Podcasts about brahms

After almost a month of packing, moving, unpacking, and barely touching the bass, I'm finally back in the studio, and my chops definitely aren't where I need them.With a weekend at Birdland with Steve Smith and Vital Information coming up, it would be very easy to panic and spend every available minute working on the music for the gig.Instead, I'm trying something different.I've been going back to classical music (Brahms in particular) and experimenting with arranging music I love for solo electric bass. Rather than immediately putting pressure on myself to be "gig ready," I'm using completely unrelated music to reconnect with the instrument, rebuild the mechanics of my playing, and get my ears and imagination working again.Make sure you're signed up to this substack newsletter so you get every podcast episode, all the news about new music recordings, and all the lessons and behind the scenes information I share from my little world of bass and music. In this episode, I work through part of Brahms' Poco Allegretto from Symphony No. 3 and start asking some of the questions that might eventually shape an entire solo classical bass album.How much of the original harmony should I keep?Should I reharmonize it?Do I play the melodies completely solo, or use loops?Should there be improvisation?Could classical repertoire live alongside original music and more ambient, experimental sounds?And how far can I push the orchestration when I'm trying to make all of this work on a five-string electric bass tuned E–C?We also get into one of the harmonic exercises I've been using to get my hands moving again: taking V–I resolutions and breaking triadic ideas into groups of five using 2+3 and 3+2 patterns. It's a simple concept that opens up a huge amount of melodic and rhythmic material. You can find it in my book From Practice to PerformanceThis episode ended up becoming a pretty accurate snapshot of where my musical brain is right now. I start with Brahms, move into dominant harmony, disappear into ambient sounds and effects, and somehow end up seriously thinking about what a solo classical electric bass record could become.There's also a little history behind all of this. Before bass became my instrument, I was heavily involved in classical guitar, working through the UK grade system to Grade 8 and playing solo classical guitar and in ensembles. A lot of the chordal and right-hand techniques I use on bass today actually come directly from that period of my life.I'd love your input on where I take it.If I make a solo classical electric bass album, would you want the visual side to be an important part of the project — filmed performances in a beautiful space — or would you rather put on headphones, close your eyes, and experience it purely as a record?Let me know in the comments.Also in this episode: the new studio is slowly coming together, the blue couch has returned, the new transcription book is finally in stock, and I found a photograph from my first semester at Berklee in 1998 featuring a fellow bass player you might recognize...More soon, JanekThe Complete Bass Mastery eBook Course Get full access to Janek's Newsletter at janekgwizdala.substack.com/subscribe

Radio AM 750 Alejandro Dolina, Patricio Barton, Manuel Moreira Apertura y presentación 0:00:00 Inicio del programa en Radio 750 y presentación de “La venganza será terrible”. 0:08:40 Anuncios de funciones y próximas presentaciones del programa. Bloque central: casa rodante 0:13:36 Debate humorístico sobre la vida en una casa rodante: ventajas, incomodidades, costos y uso en la ciudad o en la ruta. 0:41:42 Detalles prácticos sobre casas rodantes: baños, desagote, agua, mantenimiento, accesorios y diferencias con motorhome. Mensajes de oyentes 0:46:38 Lectura de mensajes del público sobre el programa y sus hábitos de escucha. Segmento musical / histórico: Robert Schumann 0:57:06 Introducción a la vida de Robert Schumann. 0:58:17 Formación musical, intento frustrado de virtuosismo y lesión en la mano. 1:01:14 Relación con Clara Wieck, conflicto con su padre y matrimonio. 1:04:07 Éxitos compositivos, deterioro mental, internación y muerte. 1:08:37 Clara Schumann, su carrera y vínculo con Brahms. 1:10:19 Carta de Brahms a Clara y anuncio de la obra “En un sueño”. 1:10:57 Interpretación de Schumann por Vladimir Horowitz. Segmento humorístico: cómo ver películas de terror 1:15:10 Consejos para mirar películas de terror sin asustarse: verlas de día, acompañado y relativizando lo que pasa en pantalla. 1:27:58 Cierre del bloque con más recomendaciones y referencias a películas y reacciones en el cine. Cierre musical 1:33:53 Presentación del cierre musical con pedidos del público. 1:34:20 Interpretación de tangos y canciones pedidas, con sucesivos anuncios y despedida musical. (Resumen generado automáticamente con IA, puede contener errores)

Klassische Musik trifft auf künstliche Intelligenz: In Baden-Baden wird ein historisches Klavier zum digitalen Musiklabor. Besucher können Werke von Brahms, Strauss und Co. neu mischen – von Techno bis Surf-Rock. Das sogenannte SoundLab soll dabei vor allem eines: Das musikalische Erbe der Kurstadt nicht nur zeigen, sondern erlebbar machen. Amelie Kaiser war vor Ort.

IN this weeks podcast  we look at David Starkey's analysis of what went wrong with the UK;  Delhi push for EV's;  Irish anti-semitism; Canadian Granny euthanised without consent; Country of the week Hungary;  The Cambridge fantasy; The Green rape apologist;  the Democrats move to the lunatic left in Michigan; Unsung Hero; the death of Rod Liddle; Top ten classical - no. 10 Brahms; China's population history;  AI Generates virusus ; Cutting down the Ecuadorian Amazon to save the Amazon; Song of the Week; Feedback; Benny Hinn; John Lennox; and the final word from Titus. with music from Jethro Tull, Mohammed Rafi, Marta Sebestyen; Hungarian Reformed Church; Bryan Ferry; Brahms; the Kinks; Bob Seger; and the Gaithers. 

