Podcasts about brahms

Does inspiration come before the work, or does the work create it?A Jimmy Carr quote I heard while making breakfast this morning set this episode in motion. It reminded me how often musical ideas arrive simply because I've sat down and spent time with the instrument.I share what that process looks like right now: working on a Brahms waltz for a potential duet with Daniele Camarda, exploring triadic movement around the bass, and following a chord progression that develops spontaneously during the episode.We also get into a practice approach that has helped me keep improving after more than 30 years of playing: spending less time on an idea each day, but returning to it consistently for longer than I initially think necessary.In this episode:• Why your goals should determine what you practice.• A focused 10-minute starting point for your practice routine.• The difference between understanding an idea and internalizing it.• Keeping a list of things to learn without chasing every new distraction.• Triads, inversions, and their application to bass lines and chordal playing.• Voice leading, passing chords, and developing ideas with a looper.• Using recordings and voice notes to preserve musical discoveries.• How returning to private teaching has sharpened my own focus.I'm also considering a comprehensive book on triads—their inversions, applications, and musical context. I'd love to hear what you'd want from a resource like that.And for anyone who stays to the end: a brief look at the humble footstool that travels everywhere with me.If you'd like help identifying what to work on and building a practice routine around your goals I'm now offering Private lessons. If you would prefer something with a little less commitment, but that packs a huge punch in terms of information, check out all my Books and learning resources. More soon, Janek Get full access to Janek's Newsletter at janekgwizdala.substack.com/subscribe

durée : 01:27:21 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Après avoir enregistré Schubert et Brahms, le baryton allemand fait paraître un nouvel album en compagnie du pianiste Markus Hinterhäuser. Le programme parcourt douze années de création schumanienne, de l'"année du lied" en 1840, à 1852. - équipe : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:27:21 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Après avoir enregistré Schubert et Brahms, le baryton allemand fait paraître un nouvel album en compagnie du pianiste Markus Hinterhäuser. Le programme parcourt douze années de création schumanienne, de l'"année du lied" en 1840, à 1852. - équipe : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

La Sociedad Filarmónica Ferrolana presenta su nueva temporada de conciertos, marcada por la celebración del Año Beethoven y por una programación que reunirá en Ferrol a grandes formaciones e intérpretes. La temporada, con conciertos sinfónicos y de cámara, incluirá obras de Beethoven, Vivaldi, Mozart, Brahms, Mahler, Berlioz, Rachmaninov, Sibelius y Shostakovich, entre otros. La Orquesta Sinfónica de Galicia y la Real Filharmonía de Galicia ofrecerán una decena de actuaciones en la ciudad, a las que se sumarán propuestas organizadas específicamente para Ferrol. Entre ellas figuran las Cuatro estaciones de Vivaldi adaptadas para musette por Nicolas Chédeville, el repertorio del Cuarteto Schubert, las sonatas de Beethoven que interpretará el Duo Stoica con un violonchelo que perteneció a Pau Casals y un programa de barroco francés de Capella Compostelana. También tendrá protagonismo la intérprete de San Sadurniño Iria Folgado. Los conciertos adelantan su horario a las ocho de la tarde.

A passionate young clarinetist performs Brahms and we meet a New England brass player with the fortitude to lug around two tubas at once.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

András Schiff hat Klaviermusik von Johannes Brahms aufgenommen. Lauter kleine, kurze Stücke und alle herbstlich in der Anmutung. Das liegt vor allem daran, dass Brahms kein junger Hüpfer mehr war, als er sie geschrieben hat - mit einer Ausnahme.

Con Carlos Iribarren | Hoy Toca recibe a David González Nuño, musicólogo y divulgador, autor del cuaderno musical ¿Con qué sueñan Oliver y Martín?, nacido de las nanas que empezó a compartir con su familia tras el nacimiento de sus sobrinos. De sus veinte páginas escogemos ocho canciones de cuna muy distintas entre sí: la «Berceuse» de la Suite Dolly de Fauré, la nana más famosa de la historia, la de Brahms, la «Nana» de Falla en la voz de Teresa Berganza, la delicada berceuse de Mel Bonis, la «Berceuse» oscura e hipnótica de El pájaro de fuego de Stravinsky, la «Canción de cuna de María» de Max Reger y el tradicional galés «Suo Gân» que John Williams llevó a El imperio del sol. Hablamos de por qué tantas nanas esconden miedo o tragedia en sus textos, de cómo el ritmo y el timbre adormecen, y del estreno en el programa de Arvo Pärt, con quien inauguramos la campanilla que sonará cada vez que debute un compositor. Y mañana, la prórroga de Hoy Toca con David, solo para suscriptores.

