Podcast appearances and mentions of Bernard Haitink

Daphne, by Richard Strauss, comes to Seattle Opera for two concert performances in January 2025. This gorgeous opera, based on Greek myth, is a splendid showcase for a fantastic orchestra. Jonathan Dean explains what Strauss learned from Wagner, tells this unfamiliar opera's story, and explores the meaning of the myth. Musical examples from the 2005 Decca recording of Daphne (West Deutscher Rundfunk Orchestra conducted by Semyon Bychkov, with Renee Fleming, Johan Botha, Michael Schade, Anna Larsson, Kwanchul Youn, Julia Kleiter, and Twyla Robinson); the 1983 EMI recording (Bayerischen Rundfunks conducted by Bernard Haitink, with Lucia Popp, Reiner Goldberg, Peter Schreier, Ortrun Wenkel, and Kurt Moll); and the 1965 Deutsche Gramophon recording (Vienna Symphony conducted by Karl Böhm, starring Hilde Gueden, James King, Fritz Wunderlich, Vera Little, and Paul Schöffler).

In mei viert Amsterdam een uniek muziekfestival. Wat past beter bij 750 Jaar Amsterdam dan de uitvoering van heel het werk van Gustav Mahler door de beroemdste orkesten, dirigenten en solisten uit heel de wereld? Mahler, de Weense componist van het 'Fin de Siècle' die Amsterdam als de tweede stad van zijn muziek beschouwde. Jaap Jansen en PG Kroeger praten met Thomas de Jonker, musicoloog van het Concertgebouw, over dit festival, Mahlers muziek, zijn leven in turbulente politieke tijden, in een periode van culturele bloei en over zijn unieke band met Nederland en het Concertgebouw.***Deze aflevering is mede mogelijk gemaakt door het Concertgebouw en met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show! Als vriend word je uitgenodigd om op zaterdag 17 mei met Jaap en PG in het Mahler Paviljoen op het Museumplein in Amsterdam te genieten van Mahlers Negende symfonie!Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend een mailtje naar adverteren@dagennacht.nl en wij zoeken contact.Op sommige podcast-apps kun je niet alles lezen. De complete tekst plus linkjes en een overzicht van al onze eerdere afleveringen vind je hier***Gustav Mahler (1860-1911) was de beroemdste musicus van zijn tijd. Nog voor hij 40 werd, had de stokoude keizer Frans Jozef hem benoemd tot chef van de Hofopera in Wenen. Dát was al zeer politiek, want in Oostenrijk-Hongarije hadden joden maar net volledige burgerrechten, dus deze benoeming op de top van de kunsten was een sensatie. Door die artistieke roem en komeetachtige carrière was Mahler doelwit van heel wat vuige kritieken. De jaren tussen 1890 en 1914 leken wel onbezorgd, feestelijk in cultuur en vele contacten, maar de gouden jaren na het Weens Congres van 1815 waren voorbij. Het Habsburgse Rijk wankelde, oorlogen langs de randen braken uit en donderwolken aan de horizon trokken samen.Mahlers werk klinkt daarom soms bijna profetisch. Zijn Wenen bloeide, maar in de krotten en stegen leefden sloebers als Adolf Hitler en Josip Broz Tito en ondergedoken Russen als Vladimir Lenin, Leon Trotski en Jozef Stalin. De komende eeuw begon in de sloppen van deze stad.Gustav Mahler was inmiddels een wereldburger van de eerste golven van de globalisering. Hij werd chef van de Opera en de New York Philharmonic, dirigeerde van Ljubljana en Boston tot Rotterdam. Stoomschepen, treinen en zelfs de auto voerden hem over heel de wereld. Amsterdam werd zijn 'tweede stad'. In 1903, 1904, 1906 en 1909 kwam hij zijn eigen symfonieën dirigeren. Zo ontstond een unieke, organische relatie met de musici van het Concertgebouw en dirigent Willem Mengelberg. Samen schreven zij muziekgeschiedenis. Het belette de erg veeleisende 'divo' Mahler overigens niet gedurig te klagen over de regen, de kille wind en het lawaai van de havenstad. Na Mahlers dood in 1911 werd Amsterdam het cultureel centrum waar men hem bleef eren en spelen. In 1920 - meteen na de Vrede van Versailles - bracht de stad de kunstenaars van heel de wereld bijeen voor het eerste 'Mahler Feest'. Het vredesappel tijdens dat festival bewees nog eens hoezeer men politiek en menselijk snakte naar verzoening in een vreedzaam Europa. Dat ontstond pas na de jaren waarin Mahler door de Nazi's verboden was en hij in de vergetelheid leek te raken. Maar niet in Amsterdam en evenmin in New York. Dirigenten als Bernard Haitink en Leonard Bernstein zorgden voor een renaissance van Mahlers liederen en symfonieën. De nieuwe welvaart, de technologie van de elpee en de televisie én de filmkunst maakten Mahler een begrip voor velen. Hij werd de componist van een modern, verzoend Europa. In Amsterdam komt nu in 2025 in het festival de wereld bijeen. Hopelijk ook nu voor een moment en appèl tot vrede en verzoening. Toporkesten uit Chicago, Boedapest, Tokyo en Berlijn, jonge maestro's als Klaus Mäkelä en fameuze dirigenten als Kirill Petrenko komen Mahler dirigeren. ***Verder luisterenIn MAHLER! De symfonieën nemen Gijs Groenteman, Thomas Oliemans en Thomas de Jonker de negen voltooide symfonieën van Mahler minutieus onder de loep.387 - Niets is zó politiek als opera - 100 jaar Maria Callas373 - Nederland en België: de scheiding die niemand wilde Hoe een opera België van Nederland afscheurde346 - Alle Menschen werden Brüder!43 - Mozart op het Binnenhof198 - Slovenië met Mahlers Ljubljana305 - Andrea Wulf, Hoe rebelse genieën twee eeuwen later nog ons denken, cultuur en politiek beïnvloeden488 - Het Congres van Wenen (1814-1815) als briljant machtsspel71 - Caroline de Gruyter en Habsburg455 - De bufferstaat als historische - maar ongewenste - oplossing voor Oekraïne (met verwijzingen naar Habsburg)207 - Zomer 2021: Boekentips van PG! oa Händel in London, the making of a genius148 - Stefan Zweig als inspirator van Europa als culturele en politieke gemeenschap en schrijver van opera's38 - Oostenrijk als brug naar Rusland339 – De geopolitiek van de 19e eeuw is terug. De eeuw van Bismarck***Tijdlijn00:00:00 – Deel 100:28:51 – Deel 201:24:07 – Deel 301:57:58 – EindeZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Nothing brings me greater joy than when a deep exploration into the artistry of a favorite singer yields even more delights than I could have possibly imagined. And when I have a personal friendship with that singer, my cup truly runneth over. A week ago the music world once again celebrated the birthday of the treasurable soprano Roberta Alexander. Today, in a belated birthday tribute, I offer recordings of Roberta singing the music of composers of The Netherlands, where she has made her adoptive home since the mid-1970s. As befits Roberta Alexander's eclecticism, the range of musical styles is wide, ranging from the baroque oratorio Joseph, by Willem de Fesch, to the romanticism of early 20th-century composers Hendrik Andriessen, Alphons Diepenbrock, and Julius Röntgen, to the more astringent (yet still lush and colorful) idiom of Robert Heppener and Willem Frederik Bon. Prepare yourself to be swept away by these magnificent works in brilliant performances recorded between 1979 and 2000 in which Roberta Alexander is joined by fellow singers Claron McFadden and Nico van der Meel, and accompanied by Bernard Haitink, Rudolf Jansen, David Porcelijn, Ed Spanjaard, and Jed Wentz. If you are thinking of passing this episode by because of the obscure repertoire, I encourage you to take a chance, not only because these recordings present Alexander in all her glory, but because you will get to hear fascinating music by composers you might not have heard before, ranging from a dramatic Baroque seduction scene between Joseph and Potiphar's wife, to an erotically-charged setting of Verlaine, to exquisite settings of meditative texts for the Lenten season. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