Robert Knöll ist Kunsthistoriker und Bilderrahmer. In seinem Atelier, das die grösste Sammlung barocker Bilderrahmen beherbergt, setzt er Kunstwerke gekonnt in Szene. Kunstsammler, Museen und Galerien vertrauen ihm, wenn es darum geht, berühmte Werke in den passenden Rahmen zu setzen. Ein Handwerk, das in seiner Familie eine lange Tradition hat: Schon sein Vater war ein leidenschaftlicher Sammler und Bilderrahmer. Nach dessen Tod übernahm Robert Knöll den Familienbetrieb, doch für ihn war dieser Schritt weit mehr als nur berufliche Verantwortung – er war eine Bestimmung. «Die Beschäftigung mit Bilderrahmen ist nicht nur mein Beruf, es ist meine Passion», sagt Robert Knöll, und es ist spürbar, dass diese Leidenschaft weit über den Arbeitsalltag hinausgeht. In seinen Träumen erscheinen Bilderrahmen, die ihn in seiner Freizeit genauso begleiten wie im Beruf. Wenn es darum geht, ein berühmtes Kunstwerk neu zu rahmen, reist er zu Museen in ganz Europa, um die perfekte Wahl zu treffen. Es fasziniert ihn immer wieder, wie die Wirkung eines Bildes sich verändert, je nachdem, wie es gerahmt wird. Bereits als Kind war Robert Knöll von Archäologie begeistert – der Blick hinter die oberste Schicht, das Entdecken von Geschichte und Kultur. Diese Faszination für Details und den Kontext von Kunstwerken zieht sich durch sein gesamtes Leben und wirkt sich auf seine Arbeit aus. In «Musik für einen Gast» bei Eva Oertle spricht Robert Knöll über seine Faszination für alte Rahmen und erklärt, warum sie oft im Schatten der eigentlichen Kunstwerke stehen. Er erzählt von einem besonderen Stück aus seiner Kindheit – einem echten Donatello, der über seinem Bett hing und heute einen Platz in einem Museum hat. Und er spricht über seine Liebe zum Cello und der Musik von Brahms. Die Musiktitel: - Johannes Brahms: 1. Satz aus Cellosonate Nr. 1 e-Moll (Pieter Wispelwey, Violoncello; Dejan Lazić, Klavier) - Talking Heads: Sugar on My Tongue - Johann Sebastian Bach: Toccata und Fuge für Orgel d-Moll, BWV 565 (Hannes Kästner, Orgel) - Georg Riedel: Seeräuber-Opa Fabian, aus Pippi Langstrumpf (Eva Mattes, Kinderstimme) - Franz Schubert: 7. Ständchen, aus Schwanengesang, Bearbeitung für Klavier von Franz Liszt (Vladimir Horowitz, Klavier) Erstausstrahlung: 27.04.2025

It took a lot to make the composer and critic Virgil Thomson happy. He was famous for savaging new works he didn't like, and the truth is, he didn't like very many new works at all. One exception was Bohuslav Martinů's very first symphony, written in 1942. Thomson said this: "The Martinů Symphony is a beaut. It is wholly lovely and doesn't sound like anything else." The story of how this symphony came to be is as fascinating as the music itself, and it's perfectly in keeping with the relentless curiosity of Martinů as a composer. Martinů, a prolific composer who wrote nearly 400 works, had just arrived in the US in 1941 as a refugee from war-torn Czechoslovakia. He was 51 years old and had never written a symphony before. This delay wasn't a case of crushing self-doubt, as it was for Brahms. It was actually a seeming lack of interest in the symphonic genre, which was not unusual at the time. But in 1942, Martinů sent a letter to Serge Koussevitzky, the music director of the Boston Symphony Orchestra and a friend to the dozens of refugee composers who had arrived from Europe during the early days of World War II. Koussevitzky commissioned Martinů to write a large-scale work, and Martinů responded with his First Symphony -- a perfect welcome to his new home, and to the grand adventure he was setting off on in a country he found intimidating, exciting, and full of opportunity. The result is a piece of remarkable contrast, energy, light, and boisterous hope, given the situation back in his homeland. As the sponsor of this episode, Pere Casan Bonet, put it, the symphony is "a pool of energy that makes me feel optimistic even at my lowest points." We'll start today with a quick overview of Martinů's life and work, since he might not be the most familiar composer to you, and then we'll talk our way through this incredible First Symphony. Martinů has always been one of my favorite "underrated" composers, so it's a thrill to get to talk to you about him today. Join us!

Heute: der Brahms-Kubus in Hamburg. Seit 45 Jahren prägt die Skulptur von Thomas Darboven den Platz vor der Laeiszhalle und erinnert an den berühmten Komponisten. Petra Rieß erzählt mehr darüber.

