Podcasts about Birmingham Symphony Orchestra

Soprano Claire Booth is internationally renowned for her dedication to a vast repertoire, as well as the vitality and musicianship that she brings to the stage. Opera highlights include the title roles in Handel's Berenice for the Royal Opera and Janacek's Cunning Little Vixen for Garsington Opera, and her concert appearances have resulted in close associations with the BBC orchestras, the City of Birmingham Symphony Orchestra and the Mahler Chamber Orchestra. Claire has also collaborated with Pierre Boulez, Gustavo Dudamel and Yannick Nezet-Seguin, to name a few, and has premiered nearly 100 works over the course of her career so far.Claire's 2024 activity has focused on celebrating Schoenberg in his 150th anniversary year, with performances of a whole range of his works, and two albums centred around his music: 'Expressionist Music' with Christopher Glynn, released in May, and 'Pierrot Portraits' with Ensemble 360, released last Friday, with Pierrot Lunaire at its heart.In this episode, Claire talks more about her longstanding relationship with Pierrot Lunaire, and how the new album came to be; plus the eclectic career she's forged for herself, and how her recent Masters in Cultural Policy and Management has given her an even broader perspective on the industry as a whole. Claire also talks about the time she underwent surgery for pre-nodules, not being able to speak for a month, and wondering whether she would be able to sing again.-------------------Claire's links:WebsiteInstagram-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------This podcast is also available to listen to via The Violin Channel--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

With Manager of the Bord Gais Energy Theatre, Steve Falloon

On this episode we come to you live from the Colorado State University Double Reed Day! For our interview we welcome Margaret Cookhorn, bassoonist and contrabassoonist in the City of Birmingham Symphony Orchestra. Learn more about Margaret at her website: https://www.margaretcookhorn.com This podcast is brought to you by Chemical City Double Reeds (www.chemicalcityreeds.com), ACDC Reeds(www.acdcreeds.com/), Barton Cane (www.bartoncane.com/), and RDG Woodwinds Inc. (rdgwoodwinds.com)! Thank you to our wonderful sponsors!

André J. Thomas is an Associate Artist with the London Symphony Orchestra.Thomas is Professor Emeritus of Music at Florida State University. He was visiting Professor of Choral Conducting at Yale University from 2020-2022. He also served as faculty member at the University of Texas, Austin.Dr. Thomas received his degrees from Friends University (B.A.), Northwestern University (M. M.), and The University of Illinois (D.M.A). He is in demand as a choral adjudicator, clinician, and director of Honor/All-State Choirs throughout North America, Europe, Asia, New Zealand, Australia, and Africa Dr. Thomas has conducted choirs at the state, division, and national conventions of the Music Educators National Conference (NAFME) and the American Choral Directors Association (ACDA). His international conducting credits are extensive. They include conductor/clinician for the International Federation of Choral Musicians' summer residency of the World Youth Choir in the Republic of China and the Philippines. He was also the conductor of the World Youth Choir's winter residency in Europe and a premier performance by an American choir (Florida State University Singers) in Vietnam.He is a highly respected guest conductor who has led numerous prestigious orchestras and choirs around the world, including the Birmingham Symphony Orchestra in England, the Berlin Radio Choir and the North German Radio Choir in Germany, the Netherlands Radio Choir, The Bulgarian Radio Choir and Orchestra, the Seoul Metropolitan Chorus, Ansan City Choir, Jeju Provincial Seogwipo Chorale in South Korea, the Charlotte Symphony, China's People's Liberation Orchestra, the Czech National Symphony Orchestra, and the London Symphony. He also served as the Artistic Director of the Tallahassee Community Chorus for 31 seasons.Thomas has also distinguished himself as a composer/arranger. Hinshaw Music Company, Mark Foster Music Company, Fitzsimons Music Company, Lawson Gould, Earthsongs, Choristers Guild, and Heritage Music Company publish his compositions and arrangements. Dr. Thomas has produced two instructional videos—What They See Is What You Get on choral conducting, with Rodney Eichenberger, and Body, Mind, Spirit, Voice on adolescent voices, with Anton Armstrong. His recent book, Way Over in Beulah Lan': Understanding and Performing the Negro Spiritual, has quickly become a significant source in this area of study.Various musical organizations have recognized Thomas. The African Diaspora Sacred Music honored Dr. Thomas as a Living Legend. In 2011, Chorus America recognized Thomas' dedication to and accomplishments in the choral arts, presenting him with its Distinguished Service Award. In March 2017, ACDA presented Thomas with its highest honor, the Robert Shaw Award, and in November of 2017, NCCO (National Collegiate Choral Organization) presented Thomas with its Lifetime Achievement Award. In January 2019, he was inducted into the Florida Music Educator's Hall of Fame. In 2022 he was presented with the Award of Excellence from the Southern Region of ACDA. Yale University School of Music presented Thomas with the Samuel Simons Sanford Medal, the most prestigious honor conferred by the Yale School of Music.He is a past president of the Florida ACDA, a past president of the Southern Division of ACDA, and the current  Past President of the National ACDA.To get in touch with André, you can email him at athomas@acda.org or find him on Facebook (@andre.thomas.52).Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us.Email choirfampodcast@gmail.com to contact our

Jess Gillam and baritone James Newby swap some of their favourite tracks and chat about their lives in music. James - who was one of Radio 3's New Generation Artists - is one of the country's most exciting young baritones and performs all around Europe in everything from contemporary opera to intimate song recitals. His music picks include a choral piece by Howells that changed the direction of his life and catapulted him into a music career and the stunning voices of Celeste and Bryn Terfel. Meanwhile, Jess picks a stunner of a voice of her own in Sarah Vaughan, alongside the energy of John Adams and a tender ballad for violin and piano by Donald Grant. Playlist: MOZART: Marriage of Figaro – Overture [Chamber Orchestra of Europe, Yannick Nezet Seguin (conductor)] DONALD GRANT: Bha lá eile ann [Elena Urioste (violin), Tom Poster (piano)] HERBERT HOWELLS: Nunc Dimittis (from Collegium Regale) [Choir of King's College, Cambridge, Stephen Cleobury] CELESTE: Strange JOHN ADAMS: Short Ride in a Fast Machine [City of Birmingham Symphony Orchestra, Simon Rattle (conductor)] DILYS ELWYN EDWARDS: The Cloths of Heaven (Gwiseg Nefoedd) [Bryn Terfel (baritone), Malcolm Martineau (piano)] CORELLI: Follia [Hesperion XXI, Jordi Savall] SARAH VAUGHAN: Be My Love

Double bassist P.J. Cinque joined the San Diego Symphony in 2015, having previously been a member of the Dayton Philharmonic Orchestra. In addition, P.J. serves as Assistant Principal Bass of the Chautauqua Symphony Orchestra and has performed with the Cincinnati Symphony Orchestra, the Los Angeles Philharmonic, the Utah Symphony, and the City of Birmingham Symphony Orchestra. As an educator, P.J. served as the double bass professor at Capital University in Columbus, Ohio, and has given masterclasses at Northern Arizona University and SooChow University in Taiwan. A native of Long Island, he received his bachelor and master's degrees from The Juilliard School with further study at the University of Cincinnati College-Conservatory of Music. His principal teachers include Homer Mensch, Timothy Cobb, Albert Laszlo, and Owen Lee. During his studies, P.J. participated in the Pacific Music Festival and spent three summers at the Aspen Music Festival and School as an orchestral fellowship recipient. P.J. is proud to be a part of the robust bass community in San Diego and enjoys coaching at local high schools, maintaining a private teaching studio, and connecting with fellow bassists at San Diego Bass Fest. San Diego Bass Fest WebsiteSan Diego Bass Fest Facebook PageInstagram / Twitter / Youtube / Website / BSA/ View More Episodes

It's an exciting first for Composing Myself this week, with this episode's guest holding a position in none other than The Royal Household of the United Kingdom. Judith Weir - Master of The King's Music (and former Master of The Queen's Music) – talks to Wise Music Group CEO Dave Holley and Creative Director Gill Graham about an illustrious life of creative adventure, from a fortuitous mentorship by Sir John Tavener to being appointed to a Royal position by Queen Elizabeth II. Stops along the way include the Battle of Stamford Bridge (“an iconic moment in English history”); how deadlines – “the composer's curse” – are actually a big help; Judith's inspiring work in the broader community; why singers are “the most amazing people in our profession”, and the myriad joys of blogging. A life less ordinary reflected on by a wonderfully eloquent composer.https://www.judithweir.com/Judith Weir (b 1954 to Scottish parents in Cambridge, England) studied composition with John Tavener, Robin Holloway and Gunther Schuller. On leaving Cambridge University in 1976 she taught in England and Scotland, and in the mid-1990s became Associate Composer with the City of Birmingham Symphony Orchestra, and Artistic Director of Spitalfields Festival. She was a Visiting Professor at Princeton (2001) Harvard (2004) and Cardiff (2006-13) and in 2014 was appointed Master of the Queen's Music. Since Her Majesty Queen Elizabeth II died in September 2022, Weir is now Master of The King's Music. From 2015 to 2019 she was Associate Composer to the BBC Singers.She is the composer of several operas (written for Kent Opera, Scottish Opera, ENO and Bregenz) which have been widely performed. She has written orchestral music for the BBC Symphony, Boston Symphony and Minnesota Orchestras. Much of her music has been recorded, and is available on the NMC, Delphian and Signum labels. She blogs about her cultural experiences at www.judithweir.com. Hosted on Acast. See acast.com/privacy for more information.

Special guest Emma Youndtsmith joins Trylove for the first time to discuss a classic of ‘70s animated adaptations! WATERSHIP DOWN has a reputation for ruining childhoods, with gruesome imagery and dark implications about the systems of power in the natural world. You could read it as a post-WWII allegory, as a broader indictment of fascist hegemony, or just as a journey of self-discovery. But with Emma, we tried to go further than the striking violence for which it's remembered to pull out some new insights: Why the book might be sadder than the movie, what it's saying about the nature of nature, and what makes Kehaar an all-time G. Find Emma: On Twitter at https://twitter.com/Etuni On Instagram at https://www.instagram.com/quiltedquads/ Volunteering at the Trylon every other Friday “The Rabbits of Tomorrow: Watership Down and the Evolution of Animation” by Daniel McCabe on Perisphere, the Trylon blog: https://www.perisphere.org/2023/03/17/the-rabbits-of-tomorrow-watership-down-and-the-evolution-of-animation/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "Kehaar's Theme" composed by Angela Morley and performed by the City of Birmingham Symphony Orchestra from the WATERSHIP DOWN soundtrack. Timestamps 0:00 - Episode 220: WATERSHIP DOWN (1978) with Emma Youndtsmith 4:00 - The Patented Aaron Grossman Summary 5:54 - Comparisons to the book 12:37 - WATERSHIP DOWN in context of personified animal animation 18:09 - The traumatizing provenance of WATERSHIP DOWN 24:46 - The Black Rabbit 31:54 - Cowslip's warren 36:14 - Woundwort's warren and hegemony 39:39 - The worldbuilding 43:03 - Ya boi Kehaar 55:37 - The Junk Drawer 1:00:35 - Good Grief, Give Me a GIF! 1:07:50 - Cody's Noteys: Animal Kingdom

Laurence Osborn (b. 1989) is a British composer currently based in London. His music has been commissioned and/or programmed by the London Symphony Orchestra, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Ensemble Modern, Britten Sinfonia, The Riot Ensemble, Manchester Collective, 12 Ensemble, GBSR Duo, Ensemble Klang, and Ensemble 360, among others. He has also written for solo performers Sarah Dacey, Mahan Esfahani, Bartosz Glowacki, Zubin Kanga, Lore Lixenberg, Michael Petrov, and Agata Zubel. His music has been programmed throughout the UK, at venues such as The Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House, Symphony Hall (Birmingham), The Wigmore Hall, Kings Place, LSO St Luke's, St Martin- In-The-Fields, Milton Court, Wilton's Music Hall, Britten Studio (Aldeburgh), The National Portrait Gallery, The Holywell Music Room (Oxford), The Crucible Theatre (Sheffield), Kettle's Yard (Cambridge), and at Huddersfield Contemporary Music Festival (where he was an International Showcase Artist), St Magnus International Festival, Music in the Round Festival, and Ulverston International Music Festival.Laurence Osborn's song cycle Essential Relaxing Classical Hits was nominated for an Ivor Novello Award in 2021. He won the Royal Philharmonic Society Composition Prize in 2017, was runner up in the New Cobbett Prize for Composition (2014) and the International Antonin Dvorak Composition Competition (2013) and was shortlisted for the ICSM World Music Days (2018). Laurence has won student prizes for composition while studying at both undergraduate and postgraduate level, including the Adrian Cruft Prize for Composition and the Royal College of Music Concerto Competition. He has held positions in association with LSO Soundhub (2013-15), Nonclassical (2015-17), and the London Philharmonic Orchestra (2017-18).SOUND EXERPTS, IN ORDER:1. Coin Op Automata  for harpsichord and string quartetperformed by the Manchester Collective2. Essential Relaxing Classical Hits, for amplified solo soprano and 6 playersperformed by Agata Zubel and Ensemble Klang3. Absorber, for solo piano and MIDI controllerperformed by Zubin KangaLINKSLaurence Osborn official websiteWatch video of ‘Absorber' for piano and MIDI controllerSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnSupport the show

Journalisten wereldwijd zijn unaniem: de film Tár, met Cate Blanchett als de gelauwerde maar niets ontziende chef-dirigente van de Berliner Philharmoniker, is fantástisch. Páts, vijf sterren. Bóem, een meesterwerk. Maar Guido en Joris zagen toch echt een andere film. Sterker, Guido wilde in de pauze zelfs weglopen. En zo vormt Hollywoods laatste lieveling de aanleiding voor een gepeperde podcast over vrouwelijke dirigenten, van de tragische pionierster Antonia Brico tot de sensationele Mirga Gražinytė-Tyla. Hoor je het verschil tussen m/v/x  op de bok? Zijn vrouwen andere leiders? En hoe komt die film aan z'n quasi-filosofische blabla? Speellijst · Leonard Bernstein, ouverture Candide, London Symphony Orchestra o.l.v. Marin Alsop · Mieczyslaw Weinberg, 21ste symfonie, deel 6, Lento, City of Birmingham Symphony Orchestra o.l.v. Mirga Gražinytė-Tyla · Alban Berg, Lulu-suite, deel 3, Lied der Lulu, Ludwig o.l.v. Barbara Hannigan · Antonia Brico, fragment uit de film Antonia: A Portrait of the Woman De volledige stukken zijn te beluisteren in onze playlist: https://open.spotify.com/playlist/5O8RJDbtHkeQD7AUm4w3A1?si=e3fddb69da314756

»Romeo und Julia« ist eine der ergreifendsten Liebesgeschichten der Weltliteratur und hat viele Komponisten inspiriert. In der neuen Folge des Podcasts der Kölner Philharmonie widmet sich Christoph Vratz der Ballettmusik von Sergej Prokofjew und thematisiert sowohl den literarischen Hintergrund des Werks als auch Prokofjews Kompositionsprozess und seine Erfahrungen als Künstler unter der Sowjet-Diktatur. »Romeo und Julia« zählt zu Prokofjews bekanntesten Werken. Die Episode gibt einen Einblick in die Entstehungsgeschichte des Werks und seine künstlerische Bedeutung. Am 20. März 2023 können Sie das City of Birmingham Symphony Orchestra unter der Leitung von Mirga Gražinytė-Tyla mit Prokofjews »Romeo und Julia« in einer Zusammenstellung der litauischen Dirigentin in der Kölner Philharmonie erleben. https://www.koelner-philharmonie.de/de/programm/kirill-gerstein-city-of-birmingham-symphony-orchestra-mirga-grazinyte-tyla/2805 Foto: Mirga Gražinytė-Tyla ©Frans Jansen

Did we watch a lot for you all this fortnight, Oh yes we bloom in' did?!So we watched and reviewed music videos from, Pink Pantheress ft. Ice Spice, Beebadobee, Libianca, Paramore, Linkin Park, Jessie Ware and a lot more.We also watched and reviewed performances from the Grammys and BRIT awards as well as the Birmingham Symphony Orchestra.We watched or are watching:Girls 5 Ever (Netflix)YOU Season 4 Part 1 (Netflix)Junji Ito Manic (Netflix)The Mac and I (Netflix)Read a book Beauty and the Baller and listened to some albums from Sugababes and others.Image courtesy of soundtrackfestFind us at www.popgram.co.ukEmail us at : popgrampodcast@gmail.comInstagram: @popgrampodcastTwitter: https://twitter.com/PopgramPodcast