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

durée : 01:29:30 - Bernard Haitink, la rigueur et l'humanité - par : Aurélie Moreau - Bernard Haitink a été chef permanent de l'Orchestre Royal du Concertgebouw d'Amsterdam de 1964 à 1986, et chef principal du Philharmonique de Londres de 1967 à 1979. Parmi leurs enregistrements, aujourd'hui: Beethoven, Liszt, Schubert, Tchaïkovski… - réalisé par : Doria Zénine

Il teatro musicale del NovecentoBéla Bartók (1881 - 1945) - A kékszakàllù Herceg vara (Il castello del principe Barbablù)   Opera in un atto op. 11, BB 62 (SZ 48)   Libretto: Béla BalázsIl duca Barbablù (baritono) - John Tomlinson Judith , sua moglie (soprano) -  Anne Sofie von Otter Narratore (voce recitante) - Sandor ElèsFilarmonica di Berlino Bernard Haitink , direttore0:00 - Prologo e apertura   16:29 - Prima porta / La camera delle torture   20:37 - Seconda porta / L'armeria   25:09 - Terza porta / Il tesoro   27:35 - Quarta porta / Il giardino segreto   32:34 - Quinta porta / Il regno di Barbablù   39:16 - Sesta porta / Il lago delle lacrime   52:43 - Settima porta / Le ex mogli di BarbablùLibretto A proposito di     A kékszakàllù Herceg vara

我们都应该听听古典音乐！音乐修养、生活品味和审美趣味，都是可以通过古典音乐来培养的；而且浩如烟海的作品，本身就充满了美的趣味和享受。很多人觉得古典乐的欣赏充满门槛，似乎不懂乐理就很难听懂。但其实不是，不懂乐理，并不妨碍我们欣赏，也不妨碍我们被它的美和独特所感动。今天这期节目，想跟你分享我是如何入门，以及如何去欣赏古典音乐。尽管我算不上骨灰级、学术型的厉害古典乐迷，但我非常愿意和你一起享受古典音乐的美。我将尽量不去说艰深晦涩的东西，并尽可能地播放好的作品与你来听，希望能让你产生一些些接触古典音乐的兴趣，通过这期节目也能入门~

(00:00:00) Waylon Jennings - Honky Tonk Heroes / 1973 (00:28:10) Thy Catafalque - Mezolit / 2022 (01:04:38) Franz Liszt - Piano Concertos Nos. 1 & 2 and Totentanz (Alfred Brendel; London Philharmonic; Bernard Haitink) / 1972

Dmitri Shostakovich (1906 - 1975) -  Sinfonia n. 8 in do minore, op. 65 "Sinfonia della vittoria"1.       Adagio 00:00  2.       Allegretto 25:49  3.       Allegro Non Troppo 32:00  4.       Largo 38:065.       Allegretto (Finale) 46:45Royal Concertgebouw OrchestraBernard Haitink, conductorAbout Sinfonia n. 8 in do minore, op. 65 "Sinfonia della vittoria"