I was honoured to record this interview with Boman Desai, whose wonderful recent novel “Brahms Comes to Dinner” I highly recommend. You'll hear how this work came out of Boman's larger novel “Trio” and he shared stories about several of his other acclaimed novels including “The Memory of Elephants”, “Portrait of a Woman Madly in Love” and his book about the Lennon-McCartney Beatles songs “Dancing About Architecture”. Some of Boman's writing comes from his Parsi family history and the life of his grandmother, and you'll hear about several life-changing moments including with the legendary editor and writer Diana Athill. You can also watch the video on my YouTube and I've also linked the transcript. Have a look at the show notes of this episode on my website, where you'll find all the linksI've also linked suggested episodes with Martha Anne Toll, Heather Taves, Michael Stephen Brown, Thomas Cabaniss, Yale Strom, Gabriel Kahane, Scott Nygaard among so many episodes since 2021. Sign up for my newsletter, where you'll get exclusive information about upcoming guests, consider buying me a coffee on my Ko-fi page, or buying some unique podcast merch.All the links!(00:00) Intro(02:08) Brahms, Clara and Robert Schumann(18:28) excerpt from “Brahms Comes to Dinner”, research letters, diaries(31:21) excerpt from “Trio” Robert and Clara Schumann(35:26) Boman's musical memories from childhood in India, Tovey writing about music(42:27) Parsi community, Diana Athill(45:24) other linked episodes and supporting this podcast(46:14) editor Diana Athill, “The Memory of Elephants”, Zoroastrian Parsi family, grandmother's life(57:16) “The Elephant Graveyard”, the life of an author(01:06:30) “A Googly in the Compound”(01:11:56) editing and publishing his books(01:14:12) “Portrait of a Woman Madly in Love”(01:19:59) “A Googly in the Compound”(01:23:43) Diana Athill, life of a writer(01:29:28) Beatles book “Dancing About Architecture”, song analysis, writing about music(01:35:43) move back to India

Pour ce nouvel épisode estival, prenez votre serviette et votre transat, attrapez votre roman de poche et venez avec nous découvrir ce nouveau dossier de La Soufrière.Dans ce nouvel épisode, Koré et Roland (qui ne sont pas du tout d'accord !) explorent la vie et l'œuvre de Françoise Sagan, et plus particulièrement son premier roman polémique, Bonjour tristesse. Au programme :00:00:00 Introduction et retours00:08:46 Françoise Sagan : sa vie !00:27:54 Bonjour tristesse00:46:14 Contextualisation du roman00:51:25 La polémique !!!01:22:16 Aimez-vous Brahms ? (Koré : oui, Roland : non)01:32:57 Les adaptations01:43:16 Le classement sur l'échelle du soufre01:45:40 Les recommandations01:51:21 Fin les recos :L'appel de Kathulu⁠https://www.calvinballconsortium.fr/podcasts/lappeldekathulu/⁠ Interview de Sagan :1984: Francoise Sagan⁠https://www.youtube.com/watch?v=Qjw6ZkNUb7c⁠ Aimez vous Brahms?⁠https://www.ina.fr/ina-eclaire-actu/video/i00015700/francoise-sagan-a-propos-de-son-livre-aimez-vous-brahms⁠ la100e de Bouillon de culture⁠https://www.youtube.com/watch?v=uacYJ6G8U8s⁠ Nous suivre :⁠⁠⁠⁠https://lasoufriere.transistor.fm/⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/la.soufriere/⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/la-soufriere.bsky.social⁠⁠⁠⁠ Ce podcast est une émission du label Galaxie PopRejoignez nous sur le discord de galaxie pop⁠⁠⁠⁠https://discord.gg/CCaYh93hst⁠⁠⁠

durée : 01:28:48 - par : Aurélie Moreau - Kirill Petrenko, directeur musical du Philharmonique de Berlin, a été nommé à la suite de Sir Simon Rattle qui a vu en lui le chef d'orchestre sans doute le plus profond musicalement de sa génération. Aujourd'hui : Brahms, Schoenberg, Beethoven… - équipe : Cécile Bonnet des Claustres, Yuthou-Diego Hak-Lopes - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Today, July 17, 2026, is the one-hundred-and-twelfth birthday of Eleanor Steber, in the opinion of many, the finest American soprano that ever lived. Her combination of technical prowess, (which allowed her to blend vocal power with seamless coloratura facility), faultless diction, vocal beauty, musical versatility, and complete and utter sincerity of expression, were combined in one exquisite artistic entity who now is fully acknowledged and appreciated for the great artist that she was. Since I have already done numerous (nearly countless) episodes on this paragon, today I have chosen to take a slightly different approach: I am focusing on performances from the earliest years of her career. I have divided my setlist into several sections: first, a pair of stunningly-vocalized opera arias; then favorites from operettas and musicals; followed by a group of powerful performances of oratorio arias of Brahms, Bach, Mendelssohn, Haydn, and Rossini; concluding with light classical favorites such as would have been heard in her radio and television appearances on The Voice of Firestone. In keeping with the best Countermelody tradition, many of today's selections are quite rare; all of them will provide my listeners with a satisfaction that can only come from a vocalist of the very highest skilll and achievement. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

If you think an orchestra only plays Beethoven and Brahms, think again. The Minnesota Orchestra's festival called "Summer at Orchestra Hall" opens Thursday night with a lineup that stretches far beyond the classical canon — from Grammy winning bluegrass musician Chris Thile to jazz singer John Holiday to movie scores from Star Wars and E.T. Grant Meachum is the orchestra's director of productions and engagement and joined MPR News host Nina Moini with details on the festival.

