Podcasts about Berlin Philharmonic

For those looking for an example of a life lived with both artistic excellence and personal richness, oboist Christoph Hartmann is an inspiring model. A member of the Berlin Philharmonic since 1992, Christoph is not only a world-class orchestral musician but also a sought-after soloist and chamber player. He teaches at the Freiburg Musikhochschule, where he now lives, regularly commuting to Berlin for performances with the Philharmonic.Outside of his musical career, Christoph is deeply involved in endurance sports—he has run around 40 marathons and is an avid cyclist. His passion for biking even led him to create his own line of bicycles, Pasulli bikes, as well as open a bike shop. With a schedule this full and diverse, Tony was eager to learn how Christoph balances it all—and that's exactly what this wide-ranging conversation explores.In Part 1, Christoph reflects on his time with the Berlin Philharmonic, sharing how the orchestra has evolved over the decades and offering insight into the leadership and influence of conductors Claudio Abbado, Simon Rattle, and Kirill Petrenko. He also talks about the experience of performing for the Philharmonic's Digital Concert Hall and whether those streamed performances come with added pressure. The conversation turns to the ever-present topic of reeds and their impact on oboe playing, as well as how he manages his time between teaching in Freiburg and performing in Berlin. Christoph also shares how his interest in long-distance running and biking fits into his musical life, and we wrap up the first part with a look at the Mozart Oboe Concerto video he recorded for the YouTube Symphony.[Subscriber Content] Part 2 begins with a thoughtful discussion about Christoph's personal motto—“live your dreams”—and how he balances that ideal with the practical demands of his life. Given how many passions he juggles, Tony asks how he determines his priorities and maintains focus. Christoph also offers his perspective on the differences between German and American styles of oboe playing. The conversation then travels back to his early days on the instrument, culminating in the story of his audition for the Berlin Philharmonic. The episode concludes with his reflections on why the Mozart Oboe Concerto continues to be an ideal first-round audition piece for aspiring orchestral players.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Why would you devote your precious time and attention to learning the Cosmic Science? Let me count the ways:* develop greater understanding, acceptance and compassion for yourself and others;* reconnect with natural cycles and natural time, and with your own instinctual nature;* become more aware of your purpose and gifts, as well as self-sabotaging patterns;* open to and increase connection with the Great Mystery, the divine order behind apparent chaos;* expand your awareness and blow your mind!I've been studying astrology for more than 40 years and it STILL blows my mind on a regular basis. If you're intrigued by astrology and inspired to learn more, I hope you'll join me for a new 10-week course, Astrology 101.I'm super-excited to share my love and passion for astrology, teach you the foundations of the Cosmic Science, and give you the knowledge and skills to start interpreting your own chart. This course is for complete beginners as well as more advanced students who want to solidify and expand their understanding of the basics. You'll be working with your own birth chart, and I'll use students' charts as examples in class.We start Thursday, June 26, 9am Pacific/12pm Eastern. Recordings are available if you can't make it to the live class, and you'll have access to the recordings indefinitely. The early registration fee of $285 is available until June 13. If you took Astro 101 in 2022 and want to re-take the class, you can do so for half-price! Just hit reply and I'll send a separate link.Get all the details and sign upWhy study astrology with ME? I recently received the following super-sweet (and hilarious) testimonial from a participant in last year's mentorship, who had taken Astro 101 with me in 2022:"To sing Emily's praises as an as astrologer, a spiritual guide and as a teacher, I would need the Berlin Philharmonic, the Vatican Choir, 1000 dancers with bells, and Ethel Merman at full tilt. The journey with Emily through the intricate realms of the Zodiac—exploring Planets, Archetypes, Signs and House -- is transformational. Emily is a masterful astrologer, skillfully blending profound insights with sophisticated methodology that fosters a deep and lasting comprehension of this ancient, ever-evolving practice. She radiates energy and joy yet balances it with a serious and compassionate demeanor. No questions are considered unworthy, and no insights dismissed. My experience studying with Emily has been nothing less than awe-inspiring and transformative. This course has changed my way of seeing --permanently. Study with Emily. It is the opportunity of a lifetime." - Jonathan DavidYou can read more feedback from students, many of whom are now professional astrologers, here.I hope to see you in Astro Summer School! Any questions? Just hit reply. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit embodiedaquarian.substack.com/subscribe

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster.As a concerto soloist he appears regularly with the world's leading orchestras and conductors, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic and Zurich Tonhalle orchestras. He gives recitals every season in major musical centres, and plays with many of the world's foremost chamber orchestras, including the Australian, Mahler, Norwegian, Scottish, Zurich and St Paul Chamber Orchestras, as well as period-instrument ensembles such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. Unusually, he also directs chamber orchestras from the cello in classical programmes.Recent and upcoming highlights include performances with the Gewandhausorchester Leipzig, Vienna Philharmonic Orchestra at the Salzburg Mozartwoche; the US premiere of Thomas Adès's Lieux retrouvés with the Los Angeles Philharmonic, following world and UK premieres in Lucerne and at the BBC Proms, and a further performance of the work in Amsterdam with the Britten Sinfonia, conducted by the composer; Prokofiev's Concerto Op. 58 with the London Philharmonic Orchestra under Vladimir Jurowski, in London and at the Dresden Music Festival; and Haydn's C major Concerto with the Orchestra of the Age of Enlightenment under Adam Fischer.As a chamber musician, he has curated series for many of the world's most famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the Salzburg Festival. These specially devised programmes have included ‘In the Shadow of War', a major four-part series for the Wigmore Hall to mark the centenary of the First World War and the 75th anniversary of the Second World War; explorations of Czech music; the teacher-pupil line of Saint-Saëns, Fauré and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann's life and music; and the music of Sergei Taneyev (teacher of Steven's grandfather, Julius Isserlis) and his students. For these concerts Steven is joined by a regular group of friends which includes the violinists Joshua Bell, Isabelle Faust, Pamela Frank, and Janine Jansen, violist Tabea Zimmermann, and pianists Jeremy Denk, Stephen Hough, Alexander Melnikov, Olli Mustonen, Connie Shih, and Dénes Várjon.He also takes a strong interest in authentic performance. This season's projects include a recording of the Chopin Cello Sonata and other works with Dénes Várjon for Hyperion, using ones of Chopin's own piano; and a recital of Russian sonatas with Olli Mustonen. In recital, he gives frequent concerts with harpsichord and fortepiano. Recent seasons have featured a special performance with Sir Andras Schiff at the Beethovenhaus in Bonn, using Beethoven's own cello; and performances and recordings (selected for the Deutsche SchallplattenPreis) of Beethoven's complete music for cello and piano with Robert Levin, using original or replica fortepianos from the early nineteenth century. With harpsichordist Richard Egarr, he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti. This season, they tour together in the US.He is also a keen exponent of contemporary music and has premiered many new works including John Tavener's The Protecting Veil (as well as several other pieces by Tavener), Thomas Adès's Lieux retrouvés, Stephen Hough's Sonata for Cello and Piano, Left Hand (Les Adieux), Wolfgang Rihm's Concerto in One Movement, David Matthews' Concerto in Azzurro, and For Steven and Hilary's Jig by György Kurtág. In 2016, he gave the UK premiere of Olli Mustonen's of Frei, aber einsam for solo cello at the Wigmore Hall.

fWotD Episode 2882: Pierre Boulez Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 26 March 2025 is Pierre Boulez.Pierre Louis Joseph Boulez (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music.Born in Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.Boulez was also one of the most prominent conductors of his generation. In a career lasting more than sixty years, he was music director of the New York Philharmonic, chief conductor of the BBC Symphony Orchestra and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent appearances with many other orchestras, including the Vienna Philharmonic and the Berlin Philharmonic. He was known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the production of Wagner's Ring cycle for the centenary of the Bayreuth Festival, and the world premiere of the three-act version of Berg's opera Lulu. His recorded legacy is extensive. He also founded several musical institutions. In Paris he set up the Domaine musical in the 1950s to promote new music; in the 1970s he established the Institut de Recherche et Coordination Acoustique / Musique (IRCAM), to foster research and innovation in music, and the Ensemble intercontemporain, a chamber orchestra specialising in contemporary music. Later he co-founded the Cité de la musique, a concert hall, museum and library dedicated to music in the Parc de la Villette in Paris and, in Switzerland, the Lucerne Festival Academy, an international orchestra of young musicians, with which he gave first performances of many new works.This recording reflects the Wikipedia text as of 00:21 UTC on Wednesday, 26 March 2025.For the full current version of the article, see Pierre Boulez on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.