Two million people live in Vienna, but there are three million buried in its Central Cemetery! Join us as we track down the final resting place of composers like Beethoven, Brahms, and even Falco in this Austrian city! 

durée : 01:28:38 - par : Aurélie Moreau - Pour Nathan Milstein, les écoles du violon « ne diffèrent que dans les détails, et c'est au violoniste à sentir ce qui est en accord avec l'esthétique du geste et ses propres moyens ». (La Parole). Aujourd'hui : Tchaïkovski, Prokofiev, Brahms, Bach… - équipe : Cécile Bonnet des Claustres, Océane Dias - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:17:59 - par : Lionel Esparza - Le Requiem allemand, de Johannes Brahms, par Philippe Herreweghe paraît en 1996 chez Harmonia Mundi, une première vraie alternative aux versions plus classiques - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:17:59 - par : Lionel Esparza - Le Requiem allemand, de Johannes Brahms, par Philippe Herreweghe paraît en 1996 chez Harmonia Mundi, une première vraie alternative aux versions plus classiques - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Das Wiesbadener Staatstheater inszeniert das Musical „Footloose“, der Windpark auf der Hohen Wurzel beschäftigt weiterhin die Wiesbadener Politik und Wiesbaden zieht Schlüsse aus dem Hitzesommer 2026. Das und mehr heute im Podcast. Alle Hintergründe zu den Nachrichten des Tages finden Sie hier: Wenn Tanz zur Rebellion wird: „Footloose“ im Staatstheater https://www.wiesbadener-kurier.de/lokales/wiesbaden/stadt-wiesbaden/wenn-tanz-zur-rebellion-wird-footloose-im-staatstheater-6109465 Wie geht es mit dem Windpark Taunuskamm weiter? https://www.wiesbadener-kurier.de/lokales/wiesbaden/stadt-wiesbaden/wie-geht-es-mit-dem-windpark-taunuskamm-weiter-6272176 Schubert und Brahms eröffnen neue Konzertsaison in Wiesbaden https://www.wiesbadener-kurier.de/lokales/wiesbaden/stadt-wiesbaden/schubert-und-brahms-eroeffnen-neue-konzertsaison-in-wiesbaden-6132627 CDU-Antrag zu Kita des Moschee-Vereins führt zu Kontroversen https://www.wiesbadener-kurier.de/lokales/wiesbaden/kostheim/cdu-antrag-zu-kita-des-moschee-vereins-fuehrt-zu-kontroversen-5985358 Resümee nach dem Hitzesommer: Welche Lehren zieht die Stadt? https://www.wiesbadener-kurier.de/lokales/wiesbaden/stadt-wiesbaden/resuemee-nach-dem-hitzesommer-welche-lehren-zieht-die-stadt-5989976 Ein Angebot der VRM.

Die Maus zum Hören - Lach- und Sachgeschichten. Heute: mit Schlafsand in den Augen, Snacks für die Pyjama-Party, einer Geisterstunde, mit André und natürlich mit der Maus und dem Elefanten. Ihr hört eine Wiederholung. Maustisch: Snacks für die Pyjama-Party (01:19) Wortschatzkiste: Sturmfreie Bude (14:07) Zeitsprung: Geisterstunde bei Clara Schumann (26:56) Herzfunk: Warum kann man sich ans Einschlafen nicht erinnern? (35:56) Frage des Tages: Woher kommt der Sand in den Augen? (46:15) Von André Gatzke.

durée : 00:19:11 - par : Lionel Esparza - Les sonates et balades de Brahms par Krystian Zimerman chez DG, un disque légendaire - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Ein Klavier-Koloss, so könnte man Brahms' erstes Klavierkonzert nennen. Es verlangt Pianistinnen und Pianisten einiges ab. Larissa Schütz hat sich das neue Album von Francesco Piemontesi ganz genau angehört.