We hear from a teenage guitar quartet playing a lively Brazilian piece, an oboist playing a new work by composer Reena Esmail, and a violinist who imagines herself in Brahms' world when she performs.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Welcome to the award-winning The Hill Country Podcast. The Texas Hill Country is one of the most beautiful places on earth. In this podcast, Gene Dowdy returns to welcome us back to the Symphony of the Hills' July 4, 4:00 p.m. concert, which will celebrate America's 250th anniversary while memorializing the 2025 Texas flood. The event includes patriotic works such as Copland's “Lincoln Portrait,” narrated by Mayor Joe Herring; “Fanfare for the Common Man”; and community singing of the national anthem, along with soprano Sarah Davis performing “God Bless America” and closing with “Amazing Grace.” Governor Greg Abbott will read Kerr County's 119 flood victims while the orchestra plays Bach's “Air,” and historic flag artwork by San Antonio artist Bobby Cahill will be displayed. Dowdy also previews the 2026/27 “A Season of Story & Song,” featuring programs like “Weber and Brahms,” “Comfort and Joy,” “Heroes and Villains,” “Frontiers and Freedom,” and “Romance & Passion.” Key highlights: Concert Purpose and Tribute Program Highlights and Guests Music and Grief One Year Later America 250 and Texas Pride Preview Season Story and Song Resources: Symphony of the Hills Professor Eugene Dowdy at Schreiner University Other Hill Country Focused Podcasts Hill Country Authors Podcast Hill Country Artists Podcast Texas Hill Country Podcast Network Cover Art Nancy Huffman

Lucy Parham surveys recordings of Brahms' Op.116-119 and makes a top recommendation.

We would love to hear from you, wherever you are!We would love to hear from you, wherever you are! Drop us a reviewwww.perfectpitchreviews.com Win a night at The Royal Festival Hallhttp://www.perfectpitchreviews.com/giveaway Know someone who would love the show?http://www.perfectpitchreviews.com/referral Logo design by Robbie Mailer Howat @robbiemailerhowatWe would love to hear from you, wherever you are! Drop us a reviewwww.perfectpitchreviews.com Win a night at The Royal Festival Hallhttp://www.perfectpitchreviews.com/giveaway Know someone who would love the show?http://www.perfectpitchreviews.com/referral Logo design by Robbie Mailer Howat @robbiemailerhowat

Pride 2026 at Countermelody continues with an episode devoted to the towering German mezzo-soprano Brigitte Fassbaender, not only one of the great opera stars of the late twentieth century (her Octavian, for instance, was, is, and remains, hors concours), but also one of the greatest Lieder singers of all time. Today I choose to focus on her performance of the songs of Johannes Brahms, whose music is ideally suited to her dark-timbred, urgently projected voice and artistry. She's heard in these selections with four of the primary pianists with whom she collaborated and recorded in the songs of Brahms: Erik Werba, Irwin Gage, Karl Engel, and the great Georgian pianist Elisabeth Leonskaja, with whom she made her final recordings and performances in the early 1990s, just before her sudden departure from the opera and concert stage. I read a portion of her memoirs (translated into English) in which she candidly discusses the reasons for that choice. Fassbaender has always lived her life openly and matter-of-factly, never foregrounding her sexuality while also never denying or hiding it. For her, music and the theater have always been the focal points in her public life, and her unique artistry has placed her at the forefront of the great musical artists of our time. There are few vocal artists I esteem as highly. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

durée : 00:16:32 - par : Lionel Esparza - Berlin, février 2002. La pianiste Martha Argerich, le violoniste Gidon Kremer, l'altiste Yuri Bashmet et le violoncelliste Mischa Maisky se retrouvent autour du Quatuor avec piano n° 1 de Brahms. Beaucoup plus qu'une réunion de vedettes, c'est un disque gravé entre amis, en véritables partenaires. - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:09 - par : Aurélie Moreau - Pour le pianiste Bruno-Leonardo Gelber, maître discret mais adulé par les mélomanes, « la vocation, c'est une démangeaison, un amour tel que sans lui vous mourez ». (Le Monde). Aujourd'hui : Beethoven, Schumann, Brahms, Bach, Liszt et Chopin. - équipe : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:09 - par : Aurélie Moreau - Fondé en 1969 à la Juilliard School, le Quatuor de Tokyo a mené une prestigieuse carrière internationale jusqu'en 2013, faisant preuve d'une perfection technique et d'un style remarquables. Aujourd'hui : Brahms, Beethoven, Schubert, Mendelssohn… - équipe : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

