Podcasts about brahms

durée : 00:25:32 - Arielle Beck, pianiste - À seize ans, elle s'est déjà produite à la Roque d'Anthéron et s'apprête à monter sur la scène du Théâtre des Champs-Elysées : Arielle Beck sort son premier album, "Des lunes et des feux", consacré à Brahms, Schumann et à ses propres compositions. Rencontre avec une pianiste prodige et mature. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:58:32 - Musique matin du mercredi 01 octobre 2025 - par : Jean-Baptiste Urbain - À seize ans, elle s'est déjà produite à la Roque d'Anthéron et s'apprête à monter sur la scène du Théâtre des Champs-Elysées : Arielle Beck sort son premier album, "Des lunes et des feux", consacré à Brahms, Schumann et à ses propres compositions. Rencontre avec une pianiste prodige et mature. - réalisé par : Phane Montet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:32 - En pistes ! du mardi 30 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une matinée du piano à l'opéra avec l'impressionnant Deuxième concerto de Brahms par le pianiste Francesco Piemontesi, et l'opéra "Idoménée" de Mozart dirigé par Simon Rattle, avec les sopranos Elsa Dreisig et Sabine Devieilhe. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:32 - En pistes ! du mardi 30 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une matinée du piano à l'opéra avec l'impressionnant Deuxième concerto de Brahms par le pianiste Francesco Piemontesi, et l'opéra "Idoménée" de Mozart dirigé par Simon Rattle, avec les sopranos Elsa Dreisig et Sabine Devieilhe. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:17:50 - Disques de légende du mardi 30 septembre 2025 - Cinq grands maîtres de leur époque sont réunis dans cet enregistrement de concert de 1967 dans le quintette pour piano et cordes de Brahms et celui de Schubert, plus connu sous le nom de « La Truite ». Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:17:50 - Disques de légende du mardi 30 septembre 2025 - Cinq grands maîtres de leur époque sont réunis dans cet enregistrement de concert de 1967 dans le quintette pour piano et cordes de Brahms et celui de Schubert, plus connu sous le nom de « La Truite ». Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

A teen violist treats us to a sweeping Brahms sonata. We meet a tuba player who shares how it feels to perform on the stage at Carnegie Hall and an 18-year-old clarinetist recalls how his parents influenced his musical pursuits.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

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

The Division of the Arts' Mezzanine Gallery in Wilmington continues to spotlight the work of Delaware artists with an exhibition this month by Paula Brown.Brown is a relatively recent arrival to the First State, spending much of her life on the West Coast. Her work - much of it impressionistic landscapes and seascapes - shows off her adeptness with pastels and oils.And on this edition of Arts Playlist, Delaware Public Media's Martin Matheny sits down with Brown to talk about her art, her background, and the importance of Bach, Brahms and... Dr. Seuss.

Er hat das Business von allen Seiten kennengelernt: als Geschäftsführer von Orchestern wie der Jungen Deutschen Philharmonie und dem Ensemble Modern, als Konzertveranstalter in Wien und in London sowie als Labelchef bei der Deutschen Grammophon. Heute betreibt Karsten Witt sein eigenes Künstlermanagement in Berlin. Musik von den schönsten Projekten eines Organisationstalents hat er in die Sendung mitgebracht: Aufnahmen mit seinen früheren Orchestern und den heute von ihm vertretenen Künstlerinnen und Künstlern, Musik von Brahms und Schönberg bis Zappa und Weill, aber auch den flotten Walzer, den Wolfgang Rihm ihm einmal gewidmet hat.

durée : 01:28:27 - invité : Francesco Piemontesi, pianiste - par : Aurélie Moreau - En récital ou avec des orchestres tels le Philharmonique de Berlin et celui de New York, le pianiste Francesco Piemontesi rencontre un succès unanime. Son enregistrement du 2ème Concerto de Brahms paraît ce mois-ci (Pentatone). Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In deze aflevering van Kalm met Klassiek in de week vol koperblaasmuziek is het na trombone en de trompet tijd voor de hoorn. Je hoort er zelfs twee! Ze zijn te horen in een bezetting die je niet vaak tegenkomt: harp, vrouwenkoor, en die twee natuurhoorns dus. Johannes Brahms bracht dit alles samen in het werk 'Es tönt ein voller Harfenklang'. Een volle harpklank, een bedje van vrouwenstemmen en het rijke geluid van hoorngeschal: wat wil een mens nog meer? Nou, wil je bijvoorbeeld meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37). 

Johannes Brahms was pas 43 toen hij het aandurfde om een symfonie te schrijven. Het werd een meesterwerk! Botte Jellema duikt met musicoloog Kees Wisse in deze Symfonie nr. 1. Ze bespreken de briljante muzikale verbanden tussen de delen van dit werk vol contrasten. Zacht en hard. Verdrietig en hoopvol. Wild en verstild. Beluister de aflevering: orkest.nl/brahms-symfonie