“People may live in a place that's very different from us, but they have the same hopes, dreams, fears, and struggles with everyday life that we all do at some level. All the parents want education for their kids. Everyone wants a home, wants good food to eat, loves a good laugh and a good joke, loves to play and be silly together. If you find that out as a young person, you are less likely to quickly judge in a negative way someone who is different from you.”Nationally recognized as a leader in the field of youth choral conductors, Emily Ellsworth enjoys an active schedule as guest conductor and clinician both nationally and abroad. She has conducted all-state choirs and festivals in over 30 states, honor choirs for the Northwest, North Central, Southwest and Western regions of the American Choral Directors Association, and the 2019 national children's honor choir for ACDA's 60th anniversary conference. International appearances include festival choirs in Ireland, England, Hong Kong, Grand Cayman Island, Greece, and presentations for the national association of choral directors in Brazil.Collegiate work most recently includes teaching Conducting III at Elmhurst University, conducting the Elmhurst University Concert Choir, joining the Luther College choral faculty as Visiting Assistant Professor of Music, and conducting the University Singers at Northwestern University. She served as Artistic Director of Anima (Ah-nee-mah)–Glen Ellyn Children's Chorus from 1996–2018. She conducted Anima on several national conferences for both ACDA and Chorus America, led concert tours to six continents, and produced nine CD recordings. Ms. Ellsworth has served as music panelist for the National Endowment for the Arts, and spent 20 years as a professional singer and voice teacher in various college and university settings.Her home base of Chicago has featured Ms. Ellsworth's preparation of dozens of youth and women's ensembles for major musical organizations, including the Chicago Symphony Orchestra, Lyric Opera of Chicago, Berlin Philharmonic, and Ravinia Festival, and many more.Ms. Ellsworth holds vocal performance degrees from Macalester College under Dr. Dale Warland and the University of Southern California, as well as the Artist Teacher Certificate from the Choral Music Experience Choral Teacher Training Institute. Her primary choral mentors are Drs. Dale Warland and Doreen Rao. More information can be found at emilyellsworth.net.To get in touch with Emily, you can find her on Facebook (@emily.ellsworth.50) or visit her website.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Mark-Anthony Turnage is a composer of contemporary classical music. Once called “Britain's hippest composer”, he has been in a rock band, got drunk with Francis Bacon, and tackled anything from drug abuse to football in his works. Mark was born in June 1960 in the Thames estuary town of Corringham in Essex. His musical talent was nurtured by his parents and he studied composition at the junior department at the Royal College of Music from aged fourteen. There he met the composer Oliver Knussen who became his tutor, mentor, and life-long friend. His first performed work, Night Dances, written while still at the Royal College, won a prize and heralded Mark's evolution into what one critic calls “one of the best known British composers of his generation, widely admired for his highly personal mixture of energy and elegy, tough and tender”. Greek, his debut opera, a reimagining of the Oedipus myth whose protagonist is a racist, violent and foul-mouthed football hooligan, shocked the establishment, which flinched, but accepted “Turnage, the trouble-maker” as a forceful voice. Over the past four decades he has sustained a distinguished and productive career that has seen him working closely with conductors of the stature of Bernard Haitink, Esa-Pekka Salonen and, particularly, Simon Rattle. He has been attached to prestigious institutions, such as English National Opera and both the BBC and Chicago symphony orchestras, and has written a vast range of music for many different instruments and ensembles. His influences include soul, gospel, all sorts of jazz and the great symphonic works of the repertoire. He has written operas, ballets, concertos, chamber pieces and choral works together with orchestrating a football match. His key works include Three Screaming Popes and Blood on the Floor (both inspired by Francis Bacon paintings, and the latter containing an elegy for his younger brother, Andrew, who died of a drug overdose in 1995), as well as more operas including one about the former Playboy model Anna Nicole Smith. Mark lives in North London with his partner, the opera director, Rachael Hewer. DISC ONE: Symphony No. 9 in D Minor, Op. 125 II. Molto vivace - Presto - Molto vivace – Presto. Composed by Ludwig Van Beethoven and performed by The Berlin Philharmonic, conducted by Sir Simon Rattle DISC TWO: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki DISC THREE: Two Organa, Op. 27 – 1 “Notre Dame des Jouets”. Composed and conducted by Oliver Knussen and performed by The London Sinfonietta DISC FOUR: Blue in Green - Miles Davis DISC FIVE: Living for the City - Stevie Wonder DISC SIX: Puccini: Madama Butterfly, Act II: Un bel dì vedremo. Composed by Giacomo Puccini and performed by Mirella Freni (Soprano) and Wiener Philharmoniker, conducted by Herbert von Karajan DISC SEVEN: Symphony of Psalms (1948 Version): III. Alleluja. Laudate Dominum - Psalmus 150 (Vulgata) Composed by Igor Stravinsky and performed by English Bach Festival Choir and The London Symphony Orchestra, conducted by Leonard Bernstein DISC EIGHT: Let's Say We Did. Composed by John Scofield and Mark-Anthony Turnage and performed by John Scofield, John Patitucci, Peter Erskine, Frankfurt Radio Symphony, hr-Bigband and Hugh WolfBOOK CHOICE: Rebecca by Daphne du Maurier LUXURY ITEM: A grand piano and tuning kit CASTAWAY'S FAVOURITE: St. Matthew Passion, BWV 244 Pt. 1 No. 1, Kommt, ihr Töchter, helft mir klagen. Composed by Johann Sebastian Bach and performed by Bach Collegium Japan, conducted by Masaaki Suzuki Presenter: Lauren Laverne Producer: Sarah Taylor

A French pianist applauded for his versatility and wide-ranging repertoire, Cédric Tiberghien has an openness to explore innovative concert formats and dynamic chamber music partnerships. He's recorded over 20 solo albums and over 15 collaborative ones, has played concerts and recitals in all parts of the world, with the Berlin Philharmonic, Orchestre National de France, the London Philharmonic, the Sydney Symphony, among many others. He was fascinated by a grand piano when he was 2 years old, and started lessons as soon as he was able. In this conversation, Cédric takes us through his approach to music and performance with joy and excitement, and his musical selections demonstrate the full breadth of his approach to his craft. Cédric Tiberghien performs The Cage Project with Musica Viva at the Sydney Festival on 23-25 January, before heading to Canberra and Melbourne.

Brenda Hale, Baroness Hale of Richmond, is a former judge who served as the first female president of the Supreme Court. In 2019 she announced the court's judgement that the prorogation of Parliament was ‘unlawful, void and of no effect'. The twinkling spider brooch she wore that day caused a sensation and set social media aflame. She was the first woman and the youngest person to be appointed to the Law Commission and in 2004 became the UK's first woman law lord.Lady Hale was born in Yorkshire and read law at the University of Cambridge where she graduated top of her class. She spent almost 20 years in academia and also practised as a barrister. Later at the Law commission she led the work on what became the 1989 Children Act. Lady Hale retired as a judge in January 2020.DISC ONE: Messiah - Part 1: O Thou That Tellest Good Tidings To Zion, composed by Georg Friedrich Händel, performed by Kathleen Ferrier and The London Philharmonic Orchestra, conducted by Sir Adrian Boult DISC TWO: Love Me Do by The Beatles DISC THREE: Move Him Into The Sun. Composed and conducted by Benjamin Britten. Performed by Peter Pears (tenor) and Galina Vishnevskaya (soprano) with the Bach Choir and the London Symphony Orchestra DISC FOUR: Part 1 Nos 4 & 5: Gloria in excelsis Deo – Et in terra pax. Composed by Johann Sebastian Bach, performed by The Monteverdi Choir and The English Baroque Soloists and conducted by Sir John Eliot Gardiner DISC FIVE: The Marriage of Figaro), K. 492 Sull'Aria. Composed by Wolfgang Amadeus Mozart, performed by sopranos Charlotte Margiono and Barbara Bonney, Netherlands Opera Chorus and the Concertgebouw Orchestra DISC SIX: Hand in Hand by Glória (Ireland's Gay and Lesbian Choir) DISC SEVEN: Parry: I Was Glad, composed by Hubert Parry, performed by Westminster Abbey Choir, Simon Preston (organ) and conducted by William McKinney DISC EIGHT: Dies Irae. Composed by Giuseppe Verdi, performed by Swedish Radio Choir and the Eric Ericson Chamber Choir, with the Berlin Philharmonic, conducted by Claudio AbbadoBOOK CHOICE: A Desert Island survival manual LUXURY ITEM: A solar-powered computer with sudoku puzzles and a writing application CASTAWAY'S FAVOURITE: Part 1 Nos 4 & 5: Gloria in excelsis Deo – Et in terra pax, composed by Johann Sebastian Bach, performed by The Monteverdi Choir and The English Baroque Soloists, conducted by Sir John Eliot Gardiner Presenter Lauren Laverne Producer Paula McGinley

Kate Kennedy meets musicians who, like her, had to stop playing after injury and rethink their lives. As principal cellist of the Berlin Philharmonic for three decades, Ludwig Quandt performed with conductors Claudio Abbado and Sir Simon Rattle until an injury unrelated to performing nearly ended his career. He reveals what being forced to confront silence means for a musician's relationship with their instrument and the innovative solution he found on the other side of the world from an unlikely source.Presenter: Kate Kennedy Producer: Erika Wright Production Coordinator: Elisabeth Tuohy Executive Producer: Rami Tzabar Healing Musicians is a TellTale Industries production for BBC Radio 3

join us in our conversation and hear more about the journey from Poland to Germany and the US, from playing violin in a top-notch orchestra to getting an MBA at Stanford University Graduate School of Business and writing a white paper about AI and music.  Show Notes Connect with Anna: https://www.linkedin.com/in/aniaf/  Berlin Philharmonic: https://www.berliner-philharmoniker.de/en/  AI White Paper: https://www.linkedin.com/feed/update/urn:li:activity:7228754698395148288/  Performing at Stanford: https://www.youtube.com/watch?v=QJIjLMMMuYg  Show support Please choose one or more of the ‘three ways to support the show': Subscribe to the podcast. Leave us a review — even one sentence helps! I appreciate your support; it helps the show! Tell your friends about the podcast and musicthinking.com Buy the book The Power of Music Thinking and the Jam Cards at a 20% discount using musicthinking20 at the check-out of the BIS Publishers website only.​​

This week on the podcast is part two of our interview with renowned lyric tenor, Matthew Polenzani. He performs regularly with the Metropolitan Opera and appears in opera houses around the world such as the Vienna State Opera, Paris Opera, and Teatro Real in Madrid. Matthew is continuously in demand for concert engagements with the world's most influential conductors, and with premiere ensembles such as the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, and the Munich Philharmonic.​Join us for this mini-master class in career development for any aspiring musician! https://matthewpolenzani.com/

Today we release part one of our interview with renowned lyric tenor, Matthew Polenzani. He performs regularly with the Metropolitan Opera and appears in opera houses around the world such as the Vienna State Opera, Paris Opera, and Teatro Real in Madrid.  Matthew is continuously in demand for concert engagements with the world's most influential conductors, and with premiere ensembles such as the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, and the Munich Philharmonic.Join us for this mini-master class in career development for any aspiring musician!  https://matthewpolenzani.com/