In this episode, we look back and pick our favorite classical and jazz recordings from 2022.   The Adult Music Podcast is featured in: Feedspot's Best 60 Jazz Podcasts   Episode 95 Deezer Playlist   Classical  Episode 48: “Crafty Complications” “C.P.E. Bach: Sonatas & Rondos” (Hyperion) Marc-André Hamelin https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68381/2   Episode 50: ”1st Anniversary Renaissance Men” “The Florentine Renaissance” (Hyperion) Orlando Consort https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68349   Episode 64: ”Ménage à Trio” “Bargiel: Piano Trios Nos 1 & 2” (Hyperion) Leonore Piano Trio https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68342   Episode 66: “Keyboard Seasoning” “Rachmaninov: Piano Sonata No 1 & Moments musicaux” (Hyperion) Steven Osborne https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68365   Episode 71: “A Breeze from Brazil” “Vivaldi & Piazzolla: The mandolin seasons” (Hyperion) Jacob Reuven, Omer Meir Wellber, Sinfonietta Leipzig https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68357 https://music.apple.com/it/album/vivaldi-piazzolla-the-mandolin-seasons/1607499987?l=en    Episode 73: “Heavy Hitters” “Paul Wranitzky: Symphonies” (Deutsche Harmonia Mundi) Akademie für Alte Musik Berlin / Bernhard Forck https://open.spotify.com/artist/1R1hwKrqqLqYiD53NtXEBJ/discography/album?pageUri=spotify:album:5rBtcOg7G3zwG7EKIUQC75 https://music.apple.com/us/album/paul-wranitzky-symphonies/1612818411   Episode 75: “Rags & Other American Riches” “Peter Boyer: Balance of Power [Orchestral Works]” (Naxos) London Symphony Orchestra, Peter Boyer    https://open.spotify.com/artist/0zIZLForXyrKVqxoM0MNPU/discography/all?pageUri=spotify:album:0hJrgKIhOczrFuIMyNnX0o https://music.apple.com/us/album/peter-boyer-balance-of-power-other-orchestral-works/1628848675   Episode 77: “Poetry Passport” “Flamenco - Pasado Y Presente” (Naxos World) Ignacio Lusardi Monteverde  https://open.spotify.com/album/0vO9ZPWxvFtMeD8gG8zbev https://music.apple.com/id/album/flamenco-pasado-y-presente/1627035723   Episode 82: “‘Bone Appétit” “Tomasi, Jolivet & Others: French Trumpet Concertos” (BIS) Håkan Hardenberger, Roland Pöntinen, Royal Stockholm Philharmonic Orchestra / Fabien Gabel https://open.spotify.com/album/4iNTRs5QTtOt6IuTQOhgs2 https://music.apple.com/us/album/tomasi-jolivet-others-french-trumpet-concertos/1623463102   Episode 83: “Beefy Beethoven & Big Band” “Beethoven: Symphony No. 2 & Brett Dean: Testament” (BSO Recordings) Bayerisches Staatsorchester / Vladimir Jurowski https://open.spotify.com/album/1n2WXsdRdRaYjT02U2C0So https://music.apple.com/us/album/brett-dean-beethoven-orchestral-works-live/1632668767   Episode 75: “Rags & Other American Riches” “Bolcom: The Complete Rags” (Hyperion) Marc-André Hamelin https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68391/2   Episode 94: “Something is Swinging in Denmark” “Les frères Francœur” (Alpha) Justin Taylor & Théotime Langlois de Swarte https://open.spotify.com/album/65SkWELmRKnzQZch5h4sfR https://music.apple.com/us/album/les-frères-francœur/1642170708   Episode 80: “Chamber Made” “Ries: Piano Trio & Sextets” (Hyperion) The Nash Ensemble https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68380   Episode 88: “Horns of Plenty” “Origins” (Decca) Lucie Horsch https://open.spotify.com/album/41YdsQmyG0O3zQEoyVbLm1 https://music.apple.com/us/album/origins/1630378109   Episode 85: “Joy and Meditations” “Haydn 2032, Vol. 12: Les jeux et les plaisirs” (Alpha) Basel Chamber Orchestra / Giovanni Antonini https://open.spotify.com/album/6QlQD1Tvn7tgzfW3o9wPSS https://music.apple.com/iq/album/haydn-2032-vol-12-les-jeux-et-les-plaisirs/1626058453   Episode 61: “Mallet Maestros” “Drone Mass” (Deutsche Grammophon) ACME & Theatre of Voices / Paul Hillier https://open.spotify.com/album/4iHSwI7eFt2OfFbS33Anqo https://music.apple.com/us/album/jóhannsson-drone-mass/1603845983   Episode 90: “Mostly Made in Germany” “Weinberg: Symphonies Nos. 3 & 7” (Deutsche Grammophon) Kirill Gerstein, Marie-Christine Zupancic, City of Birmingham Symphony Orchestra, Deutsche Kammerphilharmonie Bremen / Mirga Gražinytė-Tyla https://open.spotify.com/album/5o3HiFn83tJQDi6gWlyCJh https://music.apple.com/us/album/weinberg-symphonies-nos-3-7-flute-concerto-no-1/1639331262   Episode 94: “Something Is Swinging in Denmark” “Hemsi: Chamber Works” (Chandos) ARC Ensemble https://open.spotify.com/album/1uuuyCOsAZ99LYfcMs10XJ https://music.apple.com/us/album/hemsi-chamber-works/1639872891   Episode 62: “Karmic Clarinets” “Flow” (Pentatone) Annelien Van Wauwe, NDR Radiophilharmonie / Andrew Manze https://open.spotify.com/album/4cfHBh31qsL102qz5JRYJq https://music.apple.com/us/album/flow/1613616722   Episode 93: “Subtle Sonics” “Messiaen: Vingt Regards sur l'enfant Jésus” (Erato) Bertrand Chamayou https://open.spotify.com/album/5syP59hNRd9GJxTsnLk0cl https://music.apple.com/us/album/messiaen-vingt-regards-sur-lenfant-jésus/1625775125   Episode 87: “Fall Frets” “Lost & Found” (Pentatone) Sean Shibe https://open.spotify.com/album/2IwRPoM4pqAfv10x8YDiSt https://music.apple.com/us/album/lost-found/1628136472   Jazz Episode 58: “The Ladies Sing” “Send for Me” (Dot Time Records) Catherine Russell https://open.spotify.com/album/4Ey2JHKRLc0Qy03MvBuPiZ https://music.apple.com/us/album/send-for-me/1603657000   Episode 71: “A Breeze from Brazil” “Cadência Verde e Amarela” (Gateway Music) Morten Ankarfeldt, Edu Neves, Caio Marcio Santos, Bernado Aguiar, Gabriel Poli https://open.spotify.com/album/48RChE59aR0lOOOWlFc4Av https://music.apple.com/it/album/cadência-verde-e-amarela/1609626618?l=en   Episode 60: “Saxy Ladies” “Barionda” (Jazzwerkstatt) Helga Plankensteiner https://open.spotify.com/album/47oT3gDcN1F3OeHWvvOnxL https://music.apple.com/mv/album/barionda-feat-rossano-emili-massimiliano-milesi-giorgio/1617895218   Episode 55: “America Abroad and Wranitzky Wreleases” “Indigo” (Vision Fugitive) Jean-Marc Foltz, Stephan Oliva         https://open.spotify.com/album/4uln6q9yCsUZ7qWvQDBYFF https://music.apple.com/us/album/indigo/1609265981   Episode 69: “All Greek to Me” “Broken Blue” (Odradek Records) Spiral Trio https://open.spotify.com/album/33y9tsuWeTjtansJsA5xCX https://music.apple.com/us/album/broken-blue/1614837174   Episode 64: “Menage a Trio” “Safe Place” (Iakovos Symeonidis) Jako Organ Trio https://open.spotify.com/artist/1jMKc4XHrrGNTh8svcKmbv/discography/all?pageUri=spotify:album:6SohH3yGk3xkvuZrsVT2Ty https://music.apple.com/ng/album/safe-place/1616001523   Episode 73: “Heavy Hitters” “My Father's Hands” (Highnote) Cyrus Chestnut https://open.spotify.com/artist/319U6LVt3j3iT9oAEzrpRO/discography/all?pageUri=spotify:album:7kiKrduG08XVXYeVIB7n5g https://music.apple.com/us/album/my-fathers-hands/1626147227   Episode 80: “Chamber Made” “Organic Earfood” (JazzSick Records) Organic Earfood, Bernie Senensky, Peter Baumgärtner, Stefan Bauer https://open.spotify.com/album/2IffvZqLYqIxXdigASABHV https://music.apple.com/us/album/organic-earfood-feat-bernie-senensky-peter-baumgärtner/1639110694   Episode 90: “Mostly Made in Germany” “I Loves You Porgy” (JazzJazz) Matthias Strucken       https://open.spotify.com/album/2BMUvcyqiBEgL9z9r4cbnv https://music.apple.com/us/album/i-loves-you-porgy/1642183040   Episode 93: “Subtle Sonics” “New Beginnings” (Cellar Live) Jason Marshall https://open.spotify.com/album/2adC3n8OxTK2MxoLZtFME5 https://music.apple.com/us/album/new-beginnings/1644388209   Episode 65: “Action-Packed Sax” “The Message” (Posi-Tone Records) Doug Webb     https://open.spotify.com/artist/7qaEouOBt2Vs1yjhZPGJ1r/discography/all?pageUri=spotify:album:4hkVxHA4mTXsdjK7O52MSG https://music.apple.com/us/album/triple-play-feat-walt-weiskopf-joel-frahm-brian-charette/972293478   Episode 50: ”1st Anniversary Renaissance Men” “A Change Is Gonna Come” (Savant) Bill O'Connell https://open.spotify.com/album/1LpG8V1Vtya5RcTzPZRxFj https://music.apple.com/us/album/a-change-is-gonna-come/1596800919   Episode 57: “The Ravelution Will Not Be Organ-ized” “Cold as Weiss” (Colemine Records) Delvon Lamarr Organ Trio https://open.spotify.com/album/39wAzMaFzTVEN0yqJXYyzK https://music.apple.com/us/album/cold-as-weiss/1597919684   Episode 63: “Piano Paisans” “Something Tomorrow” (Storyville Records) Enrico Pieranunzi https://open.spotify.com/album/2MDgqeWW7IJot1PPNKN2at https://music.apple.com/us/album/something-tomorrow/1615393724   Episode 66: “Keyboard Seasoning” “Tricks” (Hunnia Records) Gábor Horváth Trio https://open.spotify.com/album/5N0DFqyP8mvKY6WvX5r85t https://music.apple.com/us/album/tricks/1617658252   Episode 66: “Keyboard Seasoning” “Swing On This” (Criss Cross) Opus 5 https://open.spotify.com/album/2uMqLMKwv3049IpdeIjCZ3 https://music.apple.com/us/album/swing-on-this/1618802988   Episode 67: “A Trumpet Trist” “Silver Needle” (Stunt Records) Tobias Wiklund           https://open.spotify.com/album/1YS1pLb5x8Ot6OgSaQA04N https://music.apple.com/us/album/silver-needle/1616501351   Episode 68: “Keep Frenching Me, Baby!” “Involutions” (We See Music) Matthieu Marthouret & Springbok https://open.spotify.com/album/43o3upRkpQGHRhtbFB51LH https://music.apple.com/us/search?term=involutions%20Matthieu%20Marthouret%20   Episode 70: “Summer Vibes” “Life” (Giotto Music) Marco Pacassoni https://open.spotify.com/album/2DdgfyOBVpqX4OJYUOuS6g https://music.apple.com/us/album/life-feat-john-patitucci-antonio-sanchez/1619906308   Episode 73: “Heavy Hitters” “Oak Tree” (Highnote) Tom Harrell https://open.spotify.com/artist/3YO63Be7QxrxqBQtgKc4Oc/discography/all?pageUri=spotify:album:5Cu82tv24KrXK43kyjH2dr https://music.apple.com/us/album/oak-tree/1625809415   Episode 74: “Italian Explosion” “Shiny Hearts & Dusty Souls” (DDE Records) Cesare Mecca https://open.spotify.com/album/0ob9cfubQIYXZuLAWnFK8B https://music.apple.com/us/album/shiny-hearts-dusty-souls-feat-alfredo-ponissi/1628326372   Episode 75: “Rags & Other American Riches” “Best Next Thing” (Posi-Tone Records) Michael Dease https://open.spotify.com/album/3phyeASbmGNSIhDxpQygbV https://music.apple.com/us/album/best-next-thing/1627529286   Episode 76: “Essential Organs” “Reboot” (Blue Note) Ronnie Foster https://open.spotify.com/album/7fIQ7XeqTD0FqsvyTohyrY https://music.apple.com/us/album/reboot/1625214121   Episode 77: “Poetry Passport” “In The Valley” (Stricker Street Records) Todd Marcus https://open.spotify.com/album/4Zb8xvtlEYrcU4Of6yODsU https://music.apple.com/id/album/in-the-valley/1620784648   Episode 81: “Summer Strummin'” “Blue Keys” (Wide Hive Records) Calvin Keys https://open.spotify.com/album/3Z9uDO0cSfAgKDhwHHh2mQ https://music.apple.com/cz/album/blue-keys/1634834443   Episode 82: “Bone Appétit” “Generations” (Smoke Sessions Records) Steve Turre https://open.spotify.com/album/4SpdeJD5lcATDheZhpxBKN https://music.apple.com/us/album/generations/1636041345   Episode 83: “Beefy Beethoven & Big Band” “Convergency” (Origin Records) Dave Slonaker Big Band https://open.spotify.com/album/2IJEqaBRCAiRFjyfLlzmaf https://music.apple.com/us/album/convergency/1632772977   Episode 84: “Cerebral Keys” “Orange Sea” (Yellowbird Records) 1 Matthias Bublath https://open.spotify.com/album/6Dvj8ssB0RIknMIQ5Fe0YM https://music.apple.com/us/album/orange-sea/1647635493   Episode 85: “Joy and Meditations” “The Latin Side of Mingus” (Savant) Conrad Herwig https://open.spotify.com/album/1xYPOJzZr9OxIsLBrLWRWy https://music.apple.com/iq/album/the-latin-side-of-mingus/1640315361 https://www.prestomusic.com/jazz/products/9370103--the-latin-side-of-mingus   Episode 87: “Fall Frets” “View with a Room” (Blue Note) Julian Lage https://open.spotify.com/album/0bxXAO9Vxpx20fidIJc4va https://music.apple.com/us/album/view-with-a-room/1629539688   Episode 88: “Horns of Plenty” “We Wonder” (WM Italy) Fabrizio Bosso            https://open.spotify.com/album/71CMymeBvpaShC37XxIEMS https://music.apple.com/us/album/we-wonder-feat-julian-oliver-mazzariello-jacopo-ferrazza/1637894263   Episode 89: “Swingers” “Linger Awhile” (Verve) Samara Joy https://open.spotify.com/album/1TZ16QfCsARON0efp6mGga https://music.apple.com/it/album/linger-awhile/1637144888?l=en   Episode 89: “Swingers” “Tadd's All, Folks” (SteepleChase) Gary Smulyan https://open.spotify.com/album/0haNdQSDRCh0Nz4cKMTuoT https://music.apple.com/it/album/tadds-all-folks/1650212893?l=en   Episode 91: “Low String Theory” “Ashanti” (Jojo Records) Santi Debriano, Arkestra Bembe https://open.spotify.com/album/4tN43R2qus79a4w4wyQJhm https://music.apple.com/us/album/ashanti/1650081861   Episode 92: “Christmas Music: Yule Be Merry” “Winter Awhile - Cool Twists on Holiday Classics” (Velocity Records) Robert Hicks https://open.spotify.com/album/6jEyOQZX8eaLGx7ehlFPDF https://music.apple.com/us/album/winter-awhile/1659104200https://roberthicks1.bandcamp.com/album/winter-awhile-cool-twists-on-holiday-classics   Episode 93: “Subtle Sonics” “The Sonic Sessions” (Eclipse Music - Supersounds Music Oy) Aleksis Liukko Trio https://open.spotify.com/album/2eoim1wGHdEd6tDvjZk9pL https://music.apple.com/us/album/the-sonic-sessions/1655146802   Be sure to check out these other podcasts:  "SOMETHING came from Baltimore"   Jazz, blues, and R&B interviews from Tom Gouker. Famous Interviews and Neon Jazz  Features a wide range of artists, musicians, writers, creatives and business folks from around the globe.   "Same Difference: 2 Jazz Fans, 1 Jazz Standard" Johnny Valenzuela and Tony Habra look at several versions of the same Jazz standard each week, play snippets from each version, discuss the history of the original and the different versions.          