Quando qualcuno sostiene che la musica della Spagna e quella dell'America Latina sono la stessa cosa e che non sono al livello di compositori come Bach, Beethoven o Brahms, come rispondete? Oggi vi suggerisco una risposta. Heitor Villa-Lobos Basta ascoltare poche composizioni di Villa-Lobos per ammettere che sono straordinarie. Breve biografia di Heitor Villa-Lobos Heitor Villa-Lobos (5 marzo 1887 – 17 novembre 1959) è stato un compositore, direttore d'orchestra, violoncellista e chitarrista classico brasiliano, ampiamente considerato come una delle figure creative più significative della musica del XX secolo. Nato a Rio de Janeiro, Villa-Lobos è stato esposto alla musica fin dalla tenera età, grazie a suo padre, un musicista dilettante. Heitor imparò a suonare il violoncello, il clarinetto e la chitarra, e le sue prime esperienze musicali furono profondamente influenzate dalla musica popolare brasiliana e dalla tradizione classica europea. Come nel caso di Bela Bartok in Ungheria, Heitor Villa-Lobos viaggiò molto attraverso il suo paese natale, studiando le tradizioni popolari e musicali. Questi studi spiegano il sapore distintamente brasiliano-latino di molte delle sue composizioni. Eppure, Villa-Lobos era più di un collezionista di melodie popolari. Era anche un maestro dell'orchestrazione in stile europeo. L'ascolto delle sue opere da camera dimostra che aveva studiato e assorbito le grandi opere da camera di Brahms e Debussy. E la sua musica vocale, sebbene radicata sia nelle antiche tradizioni occidentali che nella musica popolare brasiliana, prende il volo e si libra in nuovi lidi. Consigli per l'ascolto Bachianas Brasileiras No.5, per voce e otto violoncelli Poème de l'enfant et de sa mère, for voice, flute, clarinet, and cello Genesis (symphonic poem and ballet) Fantasia-Concerto per chitarra e piccola orchestra Quartetto d'archi n.17

Even before the continuing acts of gun violence in the US this week, I had chosen a theme that necessitated a rather sombre setlist: the artistry of Canadian-born singer George London in recital. Though London was one of the premier operatic bass-baritones in the 1950s, he also reserved a significant corner of his artistic endeavors for the recital stage. This episode focuses on London's live and studio recordings of this repertoire, which, in part simply by virtue of the dark color of his voluminous voice, tended toward the serious: Schubert's Heine settings, Brahms's Vier ernste Gesänge, Ibert's Don Quichotte songs, Duparc's sepia-toned melodies, Mahler's Kindertotenlieder, and his calling-card, Mussorgsky's Songs and Dances of Death. Examples of London singing all of this repertoire are included, accompanied by Paul Ulanowsky, Leo Taubman, Erik Werba, and John Newmark, among others. The episode is dedicated to the memory of all innocent victims in the epidemic of gun violence in the United States. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and 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 : 01:28:20 - Kim Kashkashian, une sonorité ample et profonde - par : Aurélie Moreau - L'altiste Kim Kashkashian "allie un esprit curieux et insatiable à une sonorité d'une immense beauté" (San Francisco Chronicle). Son répertoire s'étend de Bach à la musique de notre temps. Aujourd'hui : Schumann, Brahms, Mozart, Fauré, Guastavino... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

On Thursday 26 June 2025, Tāmaki Pātaka Kōrero | Central City Library presented The Kotuku Quintet in a special concert: From Mozart to Matariki The programme was based on a Mozart piano concerto and drew on inspiration from the celebration of Matariki in a brand new work by pianist and composer Louise Webster. Piano concerto no. 13 in C, KV 415 W.A. Mozart Allegro ; Andante ; Rondeau: Allegro Mozart's Piano concerto in C KV 415 was written in Vienna in 1782, one of three composed for sale to the Viennese public by advance subscription. A major selling point was that they were composed not only for concert use but also for performance at home, as the wind parts were not structurally important and could easily be dispensed with. The concerto is in three movements. The opening Allegro has a march-like theme, the Andante is lyrical and operatic in character, and the work ends with a Rondeau finale, where jovial sections alternate with a pair of pathos-laden Adagios. Phantasy for Piano Quartet in F# minor Frank Bridge The Phantasy for Piano Quartet was written in 1910, and is one of Bridge s most characterful early works, showing the influence of Brahms and French Romanticisim. All the musical ideas spring from the passionate opening flourish. There are three main sections. The first, Andante con moto , flows with Gallic grace, rather like a Barcarolle. A scherzo, Allegro vivace , follows, with a contrasting song song-like trio section that looks back to the opening ideas. A short recitative recitative-like passage then leads back to a reprise of the opening themes. The music moves into an impassioned climax before dying away to what Benjamin Britten described as a short coda which suggests the deep red afterglow of a sunset Lastly the feature piece - The paths of the sisters (2025) Louise Webster This work was commissioned by Ngā Pātaka Korero o Tamaki Makaurau for the celebration of Matariki. The title of the work 'following the paths of the sisters' refers to the Matariki constellation, welcoming the growth of the year to come. The stars are known as Matariki in Aotearoa and the Pleiades (the seven sisters) in the North. In many cultures the stars are viewed as a group of sisters, often accompanied by other family members. "While writing this work I thought of my for-bears, travelling by sea in 1839 from Caithness in the North of Scotland to Aotearoa, following the Matariki stars which remained a constant while all else changed" Louise Webster - composer. The Kotuku Quintet are: Simon Ansell (violin), John Seager (violin), Judith Gust (viola), Sally-Anne Brown (cello), and Louise Webster (piano).

