German composer and pianist
Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms
Brahms Intermezzo in Eb major, Op. 117 no. 1 is a kind of sweet lullaby but with a disturbingly dark middle section. What is that about? The gorgeous music draws you in with its lush harmonies and rich textures, and tells a compelling but unclear story. With Henrik Kilhamn, piano. Video: https://youtu.be/95nEeUymyaY
Musical meditation BONUS, featuring music of Debussy and Brahms played by Marnie Laird of Brooklyn Classical. Self-Coaching Questions: What is the current balance between your push to succeed and climb the ladder with rest, recalibration, and restorative solitude? What needs to shift for you to feel more harmony, peace, and deep creative joy? What do you want those who see, hear, and experience your work to feel or know? Do you feel or know those things yourself? Leave us a voicemail by calling: 302-415-3407 Register for the Enneagram Workshop Register for the Artist's Way Creative Cluster Podcast Transcripts
Synopsis The German composer Johannes Brahms would probably have nodded in approval if he could have heard Orson Welles intone “We will sell no wine before its time” in those old TV ads for Paul Masson. Brahms was a notorious perfectionist, an obsessive polisher, and a cautious taste-tester of any of his own musical fermentations. So, if one notes that Brahms appeared at the piano on today's date in 1895, accompanying clarinetist Richard Mühlfeld at a high-profile Viennese performance of his Clarinet Sonata No. 1, one can safely assume there had been a number of trial performances beforehand. In the summer of 1894, during his annual holiday in the Austrian countryside, Brahms composed this sonata. The very first performances of the new Clarinet Sonata followed in the fall of 1894 for the Duke of Meiningen and his sister, with an additional test run in Frankfurt for Clara Schumann. After Clara gave the new work a thumbs up, Brahms apparently felt it was fit for public consumption: first on January 7, 1895 for members of Vienna's Tonkünstler Society, and four days later for an even more “toney” audience attending the Rosé String Quartet Quartet's chamber music series. After all, as Brahms and Mühlfeld might have put it: “We play NO sonata before its time!” Music Played in Today's Program Johannes Brahms (1833 - 1897) Clarinet Sonata No. 1 Richard Stoltzman, clarinet; Richarde Goode, piano RCA 60036
Synopsis If the late 18th century is the “Classical Age,” and the 19th “The Romantic,” then perhaps we should dub our time “The Eclectic Age” of music. These days, composers can—and do—pick and choose from a wide variety of styles. The American composer William Bolcom was loath to rule anything out when he approached the task of setting William Blake's Songs of Innocence and of Experience to music. Bolcom calls for a large orchestra, multiple choruses, and more than a dozen vocal soloists versed in classical, pop, folk, country, and operatic styles. There are echoes of jazz, reggae, gospel, ragtime, country and rock idioms as well. As Bolcom put it: "At every point Blake used his whole culture, past and present, high-flown and vernacular, as sources for his many poetic styles. All I did was use the same stylistic point of departure Blake did in my musical settings.” The massive work received its premiere performance in Stuttgart, Germany, on today's date in 1984. Most of the work was completed between 1973 and 1982, after Bolcom joined the faculty of the University of Michigan in Ann Arbor, and it was there that the work received its American premiere a few months following its world premiere in Germany. Music Played in Today's Program William Bolcom (b. 1938) Songs of Innocence and of Experience Soloists; Choirs; University of Michigan School of Music Symphony; Leonard Slatkin, conductor. Naxos 8.559216/18 On This Day Births 1792 - American composer and educator Lowell Mason, in Medford, Massachusetts; 1812 - Swiss composer and pianist Sigismond Thalberg, in Pâquis, near