As Season Six draws to a close, Kirk opens up the Strong Songs mailbag to answer a bunch of listener questions on topics ranging from Diablo's use of lydian to what he means when he talks about "transcribing."REFERENCED/DISCUSSED:"Tristram" by Matt Uelman from Diablo, 1997"Blast Inc. (feat. Jorgen Munkeby)" by Haunted Shores from Viscera, 2015"One Down, One Up" by John Coltrane from New Thing at Newport, 1965"Heart of Glass" by Debbie Harry and Chris Stein as recorded by Miley Cyrus in 2020"Respect" by Otis Redding recorded by Aretha Franklin, 1967"All The Things You Are" by Jerome Kern, lyrics by Oscar Hammerstein II, 1939, and also recorded by the Brad Mehldau Trio in 1999"Reminiscing" by Little River Band from Sleeper Catcher, 1978"Flute Loop" by The Beastie Boys from Ill Communication, 1994"Flute Thing" by The Blues Project from Projections, 1966"Dream is Collapsing" and "Dream Within a Dream" by Hans Zimmer from Inception, 2010"Concerto for Flute & Orchestra No. 1 in G Major, I. 313: I. Allegro Maestoso," feat. Sir James Galway"Kid Charlemagne" by Steely Dan feat. Larry Carlton from The Royal Scam, 1976"St. Thomas" by Sonny Rollins from Saxophone Colossus, 1956"Supercell" by King Gizzard and the Lizard Wizard from PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation , 2023"Morph" by twenty one pilots from Trench, 2018"Summertime" by DJ Jazzy Jeff and the Fresh Prince from Homebase, 1991"Summer Love" by Kool and the Gang from Light of Worlds, 1974"Nuthin' but a 'G' Thang' by Dr. Dre feat. Snoop Dogg from The Chronic, 1992Doctor Mix explains how to get the "Summer Madness" sound on an ARP 2600"Ironside" by Quincy Jones as featured in the Kill Bill soundtrack, 2003"Symphony No. 5 in D Minor, Op. 47: IV. Allegro non troppo" by Dimitri Shostakovich as recorded by the Berlin Philharmonic, 1987"Time" by Pink Floyd from The Dark Side of the Moon, 1973"Shit Talk" by Sufjan Stevens from Javelin, 2023OUTRO SOLOIST: Evan IllouzEvan is a clinical psychologist in Brooklyn, NY, who's been playing since he was in high school, about 20 years ago. ----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERnewsletter.kirkhamilton.comJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSHOW ARTTom Deja, Bossman Graphics--------------------MAY 2024 WHOLE-NOTE PATRONSRobyn MetcalfeBrian TempletCesarBob TuckerCorpus FriskyBen BarronCatherine WarnerDamon WhiteKaya WoodallJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerPaul DelaneyDave SharpeSami SamhuriJeremy DawsonAccessViolationAndre BremerDave FloreyMAY 2024 HALF-NOTE PATRONSDanielle KrizMichael YorkClint McElroyMordok's Vape PenInmar GivoniMichael SingerMerv AdrianJoe GalloLauren KnottsDave KolasHenry MindlinMonica St. AngeloStephen WolkwitzSuzanneRand LeShayMaxeric spMatthew JonesThomasAnthony MentzJames McMurryEthan LaserBrian Johan PeterChris RemoMatt SchoenthalAaron WilsonDent EarlCarlos LernerMisty HaisfieldAbraham BenrubiChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenGrettir AsmundarsonSean MurphyAlan BroughRandal VegterGo Birds!Robert Granatdave malloyNick GallowayHeather Jjohn halpinPeter HardingDavidJohn BaumanMartín SalíasStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJeff UlmDavid FutterJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJeffrey BeanJason ReitmanAilie FraserRob TsukNATALIE MISTILISJosh SingerAmy Lynn ThornsenAdam WKelli BrockingtonVictoria Yumino caposselaSteve PaquinDavid JoskeBernard KhooRobert HeuerDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanLinda DuffyBonnie PrinsenLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNell MorseNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneDiane HughesMichael CasnerLowell MeyerStephen TsoneffJoshua HillGeoff GoldenPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanDhu WikMel DEric HelmJonathan DanielsMichael FlahertyCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudBrad CallahanAmanda FurlottiAndrew BakerAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode (from Harmony): "Overture" “Stars In The Night” Guests In This Episode (in order of appearance): Warren Carlyle Beowulf Boritt Peggy Eisenhauer Dan Moses Schreier Linda Cho Ricky Lurie Mentioned In This Episode: ⁠Watch Broadway's Harmony perform "Rhapsody #20" ⁠ ⁠Watch the entire titular song "Harmony" ⁠ ⁠⁠⁠⁠⁠Watch the Comedian Harmonists perform together⁠⁠⁠⁠⁠ Learn More About The Comedian Harmonists: ⁠⁠⁠⁠⁠⁠⁠⁠⁠www.thecomedianharmonists.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn More About Harmony A New Musical: ⁠⁠⁠⁠⁠⁠⁠⁠⁠www.harmonyanewmusical.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode (from Harmony): "Overture" “Stars In The Night” "Threnody" "Harmony" Guests In This Episode (in order of appearance): Bruce Sussman Jan Grübler Eric Peters Chip Zien Danny Kornfeld Sean Bell Mentioned In This Episode: Watch Chip Zien perform "Threnody" in Harmony Watch the opening scene in Harmony as described in this episode  Watch Broadway's Harmony perform "Rhapsody #20"  Watch the real Josef Roman Cycowski in an interview  Watch the entire titular song "Harmony"  ⁠⁠⁠⁠Watch the Comedian Harmonists perform together⁠⁠⁠⁠ Learn More About The Comedian Harmonists: ⁠⁠⁠⁠⁠⁠⁠⁠www.thecomedianharmonists.com⁠⁠⁠⁠⁠⁠⁠⁠ Learn More About Harmony A New Musical: ⁠⁠⁠⁠⁠⁠⁠⁠www.harmonyanewmusical.com⁠⁠⁠⁠⁠⁠⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

指揮者の山田和樹さん、２０２２年７月、スペイン南部グラナダ【ロンドン時事】世界有数のオーケストラ、ベルリン・フィルハーモニー管弦楽団は２３日、指揮者の山田和樹さんが２０２５年６月の定期公演で同フィルのデビューを果たすことを明らかにした。 The Berlin Philharmonic announced Tuesday that Japanese conductor Kazuki Yamada will have his first concerts with the world-renowned orchestra in June 2025.

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode (from Harmony): “Stars In The Night” "We're Goin' Loco" Guests In This Episode (in order of appearance): Jan Grübler Chip Zien (Voice of "Albert Einstein") Allison Semmes, "Josephine Baker" Mentioned In This Episode: Listen to "Sous le ciel d'Afrique" Listen to “Espabilate” ⁠⁠⁠Watch the Comedian Harmonists perform together⁠⁠⁠ Learn More About The Comedian Harmonists: ⁠⁠⁠⁠⁠⁠⁠www.thecomedianharmonists.com⁠⁠⁠⁠⁠⁠⁠ Learn More About Harmony A New Musical: ⁠⁠⁠⁠⁠⁠⁠www.harmonyanewmusical.com⁠⁠⁠⁠⁠⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Table of Contents: 2:16 - Erna/Marion Kiss 8:59 - Olga Bertha Wolff 14:45 - Fernande, Suzanne, and Anna Marie Collin 37:50 - Mary Magedalena Panzram 48:15 - Hilde Longino 48:50 - Ella 49:22 - Delphine David 51:08 - Saschka Andrejeva Siderova 52:00 - Ursula Elkan 1:01:42 - Ruth Sametzki 1:02:19 - Helga Gade 1:03:43 - "Ruth" in Harmony Songs In This Episode (from Harmony): “Stars In The Night” "Overture" "And What Do You See" "Every Single Day" "Where You Go" Guests In This Episode (in order of appearance): Bruce Sussman Jan Grübler Zal Owen Marc Alexander, Erich's grandchild Deborah Tint, Erich's grandchild Sierra Boggess Beryn Hammil, Ursula's daughter Julie Benko Mentioned In This Episode: Listen to Episode 2 featuring Harry Frommermann Listen to Episode 3 featuring Erich Collin Listen to Episode 4 featuring Josef Roman Cycowski Watch Mary and Josef Roman Cycowski Playing Cards Listen to Episode 5 featuring Robert Biberti Listen to Episode 6 featuring Ari Leschnikoff Listen to Episode 7 featuring Erwin Bootz ⁠⁠Watch the Comedian Harmonists perform together⁠⁠ Learn More About The Comedian Harmonists: ⁠⁠⁠⁠⁠⁠www.thecomedianharmonists.com⁠⁠⁠⁠⁠⁠ Learn More About Harmony A New Musical: ⁠⁠⁠⁠⁠⁠www.harmonyanewmusical.com⁠⁠⁠⁠⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode: “Stars In The Night” from Harmony: A New Musical "In This World" from Harmony: A New Musical Guests In This Episode (in order of appearance): Blake Roman, "Chopin" in Harmony Jan Grübler, Historian Bruce Sussman, Co-Writer of Harmony Beryn Hammil, Ursula's daughter from second marriage Mentioned In This Episode: "Ich hab' für dich 'nen Blumentopf bestellt" "My Little Green Cactus" ⁠Watch the Comedian Harmonists perform together⁠ Learn More About The Comedian Harmonists: ⁠⁠⁠⁠⁠www.thecomedianharmonists.com⁠⁠⁠⁠⁠ Learn More About Harmony A New Musical: ⁠⁠⁠⁠⁠www.harmonyanewmusical.com⁠⁠⁠⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode: “Stars In The Night” from Harmony: A New Musical "How Can I Serve You, Madam?" from Harmony: A New Musical Guests In This Episode (in order of appearance): Steven Telsey, "Lesh" in Harmony Jan Grübler, Historian Bruce Sussman, Co-Writer of Harmony Mentioned In This Episode: Watch Ari Leschnikoff sing "Ich liebe die frauen" Listen to Ari Leschnikoff sing "O Sole Mio" Watch the Comedian Harmonists perform together Learn More About The Comedian Harmonists: ⁠⁠⁠⁠www.thecomedianharmonists.com⁠⁠⁠⁠ Learn More About Harmony A New Musical: ⁠⁠⁠⁠www.harmonyanewmusical.com⁠⁠⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

Music is a way for everyone to connect, no matter where they come from or what their beliefs are. Today's guest Pablo Sáinz-Villegas is on the True Fiction Project Podcast to talk about why music and Spanish guitar is the perfect vehicle for storytelling. He discusses the difference between the guitar and Spanish guitar, and how even though they all may have the same six strings, and the same tuning, they all offer something different. He shares his stories of working with other musicians and how storytelling comes out of each piece, whether working alone or collaborating with others. Tune in and close your eyes to enjoy the piece Recuerdos de la Alhambra (Memories of Alhambra in English) by the Spanish composer Franciso Tarrega at the end of the episode.  IN THIS EPISODE: [2:45] What does Pablo mean by the statement “music and Spanish guitar is the perfect vehicle for storytelling?” [5:25] Is there a difference between a guitar and a Spanish guitar? [7:26] Does Pablo always have the opportunity to explore storytelling even when collaborating and playing with other artists? [10:05] How is Pablo providing children with the opportunity to explore the magic of music? [13:07] Pablo gives an example of what he means by storytelling through music.  [16:00] Close your eyes and enjoy hearing the piece Recuerdos de la Alhambra by the Spanish composer Franciso Tarrega.  [19:17] Enjoy another piece played by Pablo titled Asturias (Leyenda) KEY TAKEAWAYS: [3:25] Music is an experience that we cannot touch, we cannot see, but we feel, and those are the experiences in life that are most transcendental, most profound to us.  [5:25] While all guitars have six strings and the same tuning, each instrument is related to a different kind of music because they have different features.  [15:07] Music is a way for people to come together and share stories, share about life, and connect on a deep level that connects to our hearts.   Fiction Credits: First song: Recuerdos de la Alhambra by the Spanish composer Franciso Tarrega Second song: Asturias (Leyenda) - Isaac Albéniz. Pablo Sainz-Villegas. LIVE at Teatro Mayor, Colombia https://www.youtube.com/watch?v=EowSRVAp8rM  BIO: Sainz-Villegas is the "global ambassador of the Spanish guitar" (Billboard Magazine), a star who has brought classical music to millions of people from the Santiago Bernabéu Stadium to a floating stage on the Amazon River or Carnegie Hall in New York. He has been the first guitarist in 38 years to perform at the Philharmonie with the Berlin Philharmonic under Kirill Petrenko. In addition, he has collaborated with artists such as John Williams, Yo-Yo Ma and played for world leaders as the Dalai Lama. Thanks to his charity work Pablo Sainz-Villegas has also been able to bring access to classical music to tens of thousands of children in Spain, Mexico and the United States. Pablo Sainz Villegas' Website  Pablo Saniz Villegas' Personal Facebook  Pablo Saniz Villegas' Twitter  Pablo Saniz Villegas' Instagram  Our Sponsors:* Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com/Support this podcast at — https://redcircle.com/true-fiction-project/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode: “Stars In The Night” from Harmony: A New Musical "Hungarian Rhapsody #20" from Harmony: A New Musical "Home" from Harmony: A New Musical Guests In This Episode (in order of appearance): Bruce Sussman, Harmony co-writer Jan Grübler, Historian Sean Bell, "Bobby" in Harmony Learn More About The Comedian Harmonists: ⁠⁠⁠www.thecomedianharmonists.com⁠⁠⁠ Learn More About Harmony A New Musical: ⁠⁠⁠www.harmonyanewmusical.com⁠⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode: “Stars In The Night” from Harmony: A New Musical "The Wedding" from Harmony: A New Musical "Where You Go" from Harmony: A New Musical "Every Single Day" from Harmony: A New Musical Guests In This Episode (in order of appearance): Danny Kornfeld, “Young Rabbi” in Harmony Jan Grübler, Historian Chip Zien, "Rabbi" in Harmony Bruce Sussman, Harmony co-writer Learn More About The Comedian Harmonists: ⁠⁠www.thecomedianharmonists.com⁠⁠ Learn More About Harmony A New Musical: ⁠⁠www.harmonyanewmusical.com⁠⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