Send us a textDescriptionShowtime with Strings Attached: The Romantic Concerto in 60 Seconds. Take a minute to get the scoop!Fun FactFranz Liszt's piano concertos were so demanding that critics sometimes accused him of showing off. He didn't mind—he once said performing should “transport the listener.” Paganini caused similar uproar: audiences whispered he'd sold his soul to the devil to master the violin. Marketing hype, 19th-century style.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

This week, two string quartets from the Music Institute of Chicago Academy play Haas, Dvořák, Brahms, Prokofiev, and a double helping of C major Haydn. The post Porphyrion String Quartet and The Hemingway Quartet appeared first on WFMT.

durée : 01:28:10 - Stephen Kovacevich, un idéal du son et de l'interprétation - par : Aurélie Moreau - Stephen Kovacevich, immense pianiste qui met en valeur le grand répertoire par son érudition, son jeu très inspiré, sa sonorité riche et profonde, est aussi très ouvert à la musique de notre temps. Aujourd'hui : Brahms, Beethoven, Prokofiev et Debussy. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:14 - En pistes ! du mardi 26 août 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le Quatuor Werther associe les œuvres de ces deux compositeurs allemands qui furent aussi de fervents lecteurs de Goethe. A retrouver également dans l'émission : un album composé d'airs de folie britanniques, et l'Art de la Fugue de Bach sur les instruments historiques que le cantor joua lui-même... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:14 - En pistes ! du mardi 26 août 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le Quatuor Werther associe les œuvres de ces deux compositeurs allemands qui furent aussi de fervents lecteurs de Goethe. A retrouver également dans l'émission : un album composé d'airs de folie britanniques, et l'Art de la Fugue de Bach sur les instruments historiques que le cantor joua lui-même... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Historical hoarding, prodigious pianists, and feeling old, oh my! Emily covers Marion Stokes, an activist who took channeled her hoarding into an archival project that took over her life and has yet to be rivaled. Then, Kelley tells the story of child prodigy Clara Schumann who was praised by the likes of Mozart and Beethoven, inspired Brahms, and was one of the most successful musicians and composers of her time. Grab your magic black rectangle and shove it into the bigger black rectangle, because we're wining about herstory! Join the Funerary Cult: https://www.patreon.com/winingaboutherstory Sponsor a Glass of Wine: https://buymeacoffee.com/wahpod Get Merch: https://wining-about-herstory.myspreadshop.com/  

Jan Swafford is a distinguished American author and composer, known for his insightful biographies of great composers like Charles Ives, Ludwig van Beethoven, and Wolfgang Amadeus Mozart. With degrees from Harvard and Yale, he's made significant contributions to classical music literature. His works, including the Vintage Guide to Classical Music and "Language of the Spirit," reveal the rich narratives behind the music we love. His unique insights and deep understanding of these composers illuminate their artistic journeys in a way that resonates with both music lovers and scholars alike.In our conversation, we explore the fascinating lives of Haydn and Mozart, delving into their prolific output and the support systems that fueled their creativity. Jan highlights how Haydn composed to commission, leading to his astonishing catalog of works, while debunking myths about Mozart's talent and lifestyle. “He worked himself to death because his body couldn't handle it anymore,” Jan reflects on Mozart's relentless pursuit of excellence.[Subscriber Content] In the subscriber section, Jan shares his thoughts on Tchaikovsky and Brahms, revealing personal preferences and insights about their contrasting styles. He also reflects on the evolution of music through the lens of history, discussing how composers like Schoenberg and Stravinsky marked a shift in musical innovation. Jan emphasizes the importance of authenticity in composition, stating, "It has to come from your core; otherwise, it's no good." Prepare for a warm exploration of music's profound connections to the human experience, as Jan shares his unique perspective on these influential figures.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

In Episode 32 of The Choral Director's Toolbox, host Dr. William Baker reflects on the invaluable role of mentors in shaping a conductor's career, sharing personal stories of wisdom passed down, and lessons learned the hard way, from seasoned colleagues. He encourages today's young choral leaders to seek guidance from those “who have been over the mountain a few times” and to embrace the blend of tradition and innovation that builds true artistry. This week's listener question offers strategies for launching a choir season on the right note. Today's inspiration is Brahms' lively "Tafellied," performed by the Leipzig Radio Chorus. Join us for a heartfelt episode on learning, leading, and lifting each other up in the choral profession.

If the exceptional Illinois-born contralto Carol Smith (20 February 1926 – 06 June 2021) has previously escaped your notice, now is the perfect opportunity to get to know her better. She began her career singing the music of Bach with the legendary Bach Aria Group, founded in 1946 by philanthropist, scholar, and collector William H. Scheide. Smith then went on for further vocal training in Italy, making her operatic stage debut in 1961 in Napoli. There followed a glorious operatic career as one of the world's leading dramatic mezzo-sopranos, with performances throughout Italy and Germany as well as with her home company in Zürich. She went on to become an esteemed and highly respected voice teacher on two continents. This episode digs deep into her recorded legacy, featuring cantata arias of Bach, Lieder of Brahms, arias by Gluck, Verdi, and Saint-Saëns, and scenes from Cavalleria rusticana, Roberto Devereux, and Penthesilea, a hidden early 20th-century masterpiece by Swiss composer Othmar Schoeck. No matter what repertoire Smith was singing, she was, by virtue of her chocolate-timbred voice, dramatic flair, and vocal glamour, power, and flexibility, a true Queen of Song. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Stephen Kovacevich is one of the  most celebrated concert pianists of his generation. Since his Wigmore Hall debut in 1961 he has been known for his interpretations of Beethoven, Brahms, Mozart and Schubert. Stephen and I look back over his career and discuss his experiences as a soloist, chamber musician, recording artist and conductor, collaborating with many of the world's leading performers and orchestras. He and pianist Martha Argerich will be performing at the Wigmore Hall in October 2025 in a concert to celebrate his 85th birthday.