Geneva; 1896 - Czech composer Jaromir Weinberger, in Prague; 1899 - Russian-born American composer Alexander Tcherepnin (Gregorian date: Jan. 21); 1905 - Italian composer Giacinto Scelsi, in La Spezia; 1924 - Russian-American composer Benjamin Lees (née Lysniansky), in Harbin, Manchuria; 1924 - Austrian-born American composer Robert Starer, in Vienna; 1935 - The charismatic rock 'n' roll performer Elvis Presley is born in Tupelo, Miss.; 1937 - American composer Robert Moran, in Denver; Deaths 1713 - Italian composer and violinist Arcangelo Corelli, age 59, in Rome; 1831 - Moravian-born composer and violinist Franz Krommer, age 71, in Vienna; 1998 - British composer Sir Michael Tippett, age 93, in London; Premieres 1705 - Handel: opera "Almira" in Hamburg; This was Handel's first opera (see also Dec. 5 & 30 for related contemporary incidents); 1720 - Handel: opera "Radamisto" (2nd version), in London (Julian date: Dec. 28, 1720); 1735 - Handel: opera "Ariodante" in London at the Covent Garden Theater (Gregorian date: Jan. 19); 1843 - Schumann: Piano Quintet in Eb, Op. 44, at Leipzig Gewandhaus with pianist Clara Schumann; 1895 - Brahms: Clarinet Sonata, Op. 120, no. 1 (first public performance), in Vienna, by clarinetist Richard Mühlfeld, with the composer at the piano, as part of the Rosé Quartet's chamber music series; The first performance ever of this work occurred on September 19, 1894, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, with the same performers; Brahms and Mühlfeld also gave private performances of both sonatas in Frankfurt (for Clara Schumann and others) on November 10-13, 1894; at Castle Altenstein (for the Duke of Meiningen) on Nov. 14, 1894; and on Jan. 7, 1895 (for members of the Vienna Tonkünstler Society); 1911 - Florent Schmitt: "La tragédie de Salomé" for orchestra, in Paris; 1927 - Berg: "Lyric Suite" for string quartet, in Vienna, by the Kolisch Quartet; 1928 - Hindemith: "Kammermusik" No. 7, Op. 46, no. 2, in Frankfurt, with Ludwig Rottenberg conducting and Reinhold Merten the organist; 1940 - Roger Sessions: Violin Concerto, by the Illinois Symphony conducted by Izler Solomon, with Robert Gross as soloist; The work was to have been premiered by Albert Spalding with the Boston Symphony under Koussevitzky in January of 1937, but did not take place); 1963 - Shostakovich: opera "Katerina Izmailova" (2nd version of "Lady Macbeth of the Mtsensk District"), in Moscow at the Stanislavsky-Nemirovich-Dachenko Music Theater; 1971 - Shostakovich: Symphony No. 15, in Moscow, by the All-Union Radio and Television Symphony, with the composer's son, Maxim, conducting; 1987 - Christopher Rouse: "Phaethon" for orchestra, by the Philadelphia Orchestra, Riccardo Muti conducting; 1988 - Schwantner: "From Afar . . . " (A Fantasy for Guitar and Orchestra), by guitarist Sharon Isbin with the St. Louis Symphony, Leonard Slatkin conducting; Others 1923 - First broadcast in England of an opera direct from a concert hall, Mozart's "The Magic Flute" via the BBC from London; Links and Resources More on Wiiliam Bolcom More on William Blake
Any other artists out there tired of thinking/talking/obsessing about marketing? This week, Merideth shares the first of a three-part series based on her words of the year. The first word—anti-hustle—calls her to a simpler, quieter, more harmonious way of life. She also answers a question about morning pages, all to the beautiful music of Debussy, Beethoven, and Brahms performed by Marnie Laird of Brooklyn Classical. Leave us a voicemail by calling: 302-415-3407 Leave us a question via email Join the FREE Artist's Way Creative Cluster Enneagram Workshop Podcast Transcript
Als Elgar seine erste Sinfonie schreibt, ist er schon 50 Jahre alt und gilt als bedeutendster lebender britischer Komponist mit Professur und Adelstitel. Dirigenten aus ganz Europa feiern das Meisterwerk der Spätromantik. Dabei kommt der Komponist ursprünglich aus einfachen Verhältnissen. (Autor: Christoph Vratz und Michael Lohse) Von Christoph Vratz.