A previous version of this episode misstated the parentage of Erich's wife, Fernande Holzamer. Fernande's father was a German tailor, her mother was a French homemaker. This has been corrected in the episode, as well. “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode: “Stars In The Night” from Harmony: A New Musical “Harmony” from Harmony: A New Musical "Your Son Is Becoming a Singer" from Harmony: A New Musical Guests In This Episode (in order of appearance): Eric Peters, “Erich” in Harmony Jan Grübler, Historian Marc Alexander, Erich Collin's grandson Deborah Tint, Erich Collin's granddaughter Learn More About The Comedian Harmonists: ⁠www.thecomedianharmonists.com⁠ Learn More About Harmony A New Musical: ⁠www.harmonyanewmusical.com⁠ In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

Noah Bendix-Balgley is a revered violinist—concertmaster with the Berlin Philharmonic and a soloist who performs with orchestras internationally. He's also a native of Asheville.I talk with him about the details on his ambitious, weeklong residency with the Asheville Symphony, beginning March 11. We  talk about his training and career path and how his Jewish roots play into his music-making. We also talk about his long connection to ASO music director Darko Butorac and the personal significance he feels in showcasing a broad range of violin-centered works in his native city. SPONSOR: Greenland Pro Cleaning is a locally owned, eco-friendly, allergy-friendly cleaning company for homes, AirBnBs and offices. Use the code OVERLOOK at checkout for $60 off your first order with Greenland Pro Cleaning of Asheville. Support The Overlook by joining our Patreon campaign!Advertise your event on The Overlook.Instagram: AVLoverlook | Facebook: AVLoverlook | Twitter: AVLoverlookListen and Subscribe: All episodes of The OverlookThe Overlook theme song, "Maker's Song," comes courtesy of the Asheville band The Resonant Rogues.Podcast Asheville © 2023

fWotD Episode 2491: Blood on the Floor (Turnage) Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Thursday, 29 February 2024 is Blood on the Floor (Turnage).Blood on the Floor is a suite in nine movements composed for orchestra and jazz trio by Mark-Anthony Turnage. It was composed over a span of three years (1993–1996) after a commission from the Ensemble Modern—a German music group—to produce a piece for an evening jazz event in 1994. After the performance, Turnage expanded the piece into the larger nine movement suite that is now performed. During this period of composition, Turnage's brother Andrew died of a drug overdose, shaping the music greatly. As a result, drug culture is one of the main themes in the suite. Blood on the Floor also draws influences from the paintings of Francis Bacon and Heather Betts; the suite's title is an adaptation of Bacon's painting Blood on Pavement.Like other compositions by Turnage, Blood on the Floor incorporates elements of both classical and jazz music. Due to this, it has been described as being part of the "third stream" genre, a term coined by Turnage's former teacher Gunther Schuller. The suite is written as a concerto grosso and features a blend of classical, jazz, non-western and electronic instruments. As part of this fusion, the suite contains space for soloists to improvise in four of its movements. Blood on the Floor shows elements of non-functional harmony and has complex rhythmic changes, often changing metre every bar. Motifs are found recurring throughout the suite. Blood on the Floor was premiered by the Ensemble Modern at the Queen Elizabeth Hall, London, in May 1996. The suite received a mixed reception from music critics. Some enjoyed the suite's fusion of classical and jazz music, while others found it to be an unfulfilling combination. Outside of the Ensemble Modern, Blood on the Floor has been performed by various ensembles, including the Berlin Philharmonic, Melbourne Symphony Orchestra and Boston Symphony Orchestra.This recording reflects the Wikipedia text as of 01:07 UTC on Thursday, 29 February 2024.For the full current version of the article, see Blood on the Floor (Turnage) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Kimberly Standard.

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode: "Stars In The Night" from Harmony: A New Musical "How Can I Serve You Madame " from Harmony: A New Musical Guests In This Episode (in order of appearance): Zal Owen, "Harry" in Harmony Jan Grübler, Historian Bruce Sussman, Harmony Book/Lyrics Michael Salzbank, living relative of Harry Frommermann Check out these books: Kantoren, Künstler, Kontinente - Jüdische Schicksale -: Die Familie von Harry Frommermann, Gründer der „Comedian Harmonists by Jan Grübler The Comedian Harmonists: The Last Great Jewish Performers in Nazi Germany by Douglas E. Friedman Learn More About The Comedian Harmonists: www.thecomedianharmonists.com Learn More About Harmony A New Musical: www.harmonyanewmusical.com In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