In 2016; a horror movie called “The Boy” was released.  It's about a young woman named Greta, who was hired as a nanny for who she thinks is a little boy.  In reality, Greta's employers want her to care for a life sized porcelain doll named Brahms.  This doll was a replacement for the couple's real child, who died in a fire years before.  Soon strange things start occurring; and at the film's climax, the viewer learns that the real life Brahms did not die at all.  He escaped the fire, and he was living inside the walls of his parent's home for years.  And then…well…you need to watch this movie to find out. This movie makes for a good scare, but imagine for a moment that you discovered someone hiding behind the walls of your house.  For one family, this was a terrifying reality. So close your windows, and lock your doors my spooky friends.  You are about to hear a story that will make you wonder if you are really safe in your own home.  But before we get started, I want to give you all a heads up.  Today, we will be talking about child abuse, sexual assault, and the murder of children and adults.  Listener discretion is advised. Our website is the one stop spot for everything spooky!  Go to https://horrifying-history-shop.fourthwall.com to watch our history videos, find our social media links, read our spooky blog, get yourself some great creepy merch, and to join our fan club! If you are a member of our fan club – you will receive a permanent discount in our store while you are a fan club member.    

Questa edizione è dedicata alla musica, alla cultura e alla meraviglia degli incontri inaspettati. Siamo in Val Calanca, dove ogni tre anni la musica diventa lingua universale e il paesaggio si trasforma in palcoscenico. Torna infatti il Festival Demenga, che nel 2025 raggiunge la sua settima edizione.Otto concerti, una mostra suggestiva, una visita guidata… ma soprattutto un filo rosso: l'intreccio tra musica popolare e musica classica. Due mondi che sembrano lontani, eppure – ascoltando bene – parlano la stessa lingua: quella della memoria, della terra, dell'emozione. Dalle danze slave di Dvořák ai ritmi ungheresi rielaborati da Brahms, la musica ci racconta che la tradizione popolare è stata – e resta – linfa per la grande arte.Dal 2 al 9 agosto, la Val Calanca risuonerà di suoni antichi e contemporanei, con artisti di fama internazionale e la direzione artistica della famiglia Demenga, anima di questo festival che ha saputo ritagliarsi un posto speciale nel panorama musicale svizzero.Il Festival Demenga è pronto a sorprendere ancora, intrecciando passato e presente, gesti e suoni, corpi e strumenti. Dal 2 al 9 agosto. Ricordiamo che il programma completo è disponibile sul sito ufficiale festivaldemenga.ch.

durée : 01:28:47 - Lawrence Power, un altiste éclectique et inspiré - par : Aurélie Moreau - Altiste de renommée internationale, Lawrence Power est célèbre pour la richesse de sa sonorité, sa maîtrise technique et son engagement passionné en faveur de la musique nouvelle. Aujourd'hui : Brahms, Walton, Britten, Berlioz, Arthur Benjamin… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In his second appearance on Anthony Plog on Music, celebrated biographer and composer Jan Swafford returns for an expansive two-part conversation that dives deep into the very soul of classical music. In his previous interview from 2021, Jan discussed his monumental biographies of Mozart, Beethoven, Brahms, and Ives. But his intellectual and creative output extends far beyond those volumes, and this new set of interviews explores more of his wide-ranging contributions to the world of music.In Part 1, the focus turns to Jan's book Language of the Spirit: An Introduction to Classical Music, a refreshingly vivid and often personal guide to the history of Western music. The discussion begins with a few select quotes that set the tone for Swafford's engaging style—an approach that never shies away from humor, insight, or imagination. Along the way, Tony and Jan take an unexpected detour into a blog post imagining a conversation between Mozart and Picasso's Guernica. As the conversation returns to the content of Language of the Spirit, the two explore key aspects of the Baroque period, including figured bass and the challenges of intonation. The episode concludes with a discussion of three of Jan's own compositions—They That Mourn, Late August, First Snow, and River—offering a glimpse into his creative voice as a composer.Part 2 picks up right where they left off, continuing the discussion of the Baroque with special attention to the genius of Bach and the dramatic flair of Händel. This naturally leads into a thoughtful debate on performance practice, particularly the tension between historically informed performances (HIP) and modern approaches. Jan brings his signature candor and wit to the conversation, questioning what authenticity really means and whether the HIP movement sometimes overreaches. The episode closes on a memorable note, as Jan describes the extraordinary experience of holding the original manuscripts of Mozart's Marriage of Figaro and Brahms's German Requiem in his hands. And in true Swafford fashion, he promises to return again—next time, to tackle the Classical era through to the present day.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