Das Janoska-Ensemble hat eine besondere Konstellation, es musizieren drei Brüder und ein Schwager zusammen. Gespielt wird vor allem spontan, dabei wird improvisiert, es klingt wie eine wilde Konversation und es entsteht der „Janoska-Style“. Auf der neuen CD geht es unter anderem um die drei großen „B“s: Bach, Beethoven und Brahms.
durée : 00:22:14 - Disques de légende du vendredi 30 décembre 2022 - Sir Simon Rattle et l'Orchestre Philharmonique de Berlin consacrent à Schoenberg un disque dont Brahms occupe pourtant une grosse moitié. L'œuvre majeure de ce programme est en effet la curieuse orchestration que Schoenberg, en 1937, réalisa du premier Quatuor pour piano et cordes de Brahms.
El sueño de nuestro querido Mario Mora se ha hecho realidad: por fin puede participar en un Hoy Toca en el que toda la música fue compuesta por su gran ídolo, el compositor de Hamburgo Johannes Brahms. Además, todas las piezas elegidas por Carlos llevan piano en su receta, por lo que intuimos que Mario estará doblemente feliz y pondrá todo su saber “brahmsiano” para comentar la música del programa con su habitual gracejo. Ríndete tú también a la inspiración de uno de los mayores genios de la música clásica en esta nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.
This is your time to rest.. you have permission. Lie on the floor, or sit on a chair, get yourself comfortable... close your eyes if you'd like... take a deep breath in... and exhale... How much do you rest? Do you prioritise it? Maybe you feel you don't have time to rest! Or maybe you feel guilty for taking time out? Jessica Creighton discusses the theme of Rest with her guests. The presenter and author of The Art of Rest Claudia Hammond defines what rest is - and isn't; discusses some of the most restful activities, gives a ‘Prescription for Rest' and explains why she has a box containing a crochet hook and some seeds. The Reverend Lesley Jones, Rector at The Parish of Jarrow of Simonside, and Anna Katharina Schaffner, Professor of Cultural History at the University of Kent, discuss the day of rest and the ‘rest cure' – which involved drinking four pints of milk and eating mutton chops! The nature geek Melissa Harrison takes us on a country walk near her village and describes how nature rests in winter. Composer Debbie Wiseman explains how music can promote a feeling of restfulness and demonstrates with some of her favourites from Beethoven to Brahms and her own composition Together. British athletes discuss how they use rest to perform at the highest level. The Former athlete and Olympic medallist Anyika Onuora and sport climber and five times National Champion Molly Thompson-Smith share their stories of how necessary it was in aiding their recovery from illness and injury. And a former magazine editor Marianne Jones commissioned hundreds of pieces about stress, but ignored her own potentially fatal burnout. She recalls the warning signs that led her to become a relaxed woman. Presented by Jessica Creighton Producer: Louise Corley
Back after a three month break. What better way to start than with Bob Skyles and his Skyrockets with I'm gonna die with a broken heart. Three from the hugely popular Inkspots- Everyone is saying hello again, Thoughtless and one of their big hit Java Jive. Just one of their records alone, If I didn't care, sold 19 million copies. Their style rarely changed but they were ground breakers. They sold well to both black and white audiences. Ted Heath and his music with Walking Shoes. Two soporific songs next- Paul Robson with Just a wearyin' and Rosemary Clooney with Brahms lullaby. Should have put them at the end. We all could have nodded off. Not often we play the pipes on Forgotten songs but we have two tunes from The Bowhill Colliery and District band. Bowhill in Fife was the scene of a pit disaster in 1931 when 10 men were killed. Like many factories, foundaries, collieries Bowhill had a works band. This being Scotland a pipe band as well as a silver band. The Rhytmn Maniacs with the wonderfully titled- 'The gag song( She was only a bookmakers daughter.) To be fair it does have some funny lines. Max Darewski was a Manchester born child prodigy. At the age of 9 he was conducting a full orchestra. He had a successful career as a composer. Not convinced his genius was on display with this number- Shadow man. Sadly he died only aged 35. Edna Thomas was a African American actress and singer. She performed on Broadway and on film. Here she gives a very refined performance of Mamzelle Zizi. No need to tell you about Roy Rodgers, here singing A four legged friend. Thank goodness he mentions Trigger at the end! Alma Cogan advises Never tango with an Eskimo but in this weather we need all the heat we can get. Lionel Hampton gives laid back vocals to The mood I'm in. Naturally he gives us some vibrophone too. We finish with two BBC records. Charles Williams leads his orchestra with own composition, The Devils Gallop. This was the signature tune to Dick Barton, Special Agent. A 'cliffhanger' radio series that the BBC ran from 1946 to 1951. As we recorded this on Christmas we end with Come All Ye Faithfull, from the BBC Choir. I'm sure Lord Reith would approve. He was the stoney faced kill joy who ran the BBC for many years and he certainly wouldn't have approved of The Gag song. Far too ribald!!