In this episode, we discuss recordings of “Paul Wranitzky: Symphonies Opp. 37, 50 & 51” by NDR Radiophilharmonie / Rolf Gupta, “Synergy” by Sharon Bezaly, Michala Petri, Björn Gäfvert, Michael Collins, Walter Auer, Bram van Sambeek, The Swedish Chamber Orchestra, Urban Svensson, Thomas Dausgaard & Michael Collins, “Weinberg: Symphonies Nos. 3 & 7” by Kirill Gerstein, Marie-Christine Zupancic & City of Birmingham Symphony Orchestra, Deutsche Kammerphilharmonie Bremen / Mirga Gražinytė-Tyla, “I Loves You Porgy” by Matthias Strucken, “At Ease” by The Marcus Bartelt Quartet, and “Flow” by Guido May.   The Adult Music Podcast is featured in: Feedspot's Best 60 Jazz Podcasts   Episode 90 Deezer Playlist   “Paul Wranitzky: Symphonies Opp. 37, 50 & 51” (CPO) NDR Radiophilharmonie, Rolf Gupta https://open.spotify.com/album/2RbsmHqHBRG2y6trKCBjS0 https://music.apple.com/us/album/paul-wranitzky-symphonies-opp-37-50-51/1649536715   “Synergy” (BIS) Sharon Bezaly (flute), Michala Petri (recorder), Björn Gäfvert (harpsichord, organ), Michael Collins (clarinet), Walter Auer (flute), Bram van Sambeek (bassoon) Swedish Chamber Orchestra, Urban Svensson, Thomas Dausgaard, Michael Collins https://open.spotify.com/album/5WkSxst5k9dCaoadvhYAxu https://music.apple.com/us/album/synergy/1636713858   “Weinberg: Symphonies Nos. 3 & 7” (Deutsche Grammophon) Kirill Gerstein (harpsichord), Marie-Christine Zupancic (flute), City of Birmingham Symphony Orchestra, Deutsche Kammerphilharmonie Bremen / Mirga Gražinytė-Tyla https://open.spotify.com/album/5o3HiFn83tJQDi6gWlyCJh https://music.apple.com/us/album/weinberg-symphonies-nos-3-7-flute-concerto-no-1/1639331262   “I Loves You Porgy” (JazzJazz)  Matthias Strucken             https://open.spotify.com/album/2BMUvcyqiBEgL9z9r4cbnv https://music.apple.com/us/album/i-loves-you-porgy/1642183040   “At Ease” (JazzJazz)  Marcus Bartelt Quartet https://open.spotify.com/album/49NbMNxUrcqwxpqh2V7kQm https://music.apple.com/us/search?term=Marcus%20Bartelt   “Flow” (Mons Records)  Guido May https://open.spotify.com/album/1djNVf0YXu9ckbAPbxaR0H https://music.apple.com/us/album/flow-feat-jure-pukl-marko-churnchetz-ameen saleem/1640761314   Be sure to check out these other podcasts:  "SOMETHING came from Baltimore"   Jazz, blues, and R&B interviews from Tom Gouker. Famous Interviews and Neon Jazz  Features a wide range of artists, musicians, writers, creatives and business folks from around the globe.   ‎The Same Difference on Apple Podcasts In "The Same Difference", Jeff and Brennan aim to help listeners see each other as brothers and sisters in an increasingly polarized world. "The Same Difference" is about encouraging people to embrace differences, recognize commonalities and build connection and community.  

Mirga Gražinyte-Tyla launched her Deutsche Grammophon recording career in 2019 with an album devoted to Mieczyslaw Weinberg's Symphonies Nos. 2 and 21, released to tie in with the centenary of this neglected composer. Among its many accolades, it was named Gramophone's Recording of the Year and won Gražinyte-Tyla the Opus Klassik Conductor of the Year award. Now she continues her mission to broaden awareness of the Warsaw-born composer's music with Weinberg: Symphonies Nos. 3 & 7 and Flute Concerto No. 1. She is joined by The Deutsche Kammerphilharmonie Bremen and soloist Kirill Gerstein for Symphony No. 7, and by the City of Birmingham Symphony Orchestra for the Flute Concerto – with soloist Marie-Christine Zupancic – and Symphony No. 3. Purchase the music (without talk) at:Weinberg: Symphonies 3 and 7 - Flute Concerto No. 1 (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Jess Gillam and trumpeter Alison Balsom are joined by a live audience at The Hay Festival to have a listening party of some of the music they love the most. Alison brings along one of their most beautiful tunes and outs herself as a Queen superfan, then shares the Miles Davis tune that brings her most joy. Meanwhile Jess shares an absolute banger by Piazzolla, an epic sax solo by Rachmaninov and a breathtaking performance by Nina Simone. Playlist: BACH: Brandenburg Concerto no.4 - 1st mvt (English Concert, Trevor Pinnock) DAVID BOWIE: Dollar Days (from Blackstar) MILES DAVIS: If I Were a Bell (Miles Davis Quintet) RACHMANINOV: Symphonic Dances, op. 45 - No.1 {Philadelphia Orchestra, Yannick Nezet-Seguin) PIAZZOLLA: Histoire du Tango: Night Club 1960 (Astoria) QUEEN: Love of my Life (from A Night at the Opera) NINA SIMONE: Stars (Live at the Montreux Jazz festival) STRAVINSKY: The Firebird - finale (City of Birmingham Symphony Orchestra, Simon Rattle)

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 audiences vanished. In this episode I'm chatting to Katherine Hunka, leader of the Irish Chamber Orchestra. Her bitter memory is of a career high she was unable to fully celebrate. Her sweet memory is the love that blossomed for her during this time and being able to be totally present for her two boys. The bittersweet was the experience of performing at her favourite festival, with her favourite people, with audiences apart and masked in rows like students in an exam hall. Katherine is leader of the Irish Chamber Orchestra since 2002 and regularly directs from the leader's chair. She has directed premieres with Irish composers Sam Perkin, Ian Wilson, Raymond Dean and John Kinsella, as well as performing concertos and chamber music with artists like Jörg Widmann, and Pekka Kuusisto. In 2020, she released her first solo CD recording with the ICO and received glowing reviews. In that year she also became Artistic Director of the Killaloe Music Festival. Her group “The Far Flung Trio” with accordionist Dermot Dunne and bassist Malachy Robinson spans repertoire from Bach to Klezmer. Katherine has guest led Manchester Camerata, the Scottish Chamber Orchestra, the Royal Scottish National Orchestra, and the City of Birmingham Symphony Orchestra. She has been guest soloist with the National Symphony Orchestra and the RTE Concert Orchestra. She is currently a lecturer at the MTU Cork School of Music and the Irish World Academy of Music. GET IN TOUCH WITH KATHERINE HUNKA/ICO || Piazzolla Vivaldi Schubert CD Instagram Facebook GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony CREDITS Thumbnail Art || Colm MacAthlaoith Writers || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland

Image: © Simon Fowler The Italian pianist Beatrice Rana joins Tom Service to discuss her immersion in Beethoven's late piano sonatas during Italy's lockdown, and her relationship with one of the most famous works in the canon – the composer's ‘Emperor' concerto. She reflects on how the circumstances of Chopin's life are articulated in his Scherzi, and on thanking audiences for being part of performances. With Robert Nathaniel Dett's Oratorio, The Ordering of Moses, receiving its first outing in the UK with the City of Birmingham Symphony Orchestra and Chorus on Wednesday, some 85 years after the live broadcast of its premiere at Carnegie Hall, Music Matters is joined by the conductor Joshua Weilerstein, soprano Nadine Benjamin and researcher, horn player, and conductor Dwight Pile-Gray to explore what Dett's music can tell us today. As Lindisfarne Castle welcomes back visitors after its winter recess, we speak to the sound artist Paul Rooney and cellist Gyða Valtýsdóttir about their collaboration on a new project, Song (After Nature) – a contemporary soundscape installation which will be heard throughout parts of the 16th-century stronghold. They reveal how the calls of Lindisfarne's resident grey seals provide the creative impetus for their work. We hear, too, from the scholar Hannah E. Collins about a frequent guest at the castle, Guilhermina Suggia, and the role the cellist played as a trailblazer for female performers in the early 20th century as well as the legacy she left. And, we speak to the pianist Lucy Parham and author Gillian Opstad, ahead of the launch of her new book Emma and Claude Debussy – The Biography of a Relationship, and learn more about the composer's marriage to one of the titans of early 20th-century Parisian life, Emma Bardac, and the role she played in supporting his creative output.

In May of 1937, R. Nathaniel Dett's oratorio “The Ordering of Moses” was premiered by the Cincinnati Symphony. The performance was carried live on national radio by NBC, but about 3/4's of the way through the piece, the broadcast was halted due to unspecified scheduling conflicts, the origins of which remain mysterious and highly speculated on. And since its premiere, The Ordering of Moses has been performed only a handful of times, and never, as far as I can tell, outside of the United States. Well, that is going to change this February, as I'll be conducting the UK premiere of the Oratorio with the City of Birmingham Symphony Orchestra and Chorus and soloists Rodrick Dixon, Chrystal Williams, and  Eric Greene. Today on the show I'm going to tell you all about Dett's remarkable story, his passionate advocacy for black folk music and spirituals, and the profoundly moving music that runs all the way through The Ordering of Moses. You won't regret jumping into this rarely heard and rarely talked about gem of a piece, so come join us!

A summer-themed programme …. …. even though Tim hates summer. How strange is that!! Playlist: 05 December 2021 – Janáček: Glagolitic Mass: I. Orchestral Introduction. City of Birmingham Symphony Orchestra/... LEARN MORE The post QOTN : Early summer appeared first on Queen of the Night.

Veronika Klírová is a flute player at the City of Birmingham Symphony Orchestra, a yoga teacher for musicians and a passionate performance wellbeing advocate. She completed her first yoga teacher training in Rishikesh, India in 2018 and has been teaching and further educating herself on this subject ever since. Through her business Musicians' Yoga with Veronika she helps professional musicians avoid injury and burnout so that they can enjoy sustainable careers staying connected to their love of music. She's delivered Musicians' Yoga sessions for the British Association of Performing Arts Medicine, the City of Birmingham Symphony Orchestra and Royal Birmingham Conservatoire. Website: musiciansyogawithveronika Facebook: MusiciansYogawithV & wellbeingformusicians

Matthew Bannister on Dr. Abdul Qadeer Khan, once described as the world's most dangerous man - but hailed as a hero in his native Pakistan for leading the country's development of nuclear weapons. Dr. R. Allen Gardner, the American ethologist who trained a chimpanzee to use sign language. Beresford King-Smith, who played a key backstage role in the success of the City of Birmingham Symphony Orchestra. And memories of the long life of Joyce Jackson who has died aged 107. Interviewed guest: Stephen Maddock OBE Interviewed guest: Mary Lee Jensvold Interviewed guest: Umer Farooq Interviewed guest: Gordon Corera Interviewed guest: Mary Lee Jensvold Interviewed guest: Sarah Allatt Archive clips used: DocsOnline, Nuclear Tango 26/05/2009; AP, Clinton condemns Pakistans Nuclear Tests 28/05/1998; Al Jazeera English, Abdul Qadeer Khan 10/10/2021; Geo News, Funeral prayers for Dr Abdul Qadeer Khan 10/10/2021; WGBH, BBC Horizon - Washoe the Chimp 04/11/1974; YouTube, Unidentified clip of Beatrix and Allen Gardner with Washoe the Chimp 13/02/2009; Sarah Allatt, Private interviews of Joyce Jackson 2021; BBC, Scrapbook for 1924 23/02/1955; British Pathé, Sir Alan Cobham shows how he will refuel in the air 1934; Inter-Pathé History, British Declaration of War 03/09/1939; BBC Radio 4, On The Town - Birmingham 02/01/1980; Central Television, Simon Rattle on the Record 1988.

Last week, I went to the University of Birmingham (UK) to learn about its MA Music: Choral Conducting pathway, celebrating its tenth anniversary this year. In the first part of this podcast, we'll hear from the course's director Simon Halsey. He talks about how the course was developed from his desire to pass on what he'd learnt from an extensive career as a choral conductor and director, specifically, training a choir to sing with an orchestra. This is the course's main focus - it's the only choral conducting course to be run with a major international orchestra: the City of Birmingham Symphony Orchestra. However, students are immersed in many genres of choral conducting throughout the degree. It's an intensive course but the students should leave with plenty of ideas about how to conduct choirs in their home countries or other capacities. Then we'll hear from four students on this year's course (2021/22), why they chose to specifically come to Birmingham, their ambitions and what attracts them to choral conducting. Simon Halsey occupies a unique position in classical music. He is the trusted advisor on choral singing to the world's greatest conductors, orchestras and choruses; as an ambassador for choral singing to amateurs of every age, ability and background he has led ground-breaking massed choral events, notably for New York's Lincoln Center. Making singing a central part of the world-class institutions with which he is associated, he has been instrumental in changing the level of symphonic singing across Europe. He holds positions across the UK and Europe as Choral Director of London Symphony Orchestra and Chorus, Chorus Director of City of Birmingham Symphony Orchestra Chorus, Artistic Director of Orfeó Català Choirs and Artistic Adviser of Palau de la Música, BarcelonaCreative Director for Choral Music and Projects at WDR Rundfunkchor, Conductor Laureate of Rundfunkchor Berlin and Professor and Director of Choral Activities at University of Birmingham. He is also a highly respected teacher and academic, nurturing the next generation of choral conductors on his post-graduate course in Birmingham and through masterclasses at Princeton, Yale and elsewhere. He holds four honorary doctorates from universities in the UK, and in 2011 Schott Music published his book and DVD on choral conducting, Chorleitung: Vom Konzept zum Konzert. Halsey's numerous awards include three Grammys for his recordings with the Rundfunkchor Berlin. He was made Commander of the British Empire in 2015, was awarded The Queen's Medal for Music in 2014, and received the Officer's Cross of the Order of Merit of the Federal Republic of Germany in 2011 in recognition of his outstanding contribution to choral music in Germany. Born in London, Simon Halsey sang in the choirs of New College, Oxford, and of King's College, Cambridge and studied conducting at the Royal College of Music in London. In 1987, he founded with Graham Vick the City of Birmingham Touring Opera. He was Chief Conductor of the Netherlands Radio Choir from 1997 to 2008 and Principal Conductor of the Northern Sinfonia's Choral Programme from 2004 to 2012. From 2001-2015 he led the Rundfunkchor Berlin (of which he is now Conductor Laureate); under his leadership the chorus gained a reputation internationally as one of the finest professional choral ensembles. Halsey also initiated innovative projects in unconventional venues and interdisciplinary formats. MA Music (Choral Conducting) students: Jonathan Hatley, Jonathan Lucas Wood, James Bate and Daniel Tíjaro. *Interview with the MA students recorded in the foyer of Birmingham University's Music Hub - edited transcript here: https://bit.ly/3mHZzLf. Interviews recorded on 4 October 2021; published 12 October 2021. --- Send in a voice message: https://anchor.fm/talking-classical-podcast/message

As Music Matters returns to the airwaves for the Autumn, and classical music emerges from Covid along with the rest of the world, Tom Service assesses the current state of play with musicians and industry leaders, and asks them how much has really changed in the last eighteen months and what the future holds. Gillian Moore, Director of Music at the Southbank Centre in London, and Roger Wright, Chief Executive of the newly-merged Britten Pears Arts in Suffolk, explain how they navigated the issues raised for their organisations by Covid restrictions, and what they take from these experiences moving forward. Freelance trumpeter Chris Cotter spoke to Music Matters last year about finding a new living from painting and decorating when his concerts dried up in lockdowns, and he updates Tom now on his return to live music. Soprano Juliet Fraser talks, too, about her adventures with the TC Helicon during lockdown and her experiences of returning to the stage. Tom Service also speaks to Igor Toronyi-Lalic, arts editor of the Spectator and director of the London Contemporary Music Festival, who points out what went wrong for classical music in its digital online ventures. To discuss the many issues raised by these experiences of the classical music world during the Covid era, Tom Service is joined by Jamie Njoku-Goodwin, Chief Executive of UK Music, Stephen Maddock, Chief Executive of the City of Birmingham Symphony Orchestra, and Sarah Willis, horn player with the Berlin Philharmonic. When the Taliban held power in Afghanistan in the late 1990s, they banned music and persecuted musicians. Two decades later as they regain control of the country, we speak the Director of Afghanistan's National Institute of Music, Dr. Ahmad Sarmast, about his fears of a clampdown on music by the new regime. We talk to the BBC reporter Yalda Hakim about the evolving situation inside the country and hear from Afghanistan's most famous pop-star, Aryana Sayeed, about why musicians' lives may be endangered as they become political targets. We speak, too, to Massood Sanjer, who's in charge of Afghanistan's Tolo TV network, and hear how the Taliban's disapproval of music affects their output.