This episode is with Duo FAE violinist Charlene Kluegel and pianist Katherine Petersen. The first part of this conversation focuses on their album Dissidents of the Gilded Age. You'll be hearing excerpts from this beautiful program and learning about the composers Dame Ethel Smyth, Cécile Chaminade and Amy Beach. Charlene and Katherine are long-time collaborators and close friends and we got into conversations around education, what a path to a career in classical music can look like, and how they have dealt with challenges including becoming mothers. Wth hundreds of kilometres separating us, I really felt like I was enjoying a thoughtful coffee date with brilliant new friends, and I hope you feel that as well. Show notes bring you to: their websites, suggested episodes, video version, transcript, podcast merch, podcast newsletter and how you can buy me a coffee to support this independent project! Show notes with all the links(00:00) Intro(02:17) Dissidents of the Gilded Age album Amy Beach, Cécile Chaminade(06:58) Dame Ethel Smyth, Sufragette movement, clip of her anthem March of the Women complete video linked in show notes(09:08) Dame Ethel Smyth with clip Track 6 Smyth A minor sonata, op. 7, III Romanze (12:40) Cécile Chaminade with clip Track 1 Chaminade Trois Morceaux, op. 31, no. 1 and Track 3 no. 3 Bohémienne, finally clip of track 2 Romanza)(19:23) Amy Beach, linked episodes with Samantha Ege and Juliana Soltis, with clip of Track 11 Beach Sonata in A minor, op. 34, IV Allegro con fuoco(25:47) friendship started at the Aspen festival 2008(27:36) touring the program in Europe, clip of Track 9 Beach Sonata in A minor, op. 34 II Scherzo(29:28) FAE, bonding over Brahms and starting the duo, Boman Desai's book(32:43) Charlene's university years, baroque violin minor(34:51) other linked episodes and ways to support this podcast(35:54) Charlene's pedagogical handbook on style considerations in orchestral excerpts(38:52) Charlene's decision to pursue music, broader education at Cornell(40:42) Katherine's educational path and discovering chamber music with clip Track 10 Beach Sonata in A Minor, op. 34 III Largo con dolore(45:04) collaborative pianist career, Sarah Lehman mentor(50:03) classical music career danger of burnout(52:45) next projects and past experiences(59:32) European educational differences(1:02:00) becoming parents and taking care of ourselves(01:05:44) music educatorsPhoto: Brittany Purlee

durée : 00:17:18 - par : Lionel Esparza - En 1958, la contralto néerlandaise Aafje Heynis enregistre la Rhapsodie pour alto de Brahms avec l'orchestre du Concertgebouw d'Amsterdam sous la direction d'Eduard van Beinum. - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features David Cooper, associate principal horn of the Los Angeles Philharmonic. About David: David Cooper is recognized as one of the best horn players of his generation, known for his lyrical phrasing and exceptional technique. He was appointed Principal Horn of the New York Philharmonic in May 2026 by Music and Artistic Director Gustavo Dudamel. Cooper's orchestral career began as Acting Principal Horn with the Victoria Symphony and Co-Associate Principal Horn of the Fort Worth Symphony. He then served as Principal Horn of the Dallas Symphony (joining as Third Horn in 2011 and becoming Principal Horn in 2013), Solo Horn of the Berlin Philharmonic,  Principal Horn of the Chicago Symphony Orchestra and Associate Principal Horn of the Los Angeles Philharmonic. He has won Principal Horn positions with the National Symphony Orchestra (2013) and the San Francisco Symphony (2023), and has been guest Principal Horn with numerous orchestras worldwide, including the Bavarian Radio Symphony Orchestra, Hong Kong Philharmonic, Seoul Philharmonic, Sinfónica de Minería in Mexico, Liceu Opera in Barcelona, London Symphony Orchestra, Utopia Orchestra, Philadelphia Orchestra, New York Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchestra, Baltimore Symphony and the Saint Paul Chamber Orchestra. He joined the Oslo Philharmonic on its 2024 European Tour as Principal Horn under Chief Conductor Klaus Mäkelä. Cooper maintains an active schedule as an international soloist, recitalist, chamber musician, and festival orchestra performer. He has also participated in numerous film and TV soundtracks, including the most recent Superman, Moana 2, Hoppers, The Super Mario Galaxy Movie and The Mandalorian and Grogu. Dedicated to inspiring and cultivating the next generation of musicians, Cooper coaches and presents masterclasses internationally. He founded Horns for Hope, Inc., a non-profit supporting young musicians in underserved communities, and served as Artist Faculty at Roosevelt University and the Civic Orchestra of Chicago. Born in Lansing, Michigan, into a musical family, Cooper began horn studies with Dr. Dale Bartlett and joined the Michigan State University Orchestra while in high school. He received his Bachelor's degree from The Curtis Institute of Music, where he received a Tanglewood Fellowship, and spent three summers at Marlboro Music Festival. His primary instructors are Jerome Ashby and Eric Ruske. Cooper's discography includes the album "Berkeley, Brahms, Leshnoff: Horn Trios" with violinist Alexander Kerr and pianist Orion Weiss, and two solo albums, "Impressions" and "A French Horn and Piano Collaboration" with pianist Cary Chow. These are available on all streaming platforms.

Johannes Brahms will Komponist werden - und sucht einen Mentor. Er versucht sein Glück bei Franz Liszt. Der Weltstar ist dem jungen Talent durchaus wohlgesonnen. Dann aber begeht Brahms einen Fehler, der alles verderben könnte.