BRAHMS: Sonata para violoncello y piano nº 1 en Mi menor, Op. 38 (Primer movimiento: Allegro non troppo) (14.32). J.-G. Queyras (vc.), A. Tharaud (p.). Sinfonía nº 4 en Mi menor, Op. 98 (Primer movimiento: Allegro non troppo) (12.43). Orq. Fil. de Viena. Dir.: C. Kleiber. SCHUBERT: Impromptu nº 2 en Mi bemol mayor D 899 (4.40). R. Lupu (p.). SCHUMANN: Myrthen, Op. 25 (selec.) (nº 5 Lieder aus dem Schekenbuch im Divan I, nº 7 Die Lotosblume) (2.42). D. Fischer-Dieskau (bar.), J. Demus (p.). Escuchar audio
durée : 01:29:06 - En pistes ! du mardi 20 décembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, c'est la musique de Jean-Sébastien Bach qui ouvre le bal avec la "Sinfonia en ré majeur" interprétée à la flûte à bec par Erik Bosgraaf. Nous écouterons également les oeuvrtes de de Mozart, Brahms, Fauré ou encore Scriabine.
Brahms Guignard is a writer, actor and producer. Brahms is a passionate creative who is dedicated to his craft. He relishes being able to shoot high quality films on very little money, which is a great talent in and of itself. You can learn a lot from him. Enjoy! For more content, articles, videos and merch visit us at http://theworkingexperience.com This podcast is sponsored by One Circle Media, a content creation agency for brands, networks, and studios. Visit http://onecirclemedia.com/ for more information.
On this week's lecture, resident lecturer Bruce Adolphe discusses Brahms' Quartet in A minor for Strings, Op. 51, No. 2. Featuring a performance by The Calidore String Quartet (Jeffrey Myers, Ryan Meehan, violin; Jeremy Berry, viola; Estelle Choi, cello)
It's another explosive edition of Life on Planet Porky with Porky and LAJ. Topics today include: The Mull of Kintyre, life after the Beatles, Jimi Hendrix' genius, recording sessions late into the night, The Cumberland Hotel, turning to the Hare Krishna movement, religious foundations, karma, Disney films and the Disney Cruise, The Clash, classical music, whether having a purpose in life is good for you, motorists being continuously penalised, Nottingham Castle being shut down, and Sir Winston Churchill. It's the podcast that knows a Great Briton when it sees one, it's Life on Planet Porky. Follow the show on Twitter: @PlanetPorky or Mike is: @MikeParry8 while you can find Lesley-Ann: @LAJwriter. Or you can email us questions or comments to: firstname.lastname@example.org. We'd love to hear from you!