Beethoven, Tchaikovsky, Brahms... classical music's biggest names appear on concert programmes again and again. But does that mean orchestras are stuck in the past? YolanDa is joined by violinist Kate and cellist Henry to challenge one of the most common assumptions about classical music.Together, they unpack the idea that classical music is endlessly recycling the same repertoire and ask whether that criticism really holds up. Along the way, they explore some big questions: how much new music do orchestras actually perform? Why do some pieces become classics while others disappear? Should audiences be tempted in with familiar favourites before discovering something new? And what responsibility do orchestras have to champion overlooked composers and commission the masterpieces of the future? They also reveal how a different conductor, a fresh interpretation, or simply hearing a piece live can make even the most familiar music feel completely new. Plus, in the quiz, Kate and Henry test their knowledge of BBC Proms history, composer-led conservation efforts, and the pieces of music they could happily hear on repeat forever.#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra Hosted on Acast. See acast.com/privacy for more information.

¿De dónde surge realmente la inspiración de los grandes compositores?El Dr. Manuel Sans Segarra y el musicólogo Oriol Pérez Treviño reflexionan sobre el misterio de la creación musical, la inspiración y su posible conexión con la Supraconciencia.A través de compositores como Bach, Beethoven, Brahms y Puccini, exploran por qué algunas obras parecen trascender el tiempo y qué podría existir detrás de ese impulso creativo que transforma una idea en una obra inmortal.

durée : 00:19:11 - par : Lionel Esparza - Les sonates et balades de Brahms par Krystian Zimerman chez DG, un disque légendaire - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Der Pianist legt eine neue Einspielung von Johannes Brahms' erstem Klavierkonzert vor. Eine Prise Drama hätte der Aufnahme gutgetan.

durée : 01:29:05 - par : Aurélie Moreau - Soliste d'exception, la clarinettiste Sabine Meyer est l'interprète remarquable d'un large répertoire où les grands classiques côtoient la création contemporaine. Aujourd'hui : Weber, Mozart, Schumann, Nielsen, Poulenc, Brahms et Takemitsu. - équipe : Cécile Bonnet des Claustres, Yuthou-Diego Hak-Lopes - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:02:11 - par : Charlotte Landru-Chandès - Au cours de sa vie, le compositeur Johannes Brahms s'est épris non pas d'une Mme Schumann, mais de deux. Il y a tout d'abord eu la talentueuse Clara, dont les sentiments n'ont jamais été partagés. Puis, il rencontra la fille de celle-ci, Julie... - équipe : Valentin Lévy-Chaudet, Clémence Luczak, Mathilde Carissan, Yassine Qnia Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Fünf vor zwölf. ⏰ Direkt gegenüber dem Wiener Zentralfriedhof steht die Uhr des Concordia Schlössls seit Jahren auf genau dieser Zeit – ein beinahe perfektes Bild für die untergehende Donaumonarchie.In Markus' letzter selbst geschriebener Geschichte führt unser Weg diesmal über den Wiener Zentralfriedhof: zu den Menschen, Namen und Erinnerungen aus allen Teilen des ehemaligen Habsburgerreiches. Wir begegnen Beethoven, Schubert, Brahms und Johann Strauss und fragen uns, warum Musik, Gebäude und Geschichten Dynastien überleben können.Begleitet von Wolfgang Ambros und seinem berühmten „Es lebe der Zentralfriedhof“ wird diese Folge zu einer persönlichen Betrachtung darüber, was von einem Menschen und einem Weltreich am Ende wirklich bleibt.Noch ist es kein endgültiger Abschied – aber die Uhr steht bereits auf fünf vor zwölf. Jetzt reinhören – Link in der Bio.