Neil is a renowned percussionist, accomplished music educator, imaginative product innovator, and successful entrepreneur. He is the founder and president of Grover Pro Percussion Inc., a market leader in the design, manufacture, and distribution of world-class percussion instruments.  At the young age of 23, Neil was appointed Principal Percussionist of the Opera Company of Boston, a position he held for seven seasons.  As his career progressed, he found himself in demand for all musical genres, including symphony, chamber music, ballet, opera, and commercial recordings.  Highlights of his collaborations include the Royal Ballet, Bolshoi Ballet, American Ballet Theatre, Dance Theatre of Harlem, Music from Marlboro, Indianapolis Symphony, Boston Musica Viva, and the Empire Brass. He was chosen to record the percussion tracks for Phillip Glass' film soundtrack for Mishima. In addition, Neil appears as a Boston Pops percussionist in the hit movie Blown Away, starring Jeff Bridges and Tommy Lee Jones.  He has toured with Music From Marlboro, Boston Symphony, Henry Mancini, Boston Symphony Chamber Players, and the Broadway production of The Pirates of Penzance.  Since 1977, he has performed, recorded, and toured with the world-famous Boston Pops, where he has made music under the batons of Maestros Arthur Fiedler, John Williams, and Keith Lockhart.  Having performed regularly in the percussion section of the Boston Symphony for over 35 years, he has worked with Maestros Seiji Ozawa, James Levine, Leonard Bernstein, Aaron Copland, Colin Davis, Charles Dutoit, Colin Davis, Neemi Jaarvi, Rafael Fruhbeck de Burgos, Mstislav Rostropovich, and Bernard Haitink. It is noteworthy that Neil has performed in over 1,500 concerts as a percussionist with the BSO & Boston Pops. Neil's percussive talents have been heard by thousands at renowned venues, such as Boston's Symphony Hall, Carnegie Hall, Chicago's Orchestra Hall, and festivals at Tanglewood, Hollywood Bowl, Wolf Trap, Blossom, and Ravinia.  In addition, he has performed for millions of listeners through television and radio broadcasts on the NBC, CBS, NHK, PBS, A&E and NPR networks.  At the request of composer John Williams, Neil joined the multi-media musical extravaganza, “Star Wars in Concert”, serving as Principal Percussionist on two legs of their North American Tour.   Neil Grover has written/co-authored five publications: Four Mallet Primer, Four Mallet Fundamentals, Art of Triangle & Tambourine Playing, Percussionist's Cookbook, and The Art of Percussion Playing, all published by Meredith Music.  Neil's innovative designs and cutting edge manufacturing techniques have set a new standard for the ergonometric functionality of modern day percussion instruments. Neil and his company have been featured in many publications, including: Percussive Notes, Modern Drummer, School Band & Orchestra, Musical Merchandise Review and on two episodes of the Discovery Channel's series How It's Made. Formerly the Chair of the Percussion Programs at both The Boston Conservatory and the University of Massachusetts-Lowell, today, Neil's students occupy leading positions in many top performing, educational and music business organizations. Things That Came Up:  -1:45 Owning ALL the percussion instruments -3:50 The magic of Zelda -6:00 Studied with the same teacher as Dom Famularo -7:00 Studying with Vic Firth  -11:10 “Classical musicians play with their eyes and jazz musicians play with their ears” -12:10 “Talent got you this far, perseverance will carry you through.” -12:45 Took AFM pension at age 65  -13:50 Contracting, composing and arranging as a new life chapter -15:10 Bradley Cooper's “Maestro” -16:35 Being a frustrated stand-up -17:40 Fred Buda: “Playing drum set in an orchestra is like swinging an elephant” -19:40 How union pensions work -26:05 At Tanglewood at the same time as Kenny Aronoff, with Leonard Bernstein conducting! -27:40 Playing bongos for Bernstein's “West Side Story” -30:50 Star Wars Tour: Drum Tech, 7 percussionists, 3 conductors and music from all 6 Star Wars films -38:00 Follow your dreams, no matter what!  -40:00 “The Accidental Entrepreneur” -41:00 The FIRST Grover Triangle  -48:20 Allowing Redmond to help develop the “Studio Pro Series” pop tambourines -54:00 Selling Grover Percussion to RBI Music  -60:40 On screen percussionist in the “Blown Away” film, starring Tommy Lee Jones  -61:30 Authoring Books  -63:30 Aerosmith! Glocks!  -69:30 Neil's favorite axe is the piatti (cymbals)  -74:00 “The Fave 5”  Follow:  www.groverpro.com Email: ngrover@groverpro.com The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits.  Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:     https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

SynopsisFor a magic golden ring, the dwarf Alberich was willing to renounce love to become master of the world. At least, that's the story in Richard Wagner's four operas The Ring of the Nibelungen, which premiered in 1876 at Wagner's specially constructed theater in Bayreuth, Germany.And for $1 million, Wagner was prepared to renounce not only Bayreuth, but Germany, and settle in America, offering in exchange the premiere and exclusive performance rights to his latest opera, Parsifal.That was the offer Wagner outlined in a letter to his American dentist on today's date in 1880. Wagner's wife, Cosima, recorded in her diary that Wagner seemed obsessed with idea of settling in Minnesota, of all places.Dr. Newell Jenkins dutifully passed the proposal on to wealthy music patrons in the states. But even the most ardent Wagnerians among them said that if his operas couldn't sell in Germany, they wouldn't fare any better on the banks of the Mississippi.Well, Jenkins broke the news that a) the million dollars was not going to materialize, and b) there were such things as mosquitoes and blizzards in Minnesota. Wagner prudently decided to give Germany one more chance.Music Played in Today's ProgramRichard Wagner (1813-1883) Das Rheingold, excerpt; soloists and Bavarian Radio Symphony; Bernard Haitink, cond. EMI 54633Parsifal, excerpt; Netherlands Radio Philharmonic; Edo de Waart, cond. BMG 44786

durée : 00:25:14 - Disques de légende du mercredi 24 janvier 2024 - L'Intégrale des Symphonies de Tchaïkovsi par Bernard Haitink et L'orchestre Royal du Concertgebouw d'Amsterdam

SynopsisOn today's date in 1805, Beethoven's opera, Leonore, had its premiere at the Theater an der Wien in Vienna, after many postponements due to getting the opera's libretto approved by government censors and the orchestral parts copied in time. There was also the little matter of the Austrian capital being occupied by French troops as Napoleon was sweeping across Europe.The cream of Viennese society had fled by the time Napoleon arrived, so the skimpy audience for the premiere performance of Beethoven's opera included a good number of French soldiers. What they made of Beethoven's opera, which tells the story of a woman rescuing her husband from a political prison, is anybody's guess.As usual, the Viennese critics were not impressed. One wrote, “There are no new ideas in the solos, and they are mostly too long. The choruses are ineffectual and one, which indicates the joy of prisoners over the sensation of fresh air, miscarries completely!”After several revisions and the eventual departure of the French, even the critics came to accept Beethoven's opera — retitled Fidelio — and in particular the “Prisoners' Chorus,” as one of Beethoven's most moving creations.Music Played in Today's ProgramLudwig van Beethoven (1770-1827) Overture and Prisoner's Chorus, from Fidelio; Dresden Opera Chorus and Orchestra; Bernard Haitink, cond. Philips 438 496

SynopsisOn today's date in 1967, the New York Philharmonic gave the premiere performance of a new piece, November Steps, by Japanese composer Toru Takemitsu, a work commissioned by the orchestra as part of its 125th-anniversary celebrations. In addition to the usual instruments of the Western symphony orchestra, Takemitsu included in his score two traditional Japanese instruments: the shakuhachi flute and the biwa, a kind of Japanese lute.Eight years after the Takemitsu premiere, an organization called Music from Japan was founded to help make other Japanese contemporary music feel “at home” in America. Music from Japan has presented about 400 works across the U.S. and premiered over 40 new works, many of them specially commissioned.On today's date in 2000, to celebrate its 25th anniversary, Music from Japan presented a gala concert at Carnegie Hall, which included the premiere of a new orchestral work by talented young Japanese composer Karen Tanaka, one of the rising stars of her generation. Among Tanaka's recorded works is Night Bird, a piece for two decidedly Western instruments: saxophone and piano.Music Played in Today's ProgramToru Takemitsu (1930 - 1996) November Steps; Katsuya Yokoyama, shakuhachi; Kunshi Isuruta, biwa; Concertgebouw Orchestra; Bernard Haitink, cond. Philips 426 667Karen Tanaka (b. 1961) Night Bird; Claude Delangle, saxophone BIS 890

