruce : Les cadjins du Bayou07. Léo Ferré : Préface08. Robot Caca : J'ai fait caca09. Ruth : Polaroid roman photo10. Niska : WLG11. Beethoven : Symphony 912. The Stooges : 196913. Brian Eno : 1/114. Public Enemy : Fight The Power15. Lisa Leblanc : Kraft Dinner16. [Générique] Herbie Hancock : SlyMerci Kim !

Dégustation musicale mensuelle cuisinée par Kim Giani selon l'inspiration pop du jour. Durée : 60 minutes. Événement chez Pizza Giani : la terrasse est déjà ré-ouverte ! Ce n'est bien sûr pas encore la canicule, mais le réchauffement climatique nous remonte un peu le sud. Et les pizzas de Kim rayonnent sur les platines. Les ingrédients sont hybrides et mélangent nos points cardinaux. C'est bien, ça favorise les rencontres. Les boussoles s'affolent et ça fait jazzer le quartier. Playlist : 01. [Générique] Herbie Hancock : Sly 02. Wayne Shorter : Ponta de Areia 03. Hamid al Shaeri : Ayonha 04. Henri Salvador : Jardin d'hiver 05. Richard Gotainer : Le Sampa 06. Vin Bruce : Les cadjins du Bayou 07. Léo Ferré : Préface 08. Robot Caca : J'ai fait caca 09. Ruth : Polaroid roman photo 10. Niska : WLG 11. Beethoven : Symphony 9 12. The Stooges : 1969 13. Brian Eno : 1/1 14. Public Enemy : Fight The Power 15. Lisa Leblanc : Kraft Dinner 16. [Générique] Herbie Hancock : Sly Merci Kim !

Orkester Norden er et fællesnordisk symfoniorkester sammensat af de største talenter, Norden kan præstere. Hør dem i to klassiske mesterværker og et nyt værk af den unge svenske komponist Andrea Tarrodi.Tarrodi: Paradisfåglar II.Mozart: Klaverkoncert nr. 23.Beethoven: Symphony nr. 3.( Koncerthuset, København 19. august). Vært: Benedikte Granvig. www.dr.dk/p2koncerten

In our latest podcast, Ben Eshmade talks to the key collaborators involved in our Beethoven Symphony Cycle project which begins in May 2017. Conductor Thomas Adès, Britten Sinfonia leader Thomas Gould and composer Gerald Barry discuss Beethoven’s influence on them, how they will approach the symphony cycle and the inspiration behind pairing Beethoven’s symphonies with the music of Gerald Barry.

"Do you listen to "other" genres of music too? Well, I have some pianist friends, and it seems typical that they generally listen to piano music. I do not know many organists personally, and I was wondering if you like choral music, orchestral music, piano music... Do you go for a walk and listen to Beethoven Symphony? What is your opinion on jazz, rock..." (Ana Marija) If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. ​And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts at http://www.organduo.lt)

Joined pianist Carol Fuchs at the keyboard to perform this delightful four hands arrangement of a Beethoven Symphony. Background image by zoutedrop: https://www.flickr.com/people/zoutedrop/

Sophia Danai - The End (unknown)Pender - Take (unknown)Brent Tyler - Pretty Tune (Love Myself)Chopin - Etude no 11 (unknown)Beethoven - Symphony no 5 (Everything All the Time)Bize - L'arsienne (unknown)The Black Keys - Little Black Submarines (El Camino)The Grizz - Summer Nights (unknown)Goldspot - Rewind (Tally of the Yes Men)Spoons - Breaking In (Static in Transmission)Land Of Talk - Got A Call (Some Are Lakes)Heart Attack Man - Undoubtedly (Acid Rain)Big Deal - Seraphine (Lights Out)Raised by Eagles - Jackie (Diamonds in the Bloodstream)The Zolas - Knot in My Heart (Ancient Mars)

Today we will be showcasing some of Beethoven's symphonies, including two tracks from our very special featured release from Avie Records titled "Beethoven: Symphony Nos 6 and 8" performed by Manchester Camerata and Douglas Boyd.Brno Philharmonic Orchestra, Peter Tiboris "Symphony No. 9, Op. 125 in D Minor -1895 Gustav Mahler Edition: III. Adagio molto e cantabile" (mp3) from "Beethoven's 9th Symphony: 1895 Gustav Mahler Orchestration" (Bridge Records, Inc.) Buy at Amazon MP3 More On This AlbumMahler’s grand expansion of Beethoven’s Ninth Symphony employs an extra 4 horns and an extra set of Timpani, revoicing many passages of the venerable masterpiece. Mahler adds occasional counter-melodies and thickens the scoring in order to create his own heightened dynamic scale. Of his own performances of this re-scoring, Mahler wrote: "Far from following any arbitrary purpose or course, but also without allowing himself to be led astray by tradition, (this conductor) was constantly and solely concerned with carrying out Beethoven’s wishes in their minutest detail, and ensuring that nothing the master intended should be sacrificed or drowned out amid the general confusion of sound."San Francisco Symphony, Michael Tilson Thomas "Symphony No. 5 in C minor, Op. 67" (mp3) from "Beethoven: Symphony No. 5 and Piano Concerto No. 4" (San Francisco Symphony) Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumThe San Francisco Symphony and Michael Tilson Thomas present Beethoven's Symphony No. 5 and Beethoven's 4th Piano Concerto featuring pianist Emanuel Ax.Jan Willem de Vriend, The Netherlands Symphony Orchestra "Symphony no. 7 op. 92 in A major: Allegro con brio" (mp3) from "Beethoven: Symphonies nos. 7&8 - Complete symphonies vol.3" (Challenge Classics) Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumManchester Camerata, Douglas Boyd "Symphony No. 6 in F Major, Op. 68 - "Pastoral"" (mp3) from "Beethoven: Symphony Nos. 6 & 8" (AVIE Records) More On This Album Manchester Camerata lodges the latest release in its acclaimed Beethoven Symphony cycle. Like the previous releases in this cycle these live recordings capture the spirit and freshness of these remarkable, genre-busting works, as well as the excitement, atmosphere and energy of the chamber orchestra under Music Director Douglas Boyd. Manchester Camerata has become one of the finest, most innovative chamber orchestras in the UK, and Douglas Boyd has proven to be an eminent Beethovenian. Conducting the composer’s Fidelio at the 2009 Garsington Opera Festival, The Times (London) noted “his grasp of Beethovenian idiom” and “pungent underlining of orchestral detail”, praising the musical performance as “sublime and exultant”. This is the penultimate release in the Douglas Boyd-Manchester Camerata Beethoven Symphony cycle. The Ninth “Choral” Symphony will be released in November 2011.

Beethoven Symphony no. 9 is the subject, and Pinchas Zukerman and Measha Brueggergosman are Christopher's guests on this live edition of the NACOcast.

Patrick Flynn rehearses the Scherzo movement of Beethoven Symphony no.3 "Eroica."