Part II Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   Transcript     Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories.  My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And  he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents.  Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest  version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin.  Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship.  She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it's quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC.  You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll be, they'll be dancing to this music often played with, you know, the epinette and they'll be spinning around and then intermittently after spinning around, they'll do, you know, the backflip and the headspin or the, the caterpillar. And it's, I don't know how they do it. It's, they must be very dizzy. Anyway, it's incredible. And then sort of the climax of the dance is that there's a woman also, you know, dressed traditionally, and she's got this pole, this long pole. And on the end of the pole is a hat. And the idea is you have to kick the hat off, but the pole is three meters high.  So she's standing on like a ladder with the pole. And so the dancer, he'll do this kind of flying kick in the air. Either you can, you kick it off or you miss it. So in Johan Halvorsen's concerto at the end, there's this high harmonic and that you either have to hit on the G string. And like in the dance, you know, you're hitting that hat off. And so you're always there. You're always wondering if the soloist can pull it off. Can they, can they hit that high harmonic? And it's, it's the same sort of the equivalent of the spinning high kick from the dance. So, and if you were Norwegian, You would get this, I think, from the, from the music and you'd hear it. You hear that you do hear it in the music. So Kathleen Parlow, she plays this Halversen concerto and she plays it three times that year, and when she plays the piece in the National Theatre in September, there's sort of, there are mixed reviews with the critics saying that the piece was too unconventional. It's a little bit different and here's where Halvorsen, he like, he kicks up a stink a bit. This, because this concerto is like his baby and he's really protective and he's like, you know, he's quite fragile. He's, he's worked so much on this thing and people are just saying, you know, nasty things.  They don't understand the work that went into it. Yeah, you write a concerto.  So people, they flocked to hear Kathleen play Johan Halversen's concerto at the theatre. And it was full to bursting on several nights in a row. And if you consider on the same night in Oslo in another hall, Fritz Kreisler was playing and here you have Kathleen Parlow and people are just like cramming in to see her and Halvorsen's concerto. She was a huge name in her time. Only after a few performances and the negative critiques, Johan Halvorsen, he cancelled all the future performances of the work and, and when he retired, he burnt the manuscripts and asked for all the copies to be destroyed as well, it really, he was really hurt. Well, it was to be lost forever, except So a hundred years later, a copy of the concerto was serendipitously found in the University of Toronto's Faculty of Music, when one of the employees was looking through, not music, but personal documents of Kathleen's and it had been filed in there by mistake. And because it was with her personal files, it hadn't really, like her letters and things, it had been overlooked. So they found it and they resurrected it and they've re performed this concerto that had been lost for a hundred years.  And that's another role as a musician. You're also not managing, but you also have to deal with composers that could have quite be quite touchy and everything like a musician has to have, have on their plate. Well, I think being a musician, not only do you have to have an incredible skill level, you have to have an engaging personality. You have to be able to transmit a personality through the music itself. And you have to have incredible social grace to navigate charming not only your audience, but charming the people who create the concerts, the sponsors, the people who bankroll them. I think it's an incredibly difficult task. Because the skill level playing the violin is so difficult. That in itself would take up most people's energy. But on top of that, also have to be ingratiating and charming. I think it's an incredibly difficult life. Yeah, must be exhausting. And she does get exhausted. She'll have Breakdowns through, like her first one is when she's about 22. She has like almost like a nervous breakdown. And so it's kind of, she runs hot for a long time and then crashes.  And it might be like, you're saying like all these different things they have to, all the balls that they have in the air that they're juggling to keep it going. Kathleen Parlow, she's still in her teens. She's still a teenager. She has incredible success. She's performing in Germany and the Netherlands. And later that same year, she returns to Canada where she makes an extensive tour. She makes her debut in New York and Philadelphia.  I mean, she's just like, she's just all over. I mean, America's a big place and she's just all over the place.  And then in 1909, at the age of 19, she gets a recording contract with the gramophone company known as his master's voice. And that's the one with the dog listening into a recording trumpet.  And she was offered a 10 percent artist's royalty figure. So is that good? Getting 10 percent royalties? Yes. A 10 percent royalty at that time. is really quite unheard of. I believe the gramophone company gave that to their superstars. Louisa Tetrazzini, for example, was the great coloratura soprano of the day, and she received 10 percent of the sales royalty. So for Kathleen Parlow to be receiving that percentage really attests to her status. Yeah. And like you were saying before, it was, it's like amazing that we've forgotten about her. Oh, it's kind of astounding. She was an absolute star. The concert halls and one newspaper wrote an article and I quote one of the articles, the young woman could not mistake the furor she created. She was, so she was described as the greatest woman violinist in the world and the girl of the golden bow and Of course the obsession with her willowy figure and pale complexion and feminine wilds continues Which is sort of I mean even the case today I suppose will people will go into describing a woman and what she's wearing what she looks like a bit more than a guy, this thing that's just pervaded and then there was Einar Bjornsson, always there in the background. The communications between them, himself and Kathleen, was sort of constant. He was always visiting and in her diary she was, you know, just abbreviating his name because it was so his feelings for the young woman were extreme and the money he borrowed from his father, he would never be able to repay. So he was sort of indebted his whole life because of this. It must have been a little bit awkward explaining to his wife as well where the money has gone. Yeah, it's a big chunk of her dowry. I mean, even if he did tell her, maybe, you know, I don't know, maybe he didn't tell her. Maybe she, it was possible for him to do that. I'm not sure how the laws in Norway work. If, you know, sometimes in some countries, once you marry, your, your money becomes your husband's.  Basically, after the successful gramophone company recordings, she was really launched her career. She travelled all over. She travelled to, back to the United States, even though she's from Canada. She was regarded as a British artist, primarily because Canada was part of Britain, but then she made her success in the United States. And she was a very big success, so much so that the Columbia Record Company decided to offer her a recording contract. Now, there were two main companies in the United States. One of them was the Victor talking machine, which is essentially, that later became RCA Victor when it was bought by the Radio Corporation of America. But it originally started as the Victor talking machine. They had many, many big artists. They had people like Fritz Kreisler and Mischa Elman, and they also engaged a female violinist by the name of Maude Powell, who was an American born violinist. And so the Columbia Record Company decided that they should have their own roster of great instrumentalists, particularly violinists. And so they signed up Eugene Ysaie,  the great Belgian violinist, but at the same time they also signed up And I think, in a sense, that was to somehow put themselves in competition with the Victor Company. These two major record companies in the United States. So you had  the Victor Company with Mischa Elman and Fritz Kreisler and their female star, Maude Powell. And then you have Columbia answering back with Eugenie Ysaie and their female star, Kathleen Parlow.  Yeah. So you have like we were saying, like all the relationships that you have to keep juggling as a musician. And I think what Kathleen Parlow had on top of that was this. This complicated relationship with Einar, her, her patron, who was, who it was, it's all a bit ambiguous what was going on there, but she also had that in the equation. So it's not surprising that she had multiple breakdowns like she would just go for it and then, and crash. And she plays, I think Kreisler's tambourine chinois. And was that because there was sort of this, like this kind of fascination with the Orient at that time in the, in like the 1910s, 1920s? Well, the origin of tambourine chinois, apparently according to Kreisler, but Kreisler always spun tall tales. He said that he was in a Chinese restaurant in San Francisco when the idea, the musical ideas of tambourine chinois came to, to being. So, but Kreisler always. You know, invented stories all the time. I mean, the thing is, it's a very  playful, it's a very you know, fun piece of music. It's very bustling.  So, hence, that's why probably Fritz Kreisler is associated with a busy Chinese restaurant in San Francisco, because it's very, very bustling in its character. But the middle section of Tamborine Chinois It's Act Viennese,  so it's funny, because the middle section, when you hear it, it doesn't sound like anything  to do with the Orient, or if anything, it sounds like the cafe, coffeehouses  of Vienna. Yeah, it'd probably be cancelled anyway today. Well, if they heard that story, it certainly would. Then, she actually only does her first tour in America when she's 20. Kathleen, she continues with her endless touring and concert. Her money management was never great, although, you know, she's still, she's still earning quite a lot of money, and her mother and herself had, they had enough to live on, but never enough to be completely hassle free. And not that she wanted it, it seemed like she was sort of addicted to this life of the stage, and she once said when she was older that she thought maybe she had to get a job teaching, but she just couldn't do it.  She played more than 375 concerts between 1908 and 1915 and, and you can believe it to get an idea. So she's 19 year old's touring schedule. Here are the countries she played in in 1909. And you have to remember the concerts are nonstop every night, almost in different cities, but here are just, here are just some of the countries she travelled to in this year, in 1909. Germany, England, Poland, Netherlands, then she goes back to England, Ireland, Germany, England, the Netherlands, Norway, Wales, England again, Ireland again, England, Scotland, Poland. Man, I gave it, it was just, you know, huge. And in her diaries we can see that she's, like, she's just a young woman, like, about town when she's in London, she takes trips to the theatre, and she talks about going to see Madame Butterfly, and she goes shopping, and she goes to tea with people she has like, appointments at the dressmaker for fittings for new dresses, and, and all of this is in between lessons, and rehearsals, and concerts. And her diary is just jam, she has these day books and they're just jam packed. Then Auer when he comes to London, her diary, it's like she has lessons with him. And you can see she's sort of excited, she's like hours arriving and then she'll see him and then she'll often have lunch with him and lessons and sometimes the lessons are at eight o'clock at night or, or 10am on a Saturday or at the middle of the night on a Monday. And she'll skip from him to rehearsals with her pianist from Carlton Keith. And she's lots of tea. She's going to tea a lot with a lot of different people. She's still only 19 here. So her popularity, it's like, it's far reaching and she's not just playing like classical music. She'll also play just popular pieces of the day. There's Kreisler's Tambourine Chinoise. And then she'll play, there's some of the recordings. They're these Irish, little Irish. Songs. So it was to appeal to the general public as well, her repertoires and her recordings. And then in 1910, she turns 20 and she has her first tour in North America. And then in 1911, the New York Herald declares her as one of the phenomena of the musical world on par with Mischa Elman. That must have been frustrating because for years she's in the same class as him and she knows him. And everyone just keeps comparing her to, she's like, Oh, she's almost as good as this guy. But no, here they're saying she is as good as this guy. I could just, must've been a little bit frustrating. Then she makes an appearance with the Toronto Symphony in 1911 and she'll go back there many times. And in the next year, in 1912, she moved with her mother, who's still her mentor and manager and chaperone, to England, where they, they rent a house just out of Cambridge, you know, in the peaceful countryside away from the big cities. And in between her touring from here, she went, she goes to China, to the U. S., to Korea and Japan. And in Japan, she records with Nipponophone Company. She recorded quite just in a not much in a short space of time. She could have, she could have recorded more afterwards, because yeah, but she doesn't. Then the news of the tragic sinking of the Titanic in April had Kathleen jumping on a streamliner herself to play a benefit concert in New York for the survivors of the disaster. And I've seen that booklet, and that you open the booklet, and there's like, life insurance.  And then there's actually ads for another streamliner, and you're like, too soon, too soon, people don't want this. And then she plays, so on that same trip, she plays at the Met Opera. She plays Tchaikovsky's Serenade, Melancholique.  And in New York, she signed up by Columbia Record, by the Columbia Record Company. And her first records for the US label are brought out alongside those of Eugene Ysaye. So she's alongside these, they all, they must've all known each other. She was a contemporary and she just kind of slips off the radar. And as with all the recordings of the great violinists of the day, most of Paolow's recordings on American Columbia were of popular songs and that, that would attract the general public. But the fact that most of these recordings were accompanied by an orchestra and not just piano highlights her status as a star. So they had the, they got together an orchestra for her, so she's worthy of an orchestra.  Still in 1912, Kathleen, she's 22 now and she's been traveling so much, she's, now it's happening, it's hitting her, she's exhausted and she has a kind of breakdown it'd probably be like a burnout and, which, it's amazing she's lasted this long, since, you know, age 5, 6, up to 22. So she's both mentally and physically exhausted and her mother, acting as her agent, realizes that she needs to reduce some of her tours. She retreats to Meldreth, that's that house just outside of Cambridge that they have, that they've been renting. It's quite close to London, that little cottage that they have. They have easy access to London by train. And not only could they go easily to London, but traveling, traveling businessmen! From Norway! Could come to them! Easily. She continues with the concerts, one at Queen's Hall in London. So she has her little burnout, but then she's back again. Plays Schubert's Moment Musical around this time. After they've rented this home for four years, they end up buying it. So she does have enough money to buy a house, so she is you know, not frittering away all her money. So this gives her some sort of stability. And it, even though it's a, it's still a very unusual existence for a young lady of the day. So she's breaking a lot of stereotypes and this could end up being exhausting after a while. So it was nice for her to have a calm place to kick up her heels or fling off her corset. But no, she didn't, but willowy frame, she doesn't look like she's got a corset. I don't think you can play. Can you? Could you play that much? You know, you can't breathe. But, but, aren't there like old photos of, of lady violinists in corsets? I don't know how they do it. Like, you can't.  Well, you had to do everything else in the corset.  But you get kind of hot and sweaty and you're under the lights and it must have been exhausting. At least she was like lucky to have that pre Raphaelite fashion where she could be wearing, you know, the flowing sort of we're heading into the, the sort of the looser clothes in this era. But I think some people are still hanging on to corsets, but it's like the end of corsets and you're getting more loose clothing thankfully for her. And according to letters Kathleen wrote to friends her and her mother, and they fell in love with the village life in Mildreth. Kathleen was able to relax and lead a normal life in between tours. And then in 1915, you have World War I hits, and her tours are less frequent. Her, her patron Einar, must have been having some lively fun. Dinner conversations with his family on opposing sides.  So you've got, you know, with his, you know, fascist party, enthusiastic brother and his ex-prime minister brother in law and his theatre operating lefty brother and his Jewish wife and his Left wing satirical journalist sister, and her German husband, and then,  and then his patriot father. So Einar probably just wanted to run away to willowy Kathleen, and her stunning violin. But she remains in England for much of the war, and she does a few concerts locally.  And her diary is quite blank until about 1916. And she uses, like, so she uses this time to relax. So ironically, she needed a war. To have a rest. That was the only thing slowing her down. She could, because she couldn't travel and tour. Now she's 26, but I feel like she's just, she's lived so much already. It's incredible. So Meldreth was the happy place where she enjoyed their lovely garden and their croquet lawn and Miss Chamberlain from the Gables next door would come and play croquet and she could escape to another world, almost. She'll go through periods of having these sort of breakdowns. I think she just pushes, there are some people like that. They'll push themselves; they just keep pushing themselves until they collapse. And I feel like she was one of, she looks like she didn't really pace herself. She just went, just hurtling into it. She just catapults herself into life and concerts and playing.  In 1916, she returned to the US. She toured Norway and the Netherlands. For playing she was said to possess a sweet legato sound that made her seem to be playing with a nine foot and was admired for her effortless playing, hence her nickname, the girl with the nine foot bow. So yeah, so she must have had this really kind of, it's hard to tell, you want to be there in the concert hall to hear her. I feel like the recordings don't do her justice. A lot of Experiencing music and these pieces is actually going to a concert and it's the same today listening  on a you know, at home, it's not the same as being in a concert hall and having that energy of the musician and the energy of the orchestra and the and the audience,  it's very different dynamic. She recorded a few small pieces for Columbia records. And then that was, that was it. And we have no more recordings of her. And between 1917 and 1919, she wasn't able to tour outside England due to the war that was going on. And for the last 12 years, Einar Bjornsson had. He'd been this presence in her life, but now in the summer of 1920, he visited her one last time in London before sailing home for good. So that.  So it finishes at this time, so he was, he was married, he had children, he was also broke. Buying a horrendously expensive violin and giving it to a girl can do that to you. And Kathleen writes, Kathleen writes in her diary simply, E. B. Sailing home. Einar had to return to his family as soon as possible because he couldn't afford to divorce his wife. Elspeth Langdon, she was, she wasn't going to let him off that easily. And if he left, he would have had to repay the, the dowry, I imagine.  Thank you. Thank you very much.  As I said, there are just no letters of her correspondence. There's correspondence between her and everyone else, but not with them. So that still remains. But you can sort of see by circumstance what was kind of going on. And after the Great War, Kathleen Parlow, she resumed her career in full force. She gave several world tours traveling to the Middle East, to India, to China, to Korea and Japan. And she toured the States, Canada, Indonesia and the Philippines in that year and she played concerts in 56 different cities. It was just non stop and in, and when I say 56 different cities, that's not 56, you know, concerts. That's like multiple concerts in each.  City, night after night.  And then in 1926, Kathleen and her mother, they leave England and they move to San Francisco. She takes a year off due to her mental health. So again, she's like, she's overdone it. The stress and basically, you know, a nervous breakdown and she's now in her mid thirties. But after having this year off, she's back onto it. She's back touring again. It's like this addiction, like you were saying, this is what, it's kind of like her, what makes her run. It's what, You know, keeps her going. But at this point she begins to slow down slightly and she starts teaching a bit. Starts teaching more and in 1929 she tours Mexico and she travels without her mother for the first time. Because her mother, Minnie, she would have been getting quite old and then Kathleen she's 39 now. So despite playing many concerts and receiving very high praise financially, she's barely kind of breaking even and she later told an interviewer that when things were very hard she and her mother had talked about her getting a job to ensure their security for the future but she just couldn't do it. And then, but then she did end up teaching at Mills College, Oakland, California. For from 1929 to 1936, but then her world tours continued and this is like, this is how she thrived, even though she would, you know, she'd crash and burn and from the exhaustion and, but then, you know, then she would go back. She realized she had to teach to earn some money. And then she returned to Canada in 1941, where she remained until she remains there until she dies in 1963.  She's offered a job at the Toronto College of Music and she begins making appearances with orchestras. She has a pianist, she has the, she creates the Parlow String Quartet, which was active for 15 years. Even though this time was difficult financially for her, she would,  she would never give up her violin. You know, she was struggling, just scraping by, but she, she would never give up her violin and so, I mean, it was a tricky situation. It was, it was a gift. Yeah. I mean, could you imagine? Like, she must've realized what Einar went through to give this to her and she can't, you know, she can't just be like, I'm going to sell it. So there's this sort of, it's like she's holding on to a bit of him really, like, by keeping it, if she, she gives that up.  So she taught at the University of Toronto and on her wall was a large portrait of her teacher, Leopold Auer, whom she would always refer to as Papa Auer. Now that she'd given up her career as a soloist, but she still remains very active in chamber music, concerto appearance. October of 1959, she was made head of the string department at the London College of Music in West Ontario, Canada. She never marries, and she dies in Oakville, Ontario, in 1963 at the age of 72. She kept her Guarneri del Gesu until her dying day, and the instrument was sold with her estate. The Kathleen Parlow scholarship was set up with the proceeds from the sale of her violin and the money from her estate. So Kathleen Parlow was a somewhat extraordinary woman, ahead of her times in many ways, and her relationship with Einar, must have been pretty intense. And it was, there was obviously strong feelings there. And even though it's a very grey area, we don't know her love life contrasts with her, her brilliant career and her phenomenal touring and the, the energy that she had to do, it was.  Exceptional she just does these brief recordings and then she does no more. And maybe, maybe that's why we've forgotten her. Have the other, did the others go on to keep recording? Well, they did. They certainly did. I think I'm surprised that Kathleen Parlow didn't make more recordings. I really am. And I don't know what that's about. I can only speculate, but I think she also kind of retreated from concertizing, didn't she,  in her twenties? So, I mean, you know, she did play as far afield as the, you know, she went to China, she went to Japan. She even made recordings for the Niponophone Company in the early twenties. So she was obviously still a great celebrity. But it's sort of puzzling how somebody who had all their ducks in place to make a superstar career. You know, she had  talent, she had beauty, she had interest. You know, from the public, so support from her teacher, all those elements would guarantee a superstar career. But it's so mysterious that she kind of fell off the radar. So much so that her name is completely forgotten today. Yeah, it's one of the big mysteries, but it's really quite remarkable that she was such a terrific violinist, even at the end. It wasn't that she lost her nerve or lost her playing ability. She obviously had it. So there are definitely other factors. that made her withdraw from public concertizing.  And just her touring schedule is just exhausting. Like just the traveling. Yeah, it's crazy. I mean, I mean, this is truly an example of burnout. Yeah. But, but then she would, she would have the crisis and then she'd be back on, she'd be back touring.  Well, you know, she was pretty resilient. But I think just the sheer number of years, I think, must have taken its toll. I think she loved being in England, in Cambridgeshire. I think those were some really happy years for her, to have a home and in a beautiful setting. But it really, it's a very complicated life and a life that really, one would want to try to understand in a deeper way.  Yeah, and it seems a little nothing was ever very simple. Yeah, and she never, she never marries, she never has a family. It's Yes. Her life is really And you'd imagine she'd have suitors, you know, send them off because, you know, she was a talented, beautiful woman. So she's got Misha Elman. He could, like, if you were a man, you could easily get married and then your wife would have children. But at that time, if you married, like, she had to choose between getting married and her career. You couldn't work if, like and it often, like, you weren't allowed to work. Absolutely. Terrible. No, it's true. So she had this like, this threat, and that's all she could do. That was her life playing. And then if she married, that would be taken away from her. So she had to decide between, you know, a career and this. It's kind of, it's a bit sad, but yeah, it's a huge choice that she made and she  was married to life. Yeah. The sacrifice. One way or the other. Well, I think it's wonderful that she is being remembered  through this Buddulph recordings release.  And it's the first time there's ever been a recording completely devoted to her. So I'm really glad that. will be able to somehow restore her memory, just a little bit even. Well, thank you for listening to this podcast. And I hope you enjoyed this story about the incredible Kathleen Parlow.  If you liked the podcast, please rate it and review it wherever you listen to it. And I would really encourage you to keep listening to Kathleen Parlow's work. What you heard today were just excerpts from her songs. So if you would like to listen to. The whole piece, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version.  Goodbye.   ​ 

“Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony” is a podcast produced by Harmony: A New Musical and Broadway News. Songs In This Episode: "Stars In The Night" from Harmony: A New Musical "Hungarian Rhapsody #20" from Harmony: A New Musical Guests In This Episode (in order of appearance): Zal Owen, "Harry" in Harmony Danny Kornfeld, "Young Rabbi" in Harmony Sean Bell, "Bobby" in Harmony Eric Peters, "Erich" in Harmony Black Roman, "Chopin" in Harmony Bruce Sussman, Harmony Writer Jan Grübler, Historian Learn More About The Comedian Harmonists: www.thecomedianharmonists.com Learn More About Harmony A New Musical: www.harmonyanewmusical.com In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history. But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said… “I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage. Join us. There's a lot to uncover. Host: Ruthie Fierberg Editor: Daniel Pineiro Producers: Harmony A New Musical, Broadway News

"Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony" is a podcast produced by Harmony: A New Musical and Broadway News. Learn More About The Comedian Harmonists: www.thecomedianharmonists.com Learn More About Harmony A New Musical: www.harmonyanewmusical.com In 1927, a young man in Germany placed an ad in the local paper: “Attention. Rare opportunity. Tenor, Bass (professional singer not over 25), musically talented, nice-sounding voices, for unique ensemble. Kindly give days and times when available [for rehearsals, etc.]” Out of that two-line ad, came one of the most celebrated music acts of the 20th century: the Comedian Harmonists. The internationally renowned vocal group made over 200 recordings, performed in over 150 concerts around the world and appeared in numerous films. They played the Berlin Philharmonic, the London Coliseum and Radio City Music Hall. And yet, for most, the name “Comedian Harmonists” doesn't ring a bell. How could that be? Well, the Comedian Harmonists rose to fame in the late 1920s and early 1930s in Germany — and half of its members were Jewish. Because of this, the Nazi regime designated the work of the Comedian Harmonists “degenerate art” and much of it was destroyed. Lost to history.  But…not all of it. The little that there was inspired writer Bruce Sussman to dig into the story of the Comedian Harmonists and, with his artistic partner Barry Manilow, create a musical uncovering their music, artistry and stories for the world to know and remember. “Harmony” officially opened on Broadway November 13, 2023 at the Ethel Barrymore Theater . And yet, there is only so much history one can fit into a Broadway musical. As Bruce said... "I just needed to simplify, pair it down.” “There were so many things that I could have done, but I had to make choices. As Sondheim famously wrote, the choice may be wrong, but the choosing is right.” Harmony closed on February 4, 2024 but the lost history it resurrected is worth a closer look. In this podcast, “Who Were The Comedian Harmonists? The True Story Behind Broadway's Harmony”, we're digging deeper into the true story of the Comedian Harmonists. I'm your host, Ruthie Fierberg, executive editor of Broadway News. Over the course of this series, we'll dive into the full history of the Comedian Harmonists — it's more complicated than you think. We'll learn the details about each of the six famous singers — where they grew up, their musical specialty, their personal lives and what happened after their time with the group. Plus, you'll hear from creatives and cast members about using this history to create “Harmony” onstage.  Join us. There's a lot to uncover.  Host: Ruthie Fierberg Editor: Mary Elizabeth Dina Producers: Harmony A New Musical, Broadway News

SynopsisOn today's date in 1890, Czech composer Antonin Dvorak conducted the first performance of his Symphony No. 8 in Prague, on the occasion of his election to the Bohemian Academy of Science, Literature and Arts.By 1890, Dvorak was a world-famous composer, honored in his own country and abroad. Within a year of its premiere, Dvorak conduced his Symphony No. 8 again in London, Frankfurt and at Cambridge University, where he received an honorary doctorate in music in 1891.Despite some mysterious and melancholy passages, Dvorak's Eighth Symphony is usually described as “sunny,” “idyllic” and “pastoral.” Its final movement opens with a brass fanfare, perhaps a reference to a century-old tradition of signal trumpeters playing from the towers and parapets in Prague, a sight and sound that visitors to the famous Astronomical Clock tower in that city's Old Town Square can still experience today.It's amusing — and perhaps revealing of something deep in the national spirit — that at a rehearsal of this finale, legendary Czech conductor Rafael Kubelik quipped to his players, "Gentlemen, in Bohemia the trumpets never call to battle — they always call to the dance!"Music Played in Today's ProgramAntonin Dvorak (1841-1904): Symphony No. 8; Berlin Philharmonic; Rafael Kubelik, cond. DG 447 412

