Podcasts about brahms

Avui hem sentit: "Triumphlied", cantata simf

durée : 01:27:54 - En pistes ! du lundi 19 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - John-Eliot Gardiner et l'orchestre du Concertgebouw ouvrent cette nouvelle semaine d'En pistes. Au programme, musique romantique mais pas que ! Deux concertos pour violoncelle, une tragédie-lyrique de Philidor et trois cycles de Florent Schmitt inédits au disque...

durée : 01:27:54 - En pistes ! du lundi 19 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - John-Eliot Gardiner et l'orchestre du Concertgebouw ouvrent cette nouvelle semaine d'En pistes. Au programme, musique romantique mais pas que ! Deux concertos pour violoncelle, une tragédie-lyrique de Philidor et trois cycles de Florent Schmitt inédits au disque...

Avui hem sentit: "Liebeslieder walzer", per a cor i piano, op.52; "N

On The Afternoon Drive with John Maytham, we turn to music, memory, and majesty as John is joined by a guest from the Cape Town Philharmonic Orchestra to preview the upcoming Winter Symphonies at the City Hall, opening on 12 June 2025. The concert features Brahms’ Violin Concerto and Symphony No. 4 in E minor, performed by celebrated violinist Andrey Baranov, winner of the 2012 Queen Elisabeth Violin Competition, with Thomas Sanderling making his CPO debut as conductor after a remarkable 50-year global career. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

In this week's episode, Editor Martin Cullingford met with the founder and Music Director of Bach Collegium Japan Masaaki Suzuki, along with the group's Principal Conductor Masato Suzuki, to talk about their new recording of Brahms's Ein deutsches Requiem, available now on BIS – as well as discussing Bach's St John Passion, which they had performed the day prior to the interview. The interview took place last year in, appropriately enough, London's Japan House.

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!

durée : 01:29:18 - En pistes ! du mercredi 14 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une symphonie de Brahms, le concerto pour clarinette de Mozart, Carmen de Bizet... De nouvelles versions sont à découvrir dans En Pistes aujourd'hui. Plus confidentielle, la musique du compositeur franco-flamand Alexander Agricola est aussi au programme !

durée : 01:29:18 - En pistes ! du mercredi 14 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Une symphonie de Brahms, le concerto pour clarinette de Mozart, Carmen de Bizet... De nouvelles versions sont à découvrir dans En Pistes aujourd'hui. Plus confidentielle, la musique du compositeur franco-flamand Alexander Agricola est aussi au programme !

On today's Artful Living, we highlight 4 classical composers born in the month of May. We will enjoy the musical giants Monteverdi, Horowitz, Brahms, and Faure. You are invited to join us!

Johannes Brahms (1833-1897) - Quintetto in fa minore per pianoforte e archi, op. 341.       Allegro non troppo - Poco sostenuto - Tempo I 2.       Andante, un poco Adagio [15:58]3.       Scherzo. Allegro – Trio [25:08]4.       Finale. Poco sostenuto - Allegro non troppo - Tempo I - Presto non troppo [32:51]Quartetto ItalianoPaolo Borciani, Elisa Pegreffi (Violini)Dino Asciolla (Viola)Franco Rossi (Violoncello)Maurizio Pollini (Piano)

durée : 01:27:18 - En pistes ! du vendredi 09 mai 2025 - par : Emilie Munera - C'est le projet du chef Kent Nagano qui nous fait entendre l'œuvre de Brahms entremêlée de pièces de Bach, Schumann et Haendel. Au programme également, une plongée dans le XXème siècle avec la bande-son des années folles au piano, et des mélodies et chansons de la compositrice Claude Arrieu.

durée : 01:27:18 - En pistes ! du vendredi 09 mai 2025 - par : Emilie Munera - C'est le projet du chef Kent Nagano qui nous fait entendre l'œuvre de Brahms entremêlée de pièces de Bach, Schumann et Haendel. Au programme également, une plongée dans le XXème siècle avec la bande-son des années folles au piano, et des mélodies et chansons de la compositrice Claude Arrieu.

durée : 00:13:36 - Le Disque classique du jour du vendredi 09 mai 2025 - Enregistrée en août 2022 à l'Elbphilharmonie de Hambourg par le Philharmonisches Staatsorchester Hamburg sous la direction de Kent Nagano, cette version n'est pas celle habituelle en sept mouvements.

durée : 00:13:36 - Le Disque classique du jour du vendredi 09 mai 2025 - Enregistrée en août 2022 à l'Elbphilharmonie de Hambourg par le Philharmonisches Staatsorchester Hamburg sous la direction de Kent Nagano, cette version n'est pas celle habituelle en sept mouvements.