It is hard to believe that it's already been 13 years since the death of Shirley Verrett on November 5, 2010. It has also already been four years since I did a pair of episodes on this extraordinary and beloved artist, and this anniversary gives me the perfect excuse to revisit the work of this mezzo-soprano turned soprano who more than any other singer in my experiences (even soon-to-be birthday girl Maria Callas) was capable of singing nearly anything. This type of singer is sometimes referred to as a soprano sfogato (or a falcon, after the 19th century French mezzo-cum-soprano Cornélie Falcon. Since Verrett, like Falcon, sang both mezzo and soprano, I instead coin the term falcon sfogatissima to describe her vocal magic. This episode is chock full of examples of Verrett's impassioned yet technically-grounded vocalism, from art songs by Brahms and Pasatieri to operatic roles by Handel, Gluck, Cherubini, Bellini, Puccini, and Verdi (including both soprano and mezzo roles in Aida and the Messa da Requiem and soprano roles in Ballo in Maschera, Macbeth, Don Carlo, and Otello). I close the episodes with Verrett's astonishing but limited forays into the German operatic repertoire. Her collaborators on this episode include conductors Seiji Ozawa, Claudio Abbado, Bernard Haitink, Zubin Mehta, Eve Queler, Georges Prêtre, Sarah Caldwell, and the late Kenneth Montgomery; and fellow operatic greats Sherrill Milnes, Luciano Pavarotti, James McCracken, Robert Massard (last week's featured artist), and her frenemy the late Grace Bumbry. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

durée : 00:58:27 - Bernard Haitink, la maestria d'un homme discret - par : Aurélie Moreau - Au cours de sa longue carrière, Bernard Haitink a été 29 ans directeur musical de l'Orchestre Royal du Concertgebouw d'Amsterdam, avec lequel il a gravé une impressionnante discographie. Sa bienveillance et son intégrité sont restées fameuses.

In a series of four Decca Icons podcasts, Gramophone's James Jolly explores the artistry of four major recording musicians with Rob Cowan, Jed Distler and Richard Fairman. Focusing on recordings in the Decca catalogue, the series turns the spotlight on Bernard Haitink, Vladimir Ashkenazy, Sir Georg Solti and, this week, Benjamin Britten. Each podcast is accompanied by a special Apple Music playlist.  In this final podcast, James talks to the Financial Times and Gramophone critic Richard Fairman about this towering figure in British musical life. Britten recorded for Decca, as composer, pianist and conductor, for most of his adult life and left a peerless catalogue of recordings, including one of the classics of the gramophone, the War Requiem.

In a series of four Decca Icons podcasts, Gramophone's James Jolly explores the artistry of four major recording musicians with Rob Cowan, Jed Distler and Richard Fairman. Focusing on recordings in the Decca catalogue, the series turns the spotlight on Bernard Haitink, Vladimir Ashkenazy, Sir Georg Solti and Benjamin Britten. Each podcast is accompanied by a special Apple Music playlist.  In this second podcast, James talks to the New York-based critic, composer, broadcaster and piano enthusiast Jed Distler about the Russian-born pianist and conductor, Vladimir Ashkenazy.

In a series of four Decca Icons podcasts, Gramophone's James Jolly explores the artistry of four major recording musicians with Rob Cowan, Jed Distler and Richard Fairman. Focusing on recordings in the Decca catalogue, the series turns the spotlight on Bernard Haitink, Vladimir Ashkenazy, Sir Georg Solti and Benjamin Britten. Each podcast is accompanied by a special Apple Music playlist.  In this first podcast, Rob and James talk about the great Dutch conductor who, during a long career, headed up ensembles and opera house in Amsterdam, London, Glyndebourne, Dresden and Chicago, as well as being a much sought-after guest, and left a vast recorded catalogue.

Synopsis In wartime London, on today's date in 1943, a Promenade Concert featured the first performance of the Fifth Symphony of Ralph Vaughan Williams. The composer himself conducted the London Philharmonic Orchestra. Queen's Hall, the traditional home of the annual summertime Proms concerts, had been destroyed by German bombers two years earlier. The Proms concerts had moved into a new and larger venue, the Royal Albert Hall, where the series continues to this day. For the 1943 season, Proms programs started earlier than usual, so that concert goers could get home before the nightly air raids on the city. To London audiences troubled by war fears and many sleepless nights of German bombing, the serene musical world of the Vaughan Williams Fifth must have seemed a real blessing. It's not a "wartime" symphony in the conventional sense, full of defiance and bluster, but rather an evocation and affirmation of England's musical past, blending hints of 16th century hymn tunes and modal folk melodies into symphonic form. For some time, Vaughan Williams had been at work on an opera based on The Pilgrim's Progress, a 17th century allegorical tale by the Puritan writer John Bunyan. Some of the tunes and motives from his projected opera ended up in the symphony, along with a sense of faith and optimism in the face of adversity that must have deeply affected the first audience to hear the work. Music Played in Today's Program Ralph Vaughan Williams (1872 - 1958) Symphony No. 5 London Philharmonic; Bernard Haitink, conductor. EMI 55487

Frank Schaeffer In Conversation with Soprano Camilla Tilling, exploring life, music, friendship, and art._____LINKShttps://www.harrisonparrott.com/artists/camilla-tilling_____Praised for her ​“beguiling tone and unfailing musicality” (Gramophone, 2020), Swedish-native Camilla Tilling has been performing on the world's leading opera, concert and recital stages for over two decades while building an impressive discography that includes Die Schöpfung with Symphonieorchester des Bayerischen Rundfunks under Bernard Haitink, a portrait album of Gluck & Mozart Arias and numerous recitals on the BISlabel dedicated to the Lieder of Schubert and Strauss, among others._____David C Barnett Small Business and Deal Making M&A SMBI discuss buying, selling, financing and managing small and medium sized businesses...Listen on: Apple Podcasts SpotifyAn ex-evangelical boomer, a middle-aged gay artist, and a frazzled stay-at-home mom walk into a bar, share a table, and go deep about some of life's big questions.Join Frank, Ernie, and Erin as they share stories of love, sex, grief, religion and so much more. This is “Love in Common.”Visit LoveInCommon.org to Subscribe on your favorite Podcast platform. Support the show_____In Conversation… with Frank Schaeffer is a production of the George Bailey Morality in Public Life Fellowship. It is hosted by Frank Schaeffer, author of Fall In Love, Have Children, Stay Put, Save the Planet, Be Happy. Learn more at https://www.lovechildrenplanet.comFollow Frank on Substack, Facebook, Twitter, and YouTube. https://frankschaeffer.substack.comhttps://www.facebook.com/frank.schaeffer.16https://twitter.com/Frank_Schaefferhttps://www.youtube.com/c/FrankSchaefferYouTube In Conversation… with Frank Schaeffer PodcastApple Podcasts: https://podcasts.apple.com/us/podcast/in-conversation-with-frank-schaeffer/id1570357787NEW: Love In Common Podcast with Frank Schaeffer, Ernie Gregg, and Erin BagwellApple Podcasts: https://podcasts.apple.com/us/podcast/love-in-common/id1665307674

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Viele Jahre war Wolfram Graul Cheftonmeister beim Bayerischen Rundfunk und hat mit großen Dirigenten wie Bernard Haitink zusammengearbeitet. Nebenher hat er auch selbst dirigiert, vornehmlich mit dem von ihm gegründeten Münchner Orchester "Isar Philharmonie". Jetzt verabschiedet er sich von der Bühne.