durée : 01:28:38 - par : Aurélie Moreau - Directeur musical du Festival de Glyndebourne et membre honoraire de l'Orchestre de Chambre d'Europe, Robin Ticciati est régulièrement invité à diriger de prestigieux orchestres en Europe et aux USA. Aujourd'hui : Dvořák, Brahms, Fauré, Schumann… - réalisation : Cécile Bonnet des Claustres, Thomas Guinegagne, Stéphane Poitevin - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:39 - par : Aurélie Moreau - La remarquable pianiste Lilya Zilberstein possède des moyens techniques exceptionnels, un toucher nuancé… et la faculté « de créer le climat, l'atmosphère, la couleur spécifique ». (Le Figaro). Aujourd'hui : Rachmaninov, Taneïev, Brahms, Liszt… - réalisation : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Aujourd'hui dans "Esprits Libres", David Abiker reçoit Géraldine Woessner, rédactrice en chef au Point, et Jean-Marie Colombani, fondateur du site Slate.fr. Ensemble, ils analysent l'impact potentiel de l'intelligence artificielle sur la prochaine élection présidentielle française.Selon Géraldine Woessner, l'IA sera au cœur des débats de la campagne électorale, car elle représente à la fois un outil de communication pour les candidats et une source d'inquiétudes pour les électeurs. Elle souligne que la France a tendance à transformer les révolutions technologiques en débats moraux, ce qui risque de rendre le sujet omniprésent mais superficiel. Jean-Marie Colombani abonde dans ce sens, estimant que l'IA jouera un rôle important dans la façon dont les Français se détermineront dans les urnes, notamment à cause de la menace des ingérences étrangères rendues possibles par cette technologie. Il met en garde contre le risque que les candidats instrumentalisent les peurs liées à l'IA à des fins électoralistes.Les deux invités évoquent également l'utilisation croissante des chatbots d'IA par le grand public pour s'informer et se forger une opinion, soulignant les bénéfices en termes de gain de temps mais aussi les dangers liés au manque d'esprit critique face à ces outils.Au-delà du débat sur les usages de l'IA, les intervenants abordent la question épineuse des négociations avec la Russie pour mettre fin à la guerre en Ukraine. Ils s'accordent pour dire que les conditions ne sont pas encore réunies pour entamer des pourparlers, Poutine étant encore sur des positions maximalistes. Géraldine Woessner insiste sur l'importance de renforcer l'aide militaire à l'Ukraine afin de la placer en position de force pour négocier.Enfin, l'épisode se termine sur une note plus légère, avec une évocation d'un match de football opposant le PSG à Arsenal, accompagné d'une danse hongroise de Brahms.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Joanna MacGregor's picks her top recording of Brahms' Piano Concerto no.2.

durée : 01:29:05 - par : Aurélie Moreau - Le grand pianiste Nicholas Angelich était un artiste modeste et réfléchi qui apportait une intégrité, une profondeur et une perspicacité extraordinaires au répertoire le plus exigeant. Aujourd'hui : Bach, Brahms, Beethoven, Liszt, Rachmaninov… - réalisation : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

It only took 282 episodes, but I have finally gotten rid of Josh. Luckily for the listeners, we were finally able to get some talent on the other side of the podcast. Jesse is joined this week by his wife Isa, our youngest guest Chloe, and her mom Yolanda. For some reason we decided to let the 11 year old pick the movies for the episode, which unfortunately brought us to the Boy, and it's insanely unnecessary sequel, Brahms: The Boy 2. We discuss creepy dolls, creepier man children,  and the scariest thing of all...bad writing. Join us as we try to figure out how the same writer and director made two movies that have absolutely nothing in common. More importantly we tell you whether The Boy and Brahms: The Boy 2 are bloody good films...We encourage everyone to watch along while you listen and make sure to comment and let us know what you think. If you haven't already please follow us on Facebook, TikTok, Threads and Instagram @bloodygoodfilmpodcast and remember...Keep it bloody buddies!!!https://linktr.ee/BloodyGoodFilmPodcast...#theboy #brahms #horror #podcast #sequel #film

durée : 01:28:14 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Avant les soeurs Labèque, il y avait les frères Aloys et Alfons Kontarsky, deux pianistes allemands associés à de nombreuses créations d'œuvres contemporaines. Mais c'est dans Brahms et Milhaud que nous les écouterons ce matin. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:14 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Avant les soeurs Labèque, il y avait les frères Aloys et Alfons Kontarsky, deux pianistes allemands associés à de nombreuses créations d'œuvres contemporaines. Mais c'est dans Brahms et Milhaud que nous les écouterons ce matin. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

A teen pianist shares her passion for Beethoven, and the son of professional vocalists falls in love with making the trombone sing. Plus we're treated to a flashback finale featuring a Brahms horn trio.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Es ist nicht nur der Konzertmitschnitt von Brahms' Werk festgehalten, sondern auch die Probenarbeit mit Blomstedt.

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchLogo design by Robbie Mailer Howat  robbiemailerhowatThank you for listening - please do get in touch with any comments!

Thank you to Jerry for sponsoring today's episode on Patreon! Goethe's Faust is considered to be the greatest work of German literature. This sprawling, 2-part play occupied Goethe's life for nearly 60 years, from its original version, begun in 1772, all the way to Goethe's final revisions before his death. It inspired just about every Romantic era composer who came after it, including Beethoven, Schubert, Schumann, Brahms, Berlioz, Gounod, Mahler, and our subject for the show today, Franz Liszt. Liszt, who was in many ways the world's first pop star, was initially skeptical of Faust, saying that he couldn't relate to the eponymous main character of the play. He wrote: "Faust's personality scatters and dissipates itself; he takes no action, lets himself be driven, hesitates, experiments, loses his way, considers, bargains, and is interested in his own little happiness." But slowly, Liszt began to be taken in by this remarkable play and decided to try his hand at a reflection on it, writing a massive, 3-movement, 75-minute-long symphony that never attempts to tell the story of Faust, but instead reflects on the psychological nature of the 3 central characters: Faust, Gretchen, and Mephistopheles (the Devil). A lot of English-speaking listeners will know this as the story of a man who sold his soul to the devil, but for Goethe it was much more than that, and it was for Liszt as well. I've never talked about Liszt on the show, because frankly I've never been in love with his music. But this is one of the great things that these Patreon-sponsored episodes can do — help me discover pieces that I've never come across before. So today, we're going to talk about Liszt, Faust, and then take a stab at some of the greatest moments in this symphony. We'll talk about thematic transformation, a technique Liszt essentially invented and which is a vital part of understanding this piece.