Paula interviews world-renowned jazz guitarist and bassist, Fred Thelonius Baker.  Fred was a student at Birmingham School of Music (now Royal Birmingham Conservatoire) from 1979, and studied composition with Andrew Downes. Andrew went on to invite Fred to teach at Birmingham Conservatoire in 1989, which led to Fred being a major part of Andrew's new School of Composition and Creative Studies from the early 90s. Fred has been a permanent teacher/lecturer in accoustic and bass guitar there ever since. In the mid 90s, Andrew composed his Concerto for Guitar, Electric Bass Guitar and Strings for Fred playing Electric Bass with Simon Dinnigan playing Acoustic Guitar. They recorded it for CD in 1999 with string players from the City of Birmingham Symphony Orchestra. Fred and Simon also arranged Downes' Piano Sonatina, Movement 2 for Electric Bass and Acoustic Guitar and also recorded this for the CD. All of these works are played throughout the episode. More information on the works and the CD can be found here: https://www.andrewdownes.com/Soloists-with-Orchestra.html#GUITARSTRINGS Fred Thelonious Baker is a Jazz guitarist and bassist from the English village of Tibshelf, Derbyshire. Born in 1960, Fred was given a ukulele when he was four by his father. Indeed, Fred's parents were a major influence in the beginning of his musical journey. A year later, he was given his first guitar and went on to learn the Classical guitar. During his mid-teens, Fred also began an interest in the bass guitar, an instrument with which he has since become synonymous. After studying at Chesterfield College, Fred went on to study at Birmingham School of Music (now Conservatoire) where he gained a GBSM and ABSM in teaching and performance. Around this time, at the invitation of Sir John Dankworth and Cleo Laine, Fred began teaching at Wavendon All Music Summer School. Since then, Fred has taught and given masterclasses at many universities, music colleges and music Summer schools including Guildhall School of Music & Drama, Berkeley College of Music, USA, St Petersburg Conservatory, Russia, London Brunel, Huddersfield, Sheffield, and Derby Universities. Since 1989, he has been a permanent teacher/lecturer in acoustic and bass guitar at Birmingham Conservatoire. Fred has performed all over the world as a session musician and soloist with a variety of musicians and ensembles including Courtney Pine, Nigel Kennedy, Billy Cobham, the CBSO, Fairport Convention, Robert Wyatt, Harry Beckett, Horace Parlan, Soft Machine, John Etheridge, Pip Pyle, Ric Sanders, Karen Street, Joe Sachse, Tony Levin, Phil Bates, Clive Bunker, Elton Dean, Simon Dinnigan, Geoff Eales, Liam Genocky and Phil Miller. As both a jazz guitarist and bassist, Fred has appeared extensively on many recordings. "Spinal Tap" from his solo accoustic guitar CD, Life Suite, will be played on this episode. Fred is currently working on the legacy of the late Phil Miller: https://philmillerthelegacy.com  

Dirigieren ist eine Männer-Domäne. Doch immer mehr Frauen arbeiten mit dem Taktstock, nehmen Chefpositionen ein, gestalten Spielpläne, tragen institutionelle Verantwortung – wie die litauische Dirigentin Mirga Gražinyte-Tyla. Steht ihre Karriere für einen Strukturwandel im Klassik-Betrieb? Aufgewachsen ist Mirga Gražinyte-Tyla in einer Musikerfamilie, studiert hat sie unter anderem in Zürich, in Bern war sie Kapellmeisterin, und mit 29 Jahren gelingt ihr ein Coup: sie wird als erste Frau zur Chefdirigentin beim City of Birmingham Symphony Orchestra gewählt. Seither geht ihre Karriere steil bergauf. Was bedeutet es ihr, nicht nur Dirigentin, sondern Leiterin einer Institution zu sein? Was kann, was möchte sie im Klassik-Betrieb bewegen? Und welche Rolle spielen dabei Werke abseits des Klassik-Kanons?

We present conductor Mirga Gražinytė-Tyla and the City of Birmingham Symphony Orchestra's next installment of The British Project. This release marks the third chapter of the project, presenting works by Elgar and Vaughan Williams after last October's release of Britten's Sinfonia da Requiem. Which was followed earlier this year by a second installment, presenting the Symphonic Suite from Walton's opera Troilus and Cressida.Purchase the music (without talk) at:http://www.classicalsavings.com/store/p1377/Britten%3A_Sinfonia_da_Requiem.htmlYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

We catch up with Paul Jourdan, CEO & Co-Founder of Amati Global Investors. He outlines the macro picture, which has led Amati to increase exposure to global industrials, particularly ones that benefit from housebuilding and home improvements; he likes retail. He's avoiding travel and leisure. Inflation is a recuring theme which he feels is a major threat for investors. He outlines why he started the Strategic Metals Fund. We close on why he likes IPOs. It is peppered throughout with companies he's particularly excited about. As always do your own research on any stocks mentioned, these are NOT recommendations. 01:12 Paul's view on Covid-19 and where we're headed from here. 04:17 What's actions has Paul taken with his funds to plan for today's threats 06:35 Dunelm (DNLM) 07:15 Has CV19 increased the attraction of Biotech and Meditech? What companies in the sector is Paul most excited about? 09:54 Polarean Imaging (POLX) 13:12 Renalytix (RENX) 15:43 Current valuations 18:17 Do you feel any companies in the funds are a likely potential bid candidate? 20:33 Grainger (GRI) 21:55 Inflation, monetarism (Professor Tim Congdon: https://mv-pt.org/) and QE. 29:10 Why did Amati launch the Strategic Metals Fund? 35:24 What company are you most excited by? Saietta (SED) 44:19 What draws you to IPOs? And which do you particularly like? 45:33 Victorian Plumbing (VIC) 48:39 AlphaWave Ip (AWE) Find out more about Paul Jourdan and the Amarti Global Investors funds: https://amatiglobal.com/ About Paul Jourdan: Dr Paul Jourdan co-founded Amati Global Investors following the management buyout of Noble Fund Managers from Noble Group in January 2010, having joined Noble in 2007 as Head of Equities. His fund management career began in 1998 with Stewart Ivory, where he gained experience in UK, emerging market, and global equities. In 2000, Stewart Ivory was taken over by First State and Paul became manager of what is now TB Amati UK Smaller Companies Fund. In 2004, he was appointed Head of UK Equities at First State. In early 2005, he launched Amati VCT plc and he also manages Amati VCT 2 after the investment management contract moved to Amati Global Investors in 2010 (In 2018 Amati VCT merged into Amati VCT 2 which was then renamed Amati AIM VCT). Prior to 1998, Paul worked as a professional violinist, including a four-year period with the City of Birmingham Symphony Orchestra. He currently serves as a trustee of Clean Trade, a charity registered in England and Wales.

Find out how both the British Museum and the City of Birmingham Symphony Orchestra were able to both retain members and grow their potential membership bases throughout the pandemic to date. Senior Consultant at Prospectus, Matt Till, speaks with Claire Byfield, Membership Engagement Manager at The British Museum, and Eve Vines, Memberships and Appeals Manager at City of Birmingham Symphony Orchestra, about how they coped during the height of the pandemic, about increasing digital content and the opportunities this brought for new audiences, around the inclusion of less digitally-savvy members, and both their lessons learnt and plans as restrictions lift across the UK.

Tony Alcock is Double Bass Section Leader for the City of Birmingham Symphony Orchestra.  He has previously been Principal double bass of the Royal Philharmonic Orchestra in London and section leader with the BBC Now (Wales), BBC SSO (Scotland), Scottish Opera, and Co-Principal with the Halle.   We talk about all kinds of topics, including Tony’s path through the music world, what the pandemic has been like for him, getting into coaching, and much more.   Tony coaches people all over the world through Skype audio or video.  Check out his coaching site here, and be sure to subscribe to his YouTube Channel as well!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.     Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion theme music by Eric Hochberg

Für sein zweites Konzert am Dirigierpult des Gstaad Festival Orchestra – das er zum dritten Mal im Rahmen der Gstaad Conducting Academy leitet – widmet sich Jaap van Zweden der Sinfonie Nr. 4 von Brahms und dem Cellokonzert von Elgar, einem musikalischen Leckerbissen, dem keine Geringere als Sol Gabetta mit ihrem Spiel die nötige Intensität verleiht. Vielleicht waren Sie dabei, als die Cellistin bereits 2013 an der Seite von Andris Nelsons und des City of Birmingham Symphony Orchestra das von Jacqueline du Pré zu neuen Höhen geführte Werk im Festival-Zelt Gstaad erklingen liess. Seitdem hat ihr Spiel zweifellos an Tiefe gewonnen: Eine wesentliche Dimension, um den Dämmerschein der Partitur wiederzugeben, die im Sommer 1919 geschrieben wurde, als Elgar de facto seit 1914 nichts mehr komponiert hatte und sein Geist durch den Kriegswahnsinn ausgedörrt war.

I'm very exciting to have international violin soloist Leila Josefowicz on the show for the second time. Leila shares incredible wisdom in our conversation, including: Her outlook for how things are going to be like in the coming months How her recent incredible project at The Metropolitan Museum of Art unfolded, from where it originated to the vision coming to reality The significance of her performing Bach, and how she sees Bach as the music of infinite possibilities What she calls the performance headspace Thoughts about performance preparation and performance anxiety What having fun in performance means to her And many other wonderful musings !   This discussion is a window on the way artists like Leila approach a project - the power of the intention and the thoughtfulness they put behind each decision. How each aspect is carefully evaluated, weighed, and curated, and very angle crafted with care and love.   Partita   for Leila Josefowicz   Unseen in the field a sapling trembled naked. You touched   its slim trunk with flayed fingertips, tenderly and hard,   and it gave forth a cry, oh. Sun ran like water on line upon   line of buds. Bare, you stood, electric, head in this world,   feet planted. We heard what we never knew before. _________ Natania Rosenfeld Writer Independent Scholar Professor Emerita of English, Knox College     Frustrated with your playing?  Unsatisfied with you career?  Ready for a change? Whatever your challenge, you don't have to go at it alone, and I can help.  Visit www. https://www.mindoverfinger.com/workwithme to learn more and book your call and let's discuss how to get you from where you are to where you want to be!   THE MUSIC MASTERY EXPERIENCE will be back in June 2021!  This is my LIFE CHANGING, highly personalized group coaching program where I show you how to implement mindful & effective practice techniques, how to make them habits, and how to get RESULTS. Save your spot at http://www.mindoverfinger.com/mme and get access to some really cool bonuses!     MORE ABOUT LEILA JOSEFOWICZ: Website: https://www.leilajosefowicz.com/ YouTube: https://www.youtube.com/results?search_query=Leila+Josefowicz Facebook: https://www.facebook.com/LeilaBJo Leila Josefowicz at the The Metropolitan Museum of Art: The Condo Concerts: Fred Sherry String Quartet: In Performance: Leila Josefowicz at Hauser & Wirth  Leila's first conversation on the Mind Over Finger Podcast: Episode 82 - The Art of Authentic Music Making Biography Leila Josefowicz's passionate advocacy of contemporary music for the violin is reflected in her diverse programmes and enthusiasm for performing new works. In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life. Highlights of Josefowicz's 2019/20 season include opening the London Symphony Orchestra's season with Sir Simon Rattle and returning to San Francisco Symphony with the incoming Music Director Esa-Pekka Salonen to perform his Violin Concerto. Further engagements include concerts with Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, Orchestre de la Suisse Romande, Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra and the Cleveland and Philadelphia orchestras, where she will be working with conductors at the highest level, including Susanna Mälkki, Matthias Pintscher and John Adams.   A favourite of living composers, Josefowicz has premiered many concertos, including those by Colin Matthews, Steven Mackey and Esa-Pekka Salonen, all written specially for her. This season, she will perform the UK premiere of Helen Grime's Violin Concerto with the BBC Symphony Orchestra and Dalia Stasevska. Other recent premieres include John Adams'Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) in 2015 with the New York Philharmonic and Alan Gilbert, and Luca Francesconi's Duende – The Dark Notes in 2014 with Swedish Radio Symphony Orchestra and Susanna Mälkki. Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various concerti, including his violin concerto, together over 30 times. Alongside pianist John Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has performed recitals at world-renowned venues such as New York's Zankel Hall, Washington DC's Kennedy Center and London's Wigmore Hall, as well as in Reykjavik, Chicago, San Francisco and Santa Barbara. This season, they appear together at Washington DC's Library of Congress, New York's Park Avenue Armory and Amherst College. She will also join Thomas Adès in recital to perform the world premiere of his new violin and piano work at Fondation Louis Vuitton in Paris and the Japanese premiere at the Tokyo Opera City Cultural Foundation. Recent highlights include engagements with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Washington's National Symphony Orchestra, Tonhalle-Orchester Zürich and Boston and Finnish Radio symphony orchestras. In summer 2019, Josefowicz took part in a special collaboration between Los Angeles Philharmonic, the Royal Ballet, and Company Wayne McGregor featuring the music of composer-conductor Thomas Adès. Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal and Warner Classics and was featured on Touch Press's acclaimed iPadapp, The Orchestra. Her latest recording, released in 2019, features Bernd Alois Zimmermann's Violin Concerto with the Finnish Radio Symphony Orchestra conducted byHannu Lintu. She has previously received nominations for Grammy Awards for her recordings of Scheherazade.2 with the St Louis Symphony conducted by David Robertson, and Esa-Pekka Salonen's Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer.     Join the Mind Over Finger Tribe for access to my weekly live videos and to exchange with a community of like-minded musicians   Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome.  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights.   If you enjoy the show, leave a review on Apple Podcast or your favorite podcast provider!  I genuinely appreciate your support!     THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for you! Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to Susan Blackwell for the introduction!  You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home.   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Play;Write is a podcast about creating and sharing new ways to play. We workshop seedlings of ideas for video games in hopes of coming up with something timeless. It's not just about us, though! Join in the conversation! Pitch your own game ideas to be read and explored on air on our website at www.playwritecast.com, tweet us @playwritecast, or email us at playwritecast@gmail.com.In this episode of the podcast, Ryan Hamann (@InsrtCoins) and Ryan Quintal (@ryanquintal) guide a streamer through their game, bump each other off of a flat world, and conduct classical music. The community pitch was submitted by The City of Birmingham Symphony Orchestra.Our theme song is "Hello World." by PROTODOME from the album BLUENOISE.