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

durée : 01:28:10 - En pistes ! du mercredi 07 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Programme lyrique aujourd'hui, avec deux opéras : un classique wagnérien et une partition beaucoup plus rare, "Vénus en Afrique" de George Antheil. La musique de chambre sera aussi au rendez-vous, avec Brahms, Mozart et Verdi.

durée : 01:28:10 - En pistes ! du mercredi 07 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Programme lyrique aujourd'hui, avec deux opéras : un classique wagnérien et une partition beaucoup plus rare, "Vénus en Afrique" de George Antheil. La musique de chambre sera aussi au rendez-vous, avec Brahms, Mozart et Verdi.

durée : 01:28:27 - Andreas Ottensamer, une sonorité poétique et chaleureuse - par : Aurélie Moreau - Andreas Ottensamer a conquis le public et la critique grâce à ses talents remarquables de clarinettiste et chef d'orchestre. Au programme aujourd'hui, des œuvres avec clarinette de Beethoven, Danzi, Mendelssohn, Weber, Spohr, J. Stamitz et Brahms.

Das Bach Collegium Japan unter Masaaki Suzuki haben eine überzeugende Neueinspielung von "Ein Deutsches Requiem" vorgelegt.

Johannes Brahms spielte gerne Walzer am Klavier und ließ sich dazu immer wieder neu inspirieren - vor allem, wenn er wieder einmal in Wien war, in der großen Walzermetropole. BR-KLASSIK stellt seine Liebesliederwalzer mit Brigitte Fassbaender vor.

durée : 00:14:30 - Le Disque classique du jour du vendredi 02 mai 2025 - Les œuvres réunies ici explorent un état affectif mystérieux et singulier pour composer un kaléidoscope sonore propre à faire éprouver, dans le moment de l'écoute, le temps suspendu et angoissé du pressentiment.

durée : 00:14:30 - Le Disque classique du jour du vendredi 02 mai 2025 - Les œuvres réunies ici explorent un état affectif mystérieux et singulier pour composer un kaléidoscope sonore propre à faire éprouver, dans le moment de l'écoute, le temps suspendu et angoissé du pressentiment.

durée : 01:27:30 - En pistes ! du lundi 28 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Direction Versailles avec une nouvelle production d'Alceste de Lully qui réunit Véronique Gens, Cyril Auvity et Claire Lefilliatre. Le plus célèbre des mouvements lents des symphonies mahlériennes et le piano romantique de Brahms sont à retrouver également dans En Pistes aujourd'hui !

durée : 01:27:30 - En pistes ! du lundi 28 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Direction Versailles avec une nouvelle production d'Alceste de Lully qui réunit Véronique Gens, Cyril Auvity et Claire Lefilliatre. Le plus célèbre des mouvements lents des symphonies mahlériennes et le piano romantique de Brahms sont à retrouver également dans En Pistes aujourd'hui !

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: 1. Johannes Brahms Cello Sonate No. 1 in E Moll, 1. Satz Pieter Wispelway, Cello / Dejan Lazić, Piano 2. Talking Heads - Sugar on My Tongue 3. Johann Sebastian Bach – Toccata und Fuge für Orgel d-Moll, BWV 565 Hannes Kästner, Orgel 4. Pippi Langstrumpf, Original TV Serie – Seeräuber-Opa Fabian Eva Mattes, Gesang / Georg Riedel, Komponist 5. Franz Schubert – 7. Ständchen aus dem Schwanengesang, Bearbeitung für Klavier von Franz Liszt Vladimir Horowitz, Klavier

The writer Colum McCann isn't afraid to take on big subjects – and his ambition has delivered a shelf full of awards, from both sides of the Atlantic. He grew up in Dublin but moved to the United States in the mid-1980s and now lives in New York. That city is the setting for his international bestseller Let the Great World Spin, in which Philippe Petit's tightrope walk between the Twin Towers in 1974 plays a key role. He's also written a novel about both sides of the conflict between Israel and the Palestinian people, from the perspectives of two fathers.He collaborated with Diane Foley, whose son James was executed by Islamic State militants, to create a memoir, American Mother, which was published last year. Most recently his novel Twist focuses on the vulnerability of the undersea cables carrying the world's internet data. Colum's music includes Gorecki, Prokofiev, Brahms and Haydn.