Die Liste ist schier endlos: Mozart, Brahms, Duke Ellington, Schumann, Schubert, Satie, Charles Mingus, Schönberg - alle diese Komponisten, sich selbst und noch viele mehr hat Mathias Rüegg bearbeitet und in eine eigene Form zwischen Klassik und Jazz gebracht. Schon in seiner Zeit als Leiter des Vienna Art Orchestra, aber auch in den 12 Jahren seit er das VAO aus finanziellen Gründen aufgeben musste. Die Pianistin und Komponistin Luzia Von Wyl war als Studentin beteiligt an einer Uraufführung eines klassischen Werkes von Mathias Rüegg - sie diskutiert das reiche Schaffen des Wahlwieners Rüegg mit einem Schwerpunkt auf die jüngste Zeit in der JazzCollection mit Jodok Hess.
Kees Wieringa is pianist, componist, schrijver, theatermaker en voormalig museumdirecteur in Qatar. Begin vorig jaar keerde hij terug vanuit het Midden-Oosten om zich vol overgave te storten op een kunstencentrum in Frankrijk en zijn allergrootste liefde: de piano. Zijn culturele landschap voert ons langs bijzonder intens werk van Brahms, de monumentale beeldhouwkunst van Brancusi en een bijzondere rede van een dichteres die een jonge generatie aanvoert.
durée : 00:07:14 - Tendez l'oreille du samedi 26 novembre 2022 - par : Christophe Dilys - Le 2 décembre 1889, Theo Wangemann, un envoyé de Thomas Edison, place Johannes Brahms devant le cornet d'un phonographe. Plus d'un siècle plus tard, nous continuons à découvrir les habitudes d'interprétations des anciens maîtres en décryptant difficilement cet enregistrement. Tendez l'oreille !
durée : 01:29:10 - En pistes ! du jeudi 24 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, c'est la musique de Brahms sous l'archet du violoniste Tristan Tetzlaff que nous écoutons. Au programme également : Telemann par l'Altberg Ensemble ou encore Chopin interprétée par Bella Davidovich accompagnée du London Symphony Orchestra.
durée : 00:11:04 - Le Disque classique du jour du jeudi 24 novembre 2022 - Dans ce nouvel album de concertos, l'un des plus grands violonistes de sa génération, Christian Tetzlaff, propose des interprétations profondes de deux concertos profondément dramatiques et lyriques - ceux de Brahms et de Berg - avec le Deutsches Symphonie-Orchester Berlin dirigé par Robin Ticciati.
durée : 01:30:37 - En pistes ! du mardi 22 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce mardi : le troisième album sous le label Pentatone de la chanteuse Anna Lucia Richter accompagnée par Ammiel Bushakevitz au piano. Mais aussi le dernier enregistrement d'Anne Queffélec ou encore l'hymne de l'indépendance du Brésil.
durée : 00:09:52 - Le Disque classique du jour du mardi 22 novembre 2022 - Sur son troisième album pour la label Pentatone, Anna Lucia Richter revient au lied allemand, faisant ses débuts en tant que mezzo-soprano avec un récital de chansons de Brahms, avec le pianiste Ammiel Bushakevitz.
durée : 01:29:57 - En pistes ! du lundi 21 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Nous ouvrons la semaine avec le nouvel album de Julie Fuchs consacré à Mozart. Ensuite, ce sont Bach, Brahms et Prokofiev que nous écouterons entre autres. En Piste !
Anne-Sophie Mutter und Pablo Ferrández, vielversprechender Newcomer der Klassik, haben Brahms Konzert für Violine, Cello und Orchester op. 102 gemeinsam eingespielt, zusammen mit der Tschechischen Philharmonie und mit dem Dirigenten Manfred Honeck. Das Werk von Brahms wird dabei mit Clara Schumanns Klaviertrio op. 17 kombiniert, mit Mutters langjährigem Partner Lambert Orkis. Johannes Brahms und Clara Schumann gehören für Anne-Sophie Mutter künstlerisch unbedingt zusammen. Clara, als Komponistin in einer Männerwelt unterwegs, wurde oftmals und lange Zeit übersehen. „Beide bewunderten sich künstlerisch und Johannes Brahms fragte sie oft um Rat“, so schreibt Anne-Sophie Mutter im booklet der neuen bei Sony erschienenen CD. Anne-Sophie Mutter hat sich neben ihrer eigenen Konzerttätigkeit seit Jahren die Förderung von musikalisch Hochbegabten auf die Fahnen geschrieben, darunter auch Pablo Ferrández, Cellist und Mitglied der Anne-Sophie Mutter Stiftung. Die Stipendiat*innen dieser Stiftung werden alle nach ihren individuellen Bedürfnissen unterstützt. Dies ist Mutter ein großes Anliegen, für das sie sich viel Zeit nimmt.
The center of Western Classical Music, ever since the time of Bach, has been modern-day Germany and Austria. You can trace a line from Bach, to Haydn to Mozart to Beethoven to Schubert to Schumann, Brahms, and Wagner, and finally to Mahler. But why does that line stop in 1911, the year of Mahler's death? Part of the answer is the increasing influence of composers from outside the Austro-German canon, something that has enriched Western Classical music to this day. There was also World War I getting in the way. But after the war, one could have expected that this line would continue again. The 1920's in Germany and the rest of Europe were a time of radical experimentation, a flowering of ideas, a sort of wild ecstasy of innovation across all the arts. So why don't we hear of these Austro-German experimenters and innovators anymore? Because of Adolf Hitler, Joseph Goebbels, and their Entartete, or Degenerate music. Hitler's worst crime was by no means his suppression of dozens of German, Austrian, and Eastern European composers, but it is a fact all the same that from the end of World War I until 1933, classical music in Germany and Eastern Europe(especially Czechoslovakia), was flourishing, with composers such as Zemlinsky, Krenek, Korngold, Schreker, Schulhoff, Haas, Krasa, and Ullmann taking up the mantle of the giants of the past and hoisting it upon themselves to carry it forward. The Nazis silenced, exiled, or killed off many of these musicians during the twelve years of 1933-1945, and those voices are forever lost, but the music they wrote before, during the War and the Holocaust, and after it, some of it masterpieces quite on the level of their predecessors, has been preserved. So why then are these composers not better known? I've chosen 12 composers, all of whom were writing music at the highest level. Some of them may be familiar to you, but many probably won't be. And through all of their trials and tribulations, one of the things I want to emphasize throughout these stories, even the bleakest ones, is that so many of them found the will to be able to compose this heart-rending, beautiful, and often optimistic music all as they witnessed unimaginable horrors. It may seem empty when the end for many of these artists was so horrific, but these compositions and the men and women who were behind them are a true testament to the resilience of the human spirit. These artists created a life for their friends, neighbors, and fellow inmates in concentration camps. They wrote music they knew would almost certainly not be heard in their lifetimes, from an urge that could not be destroyed, even by gas chambers. Join us to learn about them this week.
durée : 01:29:53 - En pistes ! du jeudi 17 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce jeudi, Emilie et Rodolphe ont choisi pour vous la musique de Brahms par Nelson Freire, Byrd par The Sixteen ou encore Stravinsky par le London Symphony Orchestra. C'est parti pour 1h30 de nouveautés !
durée : 00:25:03 - Brahms, Un requiem allemand - par : Anne-Charlotte Rémond - Affecté par la mort de son mentor Robert Schumann puis par celle de sa propre mère, Brahms s'engage dans la composition d'un Requiem en allemand, avec des textes tirés de la Bible, mais davantage spirituels que religieux. En 1868, son Requiem Allemand voit le jour, et c'est un triomphe. - réalisé par : Philippe Petit
durée : 01:28:09 - Daniel Barenboim, pianiste et chambriste (3/4) : Liszt, Brahms, Tchaïkovski - par : François-Xavier Szymczak - Daniel Barenboim a 80 ans ! Pendant quatre émissions, nous évoquons sa carrière de pianiste et chambriste, aux côtés de Jacqueline du Pré, Dietrich Fischer-Dieskau, Itzhak Perlman, Pinchas Zukerman, Janet Baker, Emmanuel Pahud, Martha Argerich, Radu Lupu, ou de son fils violoniste Michael Barenboim.
durée : 01:30:22 - En pistes ! du mardi 08 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, nous continuons d'écouter quelques extraits du coffret Ingrid Haebler paru chez Decca mais aussi le dernier enregistrement Brahms du Rias Kammerchor Berlin. A 10h20, comme d'habitude, le disque à gagner !
durée : 00:07:25 - Le Disque classique du jour du mardi 08 novembre 2022 - Dirigé par Justin Doyle, le RIAS Kammerchor Berlin présente un nouvel enregistrement consacré aux oeuvres vocales de Brahms mais aussi à ses Danses hongroises. On vous en parle et surtout, on écoute !
Join us for a conversation with Kira Thurman, author of Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms, and Seattle Opera scholar-in-residence Dr. Naomi André. Drawing on her experience as a classically trained pianist who grew up in Vienna, Austria, Thurman traces the sweeping story of Black musicians performing in Germany and Austria over more than a century. As musicians like Marian Anderson and Grace Bumbry broke barriers on stage and in concert halls, they found opportunities in German-speaking Europe that were denied to them in the Jim Crow-era U.S. In doing so, they also challenged categories of Blackness and Germanness and complicated the public's understanding of how music is tied to racial and national identity.
Un saludo queridos amigos y mecenas. Continuamos con Comte y su sociología. Hoy hablaremos de los elementos que integran el progreso social. En el siguiente audio del Curso trataremos del último punto del bloque de sociología positiva y ya pasaremos a la religión que Augusto se inventó y hablaremos un poco de su concepción de la moral. ***** Música de la época: Sonata para piano n.º 3 (Brahms) escrita en 1853. ****** Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!
Though the great diva Grace Bumbry has often been featured on Countermelody, I have not yet done a full episode on this incomparable artist. Today's episode seeks to remedy that, and to celebrate a singer whose contribution and influence extends back many decades and continues to this very day. Normally when I consider an artist so well-renowned, I try to offer a perspective that sheds different light on that singer. So today's Bumbry celebration considers three aspects of her artistry that have received somewhat less attention. While her successes in a wide range of mezzo soprano repertoire are well-known and well-documented, her soprano assumptions have been somewhat more controversial. I highlight numerous scenes and arias, including from Macbeth, Salome, Turandot, and Nabucco, in both live and studio performances, that shed light on the enormous prowess and fearlessness with which she confronted these roles. Alongside such larger-than-life impersonations are Bumbry's intimate and detailed performances as a Lieder singer, a tribute to her training under that matchless singer and teacher Lotte Lehmann, with whom Bumbry studied at the Music Academy of the West. Recordings of art song by Schubert, Schumann, Brahms, Strauss, Liszt, and Berlioz, made over the course of 45 years are also a testament to Bumbry's vocal longevity and technical prowess. In recent years, Grace Bumbry has devoted her time to the care, nurturing, and training of young singers under the aegis of a program she has named “The Bumbry Way.” The episode closes with a definitive performance of the song “My Way,” which incorporates and encapsulates all the colors of this extraordinary singer in all her fearlessness, self-assurance, determination, vulnerability, and strength. Evviva “The Bumbry Way!” Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.
The violinist and cellist have recorded Brahms's Double Concerto with the Czech Philharmonic conducted by Manfred Honeck, plus Clara Schumann's Piano Trio in G minor for which they are joined by Lambert Orkis at the piano. Gramophone's Editor Martin Cullingford caught up with them to discuss their collaboration on this new album, released today on Sony Classical. Gramophone Podcasts are produced in association with Wigmore Hall.
Jess Gillam hosts the music show for people who like classical and other stuff too. Today her guest is the violinist Geneva Lewis, who is rapidly becoming known as one of the most classy young players around today. She has recently joined Radio 3's New Generation Artists and is hugely in demand as both a soloist and chamber musicians. Jess and Geneva sit down for a listening party of the music they love the most, including tracks by Britten, Brahms and Billie Eilish.
Synopsis On today's date in 1873, a new piece by the German composer Johannes Brahms received its first performance by the Vienna Philharmonic. The piece was titled Variations on a Theme by Haydn, and was a big success at its premiere. Brahms must have heaved a great sigh of relief. For the previous 18 years, Brahms had struggled to complete his First Symphony, unconvinced that he had “the right stuff” to pull it off. In the summer of 1873, he wrote his Haydn Variations as a kind of personal test to see how audiences would react—and to bolster his own confidence. Lucky for us, it worked: Brahms returned to work on his First Symphony and went on to write four symphonies in all! On today's date in 1990, the Fourth Symphony of American composer Lou Harrison received its premiere by the Brooklyn Philharmonic. Much of Harrison's music has been influenced by non-Western traditions, especially the Javanese gamelan music, and his Symphony No. 4 is no exception. Harrison was 73 when this symphony premiered, and he dubbed it his “Last Symphony” —apparently agreeing with Brahms that four was enough. When asked what would happen should he decide to write still another, Harrison quipped, “I'll call it the ‘VERY Last Symphony.” Music Played in Today's Program Johannes Brahms (1833-1897) Variations on a theme by Haydn, Op. 56a Cleveland Orchestra; Christoph von Dohnanyi, conductor. Teldec 8.44005 Lou Harrison (1917-2003) Symphony No. 4 (Last Symphony) California Symphony; Barry Jekowsky, conductor. Argo 455 590
Synopsis In 2016, the Minneapolis-based jazz composer and pianist Jeremy Walker collaborated with Consortium Carissimi, a Twin Cities early music vocal ensemble in the creation of some brand-new music in the style of the ensemble's namesake, the 17th-century Italian composer Giacomo Carissimi. One of the pieces Walker composed was a duet for tenor and mezzo-soprano. The mezzo for the premiere performance was Clara Osowski, a singer with a special passion for art songs, past and present. Now since Osowski was as impressed with Walker's music as he with her voice, after that concert they decided to embark on a project to infuse the modern jazz harmonies of, say, Bill Evans, into the Romantic art song genre of Schubert and Brahms. They chose texts by Whitman, Longfellow, and Minnesota lyricist Greg Foley, for a song cycle Walker titled “Haunted Blue.” “The ‘blue' in the title refers to the overall mood of the music,” Walker explained. “But it also refers to the type of harmonies I'm using. The ‘haunted' part is like when you're half asleep and half awake at night, and dreams combine with reality.” A studio recording and even some music videos were made, and on today's date in 2018, “Haunted Blue” received its premiere public performance at a CD release concert in Minneapolis. Music Played in Today's Program Jeremy Walker "Alma Gentil" and "The Rainy Day," from "Haunted Blue" Clara Osowski, ms; Tefsa Wondemagegnehu, t.; Jeremy Walker, piano "Haunted Blue" CD 93428 00177
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On this week's episode of Beethoven Walks into a Bar, we welcome our first guest conductor of the season, Venezuelan Domingo Hindoyan who will conduct the orchestra and Kansas City Symphony Chorus in a program of Mendelssohn, Brahms and Berlioz. We'll learn all about his upbringing in Venezuela's El Sistema music schools, his short time as a conductor spy, and how his mother made her way from Aleppo to South America. We also make stomach's grumble with a chat about arepa, chimichurri, ceviche, empanadas, chupe, dulce de leche and other South American cuisines.. This week on Beethoven Walks into a Bar.
Welcome to Season 9 of Sticky Notes! We're starting with a bang this season with Brahms' incomparable 4th symphony. This symphony takes the listener on a journey that unexpectedly ends in a legendarily dramatic and stormy way. What would compel a composer like Brahms to write an ending like this? Was it a requiem for his place in music? For Vienna? For Europe? Or was it the logical conclusion to a minor key bassline he stole from a Bach Cantata? This is the eternal question when it comes to Brahms - logic or emotion? Well, usually the answer is a bit of both, and today we're going to go through this remarkable piece with all of this in mind. Join us!