Originally from Australia, Jeremy Watt spent 16 years freelancing through the UK and Europe, including stints as guest principal in Spanish, Norwegian and UK orchestras. Jeremy worked extensively with the UK’s finest ensembles, including the Philharmonia and London Symphony Orchestras.  In 2018, Jeremy obtained a permanent position with the City of Birmingham Symphony Orchestra. During the pandemic, Jeremy carved out time from his frenetic schedule of pandemic-induced childcare to record himself playing all the parts of Colin Brumby’s Suite for Four Basses.  This turned out to be a surprisingly satisfying musical outlet for him. We talk about this pandemic project, Jeremy’s background, the twists and turns of his career, what it’s like auditioning after 16 years of freelancing, and much more. Enjoy, and be sure to check out Jeremy’s website and his recording of the Brumby Suite!   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass!   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Practizma - The Practizma practice journal is packed with research based strategies to turn your ho-hum practice into extraordinary practice.  Develop your curiosity, discipline, creativity, daring, tenacity and zen.  Take a journey with four elements each week: goal setting, reflection prompt, action challenge, and journal pages to track your practice.  Curious? Download the introductory chapter of the journal for free - this gives you an idea of what it's all about.   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.     Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging theme music by Eric Hochberg

I'm very excited to have world-renowned violinist Leila Josefowicz on the show for you today! As you'll hear in our discussion, Leila is a profoundly passionate and dedicated musician who approaches her craft with great depth and she shares incredible wisdom with us. Among many things, Leila elaborates on: The power of memorization What the “practice of violin playing” means to her How exploring new repertoire helped her transition out of her “child prodigy” years Her advice to all musicians suffering from lack of motivation The importance of desire and dedication in the cultivation of talent How our need to feel comfortable while performing is counterproductive Vivid mindful practice This is a particularly powerful conversation, and I know you'll find inspiration and incredible value in this episode.   MORE ABOUT LEILA JOSEFOWICZ: Website: https://www.leilajosefowicz.com/ Facebook: https://www.facebook.com/LeilaBJo   Find all the details for Leila's World Premiere performance of ‘la linea evocativa. un disegno per violino solo' by Matthias Pintscher HERE. On the occasion of ‘George Condo. Internal Riot' we are honored to host classical violinist Leila Josefowicz in the gallery to perform a new piece of original music in response to ‘George Condo. Internal Riot,' an exhibition of the artist's new paintings and works on paper that runs through 23 January 2021 at Hauser & Wirth New York. ‘Music is such a huge part of my life, without it I don't know if I'd ever have painted anything. There are so many great pieces of music that have inspired me to paint…My favorite thing is to put on a record in the studio and to still be painting without noticing the fact that the music has stopped playing for hours and is just running through my head.'–George Condo The performance comes at an incredibly challenging time for professional musicians. Condo is deeply aware of the adversity they face, and this specially organized event signifies his support for live music and for new ways in which it can reach people. Join us on Friday 20 November 2020 11 am PST / 2 pm EST / 7 pm GMT.  Click here to register. The performance will be streaming live from New York City on hauserwirth.com     Leila's last Pre-Covid performance in Prague, Performing the Alban Berg Violin Concerto with the Prague Radio Symphony Orchestra:  https://prso.czechradio.eu/leila-josefowicz-and-prso-8179758   Biography Leila Josefowicz's passionate advocacy of contemporary music for the violin is reflected in her diverse programmes and enthusiasm for performing new works. In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life. Highlights of Josefowicz's 2019/20 season include opening the London Symphony Orchestra's season with Sir Simon Rattle and returning to San Francisco Symphony with the incoming Music Director Esa-Pekka Salonen to perform his Violin Concerto. Further engagements include concerts with Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, Orchestre de la Suisse Romande, Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra and the Cleveland and Philadelphia orchestras, where she will be working with conductors at the highest level, including Susanna Mälkki, Matthias Pintscher and John Adams.   A favourite of living composers, Josefowicz has premiered many concertos, including those by Colin Matthews, Steven Mackey and Esa-Pekka Salonen, all written specially for her. This season, she will perform the UK premiere of Helen Grime's Violin Concerto with the BBC Symphony Orchestra and Dalia Stasevska. Other recent premieres include John Adams'Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) in 2015 with the New York Philharmonic and Alan Gilbert, and Luca Francesconi's Duende – The Dark Notes in 2014 with Swedish Radio Symphony Orchestra and Susanna Mälkki. Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various concerti, including his violin concerto, together over 30 times. Alongside pianist John Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has performed recitals at world-renowned venues such as New York's Zankel Hall, Washington DC's Kennedy Center and London's Wigmore Hall, as well as in Reykjavik, Chicago, San Francisco and Santa Barbara. This season, they appear together at Washington DC's Library of Congress, New York's Park Avenue Armory and Amherst College. She will also join Thomas Adès in recital to perform the world premiere of his new violin and piano work at Fondation Louis Vuitton in Paris and the Japanese premiere at the Tokyo Opera City Cultural Foundation. Recent highlights include engagements with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Washington's National Symphony Orchestra, Tonhalle-Orchester Zürich and Boston and Finnish Radio symphony orchestras. In summer 2019, Josefowicz took part in a special collaboration between Los Angeles Philharmonic, the Royal Ballet, and Company Wayne McGregor featuring the music of composer-conductor Thomas Adès. Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal and Warner Classics and was featured on Touch Press's acclaimed iPadapp, The Orchestra. Her latest recording, released in 2019, features Bernd Alois Zimmermann's Violin Concerto with the Finnish Radio Symphony Orchestra conducted byHannu Lintu. She has previously received nominations for Grammy Awards for her recordings of Scheherazade.2 with the St Louis Symphony conducted by David Robertson, and Esa-Pekka Salonen's Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome.  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights. You can check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday by visiting: www.mindoverfinger.com/resources!   And click here for details on how to work with me: https://www.mindoverfinger.com/workwithdrg   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing!   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to Susan Blackwell for the introduction!  You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Smoke'em If You Got'em written by Tim HansonOriginally published in Coffin Bell Volume 2 Issue No. 4 Read by Tim HansonSound design by Kenny MeyerMusic sampled from Gernot Wolfgang's String Theory performed by New Hollywood String Quartet and Olivier Messiaen's Quatuor pour la fin du temps performed by City of Birmingham Symphony Orchestra.

This video can be seen at: https://www.piworld.co.uk/2020/11/06/piworld-interview-an-hour-with-paul-jourdan/   A fabulous hour with Paul Jourdan, CEO and Co-Founder of Amati Global Investors. We get a real sense of his investing rationale and thinking. Paul talks about where he sees market opportunities. How Amati dealt with CV19. Companies he thinks are interesting. What he's learned from mistakes. Particularly thought provoking, his comment, it's not the losers that cost investors, but the expense of missing the great opportunities where you miss a multiple of what you invested. Paul's background – 00:50 Paul/Amati's performance - 03:15 How do you spot companies at such an early stage?- 06:30 Those that didn't work out? - 14:30 GB Group (GBG) - 16:33 Where we're at in the current Industrial Revolution? - 17:15 Expertise required for bio tech? - 24:18 Polarean Imaging (POLX) - 26:39 How did you respond to CV19? - 29:43 Dart Group/Jet2 - 33:43 Renalytix AI (RENX) - 36:29 Maxcyte (MXCT) – 42.54 Q&A Eqtec (EQT) - 45:57  The hydrogen industry - 50 :47 Value versus growth stocks - 54:28   About Paul Jourdan: Dr Paul Jourdan co-founded Amati Global Investors following the management buyout of Noble Fund Managers from Noble Group in January 2010, having joined Noble in 2007 as Head of Equities. His fund management career began in 1998 with Stewart Ivory, where he gained experience in UK, emerging market, and global equities. In 2000, Stewart Ivory was taken over by First State and Paul became manager of what is now TB Amati UK Smaller Companies Fund. In 2004, he was appointed Head of UK Equities at First State. In early 2005, he launched Amati VCT plc and he also manages Amati VCT 2 after the investment management contract moved to Amati Global Investors in 2010 (In 2018 Amati VCT merged into Amati VCT 2 which was then renamed Amati AIM VCT). Prior to 1998, Paul worked as a professional violinist, including a four-year period with the City of Birmingham Symphony Orchestra. He currently serves as a Director of Sistema Scotland and Clean Trade, both of which are UK registered charities.  

HARLINGEN, Texas - James Whale’s film classic from 1931, Frankenstein, starring Boris Karloff, was released without a musical score.This was the case for many films in the early days of the “talkies.”However, in the case of Frankenstein, composer Michael Shapiro wrote a 70-minute score to be played simultaneously with a screening of the movie. Shapiro was commissioned to do so in 2002 by the Boris Koutzen Foundation. It has received over 50 performances worldwide.The overture of the full orchestral version was recorded by the City of Birmingham Symphony Orchestra in the United Kingdom.Here is my interview with Shapiro about his Frankenstein musical score.

Composer & Conductor Michael Shapiro speaking about "Frankenstein: The Movie Score", a through-composed symphonic score to accompany, in live performance, screenings of the 1931 film "Frankenstein" directed by James Whale & featuring Boris Karloff. The Overture has recently been released on a recording with Shapiro's Second Symphony performed by the City of Birmingham Symphony Orchestra under the composer's direction. www.michaelshapiro.com

Frances speaks to actor/director Richard Bunn.They discuss weird day jobs, how to stay creative on the side, and money saving tips. Plus, Richard shares his love of Rick Astley!Richard Bunn is an actor and director based in Hertfordshire and London. He studied Acting at The University of Northampton and has carved a successful career as an actor and educational practitioner. He has directed three productions for the Shakespeare Birthplace Trust and is an Associate Member of AlterEgo Creative Solutions. In 2015 he co-created a show about Shakespeare which was accompanied by the City of Birmingham Symphony Orchestra and he has performed Shakespeare in Russia, Iceland and all over the UK. Artwork by Yasemin Gava Music by Dave Golbraich See acast.com/privacy for privacy and opt-out information.

durée : 01:29:27 - Le CBSO et Simon Rattle : la musique en fête à Birmingham (1/5) - par : François-Xavier Szymczak - Les anglophones l’appellent CBSO (City of Birmingham Symphony Orchestra), et le 5 septembre 1920 Sir Edward Elgar dirigeait le tout premier concert de cette formation à laquelle nous consacrons cette semaine d’Arabesques. - réalisé par : Céline Parfenoff

Radha, la compagne du dieu hindou, a donné son nom au domaine Radhadesh où réside la principale communauté des krishnas en Belgique. A travers sa propre expérience, l'auteur nous invite à une réflexion sur le sens que peut avoir la spiritualité aujourd'hui. Au juste, c'est quoi, la spiritualité? Un documentaire sur le cheminement et la recherche de sens. En cours de route, et avec une certaine dose d'humour, l'auditeur croisera un responsable de la communauté krishna, des anciens membres, un ami d'enfance ayant vécu dans des sectes, les excès des années quatre-vingt. --- Réalisation : Vincent Matyn-Wallecan Mixage : Maxime Coton Avec un échantillon de "atrocity exhibition" par Joy division - factory records 1981 et de "Der abschied", extrait de: "Das lied von der erde" (le chant de la terre) de Gustav Mahler, par le city of Birmingham Symphony Orchestra, conduit par Simon Rattle. Remerciements : Les participant·es La communauté des Krishnas ; Ridaya Caytania, Rudradeva Das, Nadya behari, Kamala Dasi et Bhakta Patrick. L'ami : Laurent Point Les ancien·nes membres : David Gorey et Liliane Gorey, Christian Avec l'aide du service des archives de la rtbf (Mme Nadin et Mr. Parent) Aide technique et amicale : Clémentine Delahaut, Alexia Basylevski, Carine Van herps Ecoute et amitié : Donya Feki, Lucia Wainberg, Stefan Piat, Chloé Despax, Carmelo Ianuzzo à Maxime Coton et Alfredo Zenoni Production  : l'acsr avec le soutien du FACR de la Fédération Wallonie-Bruxelles

We will be discussing arts sponsorship more generally but also the challenges and opportunities presented by the COVID19 pandemic. We are delighted to be joined by Charlotte Appleyard Director of Development and Business Innovation at Royal Academy of Arts, Simon Fairclough Director of Development at City of Birmingham Symphony Orchestra, and Diana Williams fund-raising, sponsorship and project management consultant currently serving on the boards of The Collective in Edinburgh and the Association for Visual Arts in Cape Town. Hosted by Henry Southern. We will cover these key areas: Individual giving Corporate fundraising Trusts and Foundations Statutory funding New Business Initiatives   Use #theculturebar or follow us on Twitter @_TheCultureBar to keep up with our latest releases

Some of the topics we explore this week – needing to look to part to get the part and how important 'non controllables' are to whether you land a role in acting (e.g. height, hair colour, eye colour), juggling 8 shows a week in a West End production with motherhood, the stresses and strains of failure that build up resilience, the issue of youngsters not having exposure to that in today's social media reality and how self-assurance not cockiness is the way to success. In November 2009 Kirsty won the TMA Award for Best Supporting Performance in a musical for playing Young Viv in Spend Spend Spend at the Watermill Theatre, directed by Craig Revel Horwood; the production went on to tour nationally in 2010. Other work includes The Secret Diary of Adrian Mole, The Three Musketeers, Arthur and George, HMS Pinafore, The Ghosts of Ruddigore and The Burglar's Opera for Opera Della Luna (Covent Garden Festival, National Tour), The Wizard of Oz, Peter Pan, King Cotton, Jerry Springer the Opera, Ken Hill's Phantom of the Opera, The Beggar's Opera, Sweeney Todd, Nunsense and Barnum and the 25th Anniversary Production of Side By Side By Sondheim. She has also performed as a lead vocalist in concerts and cabarets throughout the UK and abroad, most recently soloist with the City of Birmingham Symphony Orchestra and at the Leeds Castle Classical Prom.Kirsty also works as a session vocalist. She has recorded vocals for Warner Chappell, Disney, Sony and for numerous feature films including Mary Poppins Returns.  For more from me and to hear about upcoming guests go toInstagram: www.instagram.com/fiona_murdenTwitter: https://twitter.com/fionamurdenFacebook: https://facebook.com/fionamurden And for my latest book (out July 7th UK) Mirror Thinking How Role Models Make Us Human go to:https://bit.ly/MirrThinkhttps://amzn.to/2yKpf4j

A nosy trombonist (Melissa Brown) chats to other brass professionals about their careers, how they got there and what music they'd happily put in the bin. In this episode our first French horn guest, Elspeth Dutch tells us about how her musical career started with a violin, about her job with the City of Birmingham Symphony Orchestra and what she'd play if she didn't play the horn. All episodes recorded during COVID-19 lockdown via video call programmes. There are occasional technical glitches - please bear with us! Facebook: Bold as Brass Podcast Instagram: @boldasbrasspodcast Submit Q&A questions via Facebook, Instagram and LibSyn! Show artwork: Stuart Crane Music credit: Upbeat Forever by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5011-upbeat-forever License: http://creativecommons.org/licenses/by/4.0/

Gramophone has been making an Orchestra of the Year Award since 2018 when it was given to the Seattle Symphony (last year the Award went to the Hong Kong Philharmonic). This year the voting is open and we offer ten ensembles for you to consider. Each has struck us for the dynamism, imagination and style of its collaborations with its conductors on record. This week Gramophone's Editor-in-Chief James Jolly is joined by Gramophone critic and broadcaster Rob Cowan to discuss the Philadelphia Orchestra, Los Angeles Philharmonic, City of Birmingham Symphony Orchestra, BBC Symphony Orchestra and the Orchestre National de Lille. Listen to each of the orchestra's exclusive playlist on Gramophone's curator page at Apple Music, as well as a dynamic playlist embracing all 10 ensembles (which is regularly updated). Then, when you are ready, head off to vote at gramophone.co.uk

Jess Gillam meets with London based Australian mezzo-soprano Lotte Betts-Dean for virtual lockdown listening party, in which they are raving to Rachmaninov, marvelling over the voices of Cape Verde’s barefoot diva and Radiohead’s Thom Yorke, whilst also enjoying the other worldly dream pop of Cocteau Twins and Mahler’s humongous ‘Symphony of a Thousand’. Playlist: Rachmaninov - Rhapsody on a Theme of Paganini (Nikolai Lugansky, City of Birmingham Symphony Orchestra, Sakari Oramo) Cesária Évora – Sodade Louis Andriessen - M is for Man, Music, Mozart: Einstein song Schubert – String Quintet in C Major, D.956; I. Allegro ma non toppo (Alban Berg Quartett, Heinrich Schiff) Thom Yorke - Suspirium Tobias Hume (d.1645) - The Earle of Salisbury's Favoret ‘Sweet Musicke’ (Jordi Savall, Hespérion XXI) Cocteau Twins – Blue Bell Knoll Mahler – Symphony No. 8 in E-Flat Major – ‘Symphony of a Thousand’ Part 1 (Berlin Philharmonic, Claudio Abbado)