This past April, my former voice teacher and treasured friend Joan Caplan died at the age of 92. A few weeks ago, family and friends organized a memorial gathering for which I produced a short audio tribute, which is heard at the beginning of this episode. Before the event, we heard a number of recordings of Joan in her prime that absolutely knocked me on my ear. I was kindly given copies of these recordings from which I have fashioned an expanded episode in her honor. Most of these recordings have simply never been heard before, but I know that Joan was very proud of the work that she did during her active singing career, before she dedicated herself wholeheartedly to her teaching. Her rare live recordings of arias by Handel, Verdi, Donizetti, Purcell, and Hasse display her magnificent technique, while excerpts from her song recitals, including music by Brahms, Mahler, Montsalvatge, and Glanville-Hicks, display her versatility as well as her interpretive insight. I also share personal insights and reminiscences of Joan which will, I hope, reveal the special relationship that I shared with her, which many of her students, friends, and chosen family also experienced. When I last visited Joan, I promised her that I would do what I could to ensure that she would be properly remembered. With this episode, I do my part, to the best of my ability, to keep that promise. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Why might a symphony night pair just as well with your wine as a heavy metal ballad? What is “sonic seasoning” and how can music impact the way we experience the taste of wine? How are sensory experiences like music, taste, and atmosphere all connected? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Susan Lin, a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks   Highlights What did Susan's grandfather teach her about fine beverages and hospitality? How did playing piano in hotels as a child shape Susan's perspective on the holistic nature of our sensory experiences? Is there a connection between Susan's backgrounds in tech, music, and wine? When did Susan decide she wanted to dive deeper into the intersection between music and wine? What makes a wine "musical"? How do cross-modal correspondences impact wine tasting? Why was Brut Non-Vintage Champagne Susan's choice for her research paper? What is "sonic seasoning" in the context of wine and music? What was Susan's most memorable wine and music pairing event? What might surprise you about the intersection between classical music and heavy metal? How did Susan set up her experiment to observe how music affected participants' perceptions of the wine they were tasting?   Key Takeaways Susan says she was always encouraging a Bach goth night at the symphony to bring people together. I like to say, whether my Brahms is your Metallica or vice versa, music can make such a difference in what you're feeling. Hence, if you got a glass of wine, what you're tasting in that glass, right? I've actually done a few experiments with heavy metal. People feel a lot of things, and there are ballads in metal. It's not just your typical really assertive sound all the time. It can be really soulful too and I noticed a lot of use of medieval melodies and folk songs in the ballads that are really nice. So not too far of a distance between Brahms and Metallica in that sense. Susan explains that if you're listening to something that might add a little bit of pizzazz here or there to your wine, like seasoning can do. It's more of a fun term, not a scientific term. All classical composers experienced all the emotions and all the feelings that we all do and it comes through in their music. Maybe they can be feeling joyful or melancholy or longing or frustrated or upset, and everything in between. So the nature of the seasoning is that it can run in many, many different ways. Susan observed during her performances how moods of the guests changed depending on what she played. Everything in the sensory world, all of our experiences, are really taken in holistically, right? It's not like, oh, we're just listening to this one thing and that's isolated. Oh, and we're tasting this one thing, we're smelling this one thing, and we're seeing something. It's all together. I knew that it was something special, and knew that it was something that I wanted to learn more about, or just somehow be a part of. And playing the piano in those situations actually was a great way for me to be a part of it.   About Susan R. Lin Susan R. Lin is a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology.         To learn more, visit https://www.nataliemaclean.com/346. Susan's MW research paper ‘Influences of Classical Music on the Sensory Perception of a Brut Non-Vintage Champagne' and subsequent work on the interaction of music and wine have been featured in Decanter, Food & Wine, GuildSomm, and others. Each of Susan's creations is rooted in academic research and inspired by a deep respect for the essence of wine and music.

durée : 01:28:52 - Grigory Sokolov, la puissance et la rigueur - par : Aurélie Moreau - Pour Grigory Sokolov, immense pianiste, « l'essence de l'interprétation, c'est l'amour profond que l'on porte à une pièce, assorti à la liberté intérieure de l'interprète. » (L'Humanité). Aujourd'hui : Brahms, Haydn, Mozart, Rachmaninov, Schubert… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Check out my newsletter at TKOPOD.com and join my new community at TKOwners.comI sat down with Daniel Cronauer again and we talked all things service & local business. We got into how he's opening his third gym right next to competitors and stealing their customers with simple tactics that actually work. We also talked about finding marketing shortcuts that cost almost nothing but drive real leads, how to use Facebook groups the smart way, and why most home service businesses never scale past two trucks. We even got into personal stuff like gratitude, childhood money trauma, and how those shape your mindset as a business owner.If you've ever gotten a newsletter from me, it was powered by Beehiiv. Built by the team behind Morning Brew, it's the only platform I've found that actually moves the needle. Go to beehiiv.com/chris and use code chris30 to get 30% off your first three months.You can find Daniel on Twitter at x.com/DanielCronauer and on LinkedIn.Timestamps below. Enjoy!---Watch this on YouTube instead here: tkopod.co/p-ytAsk me a question on or off the show here: http://tkopod.co/p-askLearn more about me: http://tkopod.co/p-cjkLearn about my company: http://tkopod.co/p-cofFollow me on Twitter here: http://tkopod.co/p-xFree weekly business ideas newsletter: http://tkopod.co/p-nlShare this podcast: http://tkopod.co/p-allScrape small business data: http://tkopod.co/p-os---00:00 Turning Ideas into Cash Flow03:03 Optimism and Market Strategy05:53 Marketing Tactics and Community Engagement09:06 The Importance of Action and Research12:01 Building a Business with Intent14:49 Curiosity and Gratitude as Business Drivers18:05 Navigating Business Challenges20:52 Franchises vs. Entrepreneurship24:06 The Future of Business in a Competitive Market32:00 Brahms vs. Coldstone: The Cost of Vertical Integration34:22 Franchising: The Good, The Bad, and The Fit36:45 Scaling Home Service Businesses: The Key to Growth39:40 The Importance of Systems and Employee Empowerment41:33 Mission Statements: Purpose in Business43:28 The Employee-Employer Dynamic: Who Works for Whom?45:21 Creating a Positive Work Environment46:45 The Psychology of Business: Understanding Employee Needs48:40 Avoiding Time and Money Wasters in Business50:38 Investing in Real Estate: A Personal Journey52:54 Defining Success: Time vs. Money54:48 Diversification: The Value of Multiple Ventures56:15 The Launch Playbook: From Truck to Cash Flow