durée : 01:28:28 - En pistes ! du vendredi 25 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - D'une part Le clavier bien tempéré de Bach et d'autre part, le Requiem Allemand de Brahms. Et on restera du côté du répertoire sacré avec une Messe de l'autrichien Franz Josef Aumann et les Psaumes de pénitence du franco-flamand Roland de Lassus... - réalisé par : Antoine Courtin

durée : 01:28:28 - En pistes ! du vendredi 25 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - D'une part Le clavier bien tempéré de Bach et d'autre part, le Requiem Allemand de Brahms. Et on restera du côté du répertoire sacré avec une Messe de l'autrichien Franz Josef Aumann et les Psaumes de pénitence du franco-flamand Roland de Lassus... - réalisé par : Antoine Courtin

CSO Artist-in-Residence Daniil Trifonov, “without question the most astounding pianist of our age” (The Times of London), takes on Brahms' Second Piano Concerto, as remarkable for its rich orchestral writing as for its simultaneously glittering and muscular piano part. Dvořák's turbulent Seventh Symphony is both an expression of the composer's personal crises and a lyrical tribute to the Czech spirit. Learn more: cso.org/performances/24-25/cso-classical/makela-and-trifonov

durée : 01:28:50 - Riccardo Chailly à Leipzig - par : Aurélie Moreau - Riccardo Chailly à la tête de l'Orchestre du Gewandhaus de Leipzig de 2005 à 2016, a construit une vaste discographie avec cette formation, autrefois dirigée par Mendelssohn. Ce compositeur au programme aujourd'hui, avec Bach, Brahms et Beethoven.

Alan Gilbert is Chief Conductor of the NDR Elbphilharmonie Orchestra, as well as Music Director of the Royal Swedish Opera. Gramophone's James Jolly caught up with him during a run of Wagner's Die Walküre in Stockholm, where he lives. They talked about his Hamburg-based orchestra, the role today of a radio orchestra and also about the work orcherstra and conductor have just released (on the NDR Elbphilharmonie Orchester label to stream and download), Brahms's Third Symphony.

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Tasmin Little picks her favourite recording of Brahms's String Sextet no.1.

And now I worry, as old people do, about the kids I see who are growing up in the dreadful clutter of American life, the gizmos and social media bullying, and can they find delight as I did in skating on the frozen Mississippi and discovering Liebling and Jenny found listening to Prokofiev and Brahms. I pray for our kids to be lighthearted. The darkness is out there, and Christmas becomes utterly beautiful, the circle of love and friendship, the lighted candles, the anticipation of the child, the radiant beams, the redeeming grace. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit garrisonkeillor.substack.com/subscribe

Der Pianist Krystian Zimerman liebt die Kammermusik von Brahms über alles. Es gebe da "nicht ein schlechtes Stück". Und Zimermans aktuelle, wunderbare Einspielung zweier Klavierquartette von Brahms mit einem polnisch-japanischen Team ist eine eindeutige Bestätigung dieser These.

On the latest episode of ‘New Classical Tracks,' countertenor Aryeh Nussbaum Cohen and pianist John Churchwell present music by Korngold, Brahms, and Clara and Robert Schumann, as heard on their most recent recording. Listen now with host Julie Amacher!

durée : 01:29:03 - En pistes ! du mercredi 09 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le pianiste polonais passionné par la musique de chambre grave les quatuors n°2 et n°3 de Brahms, une grande première ! A retrouver aussi : un hommage d'Eva Zaïcik à celle qui fut la première Carmen, Célestine Galli-Marié, la suite de l'intégrale Chostakovitch de l'Orchestre symphonique de Boston...

durée : 01:29:03 - En pistes ! du mercredi 09 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le pianiste polonais passionné par la musique de chambre grave les quatuors n°2 et n°3 de Brahms, une grande première ! A retrouver aussi : un hommage d'Eva Zaïcik à celle qui fut la première Carmen, Célestine Galli-Marié, la suite de l'intégrale Chostakovitch de l'Orchestre symphonique de Boston...