Corinne Le Quéré is the Royal Society Research Professor of Climate Change Science at the University of East Anglia where she studies the way marine ecosystems respond to climate change. She uses computer simulators of the ocean to assess how the carbon cycle functions and her climate models have resulted in significant findings about how warmer temperatures have affected the ocean's ability to absorb carbon. Corinne was born in Quebec and as a child spent camping holidays in the national parks of Eastern Canada which fostered her interest in the natural world. She studied physics at the University of Montréal and then took a Masters in Atmospheric and Oceanic Sciences. Her love of oceanography began with a desire to uncover the mysteries that lie beneath the waves. In 2007, while she was working with UEA and the British Antarctic Survey, she published her landmark paper which demonstrated that human activity reduced the Southern Ocean's capacity to absorb atmospheric carbon dioxide. Corinne advises the UK Committee on Climate Change and served on the Intergovernmental Panel on Climate Change (IPCC) when it won the Nobel Prize in 2007. She was appointed a CBE in 2019. Corinne lives with her husband in Norfolk where she hopes one day to buy a piece of land and plant a forest which will play a central part in her personal plan to achieve carbon neutrality. DISC ONE: La Vida Es Un Carnaval by Celia Cruz DISC TWO: Les copains d'abord by Georges Brassens DISC THREE: We are the Champions by Queen DISC FOUR: Harmonie du soir à Chateauguay by Beau Dommage DISC FIVE: Proud Mary (Live) by Tina Turner DISC SIX: Die Zauberflöte, K. 620, Act 2: "Der Hölle Rache (Konigin der Nacht)" (Queen of Night) composed by Wolfgang Amadeus Mozart, performed by Bernard Haitink, Edita Gruberová, Symphonieorchester des Bayerischen Rundfunks DISC SEVEN: LDN by Lily Allen DISC EIGHT: Three-Part Inventions: Sinfonia 15 BWV 801, composed by Johann Sebastian Bach, performed by Martin Stadtfeld BOOK CHOICE: World Atlas of the Oceans by Dave Monahan LUXURY ITEM: A mask and snorkel CASTAWAY'S FAVOURITE: La Vida Es Un Carnaval by Celia Cruz Presenter Lauren Laverne Producer Paula McGinley

Richard Will's treatise, “Don Giovanni Captured”, subtitled “Performance, Media, Myth” (The University of Chicago Press)  reviews the history of recording Mozart's Don Giovanni  - wax cylinders, 78 RPMs, 33⅓ RPMs (long-playing records), CDs, VHSs, DVDs, and streaming.  He supplies us with examples of his analyses with plenty of recorded excerpts in the book's companion website. Listen, as he compares Giovanni's “Serenade” (to Elvira's maid) of Victor Maurel (1904) with Ezio Pinza (1930), and then Joseph Krips's 1955 London mono (later stereo) recording with Cesare Siepi as Giovanni, with Bernard Haitink's 1990 EMI Classics recording, with Thomas Allen playing the libertine, in the Second Act “statue” scene. The book, 12 years in the writing, alludes to the women's movement of the ‘70s and the more recent “Me Too” movement, and how this character (and Richard reminds us that he is a character — a myth), who boasts over 1,600 conquests (with 10 more before curtain) is perceived in both eras. We talk about the extraordinary contribution of librettist Lorenzo DaPonte, the magnificent three stage bands at the conclusion of Act I, and Act II's epilogue following Giovanni's descent to Hell. In short, Don Giovanni for the ages.   And Richard Will was such a pleasure to speak with!

Jess meets up with Love Ssega to swap some of their favourite music. A founding songwriter and vocalist of Clean Bandit, Love Ssega is hugely in demand for his collaborative work across genres from pop to visual art. He is currently the Philharmonia's artist in residence. Ssega came with some truly epic Elgar played by Sheku Kanneh Mason, a serious ear worm of an opera chorus by Verdi, and introduced Jess to the incredible voice of Alice Smith (she's been listening to her on loop since). Meanwhile Jess played Ssega Vivaldi arranged by Max Richter, some 12th century vocal music by Hildegard von Bingen, and an elegy to the environment by Marvin Gaye. PLAYLIST: MAX RICHTER/VIVALDI: Spring 1 – from the Four Seasons Recomposed [Daniel Hope (violin), Zurich Chamber Orchestra] VERDI: Va pensiero – Chorus of the Hebrew Slaves (from Nabucco) [Chorus and Orchestra of Royal Opera House, London, Bernard Haitink (cond)] MARVIN GAYE: Mercy Mercy Me (The Ecology) ELGAR – Cello Concerto in E minor, op.85 – 1st mvt [Sheku Kanneh Mason (cello), London Symphony Orchestra, Simon Rattle (cond)] PETER GABRIEL: The Book of Love WILLIAM MATHIAS: Zodiac Trio, op.70 – 1st mvt ‘Pisces' [Dallas Triptych Players] HILDEGARD von BINGEN: Spiritus Sanctus Vivificans [Armonico Consort, Christopher Monks (dir) ALICE SMITH: Wednesday's Child

Met de feestdagen voor de deur zitten veel concertzalen tot de laatste stoel vol. Elk jaar weer laten duizenden mensen zich meevoeren op de klanken van Bach, Händel en Mahler. Redacteur klassieke muziek Mischa Spel zocht uit hoe het komt dat we juist naar die componisten luisteren. Waarom hebben hun stukken het tot kerstklassiekers geschopt?Lees hier Mischa's recensie van de twee uitvoeringen van het Weihnachtsoratorium die ze dit jaar bezocht.Verder luisteren?Hier vind je het door NPO Radio 4 (NTR's Avondconcert) uitgezonden Weihnachtsoratorium van Bach. In de uitvoering van het Nederlands Kamerkoor en Les Talens Lyriques o.l.v. Christophe Rousset, m.m.v. Zachary Wilder (tenor, Evangelist), Johanna Winkel (sopraan), Sophie Harmsen (alt), Krešimir Stražanac (bas).Hier meer carols door het koor van het King's College uit Cambridge.Hier Händels Messiah door The English Concert & Choir o.l.v. Trevor Pinnock.En hier verschillende werken van Mahler door het Concertgebouworkest o.l.v. Bernard Haitink.Gast: Mischa SpelPresentatie: Egbert KalseRedactie: Ignace SchootMontage: Jair Stein en Jennifer PetterssonCoördinatie: Henk Ruigrok van der WervenHeeft u vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze ombudsman via ombudsman@nrc.nlZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