In this episode, we'll be hearing from Michael Seal, Associate Conductor of the City of Birmingham Symphony Orchestra, and now, podcaster. Michael has been creating a new podcast over the lockdown period called A Mic on the Podium. This is a series of fascinating conversations with his conductor colleagues, in which they openly discuss their journey into music, the art of conducting and their experiences of the profession. Check it out! We discuss the inspiration behind Michael's podcast and what he's been doing during this free time. We also learn about his background as a violinist and conductor, and hear some of his thoughts on the craft of conducting. Michael offers some really useful advice to young conductors towards the end of this discussion. Many thanks to Michael for talking especially for this podcast! Published 7th July 2020; interview recorded 12th June 2020. michaelseal.com amiconthepodium.podbean.com Michael Seal is the Associate Conductor of the City of Birmingham Symphony Orchestra (CBSO), a unique appointment which recognises his work as Assistant Conductor, and the special relationship he has built with the orchestra. His in-depth knowledge of orchestras from an insider's position (he was a violinist with the CBSO early in his career) gives him a unique perspective and he quickly builds rapport and trust with the orchestras he works with. His energy and enthusiasm are infectious and he has built a reputation for outstanding results, delivered with great charm and often on a typically British tight rehearsal schedule. Michael has worked with many of the UK's finest orchestras, frequently being invited as guest conductor with the BBC orchestras and Royal Liverpool Philharmonic orchestras, as well as the Academy of St.Martin in the Fields, Bournemouth Symphony Orchestra, Royal Philharmonic Orchestra, Royal Scottish National Orchestra, London Philharmonic Orchestra and Ulster Orchestra. Internationally, he has conducted the Brussels Philharmonic, Frankfurt Radio Symphony Orchestra, KBS Symphony Orchestra, Norwegian Radio Orchestra, Odense Symphony Orchestra, Joensuu City Orchestra, Orquesta Académica del Instituto Superior de Arte del Teatro Colón, Orquesta Filarmónica de Buenos Aires and both RTÉ Concert and National Symphony Orchestras. Michael has a special bond with the CBSO Youth Orchestra, conducting them on numerous occasions, and being involved with them since their foundation. His love of opera led to critically acclaimed performances of Puccini’s Il Trittico at the Birmingham Conservatoire. He has also assisted both Sakari Oramo and Andris Nelsons in opera performances of Peter Grimes, Carmen, Der Rosenkavalier, Lohengrin, Tristan & Isolde and The Flying Dutchman. He recently made his debut with the Malaysian Philharmonic, Trondheim Symphony and WDR Funkhausorchester, as well as returning to RLPO, LPO, RSNO, Buenos Aires Philharmonic and Bournemouth Symphony Orchestras. He will also play an integral role in celebrating the 100th birthday of the CBSO in 2020/21.

durée : 01:58:43 - Voyage à Vienne et à Salzbourg - par : Frédéric Lodéon - Schubert par le City of Birmingham Symphony Orchestra dirigé par Edward Gardner. Mozart par Jean-Efflam Bavouzet, Gabor Takacs-Nagy et la Manchester Camerata (Chandos). Beethoven par Renaud et Gautier Capuçon avec Frank Braley (Erato) - réalisé par : Sophie Pichon

An interview with rising young countertenor Patrick Terry, who will be performing in Handel’s oratorio Susanna at the Royal Opera House in early March. Many thanks to Patrick for taking time out of a full day of rehearsals to talk, and the Press & Communications Team at the Royal Opera House for initiating and organising this interview! Published 3rd March 2020; interview recorded 8th February 2020. Winner of the Loveday Song Prize at the 2017 Kathleen Ferrier Awards, Second Prize at the 2019 Handel Singing Competition and a Samling Artist, Patrick Terry was born and raised in Janesville, Wisconsin. He earned his Bachelor’s of Music from the University of Minnesota – Twin Cities, where he studied with Adriana Zabala, and graduated from London’s Royal Academy of Music, where he studied with Caitlin Hulcup and Michael Chance on the Opera Course with generous support from the Josephine Baker Trust and the John J Adams Scholarship, in Summer 2018. Selected for the 2018 Leeds Lieder Young Artists Festival, further competition success has included Second Prize at the 2019 Handel Singing Competition, Second Prize at the 2015 Joan Chissell Schumann Lieder Competition, winning the 2014 Maureen Lehane Vocal Award and winning the 2017 Richard Lewis / Jean Shanks Award. For Royal Academy Opera, he sang The Refugee Flight and Ruggiero Alcina. Operatic engagements have included The Boy / Angel 1 Written On Skin with the Melos Sinfonia, Oberon A Midsummer Night’s Dream for Chicago Summer Opera, Rosencrantz in Brett Dean’s Hamlet for Glyndebourne On Tour and the title role in Teseo with La Nuova Musica at the 2018 London Handel Festival. Concert highlights have included a Wigmore Hall appearance with Imogen Cooper, whilst his broadcasts include In Tune for BBC Radio 3. Patrick Terry is a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden. During 2018 / 2019, he travelled to Japan to appear in Le Promesse (Gala Concert by Young Opera Singers Tomorrow of the World) at the New National Theatre, Tokyo, and sang Arsace Berenice and Artemis in Hans Werner Henze’s Phaedra at the Linbury Theatre. He also returned to the Wigmore Hall for Heroes and Villains, appeared in Beyond Jerusalem: The Life and Times of Sir Charles Hubert Parry at the London Song Festival, sang J. S. Bach Magnificat and Handel The Choice of Hercules with the London Handel Orchestra and Ruggiero Alcina with La Nuova Music and made his debut with Glyndebourne Festival Opera as Eustazio Rinaldo. His engagements this season include debuts with Music Theatre Wales as Serafino The Intelligence Park, at The Grange Festival as Oberon A Midsummer Night’s Dream, with Cologne Opera as Rosencrantz Hamlet, with the Early Opera Company as Arsamenes Serse and a return to the Royal Opera as Joacim Susanna Engagements during 2020 / 2021 include debuts with Opera North as Ruggiero Alcina, with Classical Opera as Farnace Mitridate, Rè di Ponto and with Irish National Opera as Andronicus in Vivaldi’s Bajazet. He will also take part in the world première of an Evolution Cantata by Brett Dean with the City of Birmingham Symphony Orchestra, which he will also sing with the Orchestre national de Lyon. Listen on SoundCloud, iTunes, Spotify, Acast, or wherever you get your podcasts. Facebook – @talkingclassicalpodcast Twitter – @tc_podcasts YouTube - bit.ly/2WF4duy Blog – talkingclassicalpodcast.wordpress.com

This podcast features an interview with tenor James Gilchrist, in which we discuss a variety of topics relating to being a singer: - psychology of performance, particularly, in somewhere like the Wigmore Hall where he was singing that evening. - the way audiences might perceive song recitals, and what performers can do to engage them regarding such perceptions. - the balance between what artists do on stage to communicate with their audience, e.g., how much is moving around or maintaining eye contact? - interpretation of narrative in lieder repertoire. - the challenges and privileges of being a medical doctor (which James initially started as), and making the transition to becoming a full-time professional performer. - comparing the experience of music college versus university. Many thanks to James for coming especially to London in the morning to record, as well as Tamsin Raitt and the staff at Wigmore Hall for arrangements for the interview! Podcast published on 13th February 2020; recorded on 8th February 2020 in the Gerald Moore Room, Wigmore Hall, London. James Gilchrist began his working life as a doctor, turning to a full-time career in music in 1996. His musical interest was fired at a young age, singing first as a chorister in the choir of New College, Oxford, and later as a choral scholar at King’s College, Cambridge. James’ extensive concert repertoire has seen him perform in major concert halls throughout the world. Bach’s Christmas Oratorio and the St John and Matthew Passions feature prominently in his schedule, and he is celebrated as perhaps the finest Evangelist of his generation. Recent engagements include Elijah in Goteborgs Symfoniker and Masaaki Suzuki, Handel’s Messiah with the Handel & Haydn Society in Boston, with Bernard Labadie, and Beethoven’s Missa Solemnis with Singapore Symphony Orchestra. In the 2019-20 season appearances include the role of Rev. Horace Adams Peter Grimes with Bergen Philharmonic Orchestra conducted by Edward Gardner in London and Norway, St Matthew Passion with City of Birmingham Symphony Orchestra conducted by Richard Egarr, and a tour of Europe with Bach Collegium Japan and Masaaki Suzuki. Listen and subscribe to the Talking Classical Podcast on SoundCloud, iTunes and Spotify. SoundCloud – @talkingclassicalpodcast Facebook – @talkingclassicalpodcast Twitter – @tc_podcasts YouTube - https://bit.ly/2WF4duy Blog – talkingclassicalpodcast.wordpress.com

I've long been fascinated with the classical music world, every since I was poleaxed by the City of Birmingham Symphony Orchestra under Simon Rattle. So it was always been an ambition of mine to sit down with a classical musician and get some perspective for the Lives in Music series. I owe a debt of gratitude to a great Birmingham muso, R. John Webb (aka Ryan Webb, late of Rhino and the Ranters), who suggested I talk to... Foxy. Foxy is a pal of his from Moseley, the proudly boho part of Brum.   'Foxy who?' I ask. 'Oh, I don't know his real name. But he's Classical' says Ryan.  'That can cover a lot of things. Which orchestra?' say I. 'Oh, the Rattle one' came the reply. That started my pursuit. In due course we met up in one of Moseley's nicer coffee joints and talked for hours. Clearly, I was being sized up. But in due course, Foxy, who will absolutely not tell me why he has that nickname, agreed to be interviewed. And the result is what you have here. Very precise detail is what Mark goes for.  We covered an enormous range of topics. But as always in this series, if you put forty or fifty years into your craft, then you have the stories and experience. The conversation gave me a chance to look at the life of a musician in a BIG outfit. Orchestras can run to 90 or more, so touring a band like that is a bit more than assembling a road crew. The logistics must be a nightmare.  The Prince of Wales in Moseley, Birmingham has played a considerable part in this podcast episode. The Prince is a Moseley musicians' watering hole, with a long history of live music, and in whose snug we captured most of the conversation. Mark made mention of a benefit which took place in 2005. This was for the legendary Steve Ajao, who is still playing now, and whose podcast episode is here. I am indebted to Reed Alan, who filmed part of the benefit performance, and who has kindly allowed me to embed a video clip in the companion blog post for this podcast episode. Head here to watch the clip of Foxy, some 15 years ago, live in the beer garden, playing for Steve.  The Lives in Music podcasts celebrates people who have spent a lifetime in music. They may be famous; they may be people who have spent their lives working in the background for the love of it. But they all have stories. The intro and outro music in this series comes from the great bass player Mike Hatton, who you can hear interviewed in series 1, here. 'Everything Changes' is included in his excellent 2019 album 'Bassic Salvation'.  Subscribe! Subscribe to the Podcast through your podcast host to automatically download each episode to your chosen device. These will then land with you first, before everyone else hears about it.  If you would prefer email updates each time a podcast episode (or blog post) is published, you can subscribe to the mailing list. Head here and scroll down to the signup form.    

„Ich bin mir sicher, dass Musik erstaunliche Dinge mit dem Gehirn anstellt. Aber am tollsten ist: der Spaß.“ Durch seinen Solo-Auftritt bei der Royal Wedding von Prinz Harry und Meghan Markle wurde der junge britische Cellist Sheku Kanneh-Mason im Mai 2018 weltbekannt. Und in Nottingham fährt nun ein Linien-Bus mit seinem Namen durch die Stadt. Kurz vor seinem Elbphilharmonie-Debüt mit Elgars Cellokonzert und dem City of Birmingham Symphony Orchestra erzählte Sheku Kanneh-Mason bei einem Gespräch in der Künstlergarderobe, wie sich sein Leben verändert hat.​

We're 10 episodes old! Happy days! This episode was brought to you amongst the chaos and logistics of organising chamber music rehearsals and concerts. Episode 10's guest is Margaret Cookhorn, principal contrabassoon of the City of Birmingham Symphony Orchestra.  We chat about life as a bassoonist - how it can take years to get your dream instrument, how practice is like Olympic training or saving to buy a house and how to get ahead with your reed-making (clue: husbands). As well as being the first contrabassoon soloist at the BBC Proms, Margaret is also a fellow BBC Radio 3 Time Traveller, so we chat about writing and working in radio. A comedy of errors involving mistaken genders, forgotten instruments, inclement weather and vehicular damage feature in this episode's Music College Didn't Prepare Me segment. Got a rando experience to share that music college didn't prepare you for?  Let me know: asitcomespodcast@gmail.com Like and follow the pod on Facebook and Instagram @asitcomespod Mentioned in this episode:www.margaretcookhorn.com@queencontra Musicians' Wellbeing online survey: tinyurl.com/musicianswellbeingsurveyMusicians' Weekend episode 8- interview with Simone Willis (skip to 25'08"): https://musicianweekend.podbean.com/e/episode-8-feat-simone-willis-phd-researcher-in-musicians-stress-and-well-being/

In this episode, Carlos answers the question "What is an orchestra's role in serving the community it is in?" In my journey to find out why musicians think classical music is relevant and important, Carlos' answer provides some important insight and wisdom as to why a community should care about having a symphony orchestra as part of it's culture.Mastering engineer - Brandon JochumCarlos' bio -Carlos Izcaray is Music Director of the Alabama Symphony Orchestra and of the American Youth Symphony. Praised by the international press as inspiring, spirited and conducting with nuanced sensitivity, he has appeared with numerous ensembles across five continents and is now firmly established as one of the leading conductors of his generation. Throughout his career Izcaray has shown special interest and prowess in tackling some of the most complex scores in the symphonic repertoire, while also championing a historically informed approach.On the symphonic platform he is leading ensembles such as the Pacific, St. Louis, North Carolina, Grand Rapids and Kitchener-Waterloo Symphonies, Los Angeles Chamber Orchestra, Chamber Orchestra of San Antonio, Fort Worth Symphony Orchestra, Orchester der Komischen Oper Berlin, Malmö Symfoniorkester, Filarmonica Arturo Toscanini, Orquestra Sinfónica do Porto Casa da Música, Orquesta Filarmónica de Bogotá, Orchestra Regionale dell’Emilia-Romagna, Orchestre de Chambre de Lausanne, Macedonian Philharmonic, Orquestra Sinfônica da Bahia, Kwazulu-Natal Philharmonic, National Symphony Orchestra of Colombia, Venezuela Symphony Orchestra, and Orquesta Sinfónica Municipal de Caracas, among others. Izcaray’s latest recording, ‘Through the Lens of Time’, featuring Max Richter’s Recomposed: Vivaldi’s Four Seasons with the City of Birmingham Symphony Orchestra and violinist Francisco Fullana, was released in March 2018 on the Orchid Classics label, and has garnered widespread attention and praise.Izcaray is equally at home with opera repertoire, receiving rave reviews for his performances at the Opera Theatre of Saint Louis, Utah Opera, Opera Omaha, International Opera Festival Alejandro Granda in Peru, and in particular at the Wexford Festival Opera, where he has led many productions since the opening of Ireland’s National Opera House. His 2010 performances of Virginia by Mercadante won the Best Opera prize at the Irish Theatre Awards.A strong believer of supporting the younger generations, Izcaray has worked extensively with the world’s top talents and leading music institutions, including his country’s own El Sistema. In 2014 he led a tour of the Filarmónica Joven de Colombia, and he has additionally worked with the Fundación Batuta, Neojiba in Brazil, London Schools Symphony Orchestra, and Cambridge University Music Society, where he has also taught conducting workshops. Following a project at the Interlochen Center for the Arts in summer 2015 he returned there for a performance with the World Youth Symphony Orchestra in 2017. Building on his passion for music education, he became the Music Director of the American Youth Symphony in autumn 2016.A distinguished instrumentalist himself, Izcaray has featured as concert soloist and chamber musician worldwide, and served as Principal Cello and Artistic President of the Venezuela Symphony Orchestra prior to dedicating his career fully to the podium. Increasingly active as a composer, Izcaray’s orchestral work Cota Mil was premiered by the Orquesta Sinfónica Municipal de Caracas. April 2018 saw the premiere of his Strike Fugaz by the American Youth Symphony, commissioned in association with the Human Rights Watch to commemorate, and celebrate, the campaign for worldwide social justice, equality and freedom - a cause for which Izcaray is a proud and committed advocate. Izcaray’s Cello Concerto receSupport the show (https://thatsnotspit.com/support/)

In the last programme of season, Tom Service is joined by composer Tansy Davies, theatre and opera director Adele Thomas, and the Chief Executive of the City of Birmingham Symphony Orchestra, Stephen Maddock to revisit some of the big issues that faced music and culture in the last year. They look at the impact that music has had on the environment, education, healthcare and as a beacon for social inclusion. Soprano, Renée Fleming is a champion for the work being done at the intersection of health and music. She has spearheaded the first ongoing collaboration between the John F. Kennedy Centre for the Performing Arts, where she is Artistic Director and America’s National Institutes of Health. Renée Fleming talks to Music Matters about how music can move and comfort the human spirit and about how scientists are now discovering that music can teach us a lot about the brain itself. And pianist, Stephen Hough talks to Tom about his new book Rough Ideas: Reflections on Music and More which he describes as his notebook and is a lifetime’s worth of his thoughts on life in music.