Der gebürtige Wiener Stephan Koncz ist ein Multitalent: Hauptberuflich Cellist bei den Berliner Philharmonikern, dirigiert und komponiert er auch. Jetzt hat Koncz für Daniel Ottensamer die beiden Klarinettensonaten von Johannes Brahms orchestriert und als Dirigent mit dem Deutschen Symphonie-Orchester Berlin eingespielt. Brahms neu gehört - das Album macht's möglich.

Teagan Faran is a remarkable violinist known for her versatility as a performer, composer, and improviser. In this episode, you'll hear selections from her album Middle Child—a compelling and genre-spanning musical journey featuring works by acclaimed contemporary composers, as well as Tegan's own reimagining of Brahms' beloved Intermezzo.A Fulbright grant recipient, Tegan spent nine months in Argentina delving into the rich traditions of tango and regional folk music. She shared insights about her time there, along with stories of collaboration and mentorship, including her work with the Grammy-nominated ensemble Palaver Strings and the electroacoustic duo Persephone & the Phoenix.Tegan has also built a dynamic career as an educator and has studied under renowned teachers like Danielle Belen. In our conversation, we touched on her diverse teaching experiences, the importance of injury prevention, and her parallel path as a certified personal trainer. My website link takes you to the video and transcript.Teagan Faran WebsiteBuy me a coffee? Podcast merchOther episodes you may enjoy: Julie Lyonn LiebermanMeg OkuraMartha Mooke, bad snacks, and Margaret Maria among so many!photo: Naomi VandTimestamps:(00:00) Intro(01:53) album Middle Child with clip of Brahms Intermezzo(05:42) Davis West, with clip of Outermezzo, Deedee Bridgewater(08:44) Palaver Strings(15:58) FARAHMS Misha Vayman with clip(17:59) Persephone & the Phoenix Duo Nicole Brancato(22:51) Casimiro by Julián Granciano with clip, tango, learning in Argentina(28:31) Little Things album, sheet music with clip of El Silbador(34:22) other linked episodes and ways to support this series(35:11) stir crazy by Carlos Simon with clip, Leo Sussman(37:01) mentor Matt Albert(40:41) musical and personal identity(44:24) mentor Danielle Belen, concert presentation, teaching, Ithica, Sphinx(53:06) career advice, exploring instruments(56:29) Temptress Jens Ibsen with clip(59:37) personal trainer, avoiding injury

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

Geri Dönüyoruz'un 89. bölümünde Mahir Ünsal Eriş ve Töre Sivrioğlu'nun konuğu Memet Ali Alabora. Müzik Larousse serisinin yeni bölümü için bir araya gelen üçlü, Johann Sebastian Bach'ın oğullarından başlayan sohbette, Boccherini, Brahms, Bizet ve Brucker'e uğrayıp Borodin'e kadar ilerliyor.

Geri Dönüyoruz'un 89. bölümünde Mahir Ünsal Eriş ve Töre Sivrioğlu'nun konuğu Memet Ali Alabora. Müzik Larousse serisinin yeni bölümü için bir araya gelen üçlü, Johann Sebastian Bach'ın oğullarından başlayan sohbette, Boccherini, Brahms, Bizet ve Brucker'e uğrayıp Borodin'e kadar ilerliyor.

Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenLink to purchase recording - https://www.prestomusic.com/classical/products/9735901--kate-liu-plays-beethoven-brahmsLink to video of Kate Liu playing Brahms' Piano Sonata No. 3 - https://www.youtube.com/watch?v=-OwW0T1PvZMLink to Kate Liu 2022 Van Cliburn International Competition Quarterfinal Recital - https://www.youtube.com/watch?v=nliha96TliY

Today we hear from a CMPI fellow and student at Midwest Conservatory in Schaumburg. Lily plays Brahms, Bach and Wieniawski; plus the Fantasy No. 1 of Japanese composer Ikuma Dan. The post Lily Yoshihara, 18, violin appeared first on WFMT.