On this day in 1808 at Vienna's Theater-an-der-Wien one of the most famous concerts in the history of classical music took place. It was an all-Beethoven concert, with the composer himself featured as both conductor and piano soloist. The program included the premieres of both Beethoven's Fifth and Sixth Symphonies. Beethoven's Fourth Piano was also on the program—along with additional piano and vocal selections, including portions of Beethoven's Mass in C. At the last moment, Beethoven felt this still might not be quite enough music, so, considering the forces he had booked, he hastily composed his Choral Fantasy, a work that begins with a solo piano, then adds full orchestra and chorus to the mix. The concert began at 6:30 p.m. and lasted over four hours. Contemporary reviews were mixed—but apparently Beethoven's Fifth proved popular with its first night audience, and rapidly established itself worldwide as one of classical music's greatest hits. A less successful symphonic work had its premiere on this day in 1960, when Charles Munch conducted the Boston Symphony in the first performance of Die Natali by American composer Samuel Barber. This orchestral piece used familiar Christmas carols as themes, which are treated to a series of variations. Barber later expressed his own dissatisfaction with this score and withdrew it, but recycled his variations on Silent Night as a separate piece for solo organ. Music Played in Today's Program Ludwig van Beethoven (1770-1827) Symphony No. 5 Concertgebouw Orchestra; Bernard Haitink, conductor. Philips 442 076 Samuel Barber (1910-1981) Chorale Prelude on Silent Night Jeremy Fisell, organ GMCD 7145

Synopsis “Where to go for summer vacation?” That's always been the question for any city-dweller fortunate enough to be able to escape to somewhere cool and green, with perhaps an ocean beach or at least a lake nearby. In the summers of 1877 and 1878, Johannes Brahms abandoned urban Vienna for the rural Austrian district known as Carinthia and specifically the small town of Pörtschach on Wörthersee. Even today, this is prime vacation territory, with rolling green hills, dark pine trees, bright blue lakes, and the snow-capped Alps along the horizon. And the wildflowers have to be seen to be believed. We can't show you all that, but perhaps you can hear a sense of that landscape in the Second Symphony and Violin Concerto of Brahms —two works he composed during his summer holidays there. In Carinthia, said Brahms, the melodies are so abundant that one had to be careful not to step on them. There just might be something in that, at least with respect to great Violin Concertos. In July of 1935, 57 years after Brahms wrote his Concerto in Pörtschach, the Viennese composer Alban Berg would finish his Violin Concerto in the same town, on the opposite shore of the Wörthersee from where Brahms stayed during his summer vacations. Berg's Concerto even includes a quote from a risqué Carinthian folksong. Music Played in Today's Program Johannes Brahms (1833-1897) – Symphony No. 2 (Concertgebouw Orchestra; Bernard Haitink, cond.) Philips 442 068 Johannes Brahms – Violin Concerto in D (David Oistrakh, vn; ORTF Orchestra; Otto Klemperer, cond.) EMI Classics 64632 Alban Berg (1885-1935) – Violin Concerto (Henryk Szeryng, vn; Bavarian Radio Symphony; Rafael Kubelik, cond.) Deutsche Grammophon 431 740

In deze bijzondere laatste aflevering van het seizoen is chef-dirigent Lorenzo Viotti te gast. Hij praat met Botte over het doorbreken van tradities, de rol die dirigent Bernard Haitink in zijn leven heeft gespeeld en hoe hij omgaat met eenzaamheid. Ook beantwoordt hij vragen van de luisteraars.

Say their names: In Uvalde: Nevaeh Bravo, Jackie Cazares, Makenna Lee Elrod, Jose Flores, Eliana Garcia, Irma Garcia, Uziyah Garcia, Amerie Jo Garza, Xavier Lopez, Jayce Luevanos, Tess Marie Mata, Miranda Mathis, Eva Mireles, Alithia Ramirez, Annabell Guadalupe Rodriguez, Maite Rodriguez, Alexandria Aniyah Rubio, Layla Salazar, Jailah Nicole Silguero, Eliahana Cruz Torres, Rojelio Torres. In Buffalo: Celestine Chaney, Roberta A. Drury, Andre Mackniel, Katherine Massey, Margus D. Morrison, Heyward Patterson, Aaron Salter, Geraldine Talley, Ruth Whitfield, Pearl Young. All gunned down by young men who should have had no access to an assault weapon in the first place. I have no meaningful response to such cruel slaughter. When I am in the most profound mourning, I turn to the composers whose music directly confronts that despair. Today that composer is Gustav Mahler. Since the victims were almost exclusively people of color, today for solace I turn to the extraordinary voices of women of color singing the music of Mahler. Roberta Alexander, Marian Anderson, Carol Brice, Oralia Dominguez, Jessye Norman, Florence Quivar, Shirley Verrett, Lucretia West provide balm for the depths of despair that we are all feeling right now. They are joined on the podium by some of the greatest conductors of the twentieth century: Leonard Bernstein, Christoph von Dohnányi, Bernard Haitink, Paul Kletzki, Hans Knappertsbusch, Erich Leinsdorf, Zubin Mehta, Pierre Monteux, Fritz Reiner, and Frieder Weissmann. This episode is also offered in memory of and in gratitude for the life of the great Lucretia West, who died on 21 February 2022 at the age of 99. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Synopsis On today's date in 1800, Beethoven's Symphony No. 1 had its first performance in Vienna, at a benefit concert for the 29-year-old composer. It would be several years before any of Beethoven's orchestral music reached American shores, but it did occur during Beethoven's lifetime. In 1819, for example, a “Grand Piano Concerto” as it was billed, was performed in New Orleans – only we have no idea which concerto. On today's date in 1825, when Beethoven was 54, his “Egmont” Overture was performed at the City Hotel in New York, and was performed again in Philadelphia on March 28, 1827 – just two days after its composer had died back in Vienna. By the 1840s, Beethoven's overtures and symphonies appeared with some regularity on the East Coast, and slowly worked their way Westward. In 1853, Beethoven's “Leonore” Overture No. 3 was performed in San Francisco by musicians gathered from that city's gambling houses. A letter describing the event recalled, “there were many Chinese present,” and that it “lasted four hours owing to an overwhelming demand for encores, which the performers dared not refuse in the face of rugged California individualism.” In 1856, when San Francisco's German Society gave the West Coast premiere of Beethoven's Fifth, The San Francisco Chronicle review the following day noted: “The pieces were very beautiful, but it must be said that some of them appeared to be considered very tedious by the greater number of the audience. The Adagio, Scherzo and Finale of Beethoven's Symphony, for instance, caused many to yawn.” Music Played in Today's Program Ludwig van Beethoven (1770-1827) — Symphony No. 1 (Concertgebouw Orchestra; Bernard Haitink, cond.) Philips 442 073