Carlos Iribarren | La cantidad de sinfonías románticas alemanas está por encima de cualquier expectativa y aquí queremos seguir descubriendo auténticas joyas que fueron estrenadas durante el siglo XIX y comienzos del XX. En esta ocasión alcanzamos el octavo episodio de la colección escuchando movimientos muy interesantes de autores como Volkmann, Burgmüller, Moscheles, Gernsheim y el más moderno Hans Pfitzner. Son compositores que consiguieron hacerse un nombre a través de su buena música entre los Brahms, Richard Strauss, Wagner y Mahler, esas estrellas del momento que han llegado hasta nuestros días con sus apellidos inundando las enciclopedias musicales. Carlos y Mario esperan que les acompañes en un nuevo paseo por una época tremendamente fértil para la orquesta sinfónica, que atesora música de muchos quilates y que para nosotros es, de lejos, la mejor música del mundo: la que suena siempre en Hoy Toca, el programa de Clásica FM que te quiere sorprender.

After I post a Countermelody episode on a cherished singer, my relationship with these artists continues: one of those manifestataions is that I never stop seeking out rare and unusual recordings featuring those singers. This results in a grab-bag of fascinating and often obscure material that is simply too good not to share with my listeners. Today I present you with the second episode of such genre, which I have collectively dubbed “Rescue Mission.” On this episode I feature singers you've heard on the podcast over the course of the past several weeks and months, including, among many others, Janet Baker, Oralia Domínguez, Eugene Holmes, Ellabelle Davis, Gilda Cruz-Romo, Benjamin Luxon, Mara Coleva, Hugo Hasslo, Margaret Marshall, Gloria Davy, and Mady Mesplé, performing work by Handel, Verdi, Weill, Bach, Brahms, Boito, and Mozart. The episode concludes with Eleanor Steber (because, as I affirmed laast week, you can never have enough of her), in a 1949 performance of “Ah, Perfido!” that will have you picking your dislocated jaw up off the floor. Also expect shout-outs to friends of the podcast, old and new, as well as a certain amount of political snippiness! 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.

How successfully can AI underscore a day-to-day experience like grief? Or reading a book? Or even work as a coach? It turns out surprisingly well. Far better than the pearl-clutching naysayers. 11 minutes accompanied by Brahms. All very Thoroughly Good.

durée : 01:28:33 - Relax ! du jeudi 03 avril 2025 - par : Lionel Esparza - Au sommaire du Diapason d'avril : Yunchan Lim, Brahms, Karajan et Tristan, Carmen ou encore Edvarg Grieg.

On the latest episode of ‘New Classical Tracks,' pianist Orion Weiss concludes a trilogy 11 years in the making with an album featuring the music of Brahms, Schubert, Dohnanyi, Ligeti and more. Listen now!

Order of Service: - Prelude: O Sinner, Come, Thy Sin to Mourn (J. S. Bach) - Hymn 272 - O Sinner, Come Thy Sin To Mourn - A Canticle (p. 105) - Special Music: Psalm 130: Out of the Depths (Max Reger) - Hymn 452 - Out of the Depths I Cry To Thee: vv. 1, 2 - John 19:16-30: 16 Then he delivered Him to them to be crucified. Then they took Jesus and led Him away. 17 And He, bearing His cross, went out to a place called the Place of a Skull, which is called in Hebrew, Golgotha, 18 where they crucified Him, and two others with Him, one on either side, and Jesus in the center. 19 Now Pilate wrote a title and put it on the cross. And the writing was: JESUS OF NAZARETH, THE KING OF THE JEWS. 20 Then many of the Jews read this title, for the place where Je-sus was crucified was near the city; and it was written in He-brew, Greek, and Latin. 21 Therefore the chief priests of the Jews said to Pilate, “Do not write, ‘The King of the Jews,' but, ‘He said, “I am the King of the Jews.” ' ” 22 Pilate answered, “What I have written, I have written.” 23 Then the soldiers, when they had crucified Jesus, took His garments and made four parts, to each soldier a part, and also the tunic. Now the tunic was without seam, woven from the top in one piece. 24 They said therefore among themselves, “Let us not tear it, but cast lots for it, whose it shall be,” that the Scrip-ture might be fulfilled which says: “They divided My garments among them, And for My clothing they cast lots.” Therefore the soldiers did these things. 25 Now there stood by the cross of Jesus His mother, and His mother's sister, Mary the wife of Clopas, and Mary Magdalene. 26 When Jesus therefore saw His mother, and the disciple whom He loved standing by, He said to His mother, “Woman, behold your son!” 27 Then He said to the disciple, “Behold your mother!” And from that hour that disciple took her to his own home. 28 After this, Jesus, knowing that all things were now accom-plished, that the Scripture might be fulfilled, said, “I thirst!” 29 Now a vessel full of sour wine was sitting there; and they filled a sponge with sour wine, put it on hyssop, and put it to His mouth. 30 So when Jesus had received the sour wine, He said, “It is finished!” And bowing His head, He gave up His spirit. - Special Music: Responsory Hymn: Stricken, Smitten (Every Sunday Organist) - Hymn 297 - Stricken, Smitten, and Afflicted: vv. 1, 4 - Homily - Special Music: Canticle (Psalm 64): Lord, Hear the Voice of My Complaint (J. S. Bach) - Hymn 255 - Lord, Hear the Voice of My Complaint: vv. 1, 4 - Kyrie, Lord's Prayer: (spoken) - Special Music: Hymn: O Sacred Head (J. Brahms) - Hymn 335 - O Sacred Head, Now Wounded: vv. 4, 8 - The Collect (pp. 118-119) - The Benediction (p. 119): (spoken with Amens) - Hymn 593 - On My Heart Imprint Thine Image - Postlude: Prelude in G Minor (Bach/Krebs) Service Participants: Rev. Prof. Mark DeGarmeaux (Preacher), Naomi Anderson (Organist)