Andrés Amorós dedica un cuarto programa a este pianista ruso muy respetuoso con la labor de los compositores. Andrés Amorós dedica este programa a las interpretaciones que Sviatoslav Richter realizó de Brahms y Debussy. Se subraya la filosofía del pianista ruso, que se consideraba a sí mismo un mero ejecutor al servicio de la obra, mostrando un respeto absoluto por la partitura y el compositor, por encima de cualquier lucimiento personal. Esta actitud le diferencia de otros virtuosos y define su enfoque artístico. En su acercamiento a Johannes Brahms, Richter exhibía una afinidad particular, prefiriéndolo incluso a Schumann. Su interpretación del Scherzo del Concierto para piano nº 2 es un ejemplo de su fuerza controlada y su renuncia al sentimentalismo. Richter aborda a Brahms con la potencia y la hondura requeridas, pero siempre manteniendo una sobriedad y una fidelidad extremas al texto musical. La selección de Claude Debussy demuestra la enorme versatilidad del pianista. Richter era capaz de adaptarse a estilos muy diferentes, recreando las atmósferas y el color del impresionismo francés. Se escuchan fragmentos de Cloches à travers les feuilles y L'Isle Joyeuse, piezas en las que el pianista logra evocar el misterio y la alegría jubilosa con una claridad y una técnica prodigiosas, sin perder la esencia etérea de la música. Finalmente, se destaca la figura de Richter como un artista único y enigmático, alejado de los circuitos comerciales y de la autopromoción. Su dedicación a la música por encima de todo queda reflejada en anécdotas como la creación de su propio festival en un granero en Francia, buscando la acústica y el ambiente perfectos. Se le recuerda como un intérprete puro más que como una estrella del piano.

There's a moment in Mel Brooks' “History of the World Part 1” where we're told that shortly after the first artists came the first art critics…..I'll leave you to determine what happens…. The music world is certainly not short of people with opinions in regards to others' ability to perform and provide nuance to the work they present for us as music lovers to listen to. In the classical world, interpretation of the canon of baroque, classical, romantic and modernist music can be a mystery to some of us who are not classically trained musicians.  There's no shortage of classical soloists who've captured the wider public's imagination, yet have their critics as well. Welcome to episode 128 of See Hear Podcast. Glenn Gould is regarded as one of the great pianists of the 20th century, known in particular for his love of and heavy focus on the composition of J.S. Bach. However, he wasn't unanimously revered. Pianist Alfred Brendel was vocally not a fan. Even Leonard Bernstein who did love Gould's approach  covered himself before a TV broadcast of a Brahms piano concerto by saying Gould's approach was not going to be for everybody. Therein lies the heart of the matter – when you depart from an accepted orthodox style of playing of the canon, you're going to upset people. Glenn Gould upset some people. BUT….the reason he is still being talked about was for what he DID, not what he didn't do. He's most famous for his first and last released recordings, Bach's Goldberg Variations (1955 and 1981). Even there his recordings are wildly different, and the latter upset some who championed the earlier recording. He's also remembered for his intellect and could discuss may other issues outside of music – something he did on radio and TV specials. In 1993, film director Francois Girard released a brilliant biopic / documentary called “Thirty Two Short Films About Glenn Gould”. Like its subject, the film takes a wildly different approach from the accepted norm of musician biopic. As the name implies, the film comprises of 32 shorts featuring narratives, interviews, performance and experimentation that provide a strong sense of Gould's character. There is a 3 act structure, but not in the usual way that you get in a conventional musician biography. June 2025 sees the reissue of the film by Criterion, and I was thrilled to welcome Francois to the podcast to talk about this film and Gould in general. Unfortunately, we couldn't coordinate the timing to have Tim or Kerry available, but I still had a fascinating conversation with Francois that I hope you find illuminating. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at ⁠http://pantheonpodcasts.com⁠ Send us feedback via email at ⁠seehearpodcast@gmail.com⁠ Join the Facebook group at ⁠http://facebook.com/groups/seehearpodcast ⁠ You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans la prestigieuse salle du Musikverein, à Vienne, en Autriche, temple de la musique classique connu des mélomanes du monde entier, se déroulent des concerts pas comme les autres. Des concerts Souvenir qui s'adressent aux personnes atteintes de démence. Le but est de réveiller leur mémoire, à travers la musique et ses émotions.  Cet après-midi, la magnifique salle Brahms du Musikverein de Vienne, en Autriche, accueille un concert un peu particulier, Souvenir, destiné aux personnes atteintes de démence et leurs accompagnants. Ils sont plusieurs dizaines à s'installer lorsqu'un trio de jeunes musiciens commence à jouer un programme spécialement conçu pour eux. Mélange de classiques et de variétés du 20e siècle. Une animatrice introduit chaque morceau et encourage même les spectateurs à chanter. On voit des mains en attraper d'autres, des têtes qui se posent sur l'épaule du voisin. C'est le but de ces concerts : réveiller les émotions et la mémoire des spectateurs. Pari réussi pour Elfriede, 84 ans, qui a quitté sa maison de retraite avec son accompagnant Walter. « J'ai toujours aimé me rendre à des concerts et celui-ci était beau, magnifique. J'ai aimé toutes les chansons. C'est toujours un plaisir et quelque chose de spécial au Musikverein. Je crois que je pourrais y aller tous les jours », confie-t-elle. « Par la musique, on peut toucher les personnes atteintes de démence au niveau émotionnel. Ces concerts permettent de bien travailler sur leur mémoire, car après, on en reparle. On leur demande de quoi ils se souviennent. Alors, on chante à nouveau ensemble certains morceaux du programme », abonde son accompagnant. Organisés depuis 2022, ces concerts sont bien fréquentés et pas uniquement par des personnes atteintes de démence. Peter, par exemple, accompagne son fils autiste, Alex. « Mon fils écoute des concerts sur YouTube toute la journée. C'est ce qui le calme. Certains autistes ne peuvent pas supporter quand il y a trop de bruit ou trop de personnes dans une salle. C'est pourquoi les gros concerts sont difficiles. Les personnes ayant des besoins particuliers ne sont malheureusement toujours pas intégrés correctement dans la société. Mais ici, on rencontre d'autres familles avec des enfants handicapés et de nombreuses amitiés se sont déjà nouées », témoigne-t-il. Pour les musiciens aussi, cette expérience est remplie d'émotions, comme l'explique le pianiste Shimon Krizek et la violoniste Susanna Budzinski, tous deux polonais : « Je me souviens que lors d'un concert au cours duquel j'ai joué une aria. Un spectateur, probablement un ancien chanteur, a tenu la dernière note aussi longtemps que cela est possible. J'ai donc dû moi-même tenir cette dernière note. Parfois, j'ai l'impression que je vais me mettre à pleurer. C'est vraiment fantastique », explique, ému, le pianiste. « Habituellement, le public reste assis à apprécier la musique, mais ici, certains se mettent à chanter ou à danser. Ils nous envoient une grande énergie. C'est une expérience très enrichissante, non seulement pour les artistes, mais aussi pour le public, car il est scientifiquement prouvé que la musique aide les personnes atteintes de démence », abonde la violoniste. En Autriche, environ 170 000 personnes sont actuellement atteintes de démence. À lire aussi«Expériences vibratoires»: un cycle d'ateliers pour initier les personnes sourdes à la musique