Vandaag is het Willem Pijper-dag - het is vandaag exact 75 jaar geleden dat Willem Pijper (1894-1947) overleed - een van de belangrijkste Nederlandse componisten van de vorige eeuw. Willem Pijper leidde een kort, heftig en rusteloos leven. Hij componeerde een indrukwekkend muzikaal oeuvre en schreef vele honderden essays en recensies. Melchior Huurdeman en Arthur van Dijk vertellen over Willem Pijper en over de podcastserie 'Willem Pijper: in het licht van de eeuwigheid'. 23.04 CD Miin Triuwa (Jazz In Motion JIM 4750) Bram Stadhouders: Miin Triuwa Under The Surface 6'18” eigen opname Radio 4 (04-12-1994) Willem Pijper: Fêtes Galantes (1916) K34 Radio Kamerorkest olv Spanjaard, Ed; Oyen, Caren van 7'30” LP LP Willem Pijper 1894-1947 1 Historic Recordings (Composers' Voice Specials) Willem Pijper: Pianosonatine nr 3 (1925) K67 Hans Henkemans [piano] 3'30” eigen opname Radio 4 Willem Pijper: Zes symfonische Epigrammen (1928) K78 Koninklijk Concertgebouw Orkest o.l.v. Bernard Haitink 6'40” CD Ronald Brautigam (NM Classics 92045) Willem Pijper: Pianosonate (1930) K83 Ronald Brautigam [piano] 6'26” eigen opname Radio 4 (28-8-2020) Willem Pijper: Strijkkwartet nr. 5 Viride Kwartet 5'30”

Synopsis On today's date in the year 2000, the Royal Danish Opera in Copenhagen gave the premiere of a new opera entitled “The Handmaid's Tale,” based on the dystopian novel by Canadian writer Margaret Atwood. The book and opera tell of a nightmarish future: following a nuclear disaster in the United States, infertility rates have soared, and a religious sect has staged a military coup, enslaving the few fertile women who remain as breeders, or “handmaids,” for the military and religious commanders of their sect. Says Atwood, "There is nothing new about the society I depicted in The Handmaid's Tale except the time and place. All of the things I have written about have been done before – more than once, in fact." Despite its grim subject matter, Danish composer Poul Ruders says he saw "huge operatic potential" when he first read the book back in 1992. The original production in Copenhagen was sung in Danish, but Ruders says he conceived the work in English. The opera was staged in that language first in London at the English National Opera, and subsequently, at the opera's American premiere, in St. Paul by The Minnesota Opera, to great critical acclaim. Music Played in Today's Program Poul Ruders (b. 1949) — The Handmaid's Tale (Royal Danish Orchestra; Michael Schonwandt, cond.) DaCapo 9.224165-66 On This Day Births 1844 - Russian composer Nicolai Rimsky-Korsakov (Gregorian date: Mar. 18); 1870 - Austrian operetta composer Oscar Straus, in Vienna; Deaths 1932 - American composer and bandleader John Philip Sousa, age 77, in Reading, Pa.; 1967 - Hungarian composer Zoltán Kodály, age 84, in Budapest; Premieres 1791 - Beethoven: "Ritterballett" (Knightly Ballet), in Bonn; 1825 - Beethoven: String Quartet in Eb, Op. 127, in Vienna, the Schuppanzigh Quartet; This premiere was under-rehearsed and poorly performed (the Quartet had only received the music two weeks earlier), and Beethoven arranged for a second performance by a quartet led by violinist Joseph Boehm on March 26, which was better rehearsed and better received; 1831 - Bellini: opera "La Sonnambula" (The Sleepwalker), in Milan at the Teatro Carcano; 1853 - Verdi: opera "La Traviata" (The Lost One), in Venice at the Teatro La Fenice; 1896 - Arthur Foote: Suite in d, by the Boston Symphony, Emil Paur conducting; 1917 - Rachmaninoff: "Etudes-tableaux," Op. 39 (first complete performance of the set of nine), in Petrograd (St. Petersburg), by the composer (Julian date: Feb. 21); 1926 - Hindemith: "Concerto for Orchestra," by the Boston Symphony with Serge Koussevitzky conducting; 1927 - Prokofiev: Quintet for winds and strings, Op. 39, in Moscow; 1933 - Varèse: "Ionisation," in New York City, with Nicholas Slonimsky conducting; 1934 - Piston: "Concerto for Orchestra," in Cambridge, Mass.; 1947 - Miaskovsky: Symphony No. 25, at the Moscow Conservatory by the USSR State Symphony, Alexander Gauk conducting; 1984 - John Harbison: "Ulysses' Raft," by the New Haven Symphony, Murray Sidlin conducting; 2000 - Poul Ruders: opera "The Handmaid's Tale," in Copenhagen, by the Royal Danish Theater, Mark Schönwandt conducting; 2003 - John Harbison: "Requiem," by vocal soloists Christine Brewer, Margaret Lattimore, Paul Groves, and Jonathan Lemalu, with the Tanglewood Festival Chorus, and the Boston Symphony conducted by Bernard Haitink. Links and Resources On Poul Ruders More on "The Handmaid's Tale"

Join us for a discussion with pianist Robert Levin. Pianist and Conductor Robert Levin has performed throughout the United States, Europe, Australia and Asia. His solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway with such conductors as Semyon Bychkov, James Conlon, Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle and Esa-Pekka Salonen.