I was so honoured and delighted to have this opportunity to have this conversation with Nancy Shear, whose diverse career in classical music will fascinate you. I loved reading her memoir “I knew a man who knew Brahms” which is very much a book about appreciation for great music making as well as the importance of reflecting on the legacies our elders. You'll hear about insights gleaned from her close releationships with many luminaries including Leopold Stokowski and Mstislav Rostropovich. Nancy was a troubled teenager when she began working as part of the Philadelphia orchestra library staff, and her brave determination, sensitivity and brilliance have led her to many unexpected opportunities. Whether or not you are currently a fan of classical music, I'm sure Nancy's wisdom and storytelling will inspire you. We're also including Nancy's suggested listening links in the show notes, as well as other episodes you'll enjoy. Complete show notes take you to: video, transcript, Nancy's website and listening suggestions, other episodes you'll enjoy, podcast newsletter sign-up, podcast merch store, podcast support page to buy this independent podcaster a coffee, and more! SHOW NOTES with ALL links! (00:00) Intro(01:38) memoir “I Knew a Man Who Knew Brahms”(12:01) Leopold Stokowski and her memoir(38:14) William R. Smith (43:25) Eugene Ormandy(52:48) other suggested episodes (53:47) Stokowski, excerpt from the book(56:50) Stravinsky Rite of Spring, Stokowski, Mahler(01:00:35) Rostropovich(01:08:49) Nancy's career and independence (01:17:35) Stokowski's fascination with technology(01:20:32) great concerts, Byron Janis, Jacqueline du Pré, Ormandy(01:24:22) Curtis(01:27:41) growth mind-set, healthy tech boundaries, writing(01:36:45) final excerpt from “I Knew a Man Who Knew Brahms” about Stokowski, Saul Caston, music appreciation(01:40:14) who was the man who knew Brahms, importance of legacyphoto of Nancy: David Teubner

搜索"巴黎走調" 聽完整全集 如果你能在交通混亂的城市裡游刃有餘地駕駛，恭喜你！ 你的開車技術大概已經足以征服全世界 90% 的城市。 但面對永遠塞不完的車流、忽快忽慢的節奏，心情難免被磨得焦躁。這種時候，到底該聽哪些古典音樂來「降火」？又有哪些旋律，其實會讓你不知不覺油門踩得更深、開得更快呢？ 本集開車清單： Brahms: 4 Ballades, Op.10 - No.4 In B · Arturo Benedetti Brahms: 4 Ballades, Op.10 - No.2 In D · Arturo Benedetti Michelangeli Piazzolla: Las 4 Estaciones Porteñas John Rutter: Et misericordia from Magnificat -- Hosting provided by SoundOn

A teen violinist takes her love of film scores to new heights, a young flutist shares how he got his start watching online videos, and a passionate violist performs Brahms.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

durée : 00:15:00 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Cet album marque la fin de l'exploration des trois quatuors avec piano de Brahms par le Kaleidoscope Chamber Collective. Deux oeuvres de la compositrice croate Dora Pejačević complètent ce programme. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:07 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le Kaleidoscope Chamber Collective met en lumière la compositrice croate Dora Pejačević, contemporaine de Brahms. Ce matin également, de la musique française avec l'unique symphonie de Chausson et le violon virtuose de Saint Saëns. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:07 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le Kaleidoscope Chamber Collective met en lumière la compositrice croate Dora Pejačević, contemporaine de Brahms. Ce matin également, de la musique française avec l'unique symphonie de Chausson et le violon virtuose de Saint Saëns. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:15:00 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Cet album marque la fin de l'exploration des trois quatuors avec piano de Brahms par le Kaleidoscope Chamber Collective. Deux oeuvres de la compositrice croate Dora Pejačević complètent ce programme. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Send us Fan MailWhy Is Bach Called the Father of Classical Music?Why is Johann Sebastian Bach often referred to as the “Father of Classical Music”?In this episode of The Classical Music Minute, we explore the lasting influence of one of history's greatest composers. Although Bach lived during the Baroque period, his work laid the foundation for much of the music that followed.Renowned for his mastery of counterpoint, Bach demonstrated how multiple independent musical lines could work together in harmony. His compositions, including The Well-Tempered Clavier and The Art of Fugue, are still studied today for their structural brilliance and expressive depth.Later composers such as Mozart, Beethoven, and Brahms learned from Bach's techniques, helping to carry his influence into the Classical and Romantic eras.In just sixty seconds, discover why Bach's music continues to shape the sound of classical music centuries later.Fun FactBach's music was largely forgotten after his death in 1750 until it was revived decades later—most notably when Felix Mendelssohn conducted a famous performance of the St. Matthew Passion in 1829, sparking renewed interest in his work.About The Classical Music MinuteThe Classical Music Minute is a short podcast exploring fascinating stories, quirky history, and surprising facts from the world of classical music—all in about sixty seconds.Each episode offers a quick and entertaining glimpse into composers, masterpieces, musical traditions, and the curious moments that shaped music history.You can also read the written versions of these episodes on Substack, where they're published as short articles delivered directly to subscribers.About Steven, HostSteven Hobé is a Canadian composer and actor based in Toronto and a member of the Canadian League of Composers. He is the creator and host of The Classical Music Minute, a series devoted to making classical music history engaging, surprising, and accessible.Join me on Substack