It's entirely possible that we would not know the name of Johannes Brahms very well if Brahms hadn't met Joseph Joachim as a very young man. Joachim, who was one of the greatest violinists of all time, had already established himself as touring soloist and recitalist, and he happened to know the musical power couple of Robert and Clara Schumann quite well. Joachim encouraged Brahms to go to Dusseldorf to meet the Schumann's, and the rest is history. I've talked about the Brahms-Schumann relationship dozens of times on the show before, but to keep it very brief, Robert Schumann's rhapsodic article Neue Bahnen(new paths) launched Brahms' career, and until Schumann's deterioration from mental illness he acted as a valued friend and mentor for Brahms. Clara Schumann, as a performer, was a powerful advocate for Brahms' music as well as a devoted and loving friend throughout the rest of their lives. Almost constantly present in this relationship was the sound of Joseph Joachim's violin. Brahms did not have a huge circle of friends, but for the often difficult to get along with composer, Joachim was a musical and spiritual companion. Brahms' legendary violin concerto was written for him, and the two collaborated closely for the entire course of their musical lives, except for one significant break. Brahms and Joachim were estranged for 7 years, until Brahms reached out with a remarkable conciliatory gesture: a concerto for Violin and Cello and that would be dedicated to Joachim. Brahms and Joachim(as well as Brahms and Clara Schumann) had often resolved disputes through music, and this was no exception. Clara Schumann gleefully wrote in her diary after Joachim had read through the piece with cellist Robert Hausmann: "This concerto is a work of reconciliation - Joachim and Brahms have spoken to each other again for the first time in years.” One would expect that a work like this would be beloved, but the Double Concerto has had a checkered history, which we'll also get into later. Clara herself wrote that it lacked "the warmth and freshness which are so often found to be in his works,” It would turn out to be Brahms' last work for orchestra, and one of the few in his later style, which makes It fascinating to look at from a compositional perspective. Partly because of the cool reception it got in its first few performances, and the practical challenges of finding two spectacular soloists who can meet its challenges, the piece is not performed all that often, though I have always adored this piece and am very grateful to Avi who sponsored this week's show from my fundraiser last year before the US election. So let's dive into this gorgeous concerto, discussing the reasons for Joachim and Brahms' break, their reconciliation, the reception this piece got, and then of course, the music itself! Join us!

One can't miss the S.K. Pierce Mansion in Gardner, Massachusetts. This magnificent mansion is a huge Victorian that takes up the whole corner of West Broadway and Union Street. The grand exterior makes it very inviting, but the ghost stories connected to this place might just make you think twice before entering. There are those that claim this home is the second most haunted house in Massachusetts. Some owners have been chased out by spirits. There could be more than a dozen spirits here and one of them may be the furniture magnate for whom the house was built and named: S.K. Pierce. Join us for the history and hauntings of the S.K. Pierce Mansion. The Moment in Oddity features the Bone Collector Caterpillar and This Month in History features Brahms born.  Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2025/05/hgb-ep-585-sk-pierce-mansion.html   Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode:  Main Theme: Lurking in the Dark by Muse Music with Groove Studios (Moment in Oddity) "Vanishing" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ (This Month in History) "In Your Arms" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Outro Music: Happy Fun Punk by Muse Music with Groove Studios Other music used in this episode: Title: "The End" and "Mortician's Hat Trick" Artist: Tim Kulig (timkulig.com) Licensed under Creative Commons By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/ IMDB: https://www.imdb.com/name/nm0997280/?ref_=fn_al_nm_1