Hello and welcome to Bittersweet Symphony, a podcast where classical musicians share the bitter, the sweet and the bittersweet of life when the concert halls shut their doors and the music stopped. I'm Cliodhna Ryan, violinist, member of the Irish Chamber Orchestra and freelancer. In this episode, I'm chatting to Cormac Ó hAodáin, principal horn with the RTE Concert Orchestra. He shares the bitter experience of his Mum being ill, becoming a carer overnight, and the burnout that followed. His sweet memory is of regular meetups on Zoom with a community of musicians and composers, facilitated by the Contemporary Music Centre in Dublin. His bittersweet is while isolation was challenging, he felt equipped to handle it after a decade of living alone. Between 1993-1996, Cormac represented Ireland in the European Union Youth Orchestra, working with such eminent maestros as Carlo Maria Giulini, Bernard Haitink, Mstislav Rostropovich and Vladimir Ashkenazy. In 1997 he joined the Royal Philharmonic Orchestra and in 1999 became a member of the Philharmonia Orchestra. Cormac moved back to Ireland in 2009 to join the RTÉ Concert Orchestra as principal horn. Since his return to Ireland, he has established the Cassiopeia Wind Quintet and joined the teaching staff of the Royal Irish Academy of Music. He is currently doing a Masters in Conducting at TU Dublin, under the mentorship of David Brophy. CREDITS Thumbnail Art || Colm MacAthlaoith Songwriters || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland GET IN TOUCH WITH CORMAC/LINKS Cassiopeia Winds Contemporary Music Centre Norah Walsh GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony

We've all heard of it, but have you ever seen the opera? Let's talk about all the silly shenanigans that happen in the 4 acts of The Marriage of Figaro. Spoiler alert! I will be giving away the ending to this centuries-old story. Watch The Marriage of Figaro performed in 1994 at the beautiful Glyndebourne Festival Opera with conductor Bernard Haitink. I strongly suggest reading more about Pierre-Augustin Caron de Beaumarchais, Lorenzo da Ponte, and even Mozart. You won't be disappointed. Thanks for listening to I Need Friends - a podcast about whatever. I love feedback and comments from listeners! Check here for all my links. --- Send in a voice message: https://podcasters.spotify.com/pod/show/i-need-friends-podcast/message

Bernard Haitink was een van de grootste dirigenten ter wereld en werd door musici een tovenaar genoemd. Wat was zijn magie? Botte Jellema volgt zijn spoor terug met altviolist en jeugdvriend Wim ten Have, violist bij het Concertgebouworkest Caroline Strumphler, en de jonge dirigent Manoj Kamps. 

In een drieluik interviewt Luuck Droste bewonderaarster Elisabeth Bierens de Haan over de onlangs overleden Bernard Haitink, zijn nalatenschap, zijn grandeur en zijn magie (deel 3). Reageren kan rechtstreeks via het nieuwe mailadres elisabethbierensdehaan@ziggo.nl ! Uitzenddatum: 16 december 2021 Van en door: Luuck Droste

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In een drieluik interviewt Luuck Droste bewonderaarster Elisabeth Bierens de Haan over de onlangs overleden Bernard Haitink, zijn leven, zijn carrière, zijn vrouwen en zijn werk (deel 2). Reageren kan rechtstreeks via het nieuwe mailadres elisabethbierensdehaan@ziggo.nl ! Uitzenddatum: 9 december 2021 Van en door: Luuck Droste

In een drieluik interviewt Luuck Droste bewonderaarster Elisabeth Bierens de Haan over de onlangs overleden Bernard Haitink, zijn stem, zijn leven, zijn carrière en zijn werk (deel 1). Uitzenddatum: 2 december 2021 Van en door: Luuck Droste

David Afkham is obviously a serious thinker about his conducting and music-making and that made for a fascinating chat! I found out what the difference is between a Principal Conductor and a Chief Conductor / Artistic Advisor, we discussed the important topic of whether to use a stool in rehearsals, and he tells me his memories of working with and assisting the late, great, Bernard Haitink. If you would like to join the supporters club for this podcast and find out more about the world of conducting and conductors, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 16th August 2021 via Zoom.

I was fortunate enough to visit two very beautiful, yet very different coastal resorts this autumn. Here are my experiences. Plus, I couldn't help but add my few words to the many already written about the passing of Bernard Haitink.

Bruckner, Mozart, Mahler.

In the second part of Charlie's chat with Vic Reeves, the Jim/Vic/Chin name discussion continues, with both Vic and Charlie adding more names to the pile. Vic describes his first ever comedy gig and the creation of 'Vic Reeves', and he picks more musical favourites, including the classical music equivalent of a Black Sabbath track and the saddest piece of classical music ever written. This episode features extracts from Shostakovich's Symphony No.8, performed by the London Symphony Orchestra with Gianandrea Noseda, available on the London Symphony Orchestra's own label, LSO Live: https://lsolive.lso.co.uk/. We also heard the London Philharmonic Orchestra, conducted by Bernard Haitink, performing Nimrod from Elgar's Enigma Variations, and later we heard the LPO, conducted by Jaap van Zweden, with part of the Adagietto from Mahler's Symphony Number 5. Both recordings available to buy at lpo.org.uk. The other clip was from Vaughan Williams' Norfolk Rhapsody No.1, performed by the Halle Orchestra and Sir Mark Elder, taken from an album called English Landscapes which is available at halle.co.uk

Quem está com saudades de ir a um concerto? E de ouvir um concerto ao vivo? "Concerto” em português pode ser tanto o evento onde tocamos sinfonias, sonatas e obras sinfônicas (ah, que saudades de apresentar um concerto...) quanto uma forma musical específica, em que um instrumento solista desafia, confronta e dialoga com uma orquestra. Neste episódio do podcast “Filarmônica no ar”, falamos sobre o segundo significado de “concerto" e comentamos as características desta forma musical tão querida pelo público. Afinal, eles são uma ótima oportunidade para apreciar a virtuosidade de um instrumentista. Este programa é apresentado por Hyu-Kyung Jung (violino) e Eduardo Swerts (violoncelo). Você ouve trechos de: Concerto para piano nº 5, "O Imperador", de Beethoven, com Alfred Brendel e a Orquestra Filarmônica de Londres sob a regência de Bernard Haitink. "Concertos de Brandemburgo" de Bach, com a Orquestra Mozart dirigida por Claudio Abbado. "Concerto para madeiras e harpa" de Hindemith com Werner Andreas Albert dirigindo a Orquestra Sinfônica da Rádio de Frankfurt.

“There could be no more impressive demonstration of modern orchestral virtuosity at its committed best than the pairing of Haitink and the Chicago Symphony Orchestra” (Chicago Tribune). Former principal conductor Bernard Haitink, renowned for his transformative interpretations of symphonic masterworks with the CSO, returns to lead Bruckner's rich, kaleidoscopic Sixth Symphony. These performances are the conductor's only U.S. concert engagement this season. Paul Lewis, “a defining interpreter of Beethoven” (Chicago Tribune), joins forces with the orchestra and Haitink to perform the composer's triumphant Second Piano Concerto. https://cso.org/haitinkbrucknerbeethoven

Bernard Haitink (89) heeft een bijna onaantastbar…See omnystudio.com/listener for privacy information.