Drawing influences from sources as diverse as Virginia Woolf, fractal geometry, and the theater, discovery is the catalyst for composer Katherine Balch's creativity, and her music is a deeply personal expression of the wonderment she feels in experiencing the new. Thomasina Coverly, a precocious 13-year-old character in Tom Stoppard’s play Arcadia, breezes through her geometry exercises, but she is disappointed by the limitations of traditional geometry to map an equation for an apple leaf, so she invents a new geometric system to map the intricacies of nature. Katherine Balch’s New Geometry is inspired by the awe and drive for discovery that Thomasina feels when she sees the apple leaf, and the music explodes that image onto a rich canvas of sound. In this episode, Balch shares how her deep love of Arcadia and science become a piece of music, and we also hear from physicist Matthew Deady about the natural phenomena that come to vivid life in New Geometry. Actors Hannah Mitchell and Lee Osorio contribute readings of segments from Arcadia. Music in this episode: — Katherine Balch: New Geometry (2015, rev. 2017) — Contemporaneous — Katherine Balch: from Responding to the Waves (2017): I. Chrysalis — Michiko Theurer, violin — Keith Jarrett: from The Köln Concert (1975): Part IIb — Brad Mehldau: Anything Goes (2004) — György Ligeti: Étude 14: Coloana infinita (1994) — Pierre-Laurent Aimard, piano — Katherine Balch: Thread Unfurled (2016) — Zach Sheets, flute & Wei-Han Wu, piano — Katherine Balch: from Phrases (2017): III. and IV. — Departure Duo — Franz Schubert: 36 Originaltänze, D 365, Op. 9, "Erste Walzer": No. 2 in A-flat, "Trauerwalzer" or "Sehnsuchtswalzer" — Paolo Bordoni, piano — Thomas Adès: from Asyla (1997): III. Ecstasio — City of Birmingham Symphony Orchestra & Simon Rattle, conductor — Katherine Balch: Leaf Catalogue (2015) — Yale Philharmonia & Heejung Park, conductor — Katherine Balch: With Each Breathing (2015) — FLUX Quartet — Per Nørgård: from Voyage Into the Golden Screen (1968): II. — Copenhagen Philharmonic & Giordano Bellincampi, conductor — Katherine Balch: off hesperus (2017) — Christophe Desjardins, viola — Johann Sebastian Bach: from Partita for Violin No. 2 (1720): Ciaccona, with Just Intonation — Josh Modney, violin

I Marc-André Hamelins fingrar gömmer sig hela pianolitteraturen. Han har kallats sin landsman Glenn Goulds ende värdige arvtagare. Bland Marc-André Hamelins många inspelningar i eget namn finns en rad rosade och prisbelönta skivor med verk av till exempel Stravinskij, Rachmaninov, Mozart, Sjostakovitj, Debussy, Korngold, Skrijabin, Liszt, Reger, Stauss, Chopin, Leonard Bernstein, Robert Schumann, Janácek, Haydn och Brahms. Men Hamelin är även en av de mest spännande och modiga pianisterna som har gjort till sin passion att ur musikhistorien lyfta fram stora men udda tonsättare som hamnat i skuggan av mer spelade och säkrare kort. Som Charles-Valentin Alkan, Ferruccio Busoni, Joseph Marx, William Bolcom, Nikolaj Medtner och Gyorgy Catoire. År 2000 erövrade Hamelin en Grammy Award för sin kompletta utgåva av Leopold Godowskys virtuosa arrangemang av Chopinetyder. Naturligtvis ingår Beethovens kompletta pianosonater i Marc-André Hamelins repertoar, men att försöka avsätta ännu en inspelning på en redan mättad marknad vore en villfarelse, anser han. Skivbolag som EMI, Deutsche Grammofon och Phillips ser sina skivor som färskvaror och rensar ut sina titlar ur sortimenten redan efter 3-4 månader. Därför har Marc-André valt skivbolaget Hyperion, som gett ut 19 av hans skivor. De ger honom total konstnärlig frihet att utveckla konsertrepertoaren. Men egna stycket Music Box spelade han in på danska skivbolaget Danacord Marc-André Hamelin ser hela den tillgängliga pianolitteraturen som ETT väsen. Han särskiljer inte mellan standardverk och okända verk. Det är inte alltid geniala verk har haft möjlighet att bli kända. Det kan bero på otur eller att noterna helt enkelt inte har funnits tillgänliga, menar Hamelin, som spelat in hela Alkan's Symfoni för solopiano. Den ingår i ett verkcykel, som det tar över två timmar att spela, och som även innehåller en tresatsig konsert, en ouvertyr, ett antal variationer och tre enkla solostycken.  Alkans Symfoni för solopiano är i samma klass som vad som helst från Chopins eller Robert Schumanns pennor. Det är Hamelins absoluta övertygelse. Ett djupt poetiskt, superbt strukturerat verk. -Jag full av beundran, säger han.  -Alkan är en genunit originell tänkare, säger Marc-André Hamelin. För mig är det ett mysterium att Paganinis virtuosa musik har överlevt, medan Alkans har fallit i glömska, trots att noterna publicerades. Ett svar kan vara att Alkan gick i kvav tidigt. Lämnade aldrig sitt hus. Gjorde ingenting för att musiken skulle bli känd. I Alkans Symfoni för solopiano finner Hamelin alltid någon intressant harmonisk eller melodisk uppfinning. Med mycket SMÅ medel skapar tonsättaren en tragisk stämning. En storhet som inte står Schubert efter. Eller tonsättaren Leo Janacek med sin förmåga att, med några få toner, nå bråddjup, förklarar Hamelin. Men mitt i melankolin finns humorn. En rik och komplex musik som Hamelin attraheras av.       Låtlista:   Pianokvintett, Ess-dur, sats 1, Allegro Brillante Robert Schumann Marc-André Hamelin, The Leipzig String Quartet Liveinspelninga av Sveriges Radio, Malmö.   Music Box M-A Hamelin M-A Hamelin danacord DACOCD 559   Symphony for solo piano, Allegro Charles Valentine Alkan M-A Hamelin Hyperion CDA67218 Symphony for solo piano, Finale: Presto Charles Valentine Alkan M-A Hamelin Hyperion CDA67218   Fantasy i C-dur Robert Schumann M-A Hamelin   Complete Studies of Chopin's Etudes, Op 10 nr 12, Ciss-moll. For left hand. Leopold Godowsky M-A Hamelin Hyperion CDA67411/2   Piano Concerto in C-major, Op 39: III Pezzo serioso. Introductio och Prima Pars Ferruccio Busoni M-A Hamelin. The City of Birmingham Symphony Orchestra. Mark Elder, dirigent. Piano Concerto in C-major, Op 39: IV All' Italiana (Tarantella) Vivace Ferruccio Busoni M-A Hamelin. The City of Birmingham Symphony Orchestra. Mark Elder, dirigent.

Stephen Maddock OBE is the CEO of the City of Birmingham Symphony Orchestra. After 19 years as the CEO, you'd think there's not much Stephen hasn't seen but he explains the uncertainty of leading a world-class orchestra that relies on a mix of government funding (which has been slashed in the last few years), charitable donations and commercial income.

Stephen Maddock OBE is the CEO of the City of Birmingham Symphony Orchestra. After 19 years as the CEO, you’d think there’s not much Stephen hasn’t seen but he explains the uncertainty of leading a world-class orchestra that relies on a mix of government funding (which has been slashed in the last few years), charitable donations and commercial income.

Artist Sonia Boyce's career has been punctuated by series of firsts - the first black woman to have her work collected by the Tate, the first black woman to be elected a Royal Academician. As her first retrospective opens, Sonia discusses her art and why she removed a painting from the walls of Manchester Art Gallery.On the 100th anniversary of Debussy's death two interpreters of his music discuss his life, legacy and influences. Lucy Parham tours a show playing his piano music interspersed with readings from Debussy's own writings and letters while Mirga Gražinytė-Tyla the conductor of the city of Birmingham Symphony Orchestra has curated a season of Debussy's orchestral works. Testament is a rapper, beatboxer and theatre maker who's now based in Yorkshire. That county is the setting of Black Men Walking, a touring production that takes as its real life inspiration a group of black men - and some women - who go walking in the Peak District once a month. It uses music, poetry and the rich and largely unsung history of black people in this country, and countryside, to tell its story. Presenter: Gaylene Gould Producer: Hannah Robins.

Since his early teens, Thomas Adès has been a commanding figure in the world of classical music as a triple threat pianist, conductor and composer. Seth talks with him about his career including his work at, among others, the Los Angeles Philharmonic, Boston Symphony, London Symphony Orchestra, Royal Concertgebouw, Melbourne and Sydney Symphonies, BBC Symphony, and City of Birmingham Symphony Orchestra. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Chamber Symphony Birmingham Contemporary Music Group; Thomas Adès, conductor Living Toys London Symphonietta Violin Concerto: Concentric Paths Anthony Marwood, violin; Chamber Orchestra of Europe; Thomas Adès, conductor Asyla London Symphony Orchestra; Thomas Adès, conductor Tevot Berliner Philharmoniker; Sir Simon Rattle, conductor

Picks from across the week on In Tune with Sean Rafferty: conductor Mirga Gražinytė-Tyla enthuses about her orchestra the City of Birmingham Symphony Orchestra; Andreas Ottensamer reveals the secret of what makes a good clarinettist; and choral director Simon Halsey and composer Andrew Norman take us to the moon (via a children's opera project).

Tom Service asks conductor Mirga Gražinytė-Tyla about her plans for the City of Birmingham Orchestra, looks at the slave trade with composer Thierry Pécou, and explores the rarely-performed opera-oratorio, Le vin herbé. Tom visits Symphony Hall to talk to the exciting young conductor Mirga Gražinytė-Tyla about her ambitions for the City of Birmingham Symphony Orchestra and music education in Birmingham. He also discusses the challenges faced by the CBSO with Chief Executive Stephen Maddock following recent funding cuts from Birmingham City Council, plus an update from Julian Lloyd-Webber, Principal of the Birmingham Conservatoire, on the progress of their cutting-edge new building which is due to open its doors to students in September this year. Tom also talks to the French composer, Thierry Pécou, about Outre-mémoire, written for his friend, the pianist Alexandre Tharaud, which delves into the heavy history of the Carribbean island of Martinique and its slave trade, from where Pécou's own family is descended. Plus, as Welsh National Opera prepare to stage a performance of the rarely-performed opera-oratorio, Le vin herbé, Tom finds out why this work was pivotal in the compositional career of its creator, the Swiss composer Frank Martin, and puts forward a case for why we should hear more from this unique voice of 20th Century music. He talks to Nigel Simeone, who is an expert champion of Frank Martin's music, plus the director and conductor of Welsh National Opera's production of Le vin herbé, Polly Graham and James Southall.

Am 2. September 2016 überträgt BR-KLASSIK einen Konzertmitschnitt der diesjährigen BBC Proms. Neben Werken von Mozart und Tschaikowsky kam auch Hans Abrahamens Solokantate "Let me tell you" zur Aufführung - gewidmet der kanadischen Sopranistin und Dirigentin Barbara Hannigan, die das Stück zusammen mit dem City of Birmingham Symphony Orchestra interpretierte. Karina Kücking präsentiert ein Porträt der außergewöhnlichen Künstlerin.

Mark Billingham talks to Samira Ahmed about his latest novel - Die of Shame. Departing from his highly successful DI Tom Thorne novels, this book focuses on a group of recovering addicts who meet each week for their support group, that is, until one of them is murdered. Tate Britain's director, Alex Farquharson, on the Turner Prize shortlist while Rachel Campbell Johnston reviews.As the City of Birmingham Symphony Orchestra announce their 2016-17 season today, their newly appointed music director, Mirga Grazinyte-Tyla reveals what she believes is the secret behind the chemistry she and the orchestra immediately shared, and looks ahead to what she intends to programme in the future.And out-going BBC Diplomatic Correspondent Bridget Kendall reviews Whiskey Tango Foxtrot, starring Tina Fey, Martin Freeman and Margot Robbie. The film is based on real life reporter Kim Barker's autobiography.Presenter: Samira Ahmed Producer: Elaine Lester.

  Youtube | Droid podcast | iTunes podcast | Direct link   In this Wee Chat we talk to Catherine Arlidge, MBE. She is a violinist and presenter for the City of Birmingham Symphony Orchestra in England. Since starting to play the violin at the age of 5 Catherine has gone on to achieve many accolades throughout her career. In January […] The post Wee Chat with Catherine Arlidge – MBE, Violinist for the City of Birmingham Symphony Orchestra appeared first on Wee Chats With Brilliant People.

Sathnam Sanghera feels he has come a long way from his working class Wolverhampton background and now regards himself as firmly middle class. In this second programme for One to One, he meets Alpesh Chauhan, an Asian Brummie from a working class background, who has become an Assistant Conductor with the CBSO (City of Birmingham Symphony Orchestra). As someone who has broken through so many social barriers, has Alpesh's ethnic background proved to be a bigger hurdle than his social class? Producer: Perminder Khatkar.

Our June Recording of the Month is a fantastic new disc of Tchaikovsky from the City of Birmingham Symphony Orchestra and conductor Andris Nelsons, featuring the Manfred Symphony and Marche Slave. Join editor Oliver Condy and reviews editor Rebecca Franks for a discussion of the music, and to hear extracts of this superb recording, out now on Orfeo. See acast.com/privacy for privacy and opt-out information.

April 8, 2014. Stephen and Jackie Newbould of Birmingham Contemporary Music Group join the Library's Nicholas Brown to discuss the work of the ensemble, Oliver Knussen and their unique Sound Investment commissioning scheme. Speaker Biography: Stephen Newbould has been artistic director of Birmingham Contemporary Music Group since 2001, having helped launch the Group from within the City of Birmingham Symphony Orchestra in 1987 with its co-founders Ulrich Heinen and Simon Clugston. He is responsible for programming BCMG's concerts, commissioning new work and guiding the overall direction of the company. Speaker Biography: Jackie Newbould is executive producer of the Birmingham Contemporary Music Group. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6395

Emily is an English composer based in Manchester. She has had works performed by the City of Birmingham Symphony Orchestra, the Royal Liverpool Philharmonic, and the London Symphony Orchestra, and has been featured in such festivals as Wien Modern, New Music 20×12, and the BBC Proms. You can check out more of her music at www.emilyhoward.comIn our conversation we discuss her beginnings studying Maths and playing Chess, how and when she decides to take risks with orchestral music, and collaborations she has done with the acousmatic composer Sam Salem. The pieces played in this interview are Calculus of the Nervous System (a short excerpt) and Zugzwaenge.

Simon Neal is back with us this week discussing the text "The Vagabond". We go through the text, focusing on the problem with Ls and Rs in English, dealing with pianissimi and why we should sing pure Italianate vowels in every language. I'll also talk about a phonetic concept for unstressed I (between the closed [i] and open [I] sounds) that Jan & Catherine McDaniel (English diction teachers at the Bass School of Music, Oklahoma City University) sent me, the SCHWI. "The Vagabond" is the first poem in Robert Louis Stevenson's Songs of Travel, and the first song in Ralph Vaughan Williams' song cycle of the same name. I found some interesting youtube clips of this song, Thomas Allen with Simon Rattle and the Birmingham Symphony Orchestra and a very early recording of Peter Dawson in 1923 (pianist isn't listed), with lots of rrrrrolled Rs. The Bryn Terfel CD is also quite good but I couldn't find a youtube with that version. The previous entries that I talk about are Episodes 48 and 49 for tongue exercises, and Jason Nedecky's Treatment of R and Pronunciation Shifts for the HAND and ASK words. Please feel free to contact me here, at the Facebook Page, on Twitter @dictionpolice or directly at ellen@ellenrissinger.com

Norman Lebrecht talks to the young Latvian conductor Andris Nelsons currently music director of the City of Birmingham Symphony Orchestra. Born in Riga to musical parents Nelsons cites one of his earliest formative musical experiences as a performance of Wagner's Tannhauser which his parents took him to when he was just 5. He later took up the trumpet and eventually became a professional player in the Latvian National Opera Orchestra. He had conducting lessons with Neeme Jarvi and then came to the attention of Mariss Jansons whilst playing on tour with the Oslo Philharmonic and subsequently had lessons with him. He eventually rose to become chief conductor of the Latvian National Opera at the age of 25 and it was there he met his future wife the soprano Kristine Opolais. Nelsons has conducted at the Met, the Royal Opera House and at Bayreuth where he made his debut in 2010 with a new production of Lohengrin and where he returned this year. In 2007 he became Music Director of the City of Birmingham Symphony Orchestra having previously only conducted them in a private concert and a recording session, never at any public concerts. His present contract with them runs to 2014 and he appears with them at the BBC Proms this week.