In Episode 14 of The Choral Director's Toolbox, host Dr. William Baker dives into the theme “Sacred Cows Make the Best Burgers,” examining how long-held assumptions in choral music—like so-called “proper Baroque pitch”—can benefit from a fresh look. This week's listener question explores the growing use of tablets in choral rehearsal and performance. Today's inspiration is Brahms' exquisite motet Schaffe in mir, Gott, performed by the RIAS Kammerchor under Marcus Creed. Join us as we question conventions, embrace innovation, and celebrate great choral art!

On this episode of One Symphony, Devin Patrick Hughes sat down with Peter Drew, a symphonist and jazz composer, to discuss his diverse life journey and his debut symphony, Reminiscence. Drew, born in Europe and later a refugee in the United States, recounted his early musical awakenings. He was first intrigued by the sound of the harmonica his stepbrother gave him. However, his musical trajectory truly shifted when, around the age of eleven, he heard Toscanini conducting Beethoven's Ninth Symphony on the radio. This experience deeply resonated with him, particularly the Ode to Joy, which became the first tune he learned on the harmonica, despite not being able to read music. Although initially captivated by classical music and Beethoven, Drew's path to becoming a composer was far from traditional. He pursued various careers, including working in film distribution, catering, teaching film studies, and being a social studies teacher. Throughout these experiences, music remained a constant presence in his life; he would often "noodle around" on the clarinet. It wasn't until later in life that he began to seriously study music, taking lessons from clarinet players and exploring jazz. He eventually started arranging music and studying composers like Sibelius. When the conversation turned to his symphony, "Reminiscence," Drew emphasized the amalgamation of his varied musical tastes and life experiences. He described his influences as a "mélange" or "stew" ranging from the American Songbook to Carl Orff, Villa-Lobos, Beethoven, Brahms, Artie Shaw, and even global music like Songs of the Auvergne, Tuvan throat singing, and Raga. He explained that his compositional process often begins with a melody he likes, perhaps played on his clarinet. He then develops this initial phrase, ensuring a natural flow between musical ideas without dissonance, remaining within the realm of Romantic Classical music. Hughes inquired about the technical aspects of translating these diverse elements into a cohesive symphony, including orchestration. Drew admitted that while he can conceive melodies, he needed assistance with the intricate instrumentation for a large symphony orchestra. He collaborated with an orchestrator to achieve the desired sonic textures, ensuring that all the instrumental parts complemented each other. Regarding the upcoming performance and recording of Reminiscence by the Boulder Symphony, Drew expressed his hope that listeners would simply "enjoy yourself" and "have fun". He doesn't expect the audience to be intimately familiar with all his diverse musical influences, but rather to connect with the music on an emotional level in the same way he was first drawn to Beethoven. Drew believes that if the music sounds and feels good, it will be enjoyable to listen to. When asked about his late entry into composing a symphony, Drew, who is approaching 90, reflected that all his life experiences, both musical and non-musical, have informed his writing. He feels that composing, rather than performing, is his true strength and passion, representing an accomplishment after a lifetime of diverse pursuits. He finds satisfaction in creating music that others enjoy listening to and playing. When pressed for a favorite movement, Drew chose the third movement for its energy and the way all the musical elements come together. While acknowledging the profound impact of Beethoven on his early musical life, he noted that Reminiscence incorporates a wider range of influences, creating a unique sonic landscape.   Thank you for joining us on One Symphony. Special thanks to Peter Drew for sharing his music and story. Musical selections from today's episode:   “Hard Driver” from the album And What's More composed and arranged by Peter Drew. “Midnight Sun” from the album And What's More. Composed by Lionel Hampton, Sonny Burke, and Johnny Mercer. Arranged by Peter Drew, featuring Sachal Vasandani. Symphony No. 1 “Reminiscence” II. Pictures at an Album. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” I. Journey. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. “Slow Burn Blues” from the album And What's More composed by Peter Drew and featuring Wendy Gilles.  Symphony No. 1 “Reminiscence” IV. The Return. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” II. Bach to Back. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender.   For more information on Peter, see https://www.peterdrewmusic.com You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Special thanks to Parma Recordings for making this episode possible. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