Genesis "Home by the Sea/Second Home By The Sea" s/t Depeche Mode "Policy Of Truth" - Violator Queen & David Bowie "Under Pressure" - Hot Space Kate Bush "The Big Sky" - Hounds Of Love Scorpions with the Berlin Philharmonic "Lady Starlight" - Moment Of Glory ***************************** These artists are performing in the upcoming Corpus Christi Songwriters Festival www.ccsongwritersfestival.com : Jana Pochop "Solar System" - The Astronaut www.janapochop.com Buddy Mondlock "Girlstown" - www.buddymondlock.com Ordinary Elephant "I'm Alright" - Honest www.ordinaryelephant.com Terry Klein "Well Enough Alone" - Leave The Light On www.terrykleinmusic.com ****************************** Emily Pinkerton "Take My Time" - Ends Of The Earth www.emilypinkerton.com Kate MacLeod "Now Is The Time To Be Alive" - Uranium Maiden www.katemacleod.com Bex Burch "On Falling" - There Is Only Love And Fear" - www.bexburch.com ********************** Noah Zacharin "So Much Work To Be Done" - Points Of Light www.noahsong.com Bird Streets "On Fire" - Lagoon www.birdstreetsmusic.com Tipps & Obermiller "Heart" - Love (And Other Mysteries) www.tippsandobermiller.com The Matthew Show "Mohammed's Radio" -Hurry Home Early: The Songs Of Warren Zevon www.thematthewshow.com Ben Reel "Inshallah Shalom" www.benreel.com EG Vines "Good Enough" - Through The Mirror www.egvines.com Sam Robbins "Bigger Than In Between" Bigger Than In Between www.samrobbinsmusic.com Marina Rocks "Waling On Water" Texcentric www.marinarocks.com Alice Howe "What About You" Circumstance www.alicehowe.com Ellis Paul "Cosmos" - 55 www.ellispaul.com ************************** --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

Tom Service speaks to the conductor Yannick Nézet-Séguin, Music Director of the Montreal Philharmonic, the Philadelphia Orchestra, and the Metropolitan Opera in New York. He is one of the starriest and most sought-after conductors in the world. also one of the most loved by the musicians who work with him. Nézet-Séguin is guest conductor to some of the world's top orchestras, like the Vienna Philharmonic, the Chamber Orchestra of Europe and the Berlin Philharmonic, and he has recorded cycles of symphonies by Brahms, Beethoven and Bruckner, plus operas by Mozart, Gounod and Wagner. Alongside the core repertoire, he's on a mission to perform new works that represent all of society and thereby draw new audiences to the orchestras that he leads and the Metropolitan Opera in New York. He tells Tom about the richly fulfilling experiences of putting on Terence Blanchard's Fire Shut up in My bones and Kevin Puts' The Hours, and how these two new operas are both bringing in audiences who have never been to the MET before, whilst also refreshing the cherished classics traditionally staged there. 2024: what does the new year hold for the musical scene? What's the impact of cuts across classical music, from education in schools to opera companies, and what are the opportunities of the moment for those who run our orchestras and lead music education? Tom Service convenes a Music Matters counsel of musical sages to discuss their thoughts of the state of music as we step into 2024: Sophie Lewis, Chief Executive of the National Children's Orchestras and Chair of the Association of British Orchestras; Gillian Moore, Artistic Associate of the South Bank Centre in London, writer and consultant; and Phil Castang, Chief Executive of Music for Youth.

Composer and an acclaimed jazz pianist, and the founder of Open Studio, which is the world's leading jazz education platform. His newest album was just released on December 1 and features his brand-new quartet. His touring career has taken him to six continents numerous times, and he played in the White House by invitation from President Obama several times. He performed on and arranged Dianne Reeves' GRAMMY-winning release, “A Little Moonlight,” and appeared in George Clooney's 2005 film “Good Night, and Good Luck,” as well as being the featured pianist and an arranger on the GRAMMY-winning soundtrack. He has also performed, toured, and recorded with names like Wynton Marsalis and Chris Botti, as well as the Berlin Philharmonic, Chicago Symphony Orchestra and the New York Philharmonic.

You're an aspiring musician, and you want to learn from the best. But sometimes it becomes difficult, as the student in many aspects, has learned as much as the teacher in their hometown knows. But finding music instructors of the next level can be time consuming, and often quite expensive. Enter the online platform “Open Studio”. Created by entrepreneur and acclaimed jazz pianist Peter Martin, this web-based program affords you the opportunity and ability to learn from some of the best musicians in the world. At your pace, and within your level of expertise without fear of being overwhelmed.   In this episode, we discuss the Open Studio concept, how it's designed to work at one's own pace, and its benefits as a useful and versatile learning tool for creative musicians. We also chat with Peter's new jazz album project titled “Generation S”. Peter Martin is an acclaimed jazz pianist, composer, arranger, educator and entrepreneur. His touring career has taken him to six continents, and Brian has been invited to play the White House on several occasions. Peter Martin performed on and arranged Dianne Reeves' Grammy-winning release A Little Moonlight and appeared in George Clooney's 2005 film Good Night, and Good Luck, as well as being the featured pianist and an arranger on the Grammy-winning soundtrack. Peter has also performed, toured, and recorded with Wynton Marsalis, Chris Botti, Betty Carter, Christian McBride, and Joshua Redman, as well as the Berlin Philharmonic, Chicago Symphony Orchestra and the New York Philharmonic. Peter attended the Juilliard School of Music and has been on the faculties of Southern Illinois University-Edwardsville, Northwestern University, Tulane University, the University of New Orleans and New Orleans Center for Creative Arts. He has performed workshops and master classes at institutions worldwide, including Oberlin College, Duke University, the Carnegie Hall Professional Training Workshops, Steinway Piano Gallery, the Rotterdam Conservatory, and the Royal Scottish Academy of Music in Glasgow. In 2015, after launching an successful educational video podcast, 2-Minute Jazz, Martin founded a revolutionary jazz educational web platform, Open Studio, where students from over 120 countries are part of an active community and are continuing to learn from Martin, Dianne Reeves, Fred Hersch, Christian McBride, Greg Hutchinson, Romero Lubambo and other artists. www.openstudiojazz.com www.brianmartinmusic.com Creator and Executive Producer Emeritus: Tom Sabella Showrunner and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: bob@businesssideofmusic.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at bob@businesssideofmusic.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2024 Lotta Dogs Productions, LLC, All rights reserved.

Samira celebrates the music and life of Sergei Rachmaninoff. With pianist Kirill Gerstein, who has released a new recording of Rachmaninoff's Second Piano Concerto with the Berlin Philharmonic, Marina Frolova-Walker, Professor of Music at Cambridge, pianist Lucy Parham, who has created a Composer Portrait concert about Rachmaninoff that she is currently touring across the UK. Plus film historian and composer Neil Brand discusses the use of Rachmaninoff's music in film classics such as Brief Encounter.First broadcast on 1 May 2023.Presenter: Samira Ahmed Producer: Timothy Prosser

Jess Gillam and violinist Sumina Studer swap some of their favourite music. As well as picking up prizes for her playing in the Berliner International Music Competition and the Verbier Festival amongst others, and performing with various orchestras across the world, Sumina still finds the time to make hugely popular videos for social media where she demystifies the violin to try and bring classical music to the biggest possible audience. She brought along to the studio the incredible voice of Millie Jackson, one of Ravel's most beautiful pieces for piano and something nostalgic from the soundtrack to the anime Kiki's Delivery Service. Meanwhile Jess chose some banjo virtuosity by Bela Fleck, a homage to Piazzolla by violinist Gidon Kremer and an elegy by Yoshimatsu. Playlist: JOE HISAISHI: A Town with an Ocean View PIAZZOLLA: Soledad [Gidon Kremer (violin)] RAVEL: Piano Concerto in G – 2nd mvt Adagio [Martha Argerich (piano), Berlin Philharmonic, Claudio Abbado (conductor)] MILLIE JACKSON: If You're Not Back in Love by Monday BELA FLECK/EDGAR MEYER: The B Tune [Béla Fleck (banjo), Zakir Hussain (table), Edgar Meyer (double bass)] TAKASHI YOSHIMATSU: And Birds are Still…. Op.72 [Manchester Camerata, Sachio Fujioka (conductor)] COPLAND: Symphony No. 3 – 4th mvt [San Francisco Symphony, Michael Tilson Thomas (conductor)]

SynopsisIt's said that Nature abhors a vacuum – and so, apparently, did Richard Wagner, who devised a brass instrument to bridge a gap he perceived between the horns and the trombones in the orchestra of his day. And so the "Wagner tuba" was born, a brass instrument Wagner designed for the 1876 premiere of his cycle of four Ring operas in Bayreuth, Germany, which began on today's date that year with Das Rheingold – the first opera in the Ring cycle.Other composers have also scored for Wagner tubas, including Anton Bruckner and Richard Strauss, both ardent Wagner fans, and also Igor Stravinsky, who, though certainly not a Wagnerite, did include Wagner tubas in the early versions of some of his famous ballet scores.Some contemporary composers include parts for the Wagner tuba in their works as well, and a quartet of these instruments appears in a 1994 score the Hungarian composer, György Kurtág wrote for the Berlin Philharmonic and its then music director, Claudio Abbado. Kurtág is noted for his short, epigrammatic and very introspective chamber works, and "Stele" is his first major work for a large, conventional, arranged symphony orchestra.Music Played in Today's ProgramGyőrgy Kurtág (b. 1926) Stele, op. 33 SWR Symphony; Michael Gielen, conductor. Hänssler 93001

Jacob Veit  Mueller makes violins, violas, and cellos in Berlin. Check out Jacob's website to learn more. Perhaps follow him on Insta. Do you enjoy these explorations of working lives? Please support this project on Patreon. Check out my free weekly newsletter, The Sabbateur.  All my other projects are over here.  Get in touch on Insta, Twitter, Facebook, or at podcastforaliving [at] gmail.  Please hit that follow/subscribe button, leave a review, and share the pod with your people.  Our theme song is Nile's Blues by Kevin MacLeod, licensed under Creative Commons by an Attribution 4.0 License.Thanks to Liv Hunt for the logo design. Please take good care of yourself. Thank you for listening! ★ Support this podcast on Patreon ★

In Part 2, we continue our discussion about composition, including aspects such as revision, notation, writing in bursts rather than with a regular schedule (and why composing for very long hours is a joy), separating composing from clarinet and conducting, dealing with being writer's block, and working with Pierre Boulez. We end Part 2 by talking about his conducting career... how he got started, and his work with the Irish Chamber Orchestra.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Jörg Widmann is also recognized as an internationally acclaimed clarinet soloist, so we begin the Bonus Room by talking about that aspect of his career. We also discuss further how he balances his schedule between composing, clarinet, and conducting (spoiler alert... he really doesn't!), and then we talking about a number of different subjects, such as different national styles of composing, poetry and literature, and performing on period instruments. We conclude our discussion by going back to the beginning of it... combining curiosity with doubt, as they both can point to the future.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Synopsis On today's date in 1938, Matthias the Painter, an opera by the German composer Paul Hindemith, had its premiere performance in Zurich, Switzerland. This work had been scheduled to be premiered in 1934 at the Berlin Opera by the German conductor Wilhelm Furtwangler, but the newly-installed Nazi regime canceled the performance. In protest, Furtwangler performed a concert suite from Hindemith's opera at a Berlin Philharmonic concert, resulting in a loud pro-Hindemith demonstration on the part of the audience. The Nazi press responded with attacks on both Hindemith and Furtwangler. By the end of 1934 it was clear to all in Germany that the Nazis would brook no opposition when it came to cultural matters. So how had the quintessentially German Hindemith offended the new regime? In 1929 Hitler had attended the premiere of another Hindemith opera, titled News of the Day, and hated it – labeling it “degenerate.” Furthermore, Hindemith's wife and many of his closest musician friends were Jewish. Hindemith became persona non grata in Nazi Germany, and, shortly after the Zurich premiere of his new opera, he and his wife emigrated to the U.S., where he taught at Tanglewood and Yale, becoming an American citizen in 1946. Music Played in Today's Program Paul Hindemith (1895 - 1963) Mathis der Maler Bavarian Radio Chorus and Orchestra; Rafael Kubelik, conductor. EMI 55237