durée : 01:27:32 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le premier album de l'ensemble Les Impertinences explore le répertoire du XVIIe siècle à travers la représentation animale dans la musique. C'est aussi un florilège de chefs-d'œuvre qui vous attend ce matin avec la "Rhapsodie in blue" de Gershwin, un concerto de Mozart et une sonate de Brahms. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:27:32 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le premier album de l'ensemble Les Impertinences explore le répertoire du XVIIe siècle à travers la représentation animale dans la musique. C'est aussi un florilège de chefs-d'œuvre qui vous attend ce matin avec la "Rhapsodie in blue" de Gershwin, un concerto de Mozart et une sonate de Brahms. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:14:02 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - La violoniste Manon Galy (Révélation aux Victoires de la musique classique 2022) et le pianiste Jorge Gonzalez Buajasan dévoilent leur deuxième enregistrement : un hommage à la période Romantique avec trois sonates majeures du répertoire. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Nicolas Fleury, le cor solo du Melbourne Symphony Orchestra nous parle des concerts qui auront lieu prochainement au Iwaki auditorium, au Frankston Arts Centre, au Hamer Hall du Arts Centre et au Melbourne Recital Centre. Au programme musique pour harpe et instruments à vent, et aussi un repertoire des oeuvres de Beethoven, Mozart, Bach, Haydn, Locke, Brahms et Mendelssohn.

The great and somewhat controversial conductor Leopold Stokowski said this about Tchaikovsky: "His musical utterance comes directly from the heart and is a spontaneous expression of his innermost feeling. It is as sincere as if it were written with his blood." I couldn't agree more with Stokowski, because I think he hits on a word that has made Tchaikovsky's music so powerful to almost every audience that encounters it: sincere. Tchaikovsky's music is so profoundly moving because you feel as if there is no gap between the music and Tchaikovsky's emotions. It's as if he is earnestly speaking to you through his music. But paradoxically, this ability that Tchaikovsky had made him a punching bag of critics and cynics throughout his career and even into today. Even though Tchaikovsky remains one of the most popular composers in the Western Classical canon, his name is still not treated with the respect of a composer like Beethoven or Brahms or other luminaries. I understand that, but I also think Tchaikovsky's skills as a composer are extremely underrated, which brings me to Tchaikovsky's 6th and final symphony, nicknamed the "Pathetique." Tchaikovsky's 6th symphony essentially rewrites the traditional symphonic form. It is one of the few 19th century symphonies that end quietly, and that ending is one of the most extraordinary and daring in the entire repertoire. It is a piece of remarkable complexity and brilliant construction, and it packs an emotional wallop that leaves you walking out of the hall slightly changed from the way you walked in. In fact, this piece is so multi-layered that I wanted to devote some extra time to it, so I've decided to make this a two-part episode. This week, we're going to talk about the controversies over Tchaikovsky's emotional state as he composed this symphony, and the first two movements of the piece: a massive, 17-minute first movement that ingeniously melds multiple different symphonic forms into one long breath, and a waltz with a twist. We'll get into a lot more detail than we usually do, giving us a chance to really give Tchaikovsky the respect he deserves.  

Brahms spent much of his adult life battling with his ambition to write the next great symphony and his terror at the shadow of Beethoven standing behind him. Brahms tortured himself for 14 years with his first symphony, and only published it when he was 49 years old. But when that symphony finally came out, it was a relative success for a new work, and with immense relief, Brahms quickly turned out another symphony in just 4 months.  Brahms' first symphony was quickly dubbed "Beethoven's 10th" something that annoyed Brahms to no end.  When told that the main theme of the last movement  resembled the Ode to Joy,  he notoriously responded, "any ass can see that!"  But all the same, Brahms had been re-anointed as Beethoven's successor with the symphony, and so therefore his second symphony would also be given a Beethovinian name, Pastoral.  The question since the symphony has been written has been this: just how pastoral and idyllic is this symphony? Many commentators see an unadulterated joy and gentleness in the piece, with some melancholy moments to be sure.  But overall, the piece is as sunny as it seems on its surface, with just the typical battles between happiness and sadness that mark every symphony. But there's another school fo thought with this symphony, and that is that it is marked by shadows and tremors that go way beyond simple sadness and happiness, and that these shadows and tremors leave a mark that can't be ignored.  I tend to believe in the second theory, but we're going to discuss this symphony with this framework in mind; whether this piece is as sunny as some people would have you believe, or if the shadows are the lasting impression we get as we walk away from the concert hall. We'll also discuss Brahms' innovations with form, and his evergreen ability to write some of the most stunning melodies on the planet. Join us!