Edward Gardner is the Music Director of English National Opera and about to become Principal Guest conductor of the City of Birmingham Symphony Orchestra. He talks to Norman Lebrecht about his career to date. Gardner was appointed to the post at ENO in 2007 while in his early 30s and began by conducting a new production of Britten's Death in Venice. He was born in Gloucester and began his musical life as a chorister at Gloucester Cathedral. He later went to Eton where he enjoyed the music making and education and then went to Cambridge where he says he enjoyed the conducting and performing that he did there rather than the more academic side of the course. The Royal Academy of Music followed but before leaving he was already working in the summer at the Salzburg Festival as a repetiteur encountering some of the leading conductors and operatic productions of the time. This experience has influenced some of his choices at ENO. He then worked with Mark Elder at the Halle Orchestra. So choral music and opera were both at the heart of his musical training. In 2004, before he was thirty, he was invited to be Music Director of Glyndebourne Touring Opera, an experience, he says which gave him the opportunity to conduct operas like La Boheme 20 times in different venues and acoustics around the UK. Since taking up the baton at ENO he has been involved with the planning of the company's repertoire and has conducted new productions of operas by Saariaho, Verdi, Bartok and Puccini. He talks about the challenges the company faces. How it has improved its image and work after a period of decline and argues with Norman about the continuance of the company's policy of performing operas in English. Producer Tony Cheevers.

Dr. Andre J. Thomas drops in on Patrick D. McCoy, The African-American Voice in Classical Music to discuss his journey as one of the most sought after choral conductors in the world.  André J. Thomas, the Owen F. Sellers Professor of Music, is Director of Choral Activities and Professor of Choral Music Education at The Florida State University. A previous faculty member at the University of Texas, Austin, Dr. Thomas received his degrees from Friends University (B.A.), Northwestern University (M. M.), and the University of Illinois (D.M.A). He is in demand as a choral adjudicator, clinician, and director of Honor/All-State Choirs throughout the United States, Europe, Asia, New Zealand, and Australia.  Dr. Thomas has conducted choirs at the state, division,and national conventions of the Music Educators National Conference (MENC) and American Choral Directors Association (ACDA). His international conducting credits are extensive. They include conductor/clinician for the International Federation of Choral Musicians, summer residency of the World Youth Choir in the Republic of China and the Philippines, winter residency of the World Youth Choir in Europe, and a premier performance by an American choir (The Florida State University Singers) in Vietnam. He has been the guest conductor of such distinguished orchestras and choirs as the Birmingham Symphony Orchestra in England, and guest Conductor for the Berlin Radio Choir in Germany. Since 1988 he has also served as Artistic Director of the Tallahassee Community Chorus.  Thomas has also distinguished himself as a composer/arranger. Hinshaw Music Company, Mark Foster Music Company, Fitzsimmon Music Company, Lawson Gould, Earthsongs, and Heritage Music Company publish his compositions and arrangements.

  More about Nocturnes Leon Bosch, Sung-Suk Kang "Nocturne" (mp3) from "Virtuoso Double Bass" (Meridian Records) Buy at iTunes Music Store More On This Album   The working relationship between Sung-Suk Kang and the distinguished double bass player Leon Bosch goes back to 1982, when both were students at the Royal Northern College of Music in Manchester, UK. Sung-Suk accompanied Leon during lessons and at scholarship auditions. 'At the end of our courses of study,' Leon remembers, 'the RNCM principal, Sir John Manduell, invited us to play two pieces together in one of the so-called principal's concerts. These were showcase events in which his ‘prize students’ were afforded a platform to perform in front of an audience of many distinguished invited guests, as well as the public. Sung-Suk and I performed two pieces by the great double bass player Bottesini, the Capriccio di Bravura and Fantasy Sonnambula. 'I'll remember that 1984 concert forever, for Sung-Suk’s magical playing throughout. There was one extended piano tutti in Sonnambula which was particular memorable for its unique delicacy and scintillating effervescence.' Sung-Suk picks up the story. 'After we left the RNCM, Leon and I lost contact with each other for twenty years. Then in the autumn of 2006, all of a sudden I received an SMS message from Leon on my mobile.....out of the blue. I called him back and discovered that at short notice he wanted me to play for him on a CD of pieces by Bottesini. After exchanging a few emails, I agreed.’ So what had inspired Leon to make the move? 'After Sung-Suk and I parted company back in 1984 I always thought of her whenever I played Sonnambula. I often wondered what had happened to her. I have a tape recording of that principal's concert and played it often over the years to reassure myself that it was indeed real and not just a grossly exaggerated and romanticised memory! 'Then when I was scheduled to record my first Bottesini disc, my pianist had to withdraw. After much thought, I resolved to try and find Sung-Suk, since she was the only person I felt I'd really be happy to work with. I put her name into Google and found her referred to on the website of the conductor, Nayden Todorov. With that lead, I traced her to Vienna.’ 'We began to rehearse as soon as I arrived in London!' Sung-Suk recalls. 'There wasn`t enough time to work on each piece in detail.... and we only had one and a half days to record all the repertoire for the CD. 'Playing with Leon wasn`t easy at first - he has a unique way of phrasing and his rubato is never predictable. And of course my ears had to concentrate so much on picking up the thick, deep lower register of the double bass sound. But during the recording sessions everything clicked and became completely natural. 'We tried to create a new atmosphere for each piece and then find the inspiration for a special interpretation at the end of the process. This was always different from what we'd prepared....music-making with Leon is always spontaneous! I love the full sound he makes, all the different colours he creates to express varied emotions in depth.’ As for Nocturne, it allows the piano to anticipate the main theme in the opening section but then gives it no share of the melodic line so expressively introduced and sustained by the double bass. It is, however, the piano which towards the end initiates the change from minor to major harmonies, just before double-bass harmonics magically project the melody into the soprano register. If Bottesini expected to be remembered by future generations he no doubt felt that it would be through his operas and sacred music. In fact, while they are forgotten, his posthumous reputation derives from an instrumental artistry which, though it died with him, survives in the hands of those few bassists who can do his compositions full justice.   Nikolai Lugansky "Nocturne, Op. 55 No. 1" (mp3) from "Chopin: Piano Sonata No. 3, Fantasie-impromptu, Prélude, Nocturne, et al." (Onyx Classics) Buy at iTunes Music Store More On This Album   Nikolai Lugansky's first recording for ONYX. The Daily Telegraph commenting on Lugansky, said 'He can thrill in taxing pianism through his iron will and fingers of steel, but there is an assuaging velvet quality to his tone, a natural feel for lyrical line' Gramophone praised his 'pianism of immense skill, fluency and innate musical quality' Nikolai Lugansky was born in Moscow in 1972. He studied at Moscow Central Music School (under Tatiana Kestner) and then at the Moscow Conservatory, where he was a pupil of Tatiana Nikolayeva, who described him as ‘the next one’ in a line of great Russian pianists. Following Nikolayeva’s untimely death in 1993, Lugansky continued his studies under Sergei Dorensky. A laureate of the International Bach Competition in Leipzig, the Rachmaninov Competition in Moscow and the International Tchaikovsky Competition in Moscow, Lugansky has a repertoire of over 50 concertos with orchestra as well as a wide range of solo and chamber works. He has worked with many distinguished orchestras and conductors including Christoph Eschenbach, Vladimir Fedoseyev, Valery Gergiev, Neeme Järvi, Raymond Leppard, Yoel Levi, Mikhail Pletnev, Gennady Rozhdestvensky, Vladimir Spivakov, Evgeny Svetlanov, Yuri Temirkanov, Kurt Masur, Riccardo Chailly and others. His chamber music partners have included Vadim Repin, Alexander Kniazev, Joshua Bell, Yuri Bashmet, Mischa Maisky, Leonidas Kavakos and Anna Netrebko among others. Lugansky has recorded 23 CDs. His solo recordings on Warner Classics — Chopin Études, Rachmaninov Préludes and Moments musicaux and Chopin Préludes — were each awarded a Diapason d’Or. His PentaTone Classics SACD of Tchaikovsky’s Piano Concerto no.1, with the Russian National Orchestra under Kent Nagano, was cited as ‘Editor’s Choice’ in Gramophone. His Prokofiev CD was one of the ‘CDs of the Year’ (2004) featured in The Daily Telegraph. Lugansky’s recordings of the complete piano concertos of Rachmaninov, with the City of Birmingham Symphony Orchestra under Sakari Oramo, received Choc du Monde de la Musique, Preis der deutschen Schallplattenkritik and the 2005 ECHO Klassik Award. His last recording (Chopin’s and Rachmaninov’s cello sonatas) with the cellist Alexander Kniazev won the 2007 ECHO Klassik Award. As well as performing and recording, Lugansky teaches at the Moscow Conservatory as an assistant of Prof. Sergei Dorensky.   Anthony Goldstone "Nocturne in D-Flat Major, Op. 8" (mp3) from "Russian Piano Music, Vol. 4: Sergei Lyapunov" (Divine Art) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Now almost forgotten in the West, Lyapunov was one of the truly great composers of the Romantic era in the late 19th and early 20th centuries. His Sonata is a phenomenal work and his mastery of pianistic composition is also finely demonstrated by the other works on this album masterfully interpreted by Anthony Goldstone. Anyone who loves Chopin or Liszt should get to know this music.   Fuzjko Hemming "Nocturne No. 20 In C-Sharp Minor" (mp3) from "Fuzjko Hemming - Collector's Edition" (Fuzjko Label) Buy at iTunes Music Store Stream from Rhapsody Buy at Amazon MP3 More On This Album Having wowed much of the Eastern Hemisphere for years, classical pianist Fuzjko Hemming is preparing for her introduction to the United States. Having been born into humble circumstances, child of a Japanese mother and Swedish father, she has felt rootless, too Asian in appearance for Sweden, and in Japan constricted by the society's stratified and class-oriented way of life. Then, as she was starting to gain traction as a professional musician, her promising career was cut short. - Fuzjko lost all hearing in her left ear after battling a serious cold. At 16, she already lost her hearing in her right ear due to illness. Completely deaf for 2 years, she eventually had 40% of her hearing restored in her left ear. After living in poverty in Europe for many years before returning to Japan and gaining acclaim for her music - critics hailed her as being "born to play Chopin and Liszt " In 1999, Japan's NHK Television aired a documentary of her life and she released her debut album, La Campanella, which sold more than two million copies, a rare accomplishment for any classical artist She also has won an unprecedented four Classical Album of the Year Awards at the Japan Gold Disc Awards, another extraordinary achievement for any artist, let alone a classical artist She remains the only four-time Gold Disc Award winner. Since that time she has recorded numerous successful albums - invigorating collections of classical interpretations, five of which are being released for the first time in the U.S. on her label Domo Records: Echoes of Eternity, La Campanella, Liszt: Piano Concerto No. 1, Nocturnes of Melancholy, Live at Carnegie Hall. On the new album, Fuzjko, the artist performs largely romantic repertoire ranging from Beethoven's "The Tempest" sonata to works by Chopin, Liszt, Scarlatti and Debussy. In each piece, whether performing Chopin's Nocturnes or Liszt's bravura pieces "La Campanella" and "Grand Etudes D'Apres Paganini No. 6", Fuzjko infuses poetry to these timeless compositions, and always in her own eminently attractive style. The warmth of Fuzjko's sound can also be heard in Scarlatti's Sonata K.162 and Debussy's "Claire De Lune". Although much of the repertoire is familiar, Fuzjko also dips into lesser known works like Liszt's transcription of Schumann's "Fruhlinghsnacht", and Chopin's "Trois Nouvelles Etudes No.3, and always played with her celebrated musicality much in evidence. The celebrated virtuoso blends the classicality of her influences such as Franz Liszt, Frédéric Chopin with the sophisticated approach of her mentors (Leonard Bernstein, Herbert von Karajan) to create an emotional delivery of exquisite craftsmanship. She's been known to bring some fans to tears with her moving immersion in her music. With her strikingly unorthodox playing style and intricate ethnic roots, it's evident that Fuzjko's true home is at the piano, where she reveals herself as a true artist of the world.   Carly Comando "Bear" (mp3) from "One Take" (Deep Elm) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album   Chilling. Stirring. Powerful. Contemplative. These are some of the words most frequently used to describe the achingly beautiful piano instrumentals of Carly Comando. Her debut album "One Take" features ten delicately woven songs (including her single "Everday") that are the direct emotional output of her innermost thoughts. "The album means the world to me. It's complete, in-the-moment sincerity translated into moody solo piano music. I used an improv technique, recording in just one take, so I could capture the essence of pure emotion" says Carly. From the rises and falls to the shrinks and swells, these songs will leave an indellible impression on your mind. It's music that stays with you forever. "One Take" was recorded in Carly's home studio in Brooklyn, NY. Mastered by Phil Douglas (Latterman, Small Arms Dealer, Iron Chic). The album includes the "Everyday" which was originally released in December 2006. Deep Elm Records is simultaneously releasing an EP titled "Cordelia" featuring four additional piano instrumentals. Carly also plays keyboards / sings in the band Slingshot Dakota and composes custom works upon request. And yes, that was the name given to her at birth. "This is music that changes lives, opens minds, broadens horizons. Carly is an amazing pianist." - ANA "Beautiful and soothing, she will evoke emotion and ease any scattered mind. A talented composer." - SweetieJo "Emotional and inspiring, it grabs your soul and moves you. Highly recommended." - The Rez

Kirsty Young's castaway this week is Sir Simon Rattle. For the past five years he has been Principal Conductor of the Berlin Philharmonic - regarded by many as the finest symphony orchestra in the world. He is only the sixth person to hold the position in 120 years and is the first Briton to take on the challenge. Growing up in Liverpool in the 1960s, while other youngsters were listening to The Beatles, he was transfixed by Mahler and was determined to become a conductor. His talent was prodigious. He won an international conducting competition aged just 19 and so, with plenty of enthusiasm but scant experience, began his career. Initially because of his youth, his approach was collaborative rather than autocratic and it has been a style that brought tremendous results during his 18-year association with the City of Birmingham Symphony Orchestra. He insists that his approach with the Berlin Philharmonic is about teamwork too - but concedes that it is an orchestra that contains some very strong characters and very big egos. He tells Kirsty how, choosing his Desert Island Discs, he has been drawn towards music that expressed joy and pain in equal measure.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Scherza Infida from Ariodante by George Frideric Handel Book: Don Quixote by Miguel de Cervantes Luxury: Italian coffee machine and grinder.

Kirsty Young's castaway this week is Sir Simon Rattle. For the past five years he has been Principal Conductor of the Berlin Philharmonic - regarded by many as the finest symphony orchestra in the world. He is only the sixth person to hold the position in 120 years and is the first Briton to take on the challenge. Growing up in Liverpool in the 1960s, while other youngsters were listening to The Beatles, he was transfixed by Mahler and was determined to become a conductor. His talent was prodigious. He won an international conducting competition aged just 19 and so, with plenty of enthusiasm but scant experience, began his career. Initially because of his youth, his approach was collaborative rather than autocratic and it has been a style that brought tremendous results during his 18-year association with the City of Birmingham Symphony Orchestra. He insists that his approach with the Berlin Philharmonic is about teamwork too - but concedes that it is an orchestra that contains some very strong characters and very big egos. He tells Kirsty how, choosing his Desert Island Discs, he has been drawn towards music that expressed joy and pain in equal measure. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Scherza Infida from Ariodante by George Frideric Handel Book: Don Quixote by Miguel de Cervantes Luxury: Italian coffee machine and grinder.