The African-American pianist Hazel Harrison played with the Berlin Philharmonic in 1904, and was promptly forgotten. But Kira Thurman remembers. Her incredible book Singing Like Germans tells the rich, textured stories of Black classical musicians who performed in Germany, which provided a safe haven from American segregation, even though they still faced racism.  A conversation about the paradoxes of race and colorblindness in classical music, and much, much more.Kira Thurman is associate professor of history, German studies, and musicology at University of Michigan.Show notes and more over at soundexpertise.org!Questions? Thoughts? Share them with Will on Twitter @seatedovation

Synopsis Today we have a letter to read, written by Mozart in the middle of May in the year 1778. Mozart was in Paris, 22 years old, and had this to say to his father back in Salzburg: “I think I told you in my last letter,” wrote Mozart, “that the Duc de Guines plays the flute extremely well, and that his daughter is my pupil in composition. She also plays the harp magnifique. She has a great deal of talent, even genius, and in particular a marvelous memory so that she can play all her pieces, actually about 200, by heart. It is, however, extremely doubtful as to whether she has any talent for composition, especially as regards invention or ideas.” The Duc de Guines was the former French ambassador to London and believed by Mozart's father to be in the inner circle of the French Queen Marie Antoinette, and hence a contact well worth cultivating. De Guines commissioned Mozart to write a double concerto for himself on flute and daughter on harp. Mozart complied with a courtly Concerto in C Major. Four months after delivering the music, Mozart had to report to his father that he still hadn't seen any payment for his efforts! Music Played in Today's Program W.A. Mozart (1756 - 1791) Concerto for Flute and Harp, K. 299 Emmanuel Pahud, flute; Marie-Pierre Langlamet, harp; Berlin Philharmonic; Claudio Abbado, condcutor. EMI 57128

Synopsis At London's St. James's Hall on today's date in 1885, the Czech composer Antonin Dvorak conducted the London Philharmonic Society's orchestra in the premiere of his Seventh Symphony, a work they had commissioned. The Society had also commissioned Beethoven's Ninth Symphony decades earlier, a fact of which Dvorak was quite aware, and just before starting work Dvorak heard and was bowled over by the brand-new Third Symphony by his friend and mentor Johannes Brahms.  In other words… “No pressure!”Dvorak felt he must do his very best, and, judging by the warm reception at its London premiere, the new work was a success, with one reviewer calling it “one of the greatest works of its class produced in the present generation.”But not all reviews were glowing. Another wrote, “the entire work is painted grey on grey: it lacks sweetness of melody and lightness of style.” And Dvorak's German publisher complained that big symphonies were not profitable and advised Dvorak write only shorter piano pieces that had a ready market.But subsequent performances helped establish the new symphony as the masterwork it is, and although not as often-played as his “New World” Symphony, today Dvorak's Seventh ranks among his finest creations. Music Played in Today's Program Antonin Dvorak (1841-1904) Scherzo (3rd mvt), from Symphony No. 7 in d, Op. 70 Berlin Philharmonic; Rafael Kubelik, conductor. DG 463158-2

Jess Gillam is joined by a fellow saxophonist the Award-winning composer, poet, MC and producer Soweto Kinch to chat and share the music they love. Playlist: Debussy - Dances for Harp and Orchestra, L.103:2. Danse profane [Lavinia Meijer, Amsterdam Sinfonietta] Ben Webster - When I Fall in Love Steve Reich - Different Trains: America Before the War [Kronos Quartet] Amy Beach - 4 Sketches - Dreaming [Ambache Chamber Ensemble] Scott Joplin - Treemonisha: Act 3: A Real Slow Drag [Paragon Ragtime Orchestra and Singers] Blanck Mass - Chernobyl Abel Selaocoe - Qhawe/Hero Beethoven - Symphony No 7 - 2nd movement [Berlin Philharmonic, Kirill Petrenko]

Stefan Dohr is one of the greatest french horn players in the world today. He has been the Principal Horn of the Berlin Philharmonic, one of the world's greatest orchestras, since 1993. In this really fun interview, Stefan and I talked about how he switched to the horn after starting out on the viola, his most memorable performances, what's it like to actually play in the Berlin Philharmonic, how to blend sound between the different sections of the orchestra, and much much more. Stefan is one of the most engaging and fascinating musicians out there so I think you'll get a lot out of this conversation. Join us!

Synopsis On this date in 1814, Ludwig van Beethoven conducted the premiere performance of his Symphony No. 8 in F Major. As the scherzo movement of his new symphony, Beethoven recycled a tune he originally used as a musical salute to Johann Nepomuk Maelzel, the inventor of the metronome. For a time, Maelzel was Beethoven's friend and sometimes collaborator on concerts and various mechanical projects. Beethoven used Maelzel's metronomes to add precise, if sometimes debatable, tempo markings to some of his earlier works. Some conductors choose to ignore these metronome markings, since they came after the fact of composition and at a time when Beethoven was increasingly deaf. In fact, in addition to metronomes, the versatile Maelzel also supplied the Beethoven with ear trumpets—the 19th-century version of hearing aids. Perhaps Beethoven was using one of those ear trumpets when someone asked him why his Seventh Symphony was more popular in Vienna than his Eighth. "Because the Eighth is so much better," he growled in reply. Closer to our own time, the American composer Leroy Anderson, who lived from 1908 to 1975, immortalized the tick-tock of a mechanical timekeeper in his piece entitled The Syncopated Clock. Leroy Anderson was a master of the musical miniature, creating dozens of witty pieces with titled like Plink, Plank, Plunk, Bugler's Holiday, and Fiddle Faddle. Music Played in Today's Program Ludwig van Beethoven (1770 - 1827) Symphony No. 8 in F, Op. 93 Berlin Philharmonic; Herbert von Karajan, conductor. DG 429 036 Leroy Anderson (1908-1975) The Syncopated Clock St. Louis Symphony; Leonard Slatkin, conductor. BMG/RCA 68048

Sir Malcolm Walker is the chairman and co-founder of the frozen food supermarket chain Iceland. He was brought up in Grange Moor, West Yorkshire. He was just 14 when his father died, and he helped his mother run a smallholding, driving a tractor and ploughing fields. His business instinct kicked in during his teenage years, when he promoted Saturday night dances by booking bands into local church halls. After receiving rejections from Marks & Spencer and Littlewoods, he became a trainee manager at Woolworths, and recalls that he started at the very bottom, sweeping the floors for many months before gradually winning promotions and moving round the country. In 1970, he and Peter Hinchcliffe, a colleague from Woolworths, opened a shop in Oswestry, selling loose frozen food from chest freezers. The business soon began to take off, Malcolm and Peter were both fired by Woolworths, and Malcolm went on to build a company which now has more than 1000 stores in the UK and Ireland. Along the way, boardroom battles led to his departure in the early 2000s, but he later returned and Iceland is now back in family ownership. Alongside his business pursuits, Malcolm has been a fundraiser for dementia charities, after his wife was diagnosed with early-onset Alzheimer's. She died in 2021 after more than 50 years of marriage. He was knighted in 2017, has three children, one of whom also works in the family business, and he married for the second time in August last year. DISC ONE: Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio, composed by Max Bruch, performed by Itzhak Perlman (violin) and the Royal Concertgebouw Orchestra, conducted by Bernard Haitink DISC TWO: Goodbye by Josef Locke DISC THREE: Only You by The Platters DISC FOUR: Silence is Golden by The Tremeloes DISC FIVE: Memory composed by Andrew Lloyd Webber and performed by Elaine Paige DISC SIX: All I Ask of You composed by Andrew Lloyd Webber and performed by Steve Barton and Sarah Brightman DISC SEVEN: La bohème, SC 67 / Act I composed by Giacomo Puccini and performed by Luciano Pavarotti (tenor) and Mirella Freni (soprano) with the Berlin Philharmonic, conducted by Herbert von Karajan DISC EIGHT: Quando me'n vo (“Musetta's Waltz”) from La Bohème composed by Giacomo Puccini and performed by Natalie Walker BOOK CHOICE: Robinson Crusoe by Daniel Defoe LUXURY ITEM: A cast iron cooking pot CASTAWAY'S FAVOURITE: Quando me'n vo (“Musetta's Waltz”) from La Bohème composed by Giacomo Puccini and performed by Natalie Walker Presenter Lauren Laverne Producer Sarah Taylor

Cate Blanchett is arguably the most celebrated Australian actor ever, winning two Academy Awards, three BAFTAs, three Golden Globes and dozens of other honours around the world. She grew up in Melbourne, and although she enjoyed music and drama at school, she initially had no plans to pursue a career as an actor. She started a degree course in economics and fine art, but dropped out after a year, and later won a place at the National Institute of Dramatic Art in Sydney. She found international fame before she was 30, playing Elizabeth I in the highly-acclaimed film Elizabeth, winning an Oscar nomination and a BAFTA. Since then, she has appeared in more than 70 films and 20 stage productions. She won an Oscar and a BAFTA for playing Katharine Hepburn in The Aviator, directed by Martin Scorsese, and other notable roles include the elf leader Galadriel in Peter Jackson's Lord of the Rings series and a version of Bob Dylan in I'm Not There. She won her second Oscar in 2014 for her performance in Woody Allen's Blue Jasmine. Her TV work includes the acclaimed series Mrs America, where she played the conservative activist Phyllis Schlafly, and she has recently taken on the role of an internationally famous composer and conductor in the film Tár, written and directed by Todd Field. Cate has received the Australian Centenary medal and is a Companion of the Order of Australia. She is married to the director and playwright Andrew Upton. DISC ONE: Mahler: Symphony No. 5 in C-Sharp Minor – II composed by Gustav Mahler, performed by Berlin Philharmonic and conducted by Claudio Abbado DISC TWO: Bésame Mucho by Trio Los Panchos DISC THREE: Tannhäuser: Pilgrims' Chorus composed by Richard Wagner and performed by Norman Luboff Choir, New Symphony Orchestra of London, conducted by Leopold Stokowski DISC FOUR: Go Tell the Women by Grinderman DISC FIVE: Proof by I am Kloot DISC SIX: Blow the Wind Southerly by Kathleen Ferrier DISC SEVEN: The Little Weaver Bird by Molly Drake DISC EIGHT: Lil' Darlin' by Count Basie And His Orchestra BOOK CHOICE: Hope in the Dark by Rebecca Solnit LUXURY ITEM: Time CASTAWAY'S FAVOURITE: Tannhäuser: Pilgrims' Chorus composed by Richard Wagner and performed by Norman Luboff Choir, New Symphony Orchestra of London, conducted by Leopold Stokowski Presenter Lauren Laverne Producer Sarah Taylor