A cherishable 1953 broadcast performance of Brahms' Piano Concerto No. 2 in B-flat Major Op. 83 with soloist Clifford Curzon and the New York Philharmonic, conducted by George Szell is the topic for this episode.YouTube link: https://www.youtube.com/watch?v=DmY3QA_FaEwLink to purchase: https://www.prestomusic.com/classical/products/7974718--the-art-of-george-szell-vol-2?srsltid=AfmBOoqJQc9L7orcEjllu7OP5VEMn8PEMxDJy7G6k_ARCE6jYtyI1tpKConsider 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/pianomaven

“One of the things we know about the brain is that information that is acquired through problem solving is more likely to be retained. I might start rehearsal by saying 'take out the piece in D major,' 'let's start in the climactic moment of the Brahms,' 'take out the piece where fire is used as a metaphor for passion.' You start with a problem, so you're already engaging neurons. This works at any age."Sharon J. Paul holds the Robert M. Trotter Chair of Music at the University of Oregon, where she currently serves as Department Head of Music Performance and Director of Choral Activities. Her teaching includes graduate courses in choral conducting, repertoire, and pedagogy, along with conducting the internationally award-winning Chamber Choir.In March 2020, Oxford University Press published Dr. Paul's book, Art & Science in the Choral Rehearsal, which features many of the creative and evidence-based teaching strategies she has cultivated over her career.The University of Oregon Chamber Choir has placed first or second in four international choral competitions, most recently winning first prize in the Chamber Choir category at the Grand Prix of Nations Competition in Gothenburg, Sweden in August 2019. The Chamber Choir became a resident ensemble of the Oregon Bach Festival in 2014, performing each summer under conductors such as Helmuth Rilling, Matthew Halls, John Nelson, Jane Glover, and Joann Falletta.University of Oregon choirs under Dr. Paul's direction have performed at the National Association for Music Education's state and divisional conferences, and at ACDA Northwestern Division conferences.Dr. Paul has presented interest sessions at regional, state, division, national, and international conferences. She appears frequently as adjudicator, clinician, teacher, and honor choir director throughout the United States and abroad. In 2019, she received Oregon ACDA's Podium Award for “outstanding contributions to the choral arts,” and in the fall of 2014 she received the University of Oregon's Fund for Faculty Excellence Award.Dr. Paul completed her DMA in Choral Conducting at Stanford University, her MFA in Conducting from UCLA, and her BA in Music from Pomona College.To get in touch with Sharon, you can email her at sjpaul@uoregon.edu or find her on Facebook (@sharon.paul.50).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace HudsonPodMatchPodMatch Automatically Matches Ideal Podcast Guests and Hosts For Interviews

durée : 01:58:30 - Musique à programme : l'ouverture de concert - par : Christian Merlin - L'ouverture a tellement gagné en autonomie que certains opéras sont tombés dans l'oubli… sauf leur ouverture. Il n'en fallait pas plus pour donner à certains compositeurs l'idée de composer des ouvertures réservées au concert. Exemples choisis chez Beethoven, Mendelssohn, Schumann, Berlioz, Brahms. - réalisé par : Marie Grout