durée : 00:12:15 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Avec son complice de longue date Ammiel Bushakevitz, Konstantin Krimmel a voulu associer les compositeurs Johannes Brahms et Eusebius Mandyczewski, qui se sont rencontrés à Vienne à la fin des années 1870 et ont entretenu une grande amitié. - équipe : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:29:09 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Coup de projecteur sur le baryton Konstantin Krimmel. D'origine allemande et roumaine, il enregistre les compositeurs Brahms et Mandyczewski qui se sont rencontrés à Vienne à la fin des années 1870. Un grand coup de coeur qui ouvre cette semaine de nouveautés du disque ! - équipe : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:12:15 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Avec son complice de longue date Ammiel Bushakevitz, Konstantin Krimmel a voulu associer les compositeurs Johannes Brahms et Eusebius Mandyczewski, qui se sont rencontrés à Vienne à la fin des années 1870 et ont entretenu une grande amitié. - équipe : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:29:09 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Coup de projecteur sur le baryton Konstantin Krimmel. D'origine allemande et roumaine, il enregistre les compositeurs Brahms et Mandyczewski qui se sont rencontrés à Vienne à la fin des années 1870. Un grand coup de coeur qui ouvre cette semaine de nouveautés du disque ! - équipe : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Today we commemorate the quarter century since 9/11, an event that sent shockwaves throughout the world as it was transpiring (and who can forget where they were in those first awful hours?) And yet the aftermath has been so much worse than one could even imagine at the time, and with no end in sight (witness the right-wing populism and divisiveness which have become the order of the day). My heart and spirit cry out in pain every single day and the only consolation, the only balm, my soul receives these days is through art, and particularly for me, as for many of us, music. 2026 has also seen an inordinate number of deaths of people who made a different in the world. As I struggled to come up with a theme and a setlist for today's episode, one figure kept reappearing at the door: Belgian bass-baritone José van Dam, who died last February at the age of 85. Though I was a lifelong admirer of the singer, and was deeply saddened by his death, I have not yet presented a suitable memorial tribute in his honor. His voice exuded a warmth and humanity that gave his performances and portrayals a particular glow. So I have chosen to present him today singing music appropriate to this solemn occasion: songs of Ravel, Schubert, Gounod, Schumann, Fauré, Brahms, Ibert, Wolf, Mahler, and Trenet; supplemented by arias and scenes by Verdi, Massenet, Landowski, and Messiaen. I'm keeping chatter to a bare minimum on this episode, letting the music, the texts, and van Dam's voice and artistry, create a patina of consolation for all the complicated emotions raised by this day of mourning and meditation. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 01:28:47 - par : Aurélie Moreau - Bernard Gavoty écrivait à propos du Beaux Arts Trio : « un jeu de nuances infiniment subtiles, sans même parler de la technique, si aisée, si naturelle qu'on ne la remarque plus ». Aujourd'hui : Haydn, Arenski, Mozart, Beethoven, Brahms, Ravel… - équipe : Cécile Bonnet des Claustres, Thomas Guinegagne - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:06:55 - par : Max Dozolme - Max Dozolme rend hommage au cinéaste Jean-Paul Rappeneau en se penchant sur la musique de l'un de ses plus célèbres films, "Le Hussard sur le toit", une BO signée Jean-Claude Petit et très inspirée par la musique classique de Johannes Brahms. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

"The Boy" (2016) and it's titular doll "Brahms" are both turning 10 this year. We sat down with director William Brent Bell to discuss the twist ending that made his horror movie an instant cult classic, his sleeper hit "Orphan: First Kill", and his cult videogame movie "Stay Alive" (2006), also celebrating an anniversary this year. Along the way we discuss Bell's love for the horror genre, the loyalty of its fans, and why he thinks his films have endured over the years. Plus, working with Walking Dead's Lauren Cohan, the original cut of the film where Brahm's human version DIDN'T have a mask, and what's next for "Esther" in the fan favorite Orphan series. #TheBoy #Brahms #OrphanFirstKill Learn more about your ad choices. Visit megaphone.fm/adchoices

Schneider, Dirk www.deutschlandfunkkultur.de, Fazit

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

Musikkritiker Hugo Wolf kann ziemlich gnadenlos austeilen. Dann wechselt er die Seiten – und schreibt im Schaffensrausch 53 Mörike-Lieder. Kleine Form, ganz groß. Von Christoph Vratz.

Brahms' Violinkonzert und seine Erste Symphonie zählen zu den meistgespielten Werken des Repertoires. Wie kann man diesen Klassikern heute noch neue Facetten abgewinnen? Paul Schäufele war bei den Salzburger Festspielen im Konzert mit Augustin Hadelich, Christian Thielemann und den Wiener Philharmonikern.

Augustin Hadelich und Christian Thielemann machen Brahms beim Festspielkonzert zu einem Ereignis der Klangfarben und Übergänge: Die Wiener Philharmoniker entfalten Wärme und Sog, während Hadelich mit Noblesse und virtuoser Souveränität das Violinkonzert belebt.

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

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

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

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

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

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

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

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

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

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

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

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